Circle Quarterly Art Review | 4 | Fall 2019

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FALL 2019


An Examination of Current Trends & Original Practices in Visual Art

Published by Circle Foundation For the Arts Cover Image Holly Wilmeth

Circle Foundation

Curated by Myrina Tunberg Georgiou Produced and Published by Circle Foundation for the Arts This is the 4rth issue of Circle Quarterly Art Review (FALL 2019) FRONT COVER Holly Wilmeth - BACK COVER David Dejous - Printed in The Netherlands All Rights Reserved ÂŽ No part of this publication may be reproduced, stored in retrieval systems, or transmitted in any form or any means, electronic, mechanical, photocopying or otherwise, without written permission of the publisher and copyright holders.

ÂŽ Copyright: Circle Foundation Press 66 rue Saint-Georges, Lyon, France

FALL 2019



MEET THE CURATOR Born 1986 in Athens, Greece, Myrina Tunberg Georgiou grew up on the island of Crete. After graduating high school she moved to Athens to attend the National University of Greece and study Methodology, History and Theory of Sciences. Next, she moved to Santa Barbara, California to study Studio Art at SBCC. Deeply inspired by Professor, Department Chair and sculptor Ed Inks she further pursued an education in Art History and Studio Art. After earning a degree in Design & Technology from the San Francisco Art Institute, Myrina continued to be involved in the San Francisco Bay Area art community working for a variety of art institutions, museums, and galleries. In 2011, she co-founded Kitsch Gallery, an experimental art space in the city’s vibrant, Mission District, which housed 12 artist studios and a gallery space where she co-directed a variety of visual and sound art exhibits. In 2012, Myrina moved from California to Paris, France where she did freelance design work for galleries and publishing houses. Since 2014, Myrina has been living in Lyon, France. After a decade of experience working in galleries and art institutions in the USA, Greece, and France, in 2017, Myrina created Circle Foundation for the Arts. Inspired by the variety of practices and perspectives in contemporary art and with the main purpose of highlighting the importance of art and culture as an integral part of our social and political lives, the Foundation functions as a platform publicizing the work of remarkable artists around the world.

“When curating a new project, whether that is a magazine or an exhibition, my goal is to create a dialog between the pieces which results in an open-ended discourse. This poetry between juxtaposed works of art transcends the context of a particular project’s content. It, in turn, provides a symphony that appeals to the general purpose of art and artist; that is to see, to feel, to point to, to express, to communicate, in a contemporary society which is extremely prosaic and literal.” “I always urge the viewers to spend time with each artwork, examining the technique, examining the material, circling the edges of the piece, following the visual lines toward the point of emphasis and taking that extra slow moment to feel; to be confronted with. For me, the point is not understanding or evaluating something, but simply listening to what each work might speak to you. And if you like what the work is telling you, go ahead, take it home with you!”

- Myrina Tunberg Georgiou Art Director

Adrian Bradbury • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 8 ▫︎

Newgale Giclée print 84 x 62 cm

“I am interested in the re-presentation of the real through abstraction that allows for different interpretations to be made by the viewer. The root of the image may come from observation but equally, it can also be a discourse between form, line, and texture. The way in which the image is ordered, how all the elements are combined and arranged, clearly becomes the driving force. Art, to me, is about evoking a response to our world and sharing that vision.”


▫︎ 9 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Scott Troxel Tiki IV Birch, acrylic, spray enamel, MDF, lacquer

“I predominately work with wood as my base medium, due to its strength, dimension and organic nature. The inherent texture of wood combined with paint and other man-made materials allow me to explore the concepts of old and young, worn versus new, organic versus man-made and the past versus the present and future. I look to capture a sense of time in my work and often combine the feeling of different eras within a single piece. I see this as a direct parallel with human life, as we too grow older and interact with other generations, both younger and older.”


Hyun Jung Ji • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 10 ▫︎

Quiet Children 15 x 23 in.

“When I was 10 years old I left Korea alone to go to New Zealand for school. I stayed at one of the dormitories since I had no family or friends there. After that, I moved from one boarding school to another in many countries over my teenage years. I was a brave little girl, yet my path and status were indeed unstable. It was a difficult time, due to the absence of family and friends, my own loneliness, and language barriers. At that time I thought that avoiding what I felt would make me happier. In my paintings, the depicted children reflect my young self. My paintings feature factory pipes, faceless children, waterfalls, and tangled lines to express my repressed behavior from school supervisors, my cultural barrier, and the absence of family. The process of creating images about my childhood allows me to keep asking questions. I go back to my past and stare at my young self. And then, I open my mind and accept everything I felt. Finally, I find the peace inside me.”


▫︎ 11 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Hyun Jung Ji Depression Pool 15 x 23 in.

Hyun Jung Ji • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 12 ▫︎

The Barrier 23 x 16 in.


▫︎ 13 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Hyun Jung Ji

Ronna S. Harris • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 14 ▫︎

Altar Of My Time Oil 3 x 4 in.

“My paintings synthesize realism and abstraction. The still-life window scenes focus on documenting the play of exterior light upon interior objects. The glass panes distort reality, bending and twisting the light around rendering each glass pane and bottle into its own little abstract painting. However, when the viewer steps back, what he or she observes is the window’s framework structuring and organizing the composition into a realist perspective of an exterior window scene.”


▫︎ 15 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Jojo Commandaros My Head Falls On... Mixed media installation

“I am a native of Pittsburgh, Pennsylvania, where I currently live and work. My drawings, sculptures, and installations are inspired by alchemy, cultural aesthetics, and ecological systems. My work involves exploration of diverse cultural relationships with the environment, reflective of my Greek and Syrian roots. Educated in both craft and sculpture media, I embrace the visual field through a sensitivity to touch. My exhibitions have traversed these two traditions. Seeking spiritual commonality in our post-modern culture, my work is meant to re-sensualize an increasingly mechanized, computerized, and mass-produced world.”


Claracarat • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 16 ▫︎

Magic Room Organic and acrylic paint 60 x 80 cm

“I discovered my ability to transfer my thoughts and sensitivity into painting and started to focus on abstract work. This journey of discovery was most exciting to me. My paintings are created spontaneously; my expression of personal interpretation of those structures, such as wood, stone, metal, concrete and most importantly “Freedom”, are incorporated in my work in a liberated manner, free from conventional norms.”


▫︎ 17 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Claudia Mayer-Mallenau / CMM Lovers I / Love Affairs Mixed media, collage 110 x 160 cm

“Inspired by events, architecture, nature and the people met during my voyages my art centers around a variety of topics that stem from these experiences. Ranging from human relationships and emotions to gender, religion and pop-up culture my art varies from silently showing moments of privacy from the perspective of a voyeur to provoking thought and inspire or even just be, art being just art and nothing else.”


Sandvia • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 18 ▫︎

Heartbreak Digital media 2490 x 3508 px

“I like to express my emotions through my illustrations, using digital media. For me, every illustration is a final point in something that turns around in my head. Some of these works appear in my best moments, and others, in the worst of them. My influences are a mix of psychology and other digital artists like Loish and DestinyBlue.”


▫︎ 19 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Jessica Burke (J.B.) A Nightmare Dressed as A Daydream Graphite on Arches Hot Press 32 x 22 in.

“This collection of drawings investigates the fiction of identity through its performance in cerebral spaces that demonstrate a willingness to project and construct meaning. Death is our silent companion through life and these images are our shadows. This mortal awareness is our witness to childhood fantasies and adult realities. While these sentimental figures are absorbed with their own pre-constructed identities, they are still compelled to subvert conventional roles and relationships.”


Kornelia Boje • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 20 ▫︎

Dance with Me II Fine art print on AluDibond 30 x 45 cm

“To tell stories is my profession, as an actress, an author or photographer. My father Dr. Walter Boje was a famous photographer, whom I learned a lot from. Themes in my work include dance, architecture (demolition/erection), portraits, trees, flowers...”


▫︎ 21 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • David Dejous Dimitri Oil on canvas 65 x 50 cm

“I work to reveal the paradoxes within images, considering their equivocal nature and their ambiguities. I like to draw upon the confusion between the various codes of representation associated with painting, photography, and drawing, but also with photocopied, documentary and scenographic media. The resulting images raise issues of authenticity, realism and illusion.”


Paul Dettwiler • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 22 ▫︎

Closing My Eye on the Beach Oil on canvas 30 x 30 cm

“Closing my eye on the beach. Who is looking through my eyes? Am I the light?”


▫︎ 23 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Oto Rimele O-2 Wood, acrylic and oil color, wax 145 x 65 x 8 cm

“My painting compositions could also be called ‘generators of light’ or ‘catchers of light.’ By saying that I am a ‘painter of the light’, I want to emphasize that, for my expression and communication with the observer, I do not need the material world because my fundamental topic - the painting motif - is the light itself.”


Carin Gerard • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 24 ▫︎

Gardenia Swirl Oil 72 x 84 in.

“My perception of the world is enlivened by exaggerating nature’s beauty. I balance classical realism with contemporary art to create paintings that are imaginative, not strictly lifelike. I want people to engage rather than simply view— to feel as if they can wrap their hands around a piece, sink into it and still be held up. My artistic interpretation reflects seemingly oppositional features of nature by infusing powerful, almost graphic qualities, with elements of femininity, softness, and sensuality.”

CARIN GERARD Instagram @carin_gerard_art

▫︎ 25 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Bernd Steinert Horizon VI Mixed media 78,5 x 53,5 cm

“The series ‘Horizons’ belongs to the exhibition cycle ‘Baltic Symphony,’ which is growing since 2016. The main focus is on personal remembrance sequences that connect with each other at multiple levels. Among other things, the horizon serves as a synonym for impressions of vastness, infinity, loneliness, grief, yearning, search or hope. The individual works fluctuate in the field of tension between abstract and non-abstract representation, but always remain objective in their perception.”


Gary Aagaard • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 26 ▫︎

Fox Muse Oil on canvas 18 x 24 in.

“As a fledgling illustrator in Brooklyn during the 1980s, I took on any project thrown my way. I refer to that time as my “snack or famine days.” Eventually, I zeroed in on editorial work and soon scored assignments at publications like The New York Times, Los Angeles Times and The Village Voice (primarily covers). Since the early 2000s, I’ve concentrated on gallery work with an editorial, satirical slant... essentially larger oil paintings with conceptual content reminiscent of my illustration years. Lampooning politicians, pundits or spiritual leaders who specialize in alternative facts, manufactured outrage, false equivalents, convoluted conspiracy theories and tunnel-visioned tribalism (whew) is my form of protest and provides a satisfying outlet.”


▫︎ 27 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Gary Aagaard Blinded by Delight Redux Oil on canvas 30 x 20 in.

Gary Aagaard • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 28 ▫︎

Trumpcula: Old Habits Die Hard Oil on canvas 20 x 10 in.


▫︎ 29 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Larry Corbett Cat’s Gone! 18 x 24 in.

“I do not limit what I paint. My art is a reflection of life itself and my subject matter varies. Sometimes I deal with current events; things that weigh heavily on my mind have to come out on canvas. The same holds true for a beautiful location or an interesting person, I will want to paint that landscape, that person. Sometimes I will create a visual poem for a whimsical story. Art takes us places in our mind where we might not venture otherwise. It enriches our experience.”


Andrew Binder • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 30 ▫︎

Dissolution Portrait 1 Digital media 24 x 18 in.

“My work is influenced by a variety of interests and diverse sources including but not limited to German/ Austrian Expressionism, antiquity, graphic novels, speculative fiction, Symbolism, Existentialism and history. Recently, I have been interested in the concept of creation and destruction within the artistic process, which I am exploring through the initiation of figurative forms which are then “destroyed” by distortion and abstraction. I create my work by digital painting, digital collage and/or photo manipulation, which I often combine with other elements I’ve made using traditional mediums, such as acrylic paint, watercolor, ink, etc. as well as with non-traditional elements such as tape, torn paper and coffee stains. I combine these various elements together through digital means to compose a final image.”


▫︎ 31 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Andrew Binder Disintegration Portrait 1 Digital media 24 x 18 in.

Lynette K. Henderson • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 32 ▫︎

Dogs with Tar Pits Acrylic on canvas 17 x 24 in.

“My artwork focuses on images of individual animals, in relationship to each other and within the context of various types of environments. The work is expressive while maintaining structural accuracy in animal forms. Environments depict a moment in time, where the viewer and the creature cross paths in a brief encounter. Some of my artworks are about admiring the color and patterns in the natural environment, others present a deeper view of the nuanced relationships that exist between animal and environment, or predator and prey. These meetings or moments in time may also be viewed as a reflection of dark spaces, and predator/prey relations found within the recesses of human nature. In some of my latest works, I have focused on animals and their vulnerability for survival due to the results of climate change, pollution and other contemporary environmental threats. At this point in time, I believe that these are the greatest concerns for humans and animals alike.”


▫︎ 33 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Francis O Toole

The Sorrow Of Love Oil on linen canvas 120 x 80 cm (The original image has been slightly cropped to fit)

“Painting is a conscious experiment under the influence of our subconscious mind shaped by our life and environment, exerting influence from the depths of our being. Nothing is certain.”


Gabriell • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 34 ▫︎

My Life Oil and acrylic 24 x 30 in.

Self-taught and multidisciplinary artist, from an early age Gabriell developed a passion for the portrait that lasts for more than 50 years. Pencil and Prismacolor were his first mediums and in the early 90s, he began working with oil. In the last five years, Gabriell has participated in more than 100 art events including national and international exhibitions, competitions earning prizes, distinctions, three Academic titles in Quebec, France and Italy.


▫︎ 35 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Gloria Di Modica Majolica Clay 28 x 40 x 18 cm

“ The ‘Majolica’ half bust is a symbolic, stylized figure of a woman. It is a metaphor to achieve its end through the molding of clay, forged with water and fire, of spiritual and seductive colors. It tells of intimate things, describes inner pain, the spasmodic search for hope, the evolution in the search of the light for excellence... A cut represented with a red line describes the wound and cuts the figure in two parts.”

GLORIA DI MODICA gloriadimodica@artef

Neela Pushparaj • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 36 ▫︎

Pink Ginger Watercolor on paper 12 x 16 in.

“My watercolors are created as spontaneous splashes of color in which I begin to delineate shapes and add detail. They are predominantly colorful semi-abstract florals which are considered ‘healing’ by critics as they definitely lift one’s spirits and bring a smile to most folks’ faces. I paint on paper, canvas and also on clay board. I have had numerous group and solo shows and garnered some awards in the process. Two of my paintings were in the 2019 London Biennale. Painting is an integral part of my life. It is an expression of my joy in everything I see.”


▫︎ 37 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Greta Schnall White City Digital media 5078 x 4790 px

“My focus is on photography with extreme digital editing processing. This means that I create pictures and graphics from architectural, natural and abstract subjects with often surreal components. My favorite themes are frontal facades of modern buildings or parts of them, which I digitally edit and finally changing into abstract digital compositions. For me, art is a form of expression that allows the artist to express and represent their preferences, their condition, their thinking and their feelings. The viewer will then love the artwork for similar reasons.”


ERa - Elvira Rajek • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 38 ▫︎

Come, Black Bird.... Found object assemblage

“Ravens and crows are associated with wisdom, intelligence, magic as well as death and the dream of shoes which enable men to fly, were the inspiration for my sculpture. Georg Christoph Lichtenberg once said, “He, who has eyes to see, sees everything in everything.” Art is my way to see and to create a new vision.”


▫︎ 39 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Mikolaj Wlodarczyk Wiecznie Spóźniony Mixed media on A4 paper

“It is a style without style. Every material is useful, every technique is good until it leads to the goal. In the end, only the process is important.”


Emiko Aida • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 40 ▫︎

“I am interested in nature. Flowers represent beauty and the mathematical in nature, through the number of petals, the arrangement of seeds with the Fibonacci sequence and so on. It is a mysterious connection to universal rules. As an Eastern myself, the Lotus flower is especially meaningful. It symbolises spirituality. In many ways we as humans can learn from flowers. This is why I love to produce images of flowers.”


▫︎ 41 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Emiko Aida Subtle Vibration I Oil on canvas (Triptych) 120 x 50 cm

Irene Belknap • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 42 ▫︎

Homage To A Circle Oil on linen 47 x 48 in.

“I use figurative images that have associative meaning. Significant gesture, the relationship of nameable objects, juxtaposed in sometimes unexpected ways, asks for the viewer’s interaction. An enigmatic element that defies the tyranny of a single meaning stands at the forefront. Painting, like poetry, allows for the simultaneity of meaning. The portrayed image, the viewer’s history, and inference create the experience.”


▫︎ 43 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Barry S. Kornacki Juggler B&W film photograph 12.25 x 12.25 in.

“My involvement with photography started when I was in high school. It continued with my military service where I was fortunate enough to become a Photographers Mate in the Navy. I had the opportunity to work in a variety of formats in both black and white and color. My first love though has always been the expressive images obtainable with black and white film. I also like the fact that black and white negatives retain their sharpness for such a great length of time that I will be able to pass on my negatives to my children and grandchildren.”


Michael Ian Goulding • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 44 ▫︎

Red Panda VII Digital photograph 11 x 14 in

“I strive for my art to uplift the spirit and to inspire appreciation for the beauty of life.”


▫︎ 45 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Leon Oks Peace And Love Oil on canvas 58 x 40in.

“My aspiration is to express passion and the range of emotions I experience while painting. Interaction with my viewers gives me confidence to trust my artistic instincts. It gives me permission to create without limits. It is important that my audience, in a very simple way, draw satisfaction and pure pleasure looking at and living with my art. This is the power of art: to overcome the problems and realities of everyday life, offering a hopeful view.”


Wendy Yeo • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 46 ▫︎

Whirlpool in Autumn Acrylic on canvas 76 x 61 cm

Hong Kong Artist, Wendy Yeo graduated from the Slade School of Art. She has had solo shows at Ashmolean Museum and Wolfson College and exhibited in Hong Kong, Istanbul, New York, Venice, Rome, Mantova, Vienna, Berlin. Her works are in the public collections of Slade School, Ashmolean Museum, Yu Kyung Museum (S. Korea), Hong Kong Museum of Art. Wendy combines traditional Chinese brushwork with the western individuality of expression.


▫︎ 47 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Pamela Becker Night Birth Oil and gold leaf on wood 30 x 80 in.

“I am an evolving artist on every level, and my home is not simply geography but how I see and then communicate my vision. My mission is to bring upscale fine art to a wide variety of viewers in a comfortable uplifting atmosphere with the belief that beautiful environments raise the level of thought and health while igniting the heart -- thus making a positive difference in the bigger vision.”


Dita Luse • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 48 ▫︎

Lingering scent of Acacia Oil on canvas 100 x 130 cm

“Light and time are the centre of my work. I explore the way light brings out the depth and atmosphere of spaces and I use it to create a sense of silence and solitude. The shimmer of lights and shades reveal or obscure space and emphasize patterns. And patterns capture. Observing the patterns one can get distracted, lose oneself or quite contrary, experience moments of awareness and forget about time.”


▫︎ 49 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • R. Geoffrey Blackburn Two Hawks Oil on panel 18 x 24 in.

“I want to put you into the scene - have you explore its spaces, and feel like you are actually there. I want you to smell the desert flora and feel the crunch of the sand under your boots - everywhere you look, there’s something new to discover. The tight detail and glazing makes this possible. With looser more ‘painterly’ work, you are stopped at the surface of the painting.”

R. GEOFFREY BLACKBURN rgeoff rey@rgeoff

Gaetanne Lavoie • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 50 ▫︎

Bite Me Oil on linen 18 x 12 in.

“’Bite Me’ is a part of my latest series based on Edgar Allan Poe’s short story ‘The Oval Portrait’ -- about how art simultaneously destroys and creates beauty.”


▫︎ 51 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Fong Fai Look Forward Acrylic on canvas 48 x 36 in.

“Abstract art is a reality that does not exist, a product of thought, momentary feelings, and music melody... all that could be my inspiration to create. Artists’ works are often inseparable from their cultural background. I’m no different. Eastern influences constantly guide my path. I use the rhythm of calligraphy and color strokes to create my work.”


“ Timka Szoke • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 52 ▫︎

Summer Mixed media on canvas

“My characters carry a natural, special beauty. I love to display the facial mimicry that I spice with natural charm. I like dreamy childish themes that are both visionary and realistic, facile, more cheerful. It is a fictional fantasy world where anything can happen, we can be anyone and we can go anywhere because nothing is impossible. I work in a pop surrealistic style.”


▫︎ 53 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Irene Pérez The Snake & The Firefly Digital illustration 30 x 30 cm

“I’m a freelance illustrator based in Barcelona, Spain. When I finished my studies of Fine Arts and Graphic Design the passion to discover other cultures made me move to different countries. I try to reflect these experiences in my work finding inspiration in folk tales and rituals, mostly from Latin American and Asian cultures. I also feel a strong attraction to esoteric symbolism and magic. Myths, rituals, animals, plants, insects, flowers, magic environments, earth, literature, cinema or music are frequent key elements in my work.”


Traci Wright Martin • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 54 ▫︎

Automeris Io, for Yayoi Kusama Charcoal, acrylic, and mixed media on archival paper 16 x 24 in.

“The moth is to the butterfly as the female artist is to the male... often overlooked for their traditionally celebrated counterparts in modern pop culture and throughout history. This parallel is being explored in my series, ‘BREAKthru: Art Herstory and the Moth.’ My work has evolved in recent years from traditional charcoal portraiture to the inclusion of colorful mixed media components from pastels and paints to paper and photo elements.”


▫︎ 55 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Ibrahim Jalal La Source Bleue Acrylic on paper rubbed on canvas 50 x 60 cm

“My painting is an act of transmission, the expression of my inner music, a composition mixing sounds and silence, colors and tonal hues, movements and rhythms. This inner pulse, transmitted by the hand, then becomes visible material: the quintessence of my being. My paintings are my joy and my sadness, my memories and my dreams, my laughter and my tears, my serenity and my pain.”


Susan Lizotte • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 56 ▫︎

Griffith Observatory Wildfire Oil on canvas 20 x 24 in.

“’The Griffith Observatory Wildfire’ painting is one of a series of paintings started in August of 2018. I had been thinking about these horrifying wildfires since the year prior, when it seemed that the entirety of California was being consumed by endless flames. Los Angeles has Santa Ana winds that whip up unstoppable fires, catastrophe and tragedy. The painting is about fragility and impermanence.”


▫︎ 57 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Tage Lundin La Vie, 2018 Oil 200 x 146 cm

“When you are confronted with the strength, the poetic emanation, and the beauty that Tage Lundin expresses in his work, then you are overwhelmed and realize that art can be vital. You feel the significance and sometimes the magnitude that paintings and other artworks lend you strength, intimacy, and vitality. I saw Tage Lundin´s paintings and got the feeling that I recognized and now knew that artwork can catch hold on life.” - Stig-Åke Stålnacke, International Art Critical Association, IACA


Stefan Schift • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 58 ▫︎

Sans Titre Acrylic on canvas 80 x 80 cm

“I work with brushes and acrylic colors on linen or cardboard, in both large and small sizes. My fascination with artistic action stems from the desire to utilize the push of positive energy, to paint pictures in a very personal style and to produce expressive and dynamic atmospheres. My abstract paintings arise without conceptional submission, inspired by nature and the elements, they are the result of my intuition.”


▫︎ 59 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Regine Temmel Schöpfebachtal (The Soft Overcomes The Hard) Acrylic, gesso on canvas 120 x 100 cm

“I appreciate nature not just with my eyes, I perceive it with my whole body and allow it to transform the inner me into motion. My wish is to have a positive effect, be heard somehow, awaken a desire, recall the knowing, that we are a part of nature... Perhaps the painting could be a door to whatever is behind the apparition of things, even if I paint this apparition itself.”


Matika Halleday • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 60 ▫︎

Roses of Light Acrylic on canvas 65 x 65 cm

“Born and raised in Australia I have been inspired to capture the magic of my country, its people and wildlife, on canvas as well as paper mediums. My work is sought after by those wanting to experience my connection with nature. My bold use of color has become my signature. I use the landscape to gain inspiration, interpreting my surroundings and conveying my deep connection with nature.”


▫︎ 61 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Merja Simberg SISU / Theme, Finnish Movies, 2019 Ink and acrylic on canvas 130 x 110 cm

“I question humanity and try to convey my feelings and emotions through abstraction. The working process inspires me a lot. I paint on several canvases on the floor one after another and do not stick to any certain rule. I have been interested in old movies and music lately as a theme for my works. The naming of my works carries a message which plays an important role for the viewer in understanding my thoughts and intentions.”


Ioana Boros • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 62 ▫︎

Wall. No.02 Digital media

“My work focuses on contemporary prints and illustrations with an emphasis on shapes, minimal lines, colors, and monochromatic combinations. Some of my sources of inspiration are Yayoi Kusama, Kumi Sugai, Ikko Tanaka, Sol LeWitt. As my love for art has grown, I have decided I don’t have to limit my appreciation for art to one style/period.”


▫︎ 63 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • William H. Thielen Untitled No. 903 (Fever Pitch), 2018 Acrylic on canvas and felt 60 x 48 in.

“My work is about extremes and the tension that is created when opposites are thrust together. Black and white is the backbone of each piece. It represents the constant struggle of good and bad, life and death, control, and rigidity. Color is entirely about emotions. If one does not trust them, they can have a profoundly negative effect. To embrace them leads to a positive integration into one’s self.”


Eleonora D’Erme • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 64 ▫︎

Lizzy Graphite and digital media 40,33 x 56,93 cm

“I’m an illustrator and designer based in Italy. My passion is to create beautiful images, often inspired by fashion and beauty. To me, art is a sort of research, something that makes you think about life and problems in a different way. The purpose of art today is to let people be able to communicate in every form and language and to connect similar souls.”


▫︎ 65 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Luana Stebule The World According To Sheba Oil on canvas 36 x 24 in.

“I am living in the United Kingdom. For many years my art included theatrical projects, together with 22 solos and 34 shared exhibitions in Europe, England, and the USA. In Art School and Academy of Art, I received instruction on techniques, styles, and finer points. However, I think amongst the most important things are creativity, original thought and a deeper understanding coming from infinity, God and whispers of immortality. The idea behind artworks is important to me.”


Monica Loncola • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 66 ▫︎

Luna Grace Oil on canvas 38 x 38 in.

“I’m inspired by an inner muse that stops me in my tracks and compels me to create an image of whats before me. My work harkens to a dreamlike sense of recollection. Images float across the picture plane with the ephemeral sense of how life is a series of fleeting moments stored only in memory. My intention is to bring the viewer to my intimate space of observation.”


▫︎ 67 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Naomi White Time Capsules from The Anthropocene (1) C-print 16 x 20 in.

“Capitalism is accelerating climate change through its inequity, patriarchy and dominance thinking, where violence grows and resources are scarce. This stress influences us in everything we do and see. This work calls for consideration of new approaches, new perceptions, new ways of talking about and meeting the challenges of our time.”


Miumilkoeoe • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 68 ▫︎

Break-Lava-Fast Digital media 3000 x 4500 px

“I’m Amber Nguyen, a Vietnamese artist and illustrator based in Berlin. On my journey, I found there are many simple things in our life so beautiful but we can see them clearly only with the heart. And I invite you to join this atmosphere of a calm and inspiring place through my illustrations and painting. I hope here you can find things reflecting your loving inner world.”


▫︎ 69 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Maysum Inner Child Series 1 and 2 Sculptures in variable sizes

“Although we have grown up, our inner child has never once left us, its needs, the damages and deficiencies in our grown-up environment, our emotional projections... these have always been a part of ourselves. And they have been waiting for us to discover them, comfort them, let them help us become a better person who understands oneself better or should you continue hiding their existence until you forget and lose yourself? This is the question I would like to bring out to the audience.”


Audun Grimstad • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 70 ▫︎

Do You Remember How You Sketched My Face on Our First Date? Oil on canvas 63 x 63 in.

Audun Grimstad (b. 1985) is a Norwegian painter and illustrator from Tromsø, Norway. His current series of work, “HEARTLAND” plays with elements of fashion design - ornate garments, lush spaces, bold colors - to create abstract arrangements and mysterious worlds that explore issues of identity the feeling of being trapped inside the facades we construct around ourselves.


▫︎ 71 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Barbara Crimella Le Pieghe Dell’Anima Amarillo, 2019 Concrete and painted iron 30 x 30 x 28 cm

“I am a sculptor, painter, performer, art curator, and costume designer, born in Milan in 1973, where I currently work and live. My work focuses on connections between us and nature. My latest research is titled “The folds of the soul as a landscape.” I explore the sense of place analyzing the idea of the soul as a place of internal and external tension of the self and how the idea of the soul can be translated and integrated with the external environment. In particular, I focus on how we can relate to each other thanks to the “profound silence” of nature, truly connecting us to its natural order.”


Ann James Massey • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 72 ▫︎

The Blessing of the Animals Oil 43 x 58.5 cm

“’The Blessing of the Animals’ is an homage to the presence of animals, family, and spiritual support in my life, plus to the techniques, composition and art traditions of the Primitive Flemish Masters. Like all my work, it is created entirely by hand with no mechanical means. Painted on mahogany board and though almost 60 centimeters wide, it is basically a miniature and was eight years in the making.”


▫︎ 73 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Komilbek Kabilov Royal Hunting Miniature painting on silk paper, watercolor, tempera, ink, pigments, gold leaf, very fine brush 25 x 15 cm

“Uzbek Miniature Art is one of the most interesting genres in the centuries-old history of Oriental Art. Painting in miniature traces its use in poetry books where artists depicted scenes described in the books. The tradition of Miniatures in Central Asia dates back to the reign of Tamerlane (1370-1405). By the early 1700s, City Bukhara was noted as the center of Miniature painting. Miniature painting is one of the traditional fine arts of Uzbekistan which is mostly represented on paper but also on some materials such as leather, dried pumpkins, lacquer boxes, and jewelry. Owing to preserved works, historians were able to describe many of the details of life in the country happening 5-10 centuries ago. I have been engaging in miniature art, calligraphy and carving since the age of 16. Throughout years of my studies and work in this field, I learned about and analyzed works of old-time master miniaturists. As one of the leading Oriental miniaturists, I took part in restoration of ancient books of Bukhara from the 15-19 centuries, which are stored in the state museum of Bukhara.”

KOMILBEK KABILOV | | +1 844 577 7177

Erik Lauraeus • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 74 ▫︎

Spacescrap Digi-image on canvas 50 x 60 cm

Erik Lauraeus, MFIAP, from Finland, has developed a technique derived from mathematics, photography, and graphics. The basic idea is to combine Photoshop fractal images with photographs as well as mystical and often symbolic images and creatures. These unique works are characterized by glowing colors and skillful compositions. The pictures are so full of life that the interaction between the creatures can almost be sensed.


▫︎ 75 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Keiko Sugita No.585 Lake Dream Digital collage 16 x 21 cm

“Here I am, but where did I come from? And what was I then? Where have I been? Where am I going? Who made me...and why?” - Paul Gallico, Snowflake


Houda Bakkali • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 76 ▫︎

Time of Nobody Digital media 100 x 300 cm

Houda Bakkali is an international visual artist and creative director based in Barcelona, Spain. Her artwork has been exhibited in Paris, Madrid, Cannes, Lorca, Biarritz and Barcelona, among other cities. Her techniques and creative process have been recognized by different institutions, international magazines, and her work has won numerous awards from most major design and digital art competitions.


▫︎ 77 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Michael Jicha Disguised Digitally manipulated photograph 8 x 12 in.

“My photographs are a digitally manipulated exploration of color, movement, and depth. The original concept is influenced by post-impressionism and surrealism as well as my subject. The subject’s personality and my mood play a big part in completing the photo. I add color, texture, movement and depth using dodging and burning, healing, cloning and drawing tools.”


Constance Vepstas • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 78 ▫︎

Colorblinded Digital print 11 x 14 in.

“Being color blind means to subtract color from the world. Being color blind means the world is less beautiful. Color makes the world a paradise for the artist to express.”


▫︎ 79 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Giorgio Bormida Parents II - V Cotton fine art photo paper print 30 x 30 cm

In Giorgio Bormida’s works, the photographic approach fades in favor of an extremely poetic use of the image, which somehow recalls painting, as it leads the viewer’s eye right to the heart of a complex imagination, densely embedded with suggestions and experiences.


Bea Last • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 80 ▫︎

From the Shroud Series 2019 WIP emulsion on recycled paper Variable dimensions

“My practice is process led. Currently, I am exploring drawing in its broadest sense using recycled materials to create sculptural drawing forms. The edges whether ripped torn or cut are vital to these installations acting as the drawn line. These pieces are works in progress leading to a central piece containing MULTIPLES, exploring placement relationship and location. These works allow for interpretation, conversation, and dialogue.”


▫︎ 81 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Carla J Fisher Stradivarius Fiber 20 x 21.5 x 2 in.

“Color and texture are central; thread is the constant in every piece. Discarded materials are the surprise. Stradivarius is a collection of strings gathered to provide a quiet symphony of color. From the moment of their creation, these Tyvek envelope pieces commanded special treatment. As the concertmaster, I attempted to encase their magic inside the single, wrapped, encompassing line. The shadows immediately echoed with the encore performance.”


Jan Teunissen • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 82 ▫︎

Still Life with Apples and Jug with Green Algae Oil on board 50 x 70 cm

“I was born (1949) and work near Eindhoven in the south of The Netherlands. As an autodidact, I have learned the techniques of classical painting since 1983. My oil on panel works depict realistic representations of daily scenes in a lifesize scale. I create mostly still-lifes with representations of fruit and other objects placed on a dark background and creating a somewhat mystical atmosphere which allows me to maximize the effect of light.”


▫︎ 83 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Jan Teunissen Still Life with Cloisonne Vase, Wine Glass and Lemons Oil on board 60 x 45 cm (The original image has been slightly cropped to fit)

Jenny Van Gimst • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 84 ▫︎

Tribute to Isoe I Oil on panel 45 x 45 cm

“I try to remove the pure form from the object by starting only by looking at it. I call this “the art of seeing”. Realism is not realistic painting but a way to let the painter communicate with the object and at which point, I am giving the object its soul back, meaning it has to be painted perfectly.”


▫︎ 85 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Jenny Van Gimst Knifes Oil on panel 80 x 80 cm

Jenny Van Gimst • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 86 ▫︎

Tribute to Isoe II Oil on panel 45 x 45 cm


▫︎ 87 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Jenny Van Gimst Tribute to Isoe IV Oil on panel 45 x 45 cm

Ronald Katz • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 88 ▫︎

Two Figures Oil on linen 65 x 70 in.

“My painting, ‘TWO FIGURES’ incorporates several visual subtexts. Essentially a figurative composition, it is also an aggregate of compartmentalized spaces incorporating still life motifs. Referencing our current environmental crisis is the Horseshoe Crab and Red Knot, mutually dependent and threatened species. This composition, reflective of the classical, Greco-Roman tradition, as found in the wall paintings of Pompeii, is handled in a modernist yet painterly manner. A subtle yet noteworthy moment is the pentimenti of the third hand. The painting expresses my sensibilities and interests, in art history and natural history, merged in the creative process.”


▫︎ 89 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Kristofer Dan-Bergman stiLife No. 1

“The ‘stiLife’ series is an exploration of our consciousness and space which is a theme that seems to come to my mind often. Here as a basis, I am starting with a blank canvas. I have explored the perception of space in other series, but with a different basis. For example, in ‘S_pace’ series I built a set with two spaces and a diving wall. In the ‘allONE’ series, I took the familiar theme of a coffee-shop bar and built a set in my studio. What all series have in common is that they offer the viewer a way to question what we call reality.”


Anson Liaw • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 90 ▫︎

Blame It On Me Chalk pastel and charcoal on archival printmaking paper App, 20 x 30 in.

“I feel I am useless as an artist when I am happy. Pain is what creates my artwork. The painful experiences that people go through as they journey through life in the world around us from childhood to adulthood which in many ways is full of chaos and hardship are what sparks and motivates myself to possess my objectives to make purposeful artwork that hopefully, generates meaningful and fulfilling empathetic connections to people. As I observe and interpret the world around me combined with creating my artwork, I discover time and time again that true beauty lies within darkness and that sometimes nightmares are the birthplace of some of the best creative ideas for an artist.”


▫︎ 91 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Anson Liaw Born Evil Chalk pastel and charcoal on archival printmaking paper App. 20 x 30 in.

Anson Liaw • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 92 ▫︎

Slim Pickings Chalk pastel and charcoal on archival printmaking paper App, 20 x 30 in.


▫︎ 93 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Jocelyne Deschamps-Kus (Jideka) Untitled

“I painted this work just after the terrorist attacks in France and wanted to depict the violence using the warm colors that soften the image. My aim is to draw thoughts and feelings of everyday life. I paint current events in their beauty as well as in their darkness, creating constantly new themes and paths.”


Edmund Ian Grant • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 94 ▫︎

Checkmate Acrylic on paper 30.5 x 22 in.

“Art is remedy poking and prodding the narcissism of censorship and the status quo of “accepted” thought. My paintings are discovery allowing my intuition to dominate. The pertinence is embracing something beyond an intellectual understanding yet using my reason to push the work to new boundaries. An improvisational musician for many years, I have now emerged as a storyteller extemporizing with paint, new media, color, texture, line and idea.”


▫︎ 95 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Edmund Ian Grant Out of the Bottle Oil and acrylic on canvas 50 x 23 in.

Michael Harris Wilson • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 96 ▫︎

Tactile Discovery One Acrylic and wax on deep edge box canvas 92 x 92 cm

“I am a creative and conservation artist, who absolutely enjoys producing pleasing artworks. My aim is to help improve the well-being of people and inspire them to incorporate art into their lives. Imagination and creativity are part of me which goes with a deep respect for our natural environment. I often experiment with different shapes, tools, locations, and materials to create textures and show imagined motions.”


▫︎ 97 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Margery Thomas-Mueller Diptych 1 Graphite and India ink on Yupo paper 40 x 52 in.

“Liminal space... the world in between - between a world I live in and a world I listen to, that has always been what has driven my imagery. For 56 years, since I read Edna St Vincent Millay’s poem ‘Renascence’, the place in between life’s state of being and how we treat the other has been an internal focus.”


Jerry Jordan • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 98 ▫︎

A Vibrant Thing Oil on canvas 30 x 40 in.

“’A Vibrant Thing’ rejects the belief that it is normal and only proper to live our lives bowed and filled with fear. It is a rejection of an illusion that encourages hatred and cruelty in the never-ending struggle for the leftover scraps tossed from the table of our so-called “betters.” It is a manifestation of ideas and impressions taken from the beauty of everyday life.”


▫︎ 99 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Donelli J. DiMaria Pinup #2 Oil on canvas 24 x 48 in.

“I am combining realism with abstract expressionism (color field) where large fields of flat solid color are used. The realism in ‘Pinup #2’ was comprised of reflected images of these color blocks with a figurative representation of the model based on 1950s pinup art created by artists like Alberto Vargas. I have included a reflection of myself taking photos with reference to the Diego Velazquez painting ‘Las Meninas.’ Also, ‘Pinup #2’ satirizes this type of art with the slang reference to attractive women in the 1950s as “cupcakes.” The shopping bag (from an actual clothing store) gives an ironical twist to what the model is not wearing.”


Karen Naim • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 100 ▫︎

Spinning Oil on canvas 96 x 124 cm

“In personal moods, I take photos and choose to paint them. The image is mostly unidentifiable, it’s fading into disappearance, has minor details, has no personal involvement, it is general and distanced. It brings more of a state of mind than a physical image becoming very personal and involved altogether. Choosing a limited color scale, surprisingly, brought me and my works a sense of expression and freedom.”


▫︎ 101 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Sinclair Webster Mary Oil on canvas 60 x 80 cm

“I work from memories of charismatic encounters with people, animals and landscapes, in Africa, Flanders, the Cairngorms, North Yorkshire or Sussex. I grew up in Africa before being “tamed” at a boarding school in England, where I learned from observing our Art Master working. At university two fellow students persuaded me to change from Modern Languages to Architecture. That took over my life for nearly 40 years.”


Victor Steven Rosenberg • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 102 ▫︎

Monsoon Sunset over the Tianzi Mountains Acrylic on canvas 60 x 48 in. The original painting and Giclée prints are available.

“The Buddha sits in one place and travels all over the world. In my studio, I also travel all over the world. I painted this piece while the monsoons were very active here in Southern Arizona. However, after completing the painting the mountains didn’t look like those in the great Sonoran Desert and I found I had painted the Tianzi Mountains in China. I realized once more that as serious as I am about painting, ‘humor’ is hard-wired into my being and my art.”


▫︎ 103 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Tselet Shavit Parnas Power of Colors, Holli Festival

“To me, this piece displays how small events in our lives can sometimes be cheerful and sorrowful but collectively, they are what gives us hope to keep moving forward. This piece is made of an arrangement of colors that in the end show us the big picture of our existence.”


Jøran Juveli Marstrander / Juveli Foto & Design • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 104 ▫︎

Green Zeppelin Photographic print on 6 mm acrylic Variable sizes

“It is what I can achieve with only the camera that touches me the most about photography (Photoshop only used as a darkroom). I am using one long exposure, time and movement to create my own magic. This technique with many variables makes it impossible to repeat the same motif more than once, a quality I greatly appreciate. Through working non-figuratively, I want to give more room for the viewer’s own imagination.”


▫︎ 105 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Jøran Juveli Marstrander / Juveli Foto & Design Wonderland Photographic print on 6 mm acrylic Variable sizes

Ilona Abou-Zolof • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 106 ▫︎

Golden Abstract Digital media 8 x 11 in.

“Dare to be Different. I hope you enjoy my image as much as I enjoyed creating it. I just let go of any fear and experiment with colors, shapes and patterns. What defines normal, anyway? Is it in the way we look or what we say? I don’t care if you think I’m a freak. I’d prefer to say, I’m eccentric, quirky, and unique in every way!”


▫︎ 107 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Inez Froehlich Broken Wall Acrylic on canvas 80 x 80 cm

“Capturing the moment of transience and preserving the beauty of the imperfect - that is the purpose of my work.”


Howard Harris • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 108 ▫︎

Oculus Maximus Digital print on aluminum with acrylic overlay

“Visual reality is an ever-shifting experience. What one sees reflects our emotional state and a synthesis of light, color, movement, and space. My dimensional photographs recreate the perceptual experience, with its dynamic nature and hidden complexities. I use a single image printed on aluminum and acrylic. The resulting visual phenomenon infuses the image with a sense of dimensionality, and fluidity affected by the viewing angle and ever-changing changing light.”


▫︎ 109 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Liliana Stafford Wind Silk and fine copper wire 90 x 40 x 45 cm

“I am a daydreamer prioritizing spending time in nature to allow my mind to wander. Walking by the lake near my home, I feel connected to the unseen energy that surrounds us all regardless of species, race, gender, size or background. I absorb the colors, patterns, sounds, and textures of the lake and its surrounds going deeper into the natural world to find my place.”


Shu Yu • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 110 ▫︎

We Are Used to Giving Meaning to Things Digtal media 67 x 36 cm

“Each component has its own meaning. Sometimes audiences may not have a full understanding of the artist’s thoughts. When you make changes in the composition, audiences give new meanings to the artwork.”


▫︎ 111 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Joe M. Ruiz Alone in the Dark... Oil on canvas 48 x 50 in.

“My work is an examination of the space in between our waking minds and the subconscious. The moment in time captured in my paintings should have an ambiguous tension that leaves the viewer unsure of the outcome. Some of my subjects are beautiful, others horrible or frightening. My goal is to inspire the viewer to find the border between structure and disorder in themselves and awaken their imagination.”


Yeon Gyuhye • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 112 ▫︎

A 100-Year-Old Grandfather Mixed media 65 x 50 cm (The original image has been slightly cropped to fit)

“I paint nature. I paint Korea’s spring, summer, fall, and winter. I also paint portraits that are part of nature. Painting comforts me. I am currently working on ‘Mother’ Series, ‘Flower’ Series and ‘Landscape’ Series.”


▫︎ 113 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Roland Reinert The Island II Acrylic on canvas 70 x 90 cm

“Dreams are there to imagine a different world. Sometimes you just want to be on an island, away from reality. ‘If you are not afraid of your dreams, they are not big enough,’ someone said. My works emerge from within through thoughts and perceptions. In doing so, I allow myself the freedom to make it into a statement with the imagination.”


Debora Levy • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 114 ▫︎

Flowers on A Stem Gold leaf with acrylic on wood panel 40 x 35 x 1.5 in.

“ I am an admirer of nature and its behavior; its colors, lights, reflections and movements. Its beauty and how it emits a sensation of peace make me a witness to a moment I want to share. I paint with mixed modern and classic compositions using different acrylic painting techniques, experimenting with colors, and acrylic mixes using gold, silver leaf to reveal the harmony and the beauty of nature.”


▫︎ 115 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Marion Tubiana Malkia Pastel 40 x 50 cm

“To give soul and emotion to my paintings is before all that I look for. I paint with my heart, I put what I feel and beyond realism, I try to have this something that will make it more than a photo. The work of eyes and light fascinates me. The eyes reflect the soul and cannot lie. Light allows me to give dimension and strength. I work hair by hair, so that the details and the realism are crying of truth and my paintings can deliver the subjects’ messages, their emotions.”


Corrina Sephora • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 116 ▫︎

Remington Rifle Bouquet, 2018 Recycled guns and gun barrels, forged steel 18 x 35 x 9.75 in.

“Iron ore. The rusty red strata that run through the earth as veins of blood. For centuries, it has been smelted into usable iron. Later it was used for industrial purposes, including creating instruments of violence and war. Through heating the metal of guns and forging it, altering the material’s molecular structure, I am, in essence, setting the metal free through transforming these weapons of violence into something new.”


▫︎ 117 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Susan Fitzsimmons X Mixed media on paper 24 x 36 in.

According to Webster’s 20th Century Unabridged Dictionary: • X is the 24th letter of the English Alphabet • A mark shaped like X is used to represent the signature of a person who cannot write • To indicate a particular point on a map, diagram, etc. • As a symbol for a kiss in letters, etc. • A person or thing unknown or unrevealed • The Roman numeral 10 • Christ: used also in combination as in Xmas • In chemistry, the symbol for Xenon • In mathematics, an unknown quantity • A sign of multiplication • An abscissa


Haimeng Cao • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 118 ▫︎

“My name is Haimeng Cao, a Chinese concept artist and visual development artist who works in Los Angeles. As an alumnus of ArtCenter College of Design, one of the top industrial design schools in the USA, I have worked for clients include Blizzard Entertainment, Framestore, NetEase, Titmouse, etc. My expertise of science-fictional city landscape design is serving for major projects in game, animation and film industries.”


▫︎ 119 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Haimeng Cao City Rig System Digital painting and 3D render

Pol Turgeon • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 120 ▫︎

Gourmandise/Gluttony Oil monoprint, gouache, graphite, varnish and digital 40 x 53,5 cm

“These portraits are part of a series that I have been working on since 2009. They are a form of tribute to French painter Jean-Auguste-Dominique Ingres’ sketch work... with a twist, a twist I’m afraid the painter may have most likely strongly disapproved. As for most of my work, this endeavor has become a journey into my own shadow, a world where numerous simmering characters await for the light. Every new creation is the strange discovery of a piece that already exists. I don’t create these beings but reveal them and every new apparition transforms me.”


▫︎ 121 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Pol Turgeon Colère/Wrath Oil monoprint, gouache, graphite, varnish and digital 27,5 x 44,5 cm

Thorsten Boehm Art • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 122 ▫︎

Der Kindersoldat Drawing, hatching technique, watercolor, airbrush on paper 72 x 51 cm

“My work deals with man, with all their facets, the existential question, the mystery of the human being. The strongest driving force for my work is the blatant discrepancy between my wishful thinking of a desirable world in harmony, beauty, and innocence and the often found reality in the form of violence, alienation, and abuse. Inspired by myths, fairy tales as well as ideological or “pseudo-religious” ideas, this creates visual languages ​​of indirect meaning.”


▫︎ 123 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Thorsten Boehm Art Schlaf Kindlein Schlaf... Drawing, hatching technique, watercolor, airbrush on paper 73 x 50 cm

Silvija Treice • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 124 ▫︎

Midnight Magic Digital media 6300 x 4500 px

“Art is an adventure into an unknown world, which can be explored only by those willing to take risks.” - Mark Rothko


▫︎ 125 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Silvija Treice Away from Reality Digital media 4000 x 4000 px

Laura Weindorf • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 126 ▫︎

Deconstructed I Mixed media on gessoboard 9 x 12 in.

“My art is inspired by the effects of geological processes on manmade structures sitting alone in the surrounding landscape. Its the juxtaposition of the natural environment and the deteriorating object that I find beautiful. The language of my art reflects this idea using a combination of bold, organizational marks within a more random, even messy composition.”


▫︎ 127 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Laura Weindorf Deconstructed II Mixed media on gessoboard 9 x 12 in

Laura Weindorf • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 128 ▫︎

Deconstructed III Mixed media on gessoboard 9 x 12 in.


▫︎ 129 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Laura Weindorf Deconstructed IV Mixed media on gessoboard 9 x 12 in

Jingfeng Li • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 130 ▫︎

Kejia Girl Ink, pen on paper 56 x 86 cm


▫︎ 131 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Jingfeng Li

A Woman In A Phoenix Robe Ink, pen on paper 54 x 81 cm (The original image has been slightly cropped to fit)

Laila Sharmeen • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 132 ▫︎

Beautiful Bengal Acrylic on canvas 122x 81 cm

“In my quest for peace in the past 25 years, I have drawn my creative nourishment from the ancient philosophical text ‘Brihadaranyaka Upanishad’ and particularly the concepts regarding three duties that each individual must perform. These duties are Datta Dayadvam Damyata meaning give, compassion and control. This is my mantra of peace and serenity in this world of unrest.”


▫︎ 133 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Laila Sharmeen Dattay Datadvam Damyata: Shantih Shantih Shantih Mixed media on paper 140 x 81 cm

Shunsuke Kawasaki • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 134 ▫︎

Untitled Watercolor on paper

“Creating painting, sculpture, and product design.”


▫︎ 135 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Shunsuke Kawasaki Untitled Watercolor on paper

Holly Wilmeth • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 136 ▫︎

Becoming Photograph

“My work is inspired by my love of nature; nature that surrounds and connects me deeper to my soul’s yearning, healing, and awakening. These images touch on my personal journey of my soul’s awakening. There is a simplicity to life I yearn to be able to re-awaken in myself through my photography using primarily found natural objects. My hope is to evoke through my images a sense of recognizing the beautiful sacred dance of life and death and all that comes in between.”


▫︎ 137 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Holly Wilmeth Underworld Photograph

John Newcomb • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 138 ▫︎

Gossip Acrylic on canvas 48 x 36 in.

“Born in Topeka, Kansas in 1937, I attended Kansas University and was then awarded a Rotary Fellowship to attend the Royal Academy in London where I received my MA. I returned to work as an editorial art director for New York for Time, Inc. and the New York Times. I have had several shows in CT and NYC. A student of western painting. Goals: to be collected and to be included in future art history books. My ‘Beasties’ are comments on human nature.”


▫︎ 139 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • John Newcomb Demagogue Acrylic on canvas 60 x 36 in.

Wayne Paige • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 140 ▫︎

Above the Below Oil on canvas (Diptych) 50 x 49 in.

“As a youth, I became intrigued and influenced by the art of Max Ernst, Salvador Dali, Yves Tanguy, and Georges Seurat. My exposure to these artists and my own personal quest for integrating spirituality and mythology in my drawings and paintings laid the foundation and ever since I have been weaving conflict, dreams, and humor into my art along with a skewed perception of contemporary society.”


▫︎ 141 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Wayne Paige Neglecting the Obvious while Taking A Celestial Plunge Oil on canvas (Diptych) 100 x 25 in.

Hui Ma • Circle Quarterly Art Review 4 Fall 2019 ▫︎ 142 ▫︎

Paradise Lust 2 Watercolor on paper 35 x50 cm

“I have always been interested in the human body and different forms of intimacy. It is personal and private for the individual, but at the same time, a universal experience. The desire of getting close to someone, to belong to someone, is the same across countries and cultures. With highly saturated colors, the viewers will have a chance to peek into their unconscious desire and fantasy.”


▫︎ 143 ▫︎ Fall 2019 Circle Quarterly Art Review 4 • Hui Ma Paradise Lust 1 Watercolor on paper 35 x 50 cm


FALL 2019


An Examination of Current Trends & Original Practices in Visual Art

Published by Circle Foundation For the Arts Cover Image David Dejous

Circle Foundation

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