An Examination of Current Trends & Original Practices in Visual Art
Recent Artwork by
Angela Banks ∙ Patti Barker ∙ Michelle Bond
William Charuhas ∙ Bob Conge ∙ Jana Cruder
Natalie Egger
Philippe Giroux
Elsa Egon
Robert Ellison
Kent Gordon
Glenys Buzza
Duane Ditty
Miguel
Harrie Handler
Ulla Hasen
Ilze Helgeland ∙ Petronilla HohenwARTer ∙ Linda Hollinger
Henk Holsheimer ∙ Suzanne Howe
Rachel Jag
Lili
David Edward Johnson ∙ Daniela Kammerer
Min-Ji Kang
John A. Calabrese
Hannelore Heider
Kristin Holm Dybvig
Pancho Jiménez
Aleksandra KannBogomilska ∙ Aleksandra Kann-Bogomilska
Diane Kazakis
Leili Khabiri ∙ Sally K ∙ Kathleen Kilchenmann
Jill Krasner
Bryce August LeFort ∙ Roberta Levitow ∙ Victoria Li
Jürgen Krass
Wilfrie Linssen
Katja Lührs ∙ Lukáš Kándl ∙ Dita Lūse ∙ Stephen Mangum
Liyuan Liu
Paula Mans
Guy-Anne Massicotte (gama) ∙ Brian McClear ∙ Marjorie and Bob Moskowitz
Leah Nietz ∙ Maj-Britt Niklasson ∙ Loretta Petraitis ∙ Carl Pinnington ∙ Sergey Piskunov ∙ Samu Raatikainen ∙ John Ralston V
Marilena Ramadori ∙ Graham Rhodes ∙ George Rowbottom ∙ Thomas W Schaller ∙ Kaat Stieber
Julia A. Still ∙ Eleanor Swan ∙ Dina Torrans ∙ Mathew Tudor ∙ Mila Veljac’a ∙ Fang Xin ∙ G Yeon ∙ Doncho Zahariev ∙ Milena Zdravkova ∙ Shicheng Zhao
Published by Circle Foundation For the Arts
Cover Image Kaat Stieber
Curated
Myrina Tunberg
FRONT COVER Kaat Stieber (Netherlands, Photographer) www.kaatstieber.com
BACK COVER
Brian McClear (USA, Painter) www.mcclearart.com Printed in The Netherlands
Index of Featured Artists
Angela Banks
Patti Barker
Michelle Bond
Glenys Buzza
John A. Calabrese
William Charuhas
Bob Conge
Jana Cruder
Duane Ditty
Georg Douglas
Natalie Egger
Elsa Egon
Robert Ellison
Miguel E
George Forgie
Philippe Giroux
Kent Gordon
Harrie Handler
Ulla Hasen
Hannelore Heider
Ilze Helgeland
Petronilla HohenwARTer
Linda Hollinger
Kristin Holm Dybvig
Henk Holsheimer
Suzanne Howe
Rachel Jag
Lili Jiang
Pancho Jiménez
David Edward Johnson
Daniela Kammerer
Min-Ji Kang
Aleksandra Kann-Bogomilska
Diane Kazakis
Robin Kerr
Leili Khabiri
Sally K
Kathleen Kilchenmann
Jill Krasner
Jürgen Krass
Bryce August LeFort
Roberta Levitow
Victoria Li
Wilfrie Linssen
Liyuan Liu
Katja Lührs
Lukáš Kándl
Dita Luse
Stephen Mangum
Paula Mans
Guy-Anne Massicotte (Gama)
Brian McClear
Marjorie and Bob Moskowitz
Leah Nietz
Maj-Britt Niklasson
Loretta Petraitis
Carl Pinnington
Sergey Piskunov
Samu Raatikainen
John Ralston V
Marilena Ramadori
Graham Rhodes
George Rowbottom
Thomas W Schaller
Kaat Stieber
Julia A. Still
Eleanor Swan
Dina Torrans
Mathew Tudor
Mila Veljac’a
Fang Xin
G Yeon
Doncho Zahariev
Milena Zdravkova
Shicheng Zhao
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.
Myrina continues to curate exhibitions, books and magazines and has to date collaborated and consulted over 6,000 artists worldwide.
BRIEF INTRODUCTION
“The 9th issue of Circle Quarterly Art Review includes 75 visual artists from around the globe working in a variety of styles and disciplines.
When selecting the artworks for the pages of this issue, my goal was to provide a multiplicity of approaches of bold, distinctive pieces that each show a high level of technique, creativity and uniqueness. In synthesizing the selection to produce a cohesive anthology, I look for unity which may come from obvious harmonies in color, composition, media, concept or context, but most often I fnd balance in striking contrast. For me, the artworks in this issue could easily be a traveling exhibition or a personal collection that comprehensively describes the story of what art looks like today.
I encourage the readers to visit each artist’s website to see more of their art and contact them directly to collect a piece. We often consider buying an artwork as an investment or for decoration, but as I see it, welcoming a piece that “spoke” to you into your home, will create a type of companionship that can deeply impact your daily mood and for years to come, the piece will continue to “speak” to you, saying something different every day.”
Myrina Tunberg Georgiou CFA Director
Fruitopia Oil on linen 36 x 36 in.
“As a classically trained painter with graphic design experience, I’m working towards merging those two worlds in a fresh way. It has been exciting to discover the surprising compositions that I feel result in joyful, fun expressions of our world. Through my paintings, my desire is to brighten peoples lives and lift their spirits.”
SUZANNE HOWE
Gekrümmte Ebenen (Curved Levels)
Sheet steel welded and rusted, magnets 13 x 41 x 23 cm
“I am particularly fascinated by simple geometric shapes such as rectangles, triangles and circles. These elements are brought together, creating new three-dimensional bodies. Sheet steel is cut, welded, ground and given a new shape. New works are created from many of the same individual parts. These are the building blocks that, despite being the same, always lead to different, original pieces. I often leave the further processing to nature, which gives the surface its special color and structure. This gives the steel its own liveliness.”
JÜRGEN KRASS
www.haus-kunst-13.de
Götterfunken 2.0/18
Acrylic, oil on canvas 340 x 210 cm
“’Götterfunken 2.0’ is a large-format series of seismographic drawings and paintings of unseen landscapes. The eye is immersed in variously abstract realms, guesses at the appearance of mountains, trees, and plants, and can ne er be uite sure et er it is seein somet in real or fctitious erspecti es are inted at and disappear as soon as one belie es to a e rasped t em ut of t e side alle s of a dream appear fnel ner ed registrations of that which still lies in the unconscious, which presents itself in schemes to be ready for the origin. This cycle also tells of the place of the blessed, from which the daughters of the Elysium spring...”
DANIELA KAMMERER
www.danielakammerer.com
Daniela Kammerer
The Way I Am, 2022
Douglas Fir wood 4 x 7 x 3 ft.
“With art and craft as its foundation, my work evolves through the honing of craftsmanship, de elopin of tec ni ues, and expandin t e materials to appl t em e uid forms in man of m sculptures combine the natural movement of wind and water with my career as a craftsman and boatbuilder. My art is a continuation of my craft removed from restriction.”
www.theaugustmade.com
Fossil Seed Bronze and stone
I a e found t at in explorin t e creati e process, m art or re ects arious ideas and de elopments on m personal mythology. This process continues to inspire me to action and dialogue about our evolving world and times. It is one of my most valuable teachers. The themes in my work tend to be inspired by Nature, human belief systems, personal and planetary evolution, and our ultimate interconnectedness.”
DINA TORRANS
Dina Torrans • Circle
Time Capsule
Champlain Black and Danby Imperial marble 24 x 78 x 40 cm
Aleksandra Kann-Bogomilska • Circle
Sailing on the Acheront River, 2019
Bronze, marble 105 x 72 x 50 cm
or me, art as and still forms a alue t at cannot be explained It reatl in uences our subconscious and the formation of our humanness. Closing in on what is intangible (spirituality, mysticism) in a material form is a creative process, constant research, an exploration of the secret of life. It is simultaneously my passion, a sort of my everyday breathing.”
ALEKSANDRA KANN-BOGOMILSKA
www.artmajeur.com/aleksandrakb
Unicorn, do you believe in human beings?
Mixed media photography
Kaat Stieber blends modern surrealism with a Dutch renaissance approach. Employing a broad set of creative skills, which include an internationally acclaimed background in theatre and costume design, Stieber’s photos are a display of keen cultural awareness and craftsmanship. Whenever a story starts to dawn on the horizon, she starts sketching. This way, the artist visualizes what is needed and which elements she would like to add to each composition.
KAAT STIEBER
Liu Liyuan graduated from the Tsinghua Academy of Fine Arts. She has studied both classical art and modern art. Liyuan established the Vancouver Visual Art Studio in in Vancouver and specializes in gure and portrait painting. She has won many international competitions and her paintings utter and “The Black Masks” received the st lace ard recently by Circle Foundation.
LIYUAN LIU
http://www.liyuanliu.com
The Black Masks Oil on canvas 145 x 127 x 5 cm
Oil on canvas 163 x 119 cm
“My painting hovers somewhere between surrealism and fantasy, mixing a bit of strange with a pinch of magic. What is most important to me is to offer paintings in front of which the spectator will take time to sit down, to enter in harmony with the painting, and then have his own walk, as an awakened dream, giving him, even for a short time, a rare and unusual feeling.”
LUKÁŠ KÁNDL
Le Crâne de Cristal N°13 (Crystal Skull N°13) Oil on canvas D. 180 cm
Plus Important
Most Important Is The
Le
C’est Le 8ième (The
Eighth) Oil on canvas D. 180 cm
Down the Rabbit Hole Oil on canvas 60 x 40 in.
“ ’Ink & Oil’ is a series of portraits that explore people of all ages and walks of life that have chosen tattoos as their form of self-expression. These portraits seek to capture a gesture and mood that provide additional insights into the subject’s personality beyond their art. Simply put, canvases of people who are themselves canvases.” www.mcclearart.com
BRIAN MCCLEAR
Brian McClear • Circle
Riki Oil on canvas 60 x 40 in.
Supreme Mouse, 2021 Oil on stretched canvas 150 x 150 cm
Sergey Piskunov is a genre-defying painter passionately committed to exploring the core principles of hyper-realism to rede ne the genre with his breathtaking works. The Ukrainian artist creates a stunning anthology of works that he sees as a “burst of emotion,” forcing the artist to turn inside out his soul and leave it on the canvas.
SERGEY PISKUNOV
Girl in Swimming Pool, 2017 Oil on stretched canvas 90 x 120 cm
Travel thousands of miles of rivers and mountains from the Mirage Series, 2020 Oil on canvas 100 x 120 cm
Born in Chengde Hebei in Lili graduated from Langfang Normal University with a Bachelor’s degree in 2005 and then settled in Beijing to engage in artistic creation. Jiang has had solo exhibitions in Italy and at the Songyang Art Museum, 2017.
“The “Mirage Series” is to turn a nihilistic dream into reality. The picture shows the cycle of life and the cross-existence of style in different spaces. The aim is to restore a dreamscape while maintaining a beautiful sense of time and space and building up a space for the soul to be released ast, present and future come to et er to create illusion
LILI JIANG
Free Light from the Mirage Series, 2020 Oil on canvas 120 x 160 cm
WHAT?
Watercolor and colored pencil on paper 24 x 18 in.
en I am ma in art, I am at pla la can be fun, c allen in , confusin , frustratin , liberatin and re ealin I fnd m self strate i in carelessl on a can as ic leads me to t is meditati e portal t at creates stories and presents thoughts. Stories that play with the mind and provoke emotions deep in me. ometimes I feel li e a fs s immin in ater in a dream it man c ambers of realities efore I burst out into the open ocean, my mind is empty, yet my state is vast and endless. I want to keep on discovering what’s beyond. I swim along strokes of color and line that feel effortless yet are intentional.”
MICHELLE BOND
michellebondtheartist@artcall.org
Michelle Bond
Mateship
Charcoal on paper 690 x 475 mm
“Faced with a sheet of beautiful white paper and a stick of willow charcoal, there are no escape routes, no ways to disguise, no distractions such as colour, and no second chances. Just a purity. The paper can be soft and yielding or hard and brittle, smooth or textured, and the charcoal can glide or drag over it or crumble into it. Fingers can explore the possibilities.”
GLENYS BUZZA
www.glenysbuzza.com
DAVID EDWARD JOHNSON
Punchline
Acrylic, graphite, spray paint, crayon, paper, cardboard, found objects, and household on canvas 18 x 24 in.
“I am an abstract pop artist. My work lies at the intersection of the organic, the geometric, the iconic, and t e abstract I feel li e m bod of or can be encapsulated in t ree ords abstraction, defnition and deconstruction. I am most interested in exploring belief systems, and especially the birth and death of the American Dream and the validity of those desires.”
“A careful ‘approach’ to something undiscovered. For this artwork, I received an impulse to create. I sat down to let things happen, without any expectations, as always. Sometimes I listen to sounds that activate the creative process. In this case, it happened the other way around. I intuitively created a drawing that activates a subtle sound in my perception. Like many other of my artwork, this one shows me a new atmosphere on an emotional level.”
www.racheljag.com
“I blend realism and abstraction in my art, using oil or acrylic, knife and brush to convey my excitement and interest in the subject with bold and often contrasting mar s, colours and textures I fnd inspiration in unusual aspects of t e uman f ure, landscapes and manmade or natural objects.”
ROBERT ELLISON
Halftime Oil on canvas 76 x 61 cm
Untitled Oil on canvas 24 x 19 cm
“I try to raise questions about life. Symbolism and colors tickle the observer and direct the compass toward what is essential about existence. How can we grow as human beings? What is true, and what is false? And why are we here on a tiny pinhead in the Universe? Maybe our insight can provide more answers than we can imagine...I paint in oil on canvas.”
Maj-Britt Niklasson
Self-Portrait of A Fisherman-Painter Acrylic 30 x 40 in.
I a e been fs in and p oto rap in streams and ri ers for more t an ears I fnd inspiration t ere for many of my paintings. These places are imbued with beauty, magic, and memories. Here, the self-portrait is bio rap ical It brin s to et er m reat passions, ic are paintin and fs in e point of ie is unusual and mo es t e ie er s a e to t e foot of t e easel, to t e non existent part of t e paintin
https://mondialartacademia.com/user/almanzart | IG@philippe.giroux
Drawing of Beauty, 2017
Soonji, bunchae, bongchae, ink 58 x 125 cm
South Korean artist, Min-ji Kang is the director of ison ol aintin esearc enter, and of the Korean ol aintin ssociation. She is also President of Burim Creative Craft Village Association and has exhibited work in over 60 shows. She is an active artist and an important presence in the South Korean arts and crafts community with national and international recognition.
MIN-JI KANG
info@circle-arts.com
https://blog.naver.com/gyeon_art
Acrylics on paper 40 x 30 cm
“My artistic work emerges beyond cognitive concepts from the body memory that manifests itself in the gesture. I understand the gesture itself with Jean Francois Billeter as a phenomenon of the integration of consciousness into the activity of the body. World knowledge that has sunk into the background of consciousness I experience as a strong, energetic momentum and as intuition, which enables me to work very quickly.”
www.instagram.com/ulla_hasen_wien
Liquid Head, 2019, Photograph, print on canvas 40 x 50 cm
In her photographs, Natalie Egger closes up on things and situations she encounters mostly by change. The images are ambiguous and the focus on details is for Natalie, an indication of her subjective focus on the certain scene, from which a new piece emerges, a transformation into something completely unexpected.
NATALIE EGGER
https://www.unisonart.space/
Joy Oh Joy We Are to Be Replaced Pen and ink 28 1/4 x 22 1/4 in.
rofessional artist for o er ears, creatin or s in ils, ra in s, culpture, oto rap , and reati e ritin bi est uest as been people are t e a t e are ere I am, see me is self affrmation seems to in ict on all of us o a reat de ree, t e ma orit fnd a balance t e can relate to, ereas ot ers are left powerless. The piece presented is a part of a pen and ink drawing series titled ‘My Absurd World’ where all images strive to belong and relay a cohesive message on stage, yet, each human action appears to be independent in doing their own thing. These interactions of realism with abstract surrealism, the absurd with the logical, are meant to depict the chaotic cacophony of the human condition and the popular ideations for which we are trying to constantly conform to.”
GEORGE FORGIE
Batteries Not Included
“I simply paint pictures. If you ask where my ideas spring from, I’m unsure. I plan my paintin s in detail, usin ate er tri ers m ima ination e fnis ed or is, hopefully, unorthodox, unconventional and endowed with a sense of humour.”
Truth Is Stranger Than Fiction
Acrylic on linen 61 x 92 cm
aintin is m lifeline I explore t e t emes of fra ilit and resilience or me, t e expression of t e uman body becomes the place of exploration of feelings. I work on a very coarse canvas without preparation to keep its texture. Colours surround the subjects, and only some background elements remain. Understanding and representing the sense of solitude connected to this time we are all living is essential to me.” Look Elsewhere
ELSA EGON
http://www.elsaegon.fr
Somewhere in Time
Graphite pencil on paper 23 x 17 in. (Matted and framed)
“Delicate nuance of value and texture become tools in conveying powerful dramatic statements about beautiful earthly beings who are not afraid to wonder, think, dream, and take that one step beyond as they contemplate the awe, majesty and mystery of the heavens.”
JOHN A. CALABRESE
Hale and Heartfelt
Acrylic paint and ink on canvas 40 x 30 in.
“I have this idea that a painting can present all perspectives at once. By stepping into the painting and wandering about, your senses become engaged. Sometimes you can look and understand everything, and other times, nothing. It reminds you of other people’s stories and where you were at the time. On a very good day, it makes you a new story if you want it to.”
ROBIN KERR
I fnd inspiration for m or in t e follo in t emes man, animal, p ilosop , and m t olo I ant to depict the emotion in people’s lives, the strength and radiance of an animal. So not only the outer but also the inner. In the design process of my sculptures, head, hand, and heart unite into a whole. recent ima es are c aracteri ed b t e special structure, t e s in, of t e ima e www.wilfrielinssen.nl
WILFRIE LINSSEN
De Zonnegodin (The Sun Goddess)
Bronze H. 120 cm
In a orld ere t e bu ords no are sustainabilit and rec clin , I felt I needed to respond to this in some way. I have many moulds, for projects I have created over the years, just sitting in my studio. I decided to use them to create something new, something exciting and something entirely different. ‘Fina Giornata’ was born...and I love making them!”
www.eleanorswan.com
‘Fina Giornata’ Red and Electric Blue Glazed stoneware
Three of Me, For Always I am Here Watercolour on paper 56 x 38 cm
Leili Khabiri (b. 1997) is a British-Iranian artist specialising in handwoven textiles. Of primary interest is the symbolism of process; how a work possesses energy through the making rather than from the use of visuals. Khabiri avoids exerting conceptual or emotional ideas upon the viewer; her aim is to create pieces that are quiet in nature.
Carl Pinnington is an internationally acclaimed and published fashion, art photographer who works closely with collaboration in its widest context. New ways of seeing inform his practice; technical, aesthetic and traditional craftsmanship are all key elements within his artistry. Recent works explore the notion of mental health, identity, visual codes, conventions and securing a positive message.
Carl Pinnington • Circle
Roar
Digital capture Hahnemühle photo rag ® Matt Fine Art - Smooth 308gsm 100% cotton 50 x 60cm. Model: Dan, Casting: Jennifer
Untamed, 2022
Acrylic, denim, and paper collage on wood panel 36 x 48 in.
“Collage is emblematic of the interconnectedness of the African Diaspora. Just as the dispersed people are tied together by the thread of ancestry, in collage disjointed pieces are fused to communicate one story. In my work, I draw from images of people from across the Diaspora— deconstructing, layering, bonding, and resignifying small parts to assemble new faces and forms that communicate identity and shared experiences.”
PAULA MANS
https://paulamans.art
Intersection
Ceramics 24 x 24 x 24 in.
“In my work, I explore the elusiveness of dreams and memory by joining together molded forms in unlikely combinations. I transform kitsch elements into complex pieces with a rich and relevant focus. The juxtaposition of s apes in m sculptures ma at frst seem ap a ard but is intentionall crafted to mimic t e illusi eness of memory as it advances and recedes over time. I make art because, for me, it is the most authentic form of expression and communication. When I think about the purpose of art and artist today, I am reminded of a ablo icasso uote, rt as es a a from t e soul t e dust of e er da life
PANCHO JIMÉNEZ
Pancho Jiménez • Circle
“Foremost, I’m a felt maker, then a fashion designer. Much of my work is inspired by women’s issues. ‘Dragonskin’ was created for wearable art fashion shows. This work speaks to the hidden strength every woman holds. As far back as I can recall, my hands and mind have worked together to create with abandon. My preferred medium of late is fusing sheer fabrics it ool, and d in or paintin and fnis in it bead embroider
Délicieuse Rouge Sortie du Sac Oil on panel 24 x 24 in.
“Contemplation of beautiful nature, paying tribute to the subject while connecting the viewer sensually to it is is t e connectin t read of m or , memoriali in old master s oil tec ni ues e searc for t e inspirin ob ect, f ure, animal, or landscape and t e artistic c allen e immerses me in a ne composition, always with the aim to integrate contemporary vision and traditional techniques with intensit , sobriet alon it an emp asis on fne craftsmans ip
https://www.guyannemassicotte.com
Guy-Anne Massicotte (Gama) • Circle
Abstract I Light Oil on canvas 75 x 55 cm
“Like an axis of a vortex, the light was always there as my work rushed turbulently around it. I always approac t is topic emotionall as it is not defnable lo icall nor erball e uestion for me is not o e see or at e t in of li t art It is o it feels bot about t e emotions born b t e state of light and the light born by the emotional state.”
DONCHO ZAHARIEV
donchozahariev@abv.bg
Grüner Engel
Acrylic on paper 70 x 100 cm
ld and ne cultural si ns and s mbols eep secrets t at e also fnd in dreams Inspired b imagination and inventiveness, I express this in an artistic process of eternal transformation. Again and again, I select thematic content and contexts of meaning in order to intuitively convey very individual messa es it painterl means and it a onderful sense of color basic t eme, reams fnds its expression in t e oatin of t e f ures and ornamental elements
HANNELORE HEIDER
www.Hannelore-Heider-Kunst.de
Hannelore Heider •
“I am interested in the way we perceive light and time. Light is always important in visual art, but I paint light as an object and time as the present, where memories of the past and the currently visible merge. The themes I work on are formed around this core. I like to use laconic colors and combine them with linear logic and subtle tonality.”
Wilderness Wandering Oil on canvas 150 x 150 cm
I am lar el in uenced b at I consider beautiful and ant to inspire people to loo more carefull at t e orld around them to discover charm in unusual places. By focusing on the relationship between man, animal, and nature and its very delicate balance, I am able to soothe the lack of control I feel when I look at the state our world fnds itself in I ope to create an almost alternati e realit ere t in s or er differentl , and life becomes a type of dream. This too, is what I wish for the viewer—to be lost in imagination when standing in front of a painting, to slow down and be focused on the possible narratives only their minds could ever make up.”
ANGELA BANKS
www.angelabanks.co.za
Beziehung auf dem Sofa (Relationship on the Soda) Oil on canvas 100 x 120 cm
“I believe in the beautiful self. My work is about relationships and encounters. I am very aware that relationships are t e basis of uman existence and life I s o t ese re ections and t e emotions of t e people be ind t em en a in at eac paintin , ou ma also reco ni e our relations ip le els n essential part of m work involves the interplay between painting and photography. I create special snapshots showing unique personalities, whose innermost being I bring to light. My pictures invite you to look, to discover your own strengths, to feel your uniqueness and let your light shine.” www.milaveljaca.com
MILA VELJAC’A
https://www.duaneditty.com/
“I believe the importance of art is to not periodically adapt to what is fashion but to emp asi e and ma e understandable t e t in s t at interest t e indi idual artist In t is a , artists can create somet in t at is culturall si nifcant art ic is bot considered and understood it in its o n boundaries eople see it in m or something about their own environment that they can relate to, something they can consider, a meaning that is not explicit but yet can be understood.”
Absent Oil on canvas 38 x 32 in.
“Unlike in traditional art, my paintings are not windows into other realities. I want my work to connect to its surrounding space and be present in the moment. Like nature, like music. There’s no reference, no story, no goal. My art is purely about being.”
Dry Pearl White Acrylic & oil on canvas 60 x 50 cm
Deep Forest Olive Oil on canvas 61 x 50 cm
Dog Day Afternoons
13.5 x 10.75 in.
“I draw unconventional subjects in a representational style. Some have described my work as “imagination on paper” or “snapshots from untold stories.” My drawings illustrate all these characteristics while providing sneak previews into fantasy worlds, with an emphasis on light, shadow and detail. They are intended to be t ou t pro o in and entertainin is defnitel isn t ospitalit art
WILLIAM CHARUHAS
https://www.williamcharuhas.art
William Charuhas •
Pinks and Whites on Gray
“Making art is my anchor, keeping me grounded as I travel through life. There is no past in my studio—no present, no future. There is only the present...and the present is where I’m meant to be.”
Jill Krasner •
Pink Hotel
Better as Time Passes
Mixed media 40 x 30 in.
“My guiding principle of “seeing with my heart” lures the viewer to enter an abstract, a landscape, or a female form to experience calmness with movement, peacefulness with spaciousness, and tranquility with optimism. Art can re itali e our appreciation for nature is paintin as embedded tree bar , stones and discarded ob ects to transform the physical earth into a creation of beauty, which is always my ultimate goal.”
HARRIE HANDLER
https://www.artbyharrie.com
Harrie Handler • Circle
From Which Paradise Were You Stolen? Mixed media 8 x 10 in.
“I have great friends in my heart, imagination, unconscious and my body in general that take me to and beyond many frontiers. Dream, myth, astrology, astronomy, Nature and personal experience are my main strands of artistic exploration and expression. I cut and paste fragments by hand and my spirit guides the rest. What else does one need?”
JULIA A. STILL
www.journeyartbyjulia.wordpress.com
“In my series of paintings, ‘Tech-Nostalgia,’ I am trying to tell the story of time slipping away. By using transparent colour schemes, abstract geometric shapes and mixed perspectives of the object, I intend to show how these technical objects are gradually disappearing from our apprehension. They are, in a way, becoming abstracts both in our lives and on canvas.”
ILZE HELGELAND
Dio Nostalgia I Oil on canvas 77 x 77 cm
Paint, gypsum powder, resin 12 x 15 x 5 in.
“This work accelerates and embellishes natural forms of accumulation and erosion. While it could be said that t e are emulatin nature, specifc met ods and materials are used to disrupt t e relations ip bet een our earth-bound perception and evoke the true synthetic characteristics within each piece. Jarring color changes and manic toolin are emplo ed to con e alien topo rap ile t e re ecti e surface disrupts t e immediate association to scenery that we collectively understand.”
JOHN RALSTON V
John Ralston V •
gypsum powder, resin 13 x 19 x 4 in. 73 Circle Quarterly Art Review 9 • John Ralston V
Xaruchite
Paint,
Via Mocht Paint, gypsum powder, resin 14 x 20 x 4 in.
John Ralston is an artist and carpenter operating out of Baltimore, MD. He was born in Virginia, where he attended ld Dominion University and later moved to Baltimore to complete a ne art graduate program at Maryland Institute College of Art. While in the Mount Royal program, he was mentored by artists Frances Barth Alice Aycock and Luca Buvoli. Some of his major artistic in uences include Tony Cragg Ursula Von Rydingsvard, Ron Nagle, Carol Bove, and, of course, Bram Bogart.
JOHN RALSTON V
Shifting Plates of Teschak Paint, gypsum powder, resin 15 x 13 x 5 in.
Currently, he manages renovation projects throughout the Baltimore area and uses the materials and methodologies in his everyday job to inform his studio practice. His studio practice has developed over years of physical experimentation and he feels a deep devotion to the well-crafted object, whether it be in art or design. He is pursuing funding for the acquisition of historic property in downtown Baltimore to be purpose-built for artist studios and strengthen the artistic community by creating an epicenter before the fundamental changes take place in the rapidly transforming metro area.
Monstera
Paperquilling 8 x 10 in.
“I started paper quilling when I was in a graduate program for my MBA in Logistics and Supply Chain Management. While studying and working full-time, I found that I needed something to ground myself while also helping to take away the excess anxiety and stress. What started as a way for me to wind down is now something I love to do and, moreover, something to share with others.”
VICTORIA LI
Gazelle
Digital Inkjet print 20 x 20 in.
“Strength and vulnerability are the recurring themes in my photography. The fragility of the human form against rugged landscapes or the beautiful shapes and angles created in the studio. I strive to capture my subjects in a classical, sensual way, presenting the human form as an extension of or in juxtaposition to nature or utili in studio li tin to create a m sterious, mood atmosp ere
LINDA HOLLINGER
http://lambie07064b53.myportfolio.com
Linda Hollinger • Circle
Russel the Basset Hound Is Listening | Detachment Series, 2021 Assemblage on wooden box, acrylic, pigment, cotton 50 x 50 x 5 cm
“Divine art is empowering and illuminates the world with LOVE. I am in tune with the Frequency of the Divine, called “Love,” as you are too. My artist vita is made visible through the entire body of work. The process of creation has woken me up to become aware of the unconscious space called “Love” and to appreciate this spiritual development as the true expression of life.”
https://petronillahohenwarter.com/en/
PETRONILLA HOHENWARTER
Mixed media, collage, paper, soil, canvas D. 50 cm
“I’ve been dealing with nature, the environment, landscapes and plants for a long time. I don’t just depict reduced, abstract landscapes and changes in nature but also include my feelings during the painting process. To do this, I combine found objects with self-colored paper as collages and several layers of colors and earth on the canvas. This creates a haptic that you can feel as soon as you touch the image.”
KATHLEEN KILCHENMANN
www.kathleen-kilchenmann.de
Kathleen Kilchenmann • Circle
“I draw inspiration from God’s creations and I love symmetry. However, sometimes glass just has to do its own thing. There are no mistakes in art, only opportunities to change your perspective.”
LEAH NIETZ
Harmony Rhapsody Mandala Glass, D. 63 mm
Marjorie and Bob Moskowitz created a new persona (MB Mosk) when they began collaborating, separate from their individual studio practices. These works are a curious hybrid, only slightly resembling each of their independent work. The process attempts to create a seamless blending to appear as if a single artist has produced the painting. They draw on their shared approach to looking at the peculiar nature of people and the world. Their sense of irony and humor is a vehicle to allude to a more profound meaning below the surface.
MARJORIE AND BOB MOSKOWITZ
The 405 Altar Piece Oil on canvas 40 x 120 in.
Marjorie and Bob Moskowitz •
Miguel E, born in Lisbon, currently lives in Warsaw, Poland, and is a member of the SNBA (National Society of Fine Arts). For him, art forces us to feel something, giving no room for indifference. His work deals with the deep emotions of the feminine soul. Miguel E is collected and has exhibited work in Portugal Spain Italy USA Switzerland Greece Sweden and Poland.
miguelepainting.com | IG@miguele.painting | miguele.painting@gmail.com
Acrylic on canvas 100 x 80 cm
TimeKeeper
Acrylic and pencils on canvas 30 x 40 cm
Milena Zdravkova holds a Master’s degree in Art and is a painter and textile designer. Her multidisciplinary practice explores the mystical and imaginary through abstraction and symbolism. The piece here, “TimeKeeper re ects on the idea of measuring something unmeasurable catching something uncatchable. “Time has a different meaning in the universe and for each and every one of us.”
MILENA ZDRAVKOVA
www.milenazdravkova.com | Instagram@milenazdravkova
Milena Zdravkova
What We Leave Behind
Watercolour on paper, wooden panel 60 x 60 cm
apti ated b t e ebb and o in nature, I create or t at is in a state of ux b explorin mediums that have an altered appearance when viewed from different angles. My work depicts not only the beauty of the natural environment but also draws attention to its fragility and deterioration by natural occurrences and human interaction.”
DIANE KAZAKIS
https://linktr.ee/dartemisia
Blue Vessel
Soft pastels on 300g cold pressed cotton paper with deckle edges 76 x 56 cm
“My work is a mixture of lyrical landscapes and abstract color poetry based on memories and as bac s e motifs are dissol ed into color moods t at remain in t e abstract and transform the retrospection into wonderful experiences that the viewer can immerse themselves in.”
Magic of Lights (Lichterzauber) Oil and limited print
e ariet of colors and s apes of o ers, trees, and lea es as fascinated me since I as a c ild e po er of t e sun and its pla it li t and s ado in nature are c aracteri ed b race, o of life, confdence, peace and serenit it ima es, ou can capture t e beauties of nature ecause at ou lo e, ou also protect erefore, m motto for m pictures is a e t e art
Trailerpark Acrylic 40 x 60 in.
“I am happiest when a photograph, sculpture, or painting turns out the way I anted it to In eneral, a fnis ed or represents at I see in m mind s eye, and/or it has the impact I think a work of art should have.”
KENT GORDON
I am inspired b t e small, bri t ild o ers of Iceland fter a or in life in art cience, I also appreciate the beauty of life at the microscopic and molecular level and have increasingly woven features not normally visible to us into my paintings. I ignore scale and mix features such as petals, protein and colla en c ains, producin a paintin t at can be uite abstract and sometimes pu lin I feel t at t is is closer to the complexity of nature than a purely representative work.”
Samu Raatikainen • Circle
Feast No 3. Acrylic, ink, graphite, sand, mineral and paper on canvas 80 x 70 cm
“I am fascinated by nature’s continuous shifting cycle of growth, disintegration, decay, and regrowth, from cut tree trunks to emerging fungi living off their rot. I echo this transformation through the juxtaposition of materials and techniques to create my tactile collage paintings. The many stages of t is process are uided b obser ation and intuition, re ectin on nature s or anic forms and patterns
SAMU RAATIKAINEN
www.samuraatikainen.com
“Emulating the contemporary woman in all her beauty, power and diversity is what inspires me. Depicting who I feel represents my generation and highlighting her inherent strength and confdence is m sole focus e inte ration of omen and orals spea s to our intimate connection with nature and the power they both hold, individually and together.”
Rouge
Acrylic on canvas 63 x 51 in.
Illusions of My Childhood No. 8
72 x 96 in.
“Illusions of My Childhood No. 8” confronts the artist’s Southern heritage through the lens of white privilege. With a current day portrait of his grandson as an overlay to a background inspired by an iconic photograph from the 1960’s Civil Rights movement the painting re ects the artist’s DNA.
STEPHEN MANGUM
www.stephenmangumartist.com
tron l in uenced b t e stor tellin po er of its intense, i l speciali ed and s mbolic paintin techniques, I employ elements of traditional icon painting to explore a contemporary, secular and personal vocabulary. Using traditionally bold colors, textures and gold leaf, I place narrative fragments from historical icons in a theatrical mise-en-scene that includes pop culture references, religious archetypes, and dream imagery to evoke an emotional contemplation of contemporary life.” www.robertalevitow.com
ROBERTA LEVITOW
Lysol Lady Egg tempera and gold leaf 16 x 16 x 1 in.
Portrait of H. 2005
Pastel on card 20 x 15 in.
or focuses mainl on t o sub ects t e crucifxion and portraits These images are attempts to subvert these grand narratives in European painting and hopefully create a new secular language.” mathewtudor.com
MATHEW TUDOR
https://www.saatchiart.com/grahamrhodes
“My inspiration conceptually dwells in the urban industrial landscape, where my eyes are playing with different surfaces, such as disintegrated concrete, rusty metals and detached paint. Light and permanent transformation, penetrating all creations of humans, is the most current topic throughout my work. I concentrate on realistic details, seeking to evoke the idea of antiquity and life left behind. In order to achieve these effects, I build the surface of the canvas with textured acrylic media and, after it dries out, I continue with oils. I can rest only when painting starts talking.”
Rusty Bridge NY Oil on canvas 48 x 72 in.
Loretta Petraitis • Circle
“At the center of my research is architecture. Buildings have always accompanied humanity, and investigating their expressive language is a necessity I don’t want to give up on. In my work, I try to narrate arc itecture b i li tin its expressi e ualities and t e essentialit of t e forms aintin architecture is painting beauty and innovation, trying to understand the changes that the city under oes e art or inecitt , ic is part of t e oma series, is a tribute to t e arc itect ino eressutti o desi ned and built t e inecitt ilm tudios in ome, bet een www.marilenaramadori.it
MARILENA RAMADORI
Cinecittà Oil on linen canvas 70 x 100 cm
Afternoon in Rome
Watercolour on paper 28 x 20 in.
“Why we paint is far more important than how or even what we paint. It is always my aim to paint the expressive experience of m inspirations rat er t an an p sical realit or is al a s a stud in contrasts li t dar , ertical ori ontal, arm cool, real ima ined, and elements of t e past, present, and future I lo e to desi n it t ese con ictin elements, allo in t em to fnd balance and resolution on t e surface of t e paper in surprising and expressive ways. I try to never to paint just what I look at, but rather how it is that I see.”
THOMAS W SCHALLER
W Schaller
Treehouses Without Trees
Watercolour on paper 24 x 18 in.
Conspiring Oil on canvas 44 x 62 in.
“I like to paint people or things around me. Such as the painting ‘Conspiring.’
The four people in the painting were my classmates at the New York Academy of rt e come from different places exas, ort arolina, eor ia ountr , and Australia. And they have completely different personalities. For me, it was pretty interesting to put them together on canvas. I made the light different and painted different expressions on their faces and different body language to re ect t eir c aracters and t ou ts at t at moment
SHICHENG ZHAO
www.instagram.com/sc_zhao/
Finnish Male Oil on wood panel 11 x 9 in, (
Zigui’s Juvenile
Bronze sculpture 60 x 29 x 34 cm
“I think about the relationship between the universe, life, wisdom, society and spirit. I think art is a unique language, which can convey information that words can not express. I just use this language to communicate my cosmological view. My works employ a contemporary context to re-read the known, reshape history on the axis of time, and reshape our cognitive structure.”
Civilization Bronze sculptures Ea. 40 x 21 x 21 cm
An Examination of Current Trends & Original Practices in Visual Art
Published by Circle Foundation For the Arts
Cover Image Brian McClear