Circle Quarterly Art Review | 6

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Spring 2021

An Examination of Current Trends & Original Practices in Visual Art

Published by Circle Foundation For the Arts Cover Image Andrew Binder

Circle Foundation

Curated by Myrina Tunberg Georgiou Produced and Published by Circle Foundation for the Arts This is the 6th issue of Circle Quarterly Art Review (Spring 2021) FRONT COVER Andrew Binder - BACK COVER Linda Reymore - Printed in The Netherlands All Rights Reserved ® 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.

® Copyright: Circle Foundation Press

Index of Featured Artists

Jessica Alazraki Christine Alfery Eva Antonini Kathryn Bagwell Angela Banks Judith Dupree Beale Tamera Bedford Danielle Bewer Andrew Binder Lizl Bode BOGDAN Symona Colina Lynn Creighton James Cross Lisa Cutler Antonio D’Antini Sue Daniel Lyn Darlington Anina Deetlefs David Dejous Jieyu Deng Gabriella Di XX Miglia Bob Doucette Paul G. Emmerson Pascal Fessler Elizabeth Frank Orit Goldman Harry Goldstrom Andrew Han Camille Hannah Lindalee Holmes Cheng Hsien Hsieh Dana Ingesson Dita Jacobovitz Bryan Jennings SiYang Jiang Michael Jicha JOLIC Todd Jones Lukas Kandl Alexandra Kapogianni-Beth Paul Kenens Jill Krasner Jürgen Krass Lize Krüger Aneta Kvedaraviciene Deborah Maris Lader Kathy Leader

Monica Lee Léonce Lemmens Christian Leroy Huaqi Li Cheng Liao Anson Liaw Rob MacIntosh Maximilian Jody McCool Taleh Mirkazim Timothy Mulligan Gabriele Musebrink Chie Nakano Maj-Britt Niklasson Olivia Patricia O’Neal Leon Oks Thomas Pramhas Igor Eugen Prokop Gerhard Rasser Linda Reymore Cheryl R Richardson Matthew W Robinson Kimberlee Rocca Julia Romano Mitch Rouse Yelena Safronova Stefanie Schairer Petra Schott Eva Silberknoll SILVIYAR Lee Bordon Smith Abbey Stace Bernd Steinert Jerry Steingraeber Kaat Stieber Aga Szydlik Dina Torrans Louis van der Linden Maija Vanhatapio Vladinsky d.W. Whitfield Andrej Wilhelms Marcus Wolak Hsiung Yu Farnaz Zabetian Simona Zecca

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.

Intro by the curator “The 6th issue of Circle Quarterly Art Review includes 94 visual artists from around the globe working in a variety of styles and disciplines. This issue comes in an undeniably strange time; amidst a global pandemic, soaring political and social unrest worldwide, collapsing economies and a world order whose foundations are being questioned and increasingly re-evaluated. Although it seems that we are currently navigating a dark chapter of this journey, as history has shown we will come out of it better and stronger. Art has undoubtedly a lot to offer at this time and its function plays a fundamental role in shaping, experiencing and overcoming this crisis. That said, for me, two are the most important functions of art right now. Firstly, art provides a relief — an aesthetic escape from the exhausting reality both for the maker and the viewer. Secondly, artists right now are contributing to a visual chronicle of this important historical moment. In this sense, all art, whether created with the current events in mind or not, gains new meaning and purpose. I am very pleased to offer to you once again, the following pages, a unique collection of remarkable artworks worth collecting, and the newest chapter in the story of what art looks like today.” Myrina Tunberg Georgiou CFA Director

Andrew Binder • Circle Quarterly Art Review 6 ▫︎ 8 ▫︎

Portrait Study 2.23.21 Digital painting, acrylic paint, torn paper, digital composition 20 x 16 in.

“My work is a combination of new and traditional media. I create most of my work by digital painting or drawing, often combined with tactile elements using traditional mediums such as acrylic paint, watercolor, tempera, papier-mâché, ink, photography, etc. as well as less traditional components such as tape, torn paper and coffee stains. I combine these various elements together through digital means to compose a final image.”


▫︎ 9 ▫︎ Circle Quarterly Art Review 6 • Andrew Binder Portrait Study 3.31.21 Digital painting, acrylic paint, torn paper, tape, digital composition 20 x 16 in.

Todd Jones • Circle Quarterly Art Review 6 ▫︎ 10 ▫︎

Remnants Paint can lids 2.5 x 12 ft

“I am creating a visual language with wasteful commodities that allows for social critique that raises provocative questions of our consumer society. I am looking at our history and practices through our use of house paint. Through my sourcing of mistints and discarded house paint, I bring attention to these paints as they are manifestations of culture and carriers of invisible memory.”


▫︎ 11 ▫︎ Circle Quarterly Art Review 6 • Todd Jones Disinterred Mistint house paint 18 x 12 x 3 in.

Abbey Stace • Circle Quarterly Art Review 6 ▫︎ 12 ▫︎

Calypso Mixed media 36 x 48 in.

“Mine is an experimental process that is driven by the serendipitous interactions of oppositional materials. The images eschew narratives and rather investigate matters of a temporal and tactile nature as well as scale, color and light. Each is a meditation on time and the mystery, spaciousness and rich imperfect beauty of the natural world.”


▫︎ 13 ▫︎ Circle Quarterly Art Review 6 • Aga Szydlik Portrait of an elder Dard woman Photograph

Aga is a documentary photographer based in the USA, whose work focuses mainly on cultural preservation and environmental conservation, exploring heritage sites, indigenous tribes, and rituals. She is passionate about exploring the world and immersing herself in diverse cultural settings. Her tribal photography is focused on understanding and documenting the rich cultural heritage of various tribes and their rituals in the context of the modern and traditional knowledge of cultural evolution. She actively supports human rights and various conservation efforts.


JOLIC • Circle Quarterly Art Review 6 ▫︎ 14 ▫︎

Nature in a Bowl Acrylic, mediums and plaster on canvas. 60 x 60 in.

Jolic is an abstract artist/sculptor who lives in the Lower Laurentians in Quebec, Canada. She studied Architecture, Graphic Design and Screen Printing on Fabric before becoming an artist. Self-educated, she has been expressing art in many ways and forms for several decades.


▫︎ 15 ▫︎ Circle Quarterly Art Review 6 • Alexandra Kapogianni-Beth Falling Icarus Acrylic resin 105 x 51 x 45 cm

“I am a figurative sculptor, focused on turning dead material, as hard rock or soft matter as plaster and clay, into something vivid. Greek history over the millennia offers a wide range of impulses. Heroism beyond human limits and multitudes of mythological actors find their way into my sculptures. The delight I enjoy hopefully finds its way to the viewer and stimulates their imagination.”


Jessica Alazraki • Circle Quarterly Art Review 6 ▫︎ 16 ▫︎

The B-day Oil on canvas 43 x 59 in.

“As a Mexican woman living in New York City, I feel it is my responsibility to open up a dialogue about immigrants. My work intends to bring Latinx life into contemporary art by celebrating the culture and highlighting family values. The narrative shows interior domestic scenes surrounding tables.


▫︎ 17 ▫︎ Circle Quarterly Art Review 6 • Jessica Alazraki Mezcal Oil on canvas 43 x 59 in.

Bright colors and decorative patterns are very characteristic of my works; in my oil paintings, portraits are always in the foreground and close to the viewer. Intense brushwork provides unique character combined with flat backgrounds to highlight emotion.”

Kathryn Bagwell • Circle Quarterly Art Review 6 ▫︎ 18 ▫︎

The Lesson Oil, paper, charcoal on canvas 48 x 36 in.

“The human form is the foundation of my art. Working in different styles gives me the opportunity to express both the dignity as well as the ludicrous that is present in all of us. In the multi-dimensional qualities of human beings, I find new ideas every day.”


▫︎ 19 ▫︎ Circle Quarterly Art Review 6 • Antonio D’Antini Discussione Oil on canvas 55 x 55 cm

“I would summarize my ideal artwork in four words: imagination - spirituality - technique - comparison. As an artist, when I create I feel like a caring mother who tries to give everything of herself to the “unborn child” ...and like every pregnancy, mine also goes through three phases: conception, gestation, childbirth...which is not free from labor...but it is welcome if it generates a valuable child.”


Tamera Bedford • Circle Quarterly Art Review 6 ▫︎ 20 ▫︎

Tears Mixed media on paper

Tamera Bedford is a mixed-media artist notable for her practice and the nature of her diverse subject matter. Her work is a visual representation of her respect for the natural environment and the mental flows of the human brain. An intense visuality transports us to the limits of the earth’s exterior, beyond to planetary marvels, and, in similarity resonating beauty, deep into the interior worlds of organic and cerebral life.


▫︎ 21 ▫︎ Circle Quarterly Art Review 6 • Angela Banks The Broken Breeze Oil on canvas 120 x 80 cm

“As an artist living within a complicated socio-political situation in South Africa, I love to escape it all by creating my own world within my paintings. Combining figures and the element of an animal companion allows me to enter into an imaginary scenario where symbols, context and relationship hint at possible narratives within the ensemble. I find that presenting these paintings to an audience allows them also to escape the harsh realities of today’s world and to experience if only for a short while, an alternative reality.”


Danielle Bewer • Circle Quarterly Art Review 6 ▫︎ 22 ▫︎

Hopscotch Ceramics 107 x 183 x 5 cm

“My ceramic work seeks to cut through the layers of conditioning and reconnect to the joy of the child within. It can be understood as conversations between pattern and color, order and exuberance. The result is a satisfying compromise: there’s harmony in containment, but it’s the color, the emotion that has the last word. Materialwise, the use of colored clays and semi-translucent glazes give the work its distinctive feel.”


▫︎ 23 ▫︎ Circle Quarterly Art Review 6 • James Cross Illogical Conclusion Jesmonite 33 x 22 x 7 cm

“My practice explores the use of objects and imagery as foundations of storytelling. The works investigate our relationships with objects, materials, and physicality; and how these elements relate to our cognitive and corporeal experiences of perception and our surroundings. The role of play is integral to my work; both as an exploratory means of material development, and in terms of content and purpose of production.”

JAMES CROSS | Instagram@ jamescrosss

Lizl Bode • Circle Quarterly Art Review 6 ▫︎ 24 ▫︎

Woman on Crate Ink pen on paper 70 x 60 cm

“Creating art with lines, building them up from the abstract into a cohesive, realistic portrait is my passion. My art follows the age-old crosshatching technique, which I have honed and adapted into my own unique style. Monochrome art with its simplicity is a powerful medium which conveys an abundance of feeling and thought.”

LIZL BODE Instagram@lizlbode_art

▫︎ 25 ▫︎ Circle Quarterly Art Review 6 • Judith Dupree Beale Urchins Watercolor and ink on paper 14 x 11 in.

“This small watercolor is one of several created in one painting session where calm music set my focus. I used both inks and watercolor to intuitively produce fluid drawings that were then fully developed. I create art to keep my life meaningful. I believe we all need to experience different forms of creativity in order to hold on to our humanity.”


Symona Colina • Circle Quarterly Art Review 6 ▫︎ 26 ▫︎

Nightlight Colored pencil on A3 paper

“Perspective is like a world to see and to see a world, in which it is often more important how we see than what we see.”


▫︎ 27 ▫︎ Circle Quarterly Art Review 6 • Lynn Creighton Reclaiming the Sacred Source: Fushia Cast bronze 12 x 10 x 10 in.

“I have studied, participated in and led Native American transformational ceremonies for forty years. They have informed my life and my sculpture. As a tribute to the awakening of sexually traumatized women in the transformational ceremonies, I have formed in clay (then bronze) the antidote: women in celebration of their own inner perfection and joy.”


Christine Alfery • Circle Quarterly Art Review 6 ▫︎ 28 ▫︎

Just Saying I Love You Acrylic and watercolor 40 x 30 in.

“I call my work conceptual abstraction. The process of isolating, separating certain parts of reality from all other things is abstraction. Expanding this abstraction, helping it grow into something wonderfully unique is what my work is all about. This uniqueness in my work comes from how I personally express myself. It is a one-of-a-kind thing - it is not art where as one size fits all. It is a conceptual abstraction.”


▫︎ 29 ▫︎ Circle Quarterly Art Review 6 • Eva Antonini Vestida de Mar Bronze 80 x 50 x 20 cm

“The body as the soul’s “translator” into the visible. Following this central theme, I create body and face fragments that carry the marks of time, the scars of life. Fragments representing some sort of life maps contemplating the fragility and fleetingness of life; the metamorphosis between past and present. To me, a successful sculpture is a mystery object, gathering and amplifying whispers from the subconscious, maybe even giving us a glimpse of Creation.”


Lisa Cutler • Circle Quarterly Art Review 6 ▫︎ 30 ▫︎

Campground Closed Archival pigment print, Hahnemuehle sheet 17 x 22 in.

“In my ‘Memory’ series, I try to show the fragility of the world we live in. The photos force us to conjure up scenarios of playgrounds full of children and restaurant parking lots full of cars and people. Without people as a reference, these images stand as monuments to another time. As with Easter Island, all that was left were monuments as clues to a civilization that had once existed.”


▫︎ 31 ▫︎ Circle Quarterly Art Review 6 • Lyn Darlington Maggie Mixed media

“I’m a passionate wildlife nature photographer and digital artist from Australia. I enjoy capturing moments of our wildlife to create my unique artwork. The photographs are my first step in the creative process which I then transform through to the digital darkroom to help create my vision into something truly special.”


BOGDAN • Circle Quarterly Art Review 6 ▫︎ 32 ▫︎

Cosmic Ancestry / Panspermia Cycle Acrylic on canvas 80 x 60 cm

“I believe that art is a form of energy and the artist’s role is to materialize this energy, to give it shape. It’s a kind of a stream of information that passes through the artist as if through a portal. I am an intuitive artist and when the portal is open for me, I start to create. The information flows, the time is not enough, and I often paint several pictures simultaneously. I never force the moment or the nature of the process. I let the pictures happen and resonate. Most of my artworks are abstract and when I work I aim to combine colours and nuances which ‘’love each other’’ in such a way that the painting would echo beautifully. I perceive myself as a musician. I strive to create music for the eyes.”


▫︎ 33 ▫︎ Circle Quarterly Art Review 6 • BOGDAN Omnipresent Love Mixed media on canvas 80 x 120 cm

Sue Daniel • Circle Quarterly Art Review 6 ▫︎ 34 ▫︎

Courage Oil over acrylic base on gallery-wrapped linen 48 x 36 x 1.5 in.

“These two paintings are part of my “Life Journey” series, painted in 2021. The paintings are in oil (over an acrylic background) and on each I left a border of uncolored linen as a natural frame, extending around the edges. Having the courage to walk through a door is part of life, as is the ability to overcome your inner fears, especially for an artist faced with a blank canvas!”


▫︎ 35 ▫︎ Circle Quarterly Art Review 6 • Sue Daniel Inner Conquest Oil over acrylic base on gallery-wrapped linen 48 x 36 x 1.5 in.

David Dejous • Circle Quarterly Art Review 6 ▫︎ 36 ▫︎

Slide (Distortion Series) Acrylic on canvas 146 x 114 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, screen-printed and scenographic media. The resulting images raise issues of authenticity, voidness and illusion.”


▫︎ 37 ▫︎ Circle Quarterly Art Review 6 • Anina Deetlefs On Becoming Adam Mixed media on canvas 124 x 94 x 4 in.

“I have found my niche in large and small-scale portrait and figurative studies which I approach with meticulous attention to detail. I explore adversities, mistakes, failures and relationships by asking how these experiences might cultivate human growth and spiritual enlightenment. I am currently working on combining portraiture with textile design patterns as well as mid-century modern elements.”

ANINA DEETLEFS Instagram@aninadeetlefs

Jieyu Deng • Circle Quarterly Art Review 6 ▫︎ 38 ▫︎

Icelandic Dream Digital media 11.23 x 14.3 in.

“Love is the purpose of creation, and creation is a way of expressing love.”


▫︎ 39 ▫︎ Circle Quarterly Art Review 6 • Gabriella Di XX Miglia Boy 4 Oil on Plexiglass 14 x 11 in.

“I paint a variety of subjects using different media. My ultimate satisfaction comes from continually inventing, stretching and improving myself. I search for new ideas, new methods, new techniques, this is a never-ending quest as an artist. Each portrait has a history; each painting revolves around the childs’ moment and gesture. Their eyes captivate viewers and draw them into the painting. In the subjects of childhood, the themes of innocence and simplicity are central.”


Bob Doucette • Circle Quarterly Art Review 6 ▫︎ 40 ▫︎

Despair Oil on board 12 x 6 in.

“I make it my job to take in the barrage of input from the world today and amalgamate it with art history, pop imagery and my personal taste to create my art. “Modern Art” is dead.”


▫︎ 41 ▫︎ Circle Quarterly Art Review 6 • Bob Doucette When Joy Slips In Oil on canvas 24 x 12 in.

Bob Doucette • Circle Quarterly Art Review 6 ▫︎ 42 ▫︎

Lucille Oil on canvas 24 x 12 in.


▫︎ 43 ▫︎ Circle Quarterly Art Review 6 • Bob Doucette Lucy Oil on canvas 24 x 12 in.

Paul G. Emmerson • Circle Quarterly Art Review 6 ▫︎ 44 ▫︎


“Plunging headfirst into climate change and the pandemic, initially without awareness, the elongated flexible unseen organic protrusions slowly enveloping communities and the world order only to be repelled by the regular shape of ideas, rigid science and technologies. Thinking tentatcularly is to think collectively, to create tentacular collaborations and problem-solving that never existed before in society.”


▫︎ 45 ▫︎ Circle Quarterly Art Review 6 • Pascal Fessler The Daughter,2017 Acrylic on canvas 160 x 100 cm

“My artwork is about introspecting human relationships, or rather non-relationships, mainly depicting superficiality and solitude. It is expressed by opposing organic vs nonorganic, light vs darkness, using archetypes, Greek mythology, biblical stories and working in chiaroscuro atmospheres where light rips its way through darkness thus symbolizing optimism. I use a restricted color palette and strong contrasts for a more austere, dramatic effect but also because I’m colorblind. Art, as I perceive it, is a complex relation between the artist’s expression and what he is, what he thinks he is or what he wants to be.”


Elizabeth Frank • Circle Quarterly Art Review 6 ▫︎ 46 ▫︎

Spirit Stag, 2020 Carved fallen aspen, found oak, acrylic paint, steel stand 27 x 32 x 12 in.

“I’m a wood sculptor from the southwestern United States. One of my guiding principles is to walk lightly on the planet. I use sustainable and reclaimed materials. Each year I visit an aspen forest to collect wood for my carvings. My artwork is a reflection of my belief that we are all here to act as stewards of this garden called earth.”

ELIZABETH FRANK www.elizabethf

▫︎ 47 ▫︎ Circle Quarterly Art Review 6 • Orit Goldman CONTACTIM Diptych Mixed media

“Art is DNA for me. I conceive an idea and arrive at the work platform full of passion. Working with wide brushes, I use my whole body on unstretched canvases. The outburst is part of my handwriting. I flood memories, I do not dig. I leave air and spaces. I challenge myself with materials. I’m in love with the explosion that takes place between a stain and a line. I give a stage to the deformative.”


Marcus Wolak • Circle Quarterly Art Review 6 ▫︎ 48 ▫︎

Wood Fired Chawan 9.5 x 12 cm (550 mL)

“Living in Asia for over 20 years has influenced my pot making greatly. The simple yet meditative forms have a profound impact on me. I get great enjoyment out of making functional items that people can use in their everyday life. The connection from potter to user should not be underestimated. It is this connection that motivates me to make pottery.”

MARCUS WOLAK Marcus Wolak @ Etsy

▫︎ 49 ▫︎ Circle Quarterly Art Review 6 • Andrew Han Lucid Nightmare: Lost Mixed media 48 x 60 in.

“I follow the basic instinctive principles of color and shape to express my psyche. The subject of anxiety and nightmares has been prominently featured in my paintings as I still struggle with my demons. My paintings represent my observational study of colors, patterns and balances of shape. My art is the latest replica and reflection of my psyche.”


Camille Hannah • Circle Quarterly Art Review 6 ▫︎ 50 ▫︎

Venus in Furs Oil and bronze dust on polyester silk 180 x 150 cm

“Harnessing the contemporary aesthetic of mediated visuality, my work acknowledges the influence of the screen paradigm through notions relating to fluidity, painting as object/surface and the perception of interactivity. Relating to a virtual form of tactility, my artwork seeks to engage the viewer immediately in an aesthetic of the feminine, utilising tactile participation, close and yet distancing at the threshold of vision and touch.”


▫︎ 51 ▫︎ Circle Quarterly Art Review 6 • Lindalee Holmes Dawn Acrylic 36 x 36 in

“Based in Park City, Utah, I am an abstract artist who is drawn to the energy of color and texture. I paint primarily with acrylic and use a variety of materials to create texture. My tools consist of scrapers, squeegees, paper towels, my fingers and the occasional brush. When I paint, I am compelled to create images that convey emotion and mood, resulting in an atmospheric canvas that embodies memories of places.”


Cheng Hsien Hsieh • Circle Quarterly Art Review 6 ▫︎ 52 ▫︎

Street Watercolor 26 x 38 cm

“My creative philosophy is to pursue truth, goodness, beauty and love, and to improve the body, mind, and soul. Creation is not only to heal yourself, but also to move and relax the audience. The pace of life in modern society is getting faster and faster. It is possible to slow down and take a good look at the surrounding scenery and beauty in humanity.”

CHENG HSIEN HSIEH Facebook@Hsieh Cheng Hsien

▫︎ 53 ▫︎ Circle Quarterly Art Review 6 • Michael Jicha Zolpidem, Goddess of the Night and Sleep Digital media

“This style of photography is influenced by post-impressionist and surrealist painters. I use color and texture similar to these painting styles. This series is based on Greek and Roman gods and goddesses. I gave the gods and goddesses pharmaceutical medication names. This image is called Zolpidem, goddess of the night and sleep.”


Dana Ingesson • Circle Quarterly Art Review 6 ▫︎ 54 ▫︎

Story beyond the Horizon Watercolor 52 x 31 cm

“I see my art as my story, with colours and shapes being my words.” Dana Ingesson’s paintings are an expression of her feelings, life experiences, and emotional maturation. Working primarily in watercolor, she creates dreamy compositions that blend the figurative and the abstracted. Ingesson’s choice of color palette and gestural brushstrokes is a conversation with her audience; drawing from her intellect, emotion, and intuition. Ingesson wants to inspire the viewer to acknowledge and engage with their own beliefs, emotions, and subconscious.


▫︎ 55 ▫︎ Circle Quarterly Art Review 6 • Dana Ingesson Where the Clouds End Watercolor 54 x 40 cm

Dita Jacobovitz • Circle Quarterly Art Review 6 ▫︎ 56 ▫︎

It’s A Long Way to Paradise Oil on canvas 120 x 150 cm

“This artwork ‘It’s a long way to paradise’ was done during the closure due to coronavirus, I let myself go after an undercurrent of memories, observations and imagination. For me, it is indeed a first step on the way to the utopian paradise. My belief is to share scenery landscapes, that is the reason for creating art.”

DITA JACOBOVITZ | Instagram@ditasartdotcom

▫︎ 57 ▫︎ Circle Quarterly Art Review 6 • SiYang Jiang La Malattia Plaster and iron powders 35 x 16 x 60 cm

“The corporeal existence including the appearance of human beings and the artwork itself, are momentary things, like the color of rust. The rust is easily stereotyped as the process from hard to frangible - it’s a typical process of impermanent things.”


Bryan Jennings • Circle Quarterly Art Review 6 ▫︎ 58 ▫︎

Early Light Oil on canvas 34 x 34 in.

“I am constantly inspired by the landscape. The blurred lines, the smoothness of blended colors, the movement and marks, the hidden and mysterious of things most of us see and ignore every day. I’m drawn to the light and weather, capturing a moment in time I often relate to human emotions. It’s about the light on places known or unknown. My work, I feel is part of an emotional journey.”


▫︎ 59 ▫︎ Circle Quarterly Art Review 6 • Jill Krasner Marina On The Gulf Mixed media 18 x 24 in.

“Making art is my way of communicating. I share my story through my paintings, using watercolor, acrylic, oil, ink and collage to create my art. I weave my tales in bold colors and symbolic motifs; broad swatches of paint serve as background for my narrative. I hope my art inspires — or sparks a secret memory; perhaps transport my viewers into a new world, giving them a different perspective on the here and now.”


Lukas Kandl • Circle Quarterly Art Review 6 ▫︎ 60 ▫︎

Mon Cygne bien aimé - Tribute to Lohengrin Oil on canvas 195 x 130 cm

“I was born in Prague, the city inhabited by the spirits of Rudolf II, Arcimboldo, Kafka and many others who left their indelible marks there. My painting is somewhere between surrealism and the fantastic, between the strange and the magical. What matters to me is to show paintings in front of which the attentive spectator will settle down, enter into communion, take his own waking dream walk and dress, if only for a moment, in a rare, unusual sensation.”


▫︎ 61 ▫︎ Circle Quarterly Art Review 6 • Lukas Kandl Une perle par jour pour Judith - Tribute to Caravaggio Oil on canvas 195 x 130 cm

Lukas Kandl • Circle Quarterly Art Review 6 ▫︎ 62 ▫︎

L’école des Anges Oil on canvas 195 x 162 cm


▫︎ 63 ▫︎ Circle Quarterly Art Review 6 • Lukas Kandl Femme cible Oil on canvas 162 x 130 cm

Paul Kenens • Circle Quarterly Art Review 6 ▫︎ 64 ▫︎

The Shadow of my Nose Oil on canvas, aluminum frame 100 x 200 cm

“Based on an idea and improvising photo sessions, I look for surprising images that appeal to me for some reason. I edit or combine elements that show me a personal direction. I add and leave out. Sometimes the image itself finds its way. Searching for the most penetrating expressivity of the image, I paint in oil, building layer after layer, patiently and with detail.”


▫︎ 65 ▫︎ Circle Quarterly Art Review 6 • Jürgen Krass 20 degrees - 341 sec Sheet steel welded and rusted 45 x 13 x 9 cm

“Sculpture is my passion. I prefer to work with steel. New 3D forms are created from simple geometric figures such as circles, rectangles or triangles. I often try to get by with as few basic shapes as possible. The sculpture shown here consists of the same rectangular steel sheets welded together. There is a certain lightness that one cannot necessarily expect from this material. I prefer to rust the surfaces. This gives the steel liveliness.”


Lize Krüger • Circle Quarterly Art Review 6 ▫︎ 66 ▫︎

Finding Avenues Digital collage 60 x 80 cm

“My work has mainly to do with creating awareness about social issues and mental health. I dive deep into my own experiences in order to stay authentic with my expression. To me Art is Life and Life is Art. It is my daily oxygen. I am adamant to find beauty in the darkest moments and honey in the bitter chalice.”

LIZE KRÜGER https://www.lizekrugerf

▫︎ 67 ▫︎ Circle Quarterly Art Review 6 • Deborah Maris Lader The Undertaker’s Songbook Color lithograph on Rives BFK 22 x 30 in.

“In love with drawing on stone and copper, I’m primarily a printmaker, but one who also paints, sculpts, films, and performs. My 31-year-old printmaking workshop is an integral aspect of my art practice. In my work, birds and fish and other dreamlike forms migrate on threatening waves of cloud and sea, using their senses to navigate. I’m interested in the idea of fragility — of our faculties, our senses, and of our “place” in the world and how, in the pursuit of saving it, we might save ourselves.”


Aneta Kvedaraviciene • Circle Quarterly Art Review 6 ▫︎ 68 ▫︎

Abstract No. 118 Acrylic on canvas, mixed media 105 x 200 cm

“I was born and live in Lithuania, Kaunas. I earned a Master’s degree at Klaipeda University. Inner freedom is very important to me, this is why my work is so energetic. Colours are used boldly and you can see the contrasts brought up for expressive work. In my paintings, I have positive thoughts, a desire to convey joy to the viewer. I am experimenting with acrylic confidently, often using several painting techniques. My work makes you go searching for more, it is bold, non-monotonous, and always has something to say to the viewer.”


▫︎ 69 ▫︎ Circle Quarterly Art Review 6 • Kathy Leader Genesis Monoprint collage 20 x 16 in.

“Growing up in Africa deeply influenced my love of nature. The colors of the earth and sky seeped into my earlier abstracted figurative shapes which seemed to evolve into biomorphic forms struggling to survive. I realized through my art process that I was primarily talking about the environment’s struggle to survive. I found that I could convey these distressed feelings through mixed media and collage work. Alternating layers of paint, collage, wax and charcoal has helped me to bury and excavate these natural images and shapes.”


Léonce Lemmens • Circle Quarterly Art Review 6 ▫︎ 70 ▫︎

Let the sunshine in Mixed media on canvas 50 x 50 x 4 cm

“In my paintings I try to convey my thoughts and emotions, which can be a struggle but also a challenge. My inspiration comes from occurrences in daily life, people I meet, mix of cultures, contrasts spotted in nature or cities, architecture. What touches my heart, I translate on my abstract expressionist layered paintings, created with acrylics, oil, spray paint and mixed media. It’s an adventure over and over.”


▫︎ 71 ▫︎ Circle Quarterly Art Review 6 • Huaqi Li Puzzle Oil on canvas 100 x 120 cm

“The “Puzzle” expresses the emotional dilemma of contemporary people in the information age. In such a world, human beings are confronted with the duality of virtual vs reality, which is a contradiction of human existence. Especially around the virtual existence there are multiple contradictions of mutual negation and rejection between the real and the virtual.”


Monica Lee • Circle Quarterly Art Review 6 ▫︎ 72 ▫︎

Reaching for the Stars Charcoal on paper 50 x 35 in.

“Specialising only in charcoal and graphite, my style of drawing emphasizes the details and textures of the subject matter. Through my work, I hope to portray the beauty of wildlife animals. Hopefully, it will inspire people to appreciate and help protect it for future generations.”


▫︎ 73 ▫︎ Circle Quarterly Art Review 6 • Christian Leroy Fleur de Lys Acrylic and oil on fabric with gold leaf 80 x 100 cm

“This painting is a memoir on slave trade with the motto of the French East India Company in 18th century «Florebo quocumque ferar» (I will bloom wherever I am carried). This narrative series is a respectful representation with symbols that underline the abject side of this triangular trade. The slaves of yesterday or the migrants of today invite us to be tolerant and sincere in our repentance.”


Cheng Liao • Circle Quarterly Art Review 6 ▫︎ 74 ▫︎

Studio Oil on linen 148 x 184 cm

“I am obsessed with art. I think art is a kind of free creation, which constructs my inner world to a great extent.”


▫︎ 75 ▫︎ Circle Quarterly Art Review 6 • Rob MacIntosh Observation 24 x 36 in.

“I am a photorealist, I enjoy putting all the detail I can into my paintings. It might look like a photo but up close every stroke is visible. I enjoy painting any subject matter and over the years have been admired for my diversity. I was once labeled a wildlife artist but got myself out of that box by painting anything from seascape to landscape, still-life and wildlife. The challenge was to be able to master them all, I have.”


Anson Liaw • Circle Quarterly Art Review 6 ▫︎ 76 ▫︎

Finding Peace from within during Dark Times Pencil, ink and digital and 9 x 12 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 from childhood to adulthood — which in many ways is full of chaos and hardship — are what sparks and motivates me 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 the darkness and that sometimes nightmares are the birthplace of some of the best ideas for an artist.”


▫︎ 77 ▫︎ Circle Quarterly Art Review 6 • Anson Liaw Heart Smart Chalk pastels on archival print-making and drawing paper 20 x 30 in.

Maximilian • Circle Quarterly Art Review 6 ▫︎ 78 ▫︎

Le Poids de l’Arrogance Acrylic on hardboard 120 x 80 cm

“To me, being an artist comes from a deep-rooted necessity. It’s a natural way to transform your emotions, fears and desires into a concrete object like a painting. It’s the representation of an idea, using a language made up of images — much of it channeled directly from my subconscious, with little in the way of filters. I’ve been making art since I was a child and it’s always been my favorite way to spend my time, to be alone and to be able to visit my inner world. Since arriving in Paris, I’ve started a new series of artworks representing pre-adolescent boys; an age when the games and innocence of childhood give way to adult thoughts and concerns. That phase when boys turn into men, between the ages of 10 and 14, is a stage when sexuality is still not fully expressed and when gender is still fairly fluid. My characters are androgynous precisely because I want to represent that sexual duality.”


▫︎ 79 ▫︎ Circle Quarterly Art Review 6 • Jody McCool Elvis as a Young Man Oil on copper 5 x 6 in.

“There is a quote from Gerhard Richter: “Art is the highest form of hope,” I believe this to be true and that is why I am an artist. I paint a lot of musicians and animals. Sometimes I combine them. Drawing musicians while they perform is something that I did for years. Elvis Costello has been a major influence on my art. I have drawn him while he was performing and then done paintings from the drawings. I also paint en plein-air, abstracts and still lives.”


Taleh Mirkazim • Circle Quarterly Art Review 6 ▫︎ 80 ▫︎

Alte Fahrräder Oil 140 x 100 cm

“In my works, I try to create a direct relationship between color and human psychology, to have a symbolic significance for a viewer at a first glance. In my preferred genres and objects, as well as in my personal creativity, which is distinguished by the human factor, thoughtfulness and light/ shadow are the main indicators. Every painting painted with an inspiration is the investment of the buyer, not the artist.”


▫︎ 81 ▫︎ Circle Quarterly Art Review 6 • Timothy Mulligan Marina Light, San Francisco Acrylic on canvas 40 x 30 in.

“My paintings are passionate experiments of color, light, and form. I first reimagine the subject to simplify and clarify the information, then build a nontraditional composition such as a vertical landscape. Using bold and vibrant colors, I capture unexpected and heightened sensations like temperature, and the effects of the color spectrum of light on objects. The final image blends real with abstraction to create a unique and personal vision.”

TIMOTHY MULLIGAN www.timothymulliganf

Timothy Mulligan • Circle Quarterly Art Review 6 ▫︎ 82 ▫︎

Harbor Light, Morro Bay Acrylic on canvas 48 x 36 in.

TIMOTHY MULLIGAN www.timothymulliganf

▫︎ 83 ▫︎ Circle Quarterly Art Review 6 • Timothy Mulligan River Dock Shadow Acrylic on canvas 40 x 30 in.

Gabriele Musebrink • Circle Quarterly Art Review 6 ▫︎ 84 ▫︎

Peaceful Sign No.7 Manufacturing edition, Fresco-limestone, pigments on handmade paper 30 x 30 cm

“In the series ‘Peaceful Sign’ I follow the question what is it about peace inside of us? Why is it so hard to really be at peace inside oneself? What can we do to bring this peace into consciousness again and to cultivate it? Everything begins with ourselves. At first, peace needs to be felt inside, before we can experience it externally with other people and be able to live it ourselves.”


▫︎ 85 ▫︎ Circle Quarterly Art Review 6 • Gabriele Musebrink Peaceful Sign No.12 Manufacturing edition, Fresco-limestone, pigments on handmade paper, frame 30 x 30 cm

Gerhard Rasser • Circle Quarterly Art Review 6 ▫︎ 86 ▫︎

Looking Ahead II Watercolor, gouache, crayon, monoprint 26 x 42 cm

“Engaged in arts for many years and attempting different techniques, I ended up with mixed media, watercolor and gouache with the enormously wide range of possibilities it offers. I have since created and continuously do lots of little “illusory worlds” which invite the observer to take a close look. My work is supposed to make people think and pause, just like my themes melancholy, fugacity, threat, loneliness, desire and hope - all very emotional topics.”


▫︎ 87 ▫︎ Circle Quarterly Art Review 6 • Maj-Britt Niklasson Head wind - Concentration! Oil on canvas 120 x 130 cm

“Head wind - it holds you back and makes it sluggish to walk, sluggish to move on. An obstacle, like a threshold, or like a staircase with high steps, energy-intensive and difficult to climb. An inner voice urges: Endurance! Concentration! Further! Further! Why do I create art? Because it’s a call. A whisper coming from the inside tells me: Go to the studio! Create!”


Chie Nakano • Circle Quarterly Art Review 6 ▫︎ 88 ▫︎

Terremoto, 2011 Mixed media 100 x 81 cm

“This painting is a tribute to the people who suffered from the devastating earthquake in Eastern Japan, 2011. The blue cabinet represents our deep-seated ground, solid and stable. However, when a powerful force strikes and shakes its foundation, we are all at the mercy of nature. Our lives are fragile and we need to cherish every moment. Nature is beautiful yet so powerful and fierce, we must not forget to have a great deal of respect for it.”


▫︎ 89 ▫︎ Circle Quarterly Art Review 6 • Olivia Patricia O’Neal Vera Wang Shades Oil on hand-prepared linen 86.3 x 52 cm

“I have a continuous interest in masks and their mystique, from ancient multi-cultural forms, purposes and meanings, to a modern rendition like sunglasses. Are we transformed or unseen behind a screen? What is revealed? This inspired my series called ‘Shades.’ What can one comprehend without seeing the eyes. Currently, required masks inspire surprising discoveries; what does the face reveal when we can only see the eyes?”


Leon Oks • Circle Quarterly Art Review 6 ▫︎ 90 ▫︎

Dream Oil on canvas 30 x 24 in.

“I paint for the satisfaction of the created work. It is important for me that my audience, in a very simple, perhaps old-fashioned way, gets pure enjoyment and pleasure from viewing and living with my paintings. This speaks to the power of art to transcend the troubles and realities of life.”


▫︎ 91 ▫︎ Circle Quarterly Art Review 6 • Thomas Pramhas Bette Davis Oil on canvas 100 x 100 cm

Thomas Pramhas was born in 1966 and studied at the University of Art and Industrial Design, Linz (1990-96). He then worked in the advertising and media industry as well as a lecturer for several years. In 2014, Pramhas began work as a freelance artist. “From that point on, my attention was mainly focused on the female portrait and the abysses of female longings, fears, dreams and the deep cravings for human perception.”


Igor Eugen Prokop • Circle Quarterly Art Review 6 ▫︎ 92 ▫︎

COVID Tango, 2021 Acrylic on canvas 98 x 78 cm


▫︎ 93 ▫︎ Circle Quarterly Art Review 6 • SILVIYAR Amber Lotus Acrylic on canvas 40 x 30 x 5 cm

“I am a London-based artist intrigued with combining different materials and mediums. I intuitively project a collection of fragments of conscious and subconscious images as symbolic elements and hidden messages resonate through my work. Mysterious and enigmatic, often the narrative unfolds over a few artworks/series linked by key elements. I hold a BA Hons in Painting and an MFA in Graphic Art. I have exhibited widely in the UK and Europe and my artworks feature in private collections worldwide.”


Cheryl R Richardson • Circle Quarterly Art Review 6 ▫︎ 94 ▫︎

Flowers and Animals but where are the Bees Acrylic on canvas 91 x 91 cm

“I paint with three mediums; watercolour, chinese brush and acrylic and have developed a sequence whereby I can practice these mediums separately and independently but also as companions to each other borrowing ideas, rules, skills and blending ultimately to a rich fusion with happy results. I spend a long time thinking, a very slow and deliberate process of preparation. I hope that my landscapes transport the viewer to another place, a place of whimsy, illusion and fantasy.”


▫︎ 95 ▫︎ Circle Quarterly Art Review 6 • Julia Romano Changes of State (Landscape 68) Digital collage 100 x 100 cm

“The landscape is transformed according to how we experience it. It is a cultural container that registers, in its multiple element constituencies, a history of the world. The landscape is a superposition of moments that contribute to the construction of an exhaustive history of that place. Perhaps the most exciting is to recognize that there is not a single reading of the territory but that this succession of layers embraces the testimony of each being that inhabits it.”


Matthew W Robinson • Circle Quarterly Art Review 6 ▫︎ 96 ▫︎

Preservation Brief 44 Acrylic on canvas 50 x 48 in.

“Deconstructing architecture, suburban spaces, cityscapes, and places of public gathering, I paint layered compositions that strive to make sense of the economic and social history of ‘place.’ Attracted equally to the aesthetics of grandeur, craft, and visual blight, I erase the hierarchy of beauty and address this varied collection of architecture with equal care. A 19th-century gymnasium, dilapidated rowhouses with vinyl siding, or the detritus from a temporary shelter merge and metaphysically communicate on the picture plane. Structures have anachronistic conversations in dream-time. I conjure the past and question systems of living all in the same space.”


▫︎ 97 ▫︎ Circle Quarterly Art Review 6 • Kimberlee Rocca Anomaly Mixed media with foil 100 x 109 in.

“I am an Iowa-based multidisciplinary artist focused on process and mundane media rejuvenation. Architecture, scrap wood, metals, foils, painting and mixed media work of all sizes are my sketchbooks of sorts. I lose myself in abstracted landscape shapes and bold color combinations, as I arrange and rearrange pieces to find jarring yet harmonious relationships. Preplanning is confining, but necessary. Exploration is glorious and where my work comes alive!”


Mitch Rouse • Circle Quarterly Art Review 6 ▫︎ 98 ▫︎

Sunrise In Death Valley Digital photograph using a Phase One Medium Format

“Sharing and seeing my art appreciated is the most fulfilling aspect of my work. I love to see others enjoy the projects I create and that keeps me flying high.”


▫︎ 99 ▫︎ Circle Quarterly Art Review 6 • Yelena Safronova A Dream Oil on canvas 61 x 76 cm

“I paint the beauty of diverse, yet unifying human experience, focusing on emotions expressed in faces, gestures. I delight in the freshness of a color mixing with another. A lot of times I mix colors directly on the canvas; adding, subtracting, layering paint, inviting you along to observe the image emerge. The play of light and shade, colors, and textures invite you to slow down and embark on a meditative journey.”

YELENA SAFRONOVA https://www.saf

Yelena Safronova • Circle Quarterly Art Review 6 ▫︎ 100 ▫︎

Woman Texting Oil on canvas 51 x 56 cm

YELENA SAFRONOVA https://www.saf

▫︎ 101 ▫︎ Circle Quarterly Art Review 6 • Yelena Safronova Early Oil on canvas 76 x 76 cm

Stefanie Schairer • Circle Quarterly Art Review 6 ▫︎ 102 ▫︎

Landscape B, 2020 Acrylic and pencil on Yupo paper 68 x 51 cm

“I work mainly in painting, video/animation, installation and interactive/immersive happenings/performances in public space. In my abstract paintings, I am using color as an initial point. My observations about relationships and behavior between several materials, as well the relationship between persons is my never-ending source and inspiration for my creative work. I love playing and experimenting by discovering new perspectives.”


▫︎ 103 ▫︎ Circle Quarterly Art Review 6 • Stefanie Schairer

Landscape A, 2020 Acrylic and pencil on Yupo paper 68 x 51 cm (The original image has been slightly cropped to fit)

Petra Schott • Circle Quarterly Art Review 6 ▫︎ 104 ▫︎

Passers by Oil, oil sticks, graphite on handmade paper 10 x 75 x 0,2 cm

“My work revolves around visions, ideas and emotions in past and present in a figurativeabstract way. I search for freedom, lightness, liveliness and intensity. It inspires me to create an unseen world with its magic and its secrets visible. It inspires me to make people question their view of the world and add a new colour, idea or shape to it.”


▫︎ 105 ▫︎ Circle Quarterly Art Review 6 • Petra Schott Introspection VII Oil, oil sticks, graphite on handmade paper 105 x 75 x 0,2 cm

Eva Silberknoll • Circle Quarterly Art Review 6 ▫︎ 106 ▫︎

Leaf Green and Orange Mixed media on canvas 130 x 175 cm

“I am a visual artist and photographer in love with the sewing machine. My career began as a fashion designer, that ́s why I like to work interdisciplinary. The photograph is at the center of my artistic work. It stands alone or is the canvas of my mixed media, where I combine photography, colours and textile techniques. With my artwork, I tell stories of personal journeys, places of desire and dreams.”


▫︎ 107 ▫︎ Circle Quarterly Art Review 6 • Lee Bordon Smith Woman Smoking Ink and oil on canvas 22 x 28 in.

“I specialize in realistic figurative painting and illustration in a variety of media with an emphasis on ink, pastel, watercolor and oil paint. Art for me is what gives my life meaning and purpose, and a sense of connection to the world and the past. My goal is to express the beauty and wonder of the human figure and to use it to convey ideas and emotions I can’t put into words.”

LEE BORDON SMITH Instagram@leebordonsmith

Bernd Steinert • Circle Quarterly Art Review 6 ▫︎ 108 ▫︎

Go and See Oil on canvas 100 x 120 cm

“Stories of political power and day-to-day politics do not particularly interest me. There are too many imposed patterns and simplified versions of the truth in play. I find the subjective approach much more fruitful. My pictures are not simple to read. Already in their technical realization, they are too complex for easy access. Whenever I realize that a picture is becoming too harmonious and slick, I intervene and destroy what is pleasing.”


▫︎ 109 ▫︎ Circle Quarterly Art Review 6 • Kaat Stieber Dutch Blue 2 Digital photograph

Kaat Stieber is a fine art photographer who weaves the worlds of surrealism and noble Dutch art into her images. Mixing her broad set of creative skills with an internationally acclaimed background in theatre and costume design, her photos are assembled with vast craftmanship. Kaat’s works of art resemble tableaux from the Dutch Golden Age, a rich realm of paintings and a constant source of identification. An admiration of surrealism adds to the scene.


Louis van der Linden • Circle Quarterly Art Review 6 ▫︎ 110 ▫︎

At the Seaside Oil on linen 150 x 100 cm

“My work is figurative. The memory of the subject, the studies and the process of painting are in constant conversation with each other and together determine the product result. The painting is built up layer by layer in the tension between representation and its rendering until the image is correct. So that you can show images of the world to others that you have completely created and determined yourself.”


▫︎ 111 ▫︎ Circle Quarterly Art Review 6 • Jerry Steingraeber Workin’ Oil 20 x 24 in.

“In my figurative paintings, I try to capture spontaneous responses to actions or events often within a lighthearted context. Facial expressions tell me a lot about personality and maybe a little bit about a person’s character without really knowing them.”


Heartbreak Hotel - Room 1 Oil on canvas 50 x 60 cm (The original image has been cropped to fit)

Simona Zecca • Circle Quarterly Art Review 6 ▫︎ 112 ▫︎

“I have always been particularly focused on the expressiveness of the gaze. Currently, I am working on a series of portraits of women who show feelings of loneliness, sadness and melancholy in their gestures and expressions. The series is called “Heartbreak Hotel”, like the famous song by Elvis Presley. Each work, a room. Each room, a brokenhearted woman.”


▫︎ 113 ▫︎ Circle Quarterly Art Review 6 • Vladinsky Observer No. 249

The ongoing series, ‘Observer’, reflects upon the man who has the time and courage to stop and look at today’s society. Vladinsky gave up realistic portraiture due to the monotony of the creative process. Instead, he finds the construction of abstracted figurative images much more interesting both as a process and in terms of the uniqueness of each final result. The way the colors speak to each other and produce visual balance is unique, with the power to satisfy the eyes just like the sound of a violin or a soprano.


d.W. Whitfield • Circle Quarterly Art Review 6 ▫︎ 114 ▫︎

Untitled Acrylic 100 x 70 cm

“Art is in a continual state of flux subject to changing ideas and conflicts within the artist. Humanity and its personal inter-relationship and that of the space it inhabits is relevant within these works. The interpretation so fluid from an observer is entirely left to them.”

D.W. WHITFIELD www.davidwwhitf

▫︎ 115 ▫︎ Circle Quarterly Art Review 6 • d.W. Whitfield Untitled Acrylic 100 x 70 cm

Dina Torrans • Circle Quarterly Art Review 6 ▫︎ 116 ▫︎

Ensō Danby Imperial marble on charcoal granite 50 x 55 x 20 cm

“My imagery points to ideas about our belief systems, environmental consciousness, personal and planetary evolution and our ultimate interconnectedness. Nature is a prominent muse. I find that in exploring the creative process, my work reflects various ideas and developments in my 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.”


▫︎ 117 ▫︎ Circle Quarterly Art Review 6 • Maija Vanhatapio Spring Acrylic, oil 90 x 90 x 2 cm

“My themes evolve around Nordic nature; its textures, colors and lights. I will pick out what’s vital and thought-provoking, digest and rebuild an abstract story, in order to present nature in a new form for the viewer. It is then up to the viewer how to interpret my vision.”

MAIJA VANHATAPIO https://maijavanhatapio.f i

Andrej Wilhelms • Circle Quarterly Art Review 6 ▫︎ 118 ▫︎

Tyrax Oil on canvas 100 x 100 cm

“In my work, I look for things through the process of painting. I try to bring things together that don’t really belong together, to organize set pieces into a whole. These things can be reminiscent of parts of reality, but they only become real in painting. There is a painterly intelligence that leads me to these places of longing.”


▫︎ 119 ▫︎ Circle Quarterly Art Review 6 • Hsiung Yu Multiple Effects (X) Acrylic on canvas 145 x 121 cm

“ ‘Multiple Effects (X)’ brings together birds and beasts, rare treasures, and power machinery. These symbols project revelations and imaginations about the unknown. I want to create hope and bring positive energy. Emotions and struggle, stories of life, beyond the shaking of language, create a certain harmony for all species in the world. Art condenses all the good in the universe.”


Wind Patterns Silver Gelatin print 10 x 8 in. (The original image has been slightly cropped to fit)

Harry Goldstrom • Circle Quarterly Art Review 6 ▫︎ 120 ▫︎

“My artwork is about photographing the tranquility of nature and the fact that I revel in spending time at these places of grandeur. My photography represents not only how I envisioned a given scene, but also my attempt to convey the emotion felt while making the photograph. Hopefully, some emotion will be evoked within and pondered by the viewer. Perhaps then the work will have served some meaningful purpose.”


▫︎ 121 ▫︎ Circle Quarterly Art Review 6 • Farnaz Zabetian Love Fluidity Oil on canvas 64 x 64 in.

“The women in my paintings mirror the image of all eastern women from the part of the world where I come from. These women are a perpetuation of old and deep tumors that have been engrained in an eastern woman like me. A woman who from birth is in a struggle with social taboos, so much so that she will not know how to act without them.”


Linda Reymore • Circle Quarterly Art Review 6 ▫︎ 122 ▫︎

Series 2 - Composition 1 Wall paint, acrylics, modeling paste 36 x 48 x 1.5 in.

“My projects are a non-objective experimentation probing compositional constructs and rotating elemental emphasis. A personal intellectual exercise exploring form, line, texture, color (often neutral), and varied materials on canvas, my intent is to assemble the pieces in a “comfortable” or “uncomfortably comfortable” composition. Changing emphasis on elements allows a path for further exploration as well as freedom from a formulaic style while creating a simple sensing experience for viewers.”



An Examination of Current Trends & Original Practices in Visual Art

Published by Circle Foundation For the Arts Cover Image Linda Reymore

Circle Foundation