Circle Quarterly Art Review | 7

Page 1

FALL 2021

An Examination of Current Trends & Original Practices in Visual Art

Published by Circle Foundation For the Arts Cover Image Guigen Zha

Circle Foundation

Curated by Myrina Tunberg Georgiou Produced and Published by Circle Foundation for the Arts This is the 7th issue of Circle Quarterly Art Review (Fall 2021) FRONT COVER Guigen Zha - BACK COVER Deana Bada Maloney - 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 Celia Carl Anderson Tatiana An David Arthur Deana Bada Maloney H T Balzer Martin Banks Stephen Barnwell Eduardo Blanco Dick Bobnick Susan Brinkmann Gunny Brørby Rae Broyles Roger Callen Richard Chalquest Nira Chorev Christian Lippuner Cynthia Coldren Britt Conley Lisa Cutler Carolyn Dakin Sue Daniel Jozef Danyi Paul G Emmerson Nicole Farhi Nathalie Frenière Hartini Gibson Richard Gilles Dean Gioia Scott Glaser Michael Ian Goulding Kyle Hackett Sandra Haney Nick Harrison Jones Isabel Herrera Kristin Holm Dybvig Corinna Holthusen Hsieh Cheng Hsien

Hsiung Yu Eric Hubbes Moritz Jaeger JOLIC paul kenens Aomi Kikuchi Dany Klotz Leo Königsberg Monica Lee Anson Liaw Laurie Lisovich Ken Macklin Nyle Major Barbara Mierau-Klein Sarah Morton Mary Neubauer Maj-Britt Niklasson Marcus Sherman Vladas Orzekauskas PACHA Carl Pinnington Elizaveta Pozharskaya Chantal Proulx Cher Pruys Fernanda Raineri Alisa Sheinson Frank X. Smith Hank Spirek Kerstin Sunabacka Catherine Taylor Parry Ian Thuillier Gabriella Torres Jim Tsinganos Christophe Vacher Erna van Lith Eddy Verloes Jan Williams Guigen Zha Tong Zhou

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 7th issue of Circle Quarterly Art Review includes 77 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 find 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

Guigen Zha • Circle Quarterly Art Review 7 ▫︎ 8 ▫︎

Toy-Boy Oil on canvas 48 x 48 in.

“My work focuses on exceptional craftsmanship and the exploration of a unique combination of materials. There is a fusion of Western, neoclassical painting styles with traditional Chinese elements. My paintings combine historical and contemporary references in an innovative way, blurring the line between perception and reality.”


▫︎ 9 ▫︎ Circle Quarterly Art Review 7 • Guigen Zha Fly-Bird Oil on canvas 48 x 36 in.

Guigen Zha • Circle Quarterly Art Review 7 ▫︎ 10 ▫︎

Imitation Oil on canvas 48 x 36 in.


▫︎ 11 ▫︎ Circle Quarterly Art Review 7 • Guigen Zha Arresting Oil on canvas 48 x 67 in.

Laurie Lisovich • Circle Quarterly Art Review 7 ▫︎ 12 ▫︎

I Was of Three Minds Oil on canvas 100 x 110 cm

“I am both a musician and an artist. I have always been fascinated by the human figure, especially the human face. I have been a pianist for the State Opera ballet in Vienna Austria, for three decades.

LAURIE LISOVICH Instagram@LaurieLisovichArt

▫︎ 13 ▫︎ Circle Quarterly Art Review 7 • Laurie Lisovich Sacre Oil on canvas 120 x 137 cm

In my series of ballet paintings, which are inspired by my own photographs, I try to capture dancers at their most expressive moments — and hope that my paintings can inspire imagination and emotion in the viewer.”

Jan Williams • Circle Quarterly Art Review 7 ▫︎ 14 ▫︎

Grand bather Polyester fiberglass 60 x 35 x 35 cm

“I use the human figure for its formal qualities and l use it as a language for expressing a variety of ideas, sometimes including people l know.”


▫︎ 15 ▫︎ Circle Quarterly Art Review 7 • Jan Williams Chariot Iron, Polyester fiberglass 30 x 30 x 60 cm

Alisa Sheinson • Circle Quarterly Art Review 7 ▫︎ 16 ▫︎

All About Transparent fabric with LED lights 300 x 180 cm

Alisa Sheinson is a Tel-Aviv-based designer and light artist who started her journey by studying visual arts at Bezalel Art Institute in Jerusalem. Her designs integrate a variety of fields; interior design, industrial design, and branding projects. Each area intertwines with the other in perfect harmony, which amplifies the strength of every project. “Focusing on sculpturing the light and its many shapes, I had swept away into a profound and moving theme that enveloped my day and led me to an ongoing creation. “I was always fascinated by the sea. The waves’ eternal movement gives me energy and a positive approach. Light is like a magic wand that vitalizes all matter. Light fights darkness and defines knowledge, awareness, and memory by its reflection. As light touches shapes, they are defined by it. Lights reveal our hidden memories and thoughts. Each of us has memories and feelings that exist hidden inside us. I aspire to trigger those feelings and memories by providing an individual experience using my art.”


▫︎ 17 ▫︎ Circle Quarterly Art Review 7 • Alisa Sheinson In Between Transparent fabric with LED lights 300 x 180 cm

Christophe Vacher • Circle Quarterly Art Review 7 ▫︎ 18 ▫︎

Severance Oil on canvased board 11 x 14 in.

“My artistic style takes its roots in Contemporary Imaginative Realism, and a variety of great classical painting movements, such as the European Symbolists, Art Nouveau, Art Deco, as well as more contemporary artists like Sandorfi, Beksinski, or the French Visionnaires from the 90s.”


▫︎ 19 ▫︎ Circle Quarterly Art Review 7 • Christophe Vacher Chronos: The Wheel Of Time Oil on canvas 30 x 40 in.

Christophe Vacher • Circle Quarterly Art Review 7 ▫︎ 20 ▫︎

The Price Of Integrity Oil on canvas 48 x 72 in.

“My imagery revolves around timeless symbolic themes that resonate through the past, present and future of the human odyssey, in which polished craftsmanship and imagination often prevail.”


▫︎ 21 ▫︎ Circle Quarterly Art Review 7 • Christophe Vacher Birth Of A Nereid Oil on canvas 36 x 48 in.

Carl Pinnington • Circle Quarterly Art Review 7 ▫︎ 22 ▫︎

Lips on Blue Digital Capture Hahnemuhle Photo Rag ® Matt Fine Art - Smooth 308 gsm 100% Cotton 50 x 60 cm

Carl Pinnington is an internationally acclaimed and published fashion, beauty and fine art photographer who works with collaboration in the widest context. New ways of seeing inform his practice, technical, aesthetic and traditional craftsmanship are all consistent elements with his work. Light, fleeting light, shape, form and surface reflection all inform his pieces. Exploration of electromagnetic radiation, time exposures and waveforms are a key focus in creating new experimental imagery.


▫︎ 23 ▫︎ Circle Quarterly Art Review 7 • Carl Pinnington Synapse Digital Capture Hahnemuhle Photo Rag ® Matt Fine Art - Smooth 308 gsm 100% Cotton 50 x 60 cm

Carl Pinnington • Circle Quarterly Art Review 7 ▫︎ 24 ▫︎

Synthesis Digital Capture Hahnemuhle Photo Rag ® Matt Fine Art - Smooth 308 gsm 100% Cotton 50 x 60 cm


▫︎ 25 ▫︎ Circle Quarterly Art Review 7 • Corinna Holthusen Living Doll 1 Photoprint on Aludibond 143 x 111 cm

Conceptual artist, Corinna Holthusen specialises in photography and digital imaging. The photos are captured in the studio, manipulated on the computer, then printed by Corinna. Her current practice deals with the convergence of beauty, disgust, artificiality, naturalness... Perfectly worked faces, bodies are destructed and recomposed with several physiognomies and finally a haptic breakup on the material deposition of the surface of the photo print.


Sarah Morton • Circle Quarterly Art Review 7 ▫︎ 26 ▫︎

Cow Parsley Photograph printed on Washi paper 30 x 30 cm

“These two images are from my series “Imaginary Botanicals”. They are intended to look as though they were drawn in a plantsman’s almanac at the turn of the 20th Century. I used simple editing and tinting techniques, blurring the background and extracting the tone and texture of each plant. ‘Love-in-a-mist’ and ‘Cow parsley’ are wildflowers in my garden so it has been a lovely lockdown project.”


▫︎ 27 ▫︎ Circle Quarterly Art Review 7 • Sarah Morton Love-in-a-mist Photograph printed on Washi paper 30 x 30 in.

Hartini Gibson • Circle Quarterly Art Review 7 ▫︎ 28 ▫︎

Fallen Tree Across Time Digital mixed media 24 x 18 in.

“I am an artist who paints contemporary stories about the natural world around me. My artwork is a contemporary fiction composed of fragments of thought, place, sight, myth, emotion and dream. I am trying to evoke a feeling of mystery and moments that are as specific yet elusive as the shape of a cloud, the feel of the wind, the smell of an approaching storm, and the change of light in the sky. I am primarily a painter painting large colorful expressive abstract landscapes. I also use my paintings, fragments and photographs to make digital composite artwork. I have a BFA, MA, and MFA in Painting.”


▫︎ 29 ▫︎ Circle Quarterly Art Review 7 • Hartini Gibson Upside Down World Digital mixed media 24 x 18 in.

Chantal Proulx • Circle Quarterly Art Review 7 ▫︎ 30 ▫︎

Pivoines éclatantes Acrylic, graphite, charcoal and crayons on linen 114 x 152 cm

“I work in a spontaneous, expressive and gestural way, where the subconscious takes up more space than the conscious. I do not seek to represent my environment, but rather to evoke an emotion. I work with pure colours and blend them directly on the canvas, adding details that guide the eye through the work and give it meaning. I also incorporate writing which I also consider an art form.”


▫︎ 31 ▫︎ Circle Quarterly Art Review 7 • Chantal Proulx L’amour est plus fort que la haine Acrylic, crayons and ink on linen 40 x 40 cm

Chantal Proulx • Circle Quarterly Art Review 7 ▫︎ 32 ▫︎

Shortcake aux bleuets Acrylic, graphite, crayons and pastel on linen 114 x 152 cm


▫︎ 33 ▫︎ Circle Quarterly Art Review 7 • Chantal Proulx L’été de mes 16 ans Acrylic, graphite, ink and charcoal on natural canvas 76 x 76 cm

Martin Banks • Circle Quarterly Art Review 7 ▫︎ 34 ▫︎

Electric Brae Oil and acrylic on canvas 80 x 80 cm

“My painting is based on an eclectic mix of visual interests including Scottish tartan, microbiology and aerial views of towns. The multi-layered aspect of my paintings is intended not only to engage me, the artist, but also to give the viewer more to discover and reflect on and more visual material to engage the eye and the mind. The paintings allow the viewer to make their own connections and conclusions.”


▫︎ 35 ▫︎ Circle Quarterly Art Review 7 • Martin Banks Tributo a Tom Jobim e Elis Regina Oil and acrylic on canvas 80 x 80 cm

Frank X. Smith • Circle Quarterly Art Review 7 ▫︎ 36 ▫︎

Peace Acrylic 22,5 x 14 in.

“My paintings are characterized by abstract association, recognizable form, and two-dimensional flat shapes and color with outline. I approach each work as an opportunity to create something new and visually compelling to the viewer. The principles of good design, including repetition of shape and color and occult balance, influence and inform all my work, both my figurative and abstract pieces.”


▫︎ 37 ▫︎ Circle Quarterly Art Review 7 • Jim Tsinganos The Seer Digital media 85.34 x 120 cm

“My intention is to deconstruct a “normal” image, like a tree or a bird, then reassemble it so that it is presented in a new and different way, existing impossibly but entirely logically within the visual framework of my workspace. Underlying is the exploration of the human condition, our humanity, our interconnectedness and how we are all connected to each other and to the universe we exist in.”


Nira Chorev • Circle Quarterly Art Review 7 ▫︎ 38 ▫︎

Dream 6 Mixed Media on paper 30 x 22 in.

“My artwork begins with a photo I have taken. Moved by the artistic visions it inspires, I select a combination of materials coming together in one painting. This is my way to preserve nature and give life, and permanence, to the memories I’m collecting.”


▫︎ 39 ▫︎ Circle Quarterly Art Review 7 • Jessica Alazraki Brushing Hair Oil on canvas 60 x 72 in.

Originally from Mexico City and based in New York City, Jessica Alazraki ‘s oil paintings are a celebration of Latinx life in the US and aim to highlight family values. Narratives are interior scenes of ordinary life. Bright colors and decorative patterns are very characteristic of Jessica’s work.


Dany Klotz • Circle Quarterly Art Review 7 ▫︎ 40 ▫︎

Lovestories Collage 63 x 63 cm

German collage artist living in Munich, Dany Klotz has shown her work at international art fairs since 2012. Her collages are inspired by the medium itself, built from the inside without following neither a pictorial idea nor a dimensional plan. Klotz is less interested in shape and more concerned with details and light she intends to create overlapping picture realities to dive into.


▫︎ 41 ▫︎ Circle Quarterly Art Review 7 • David Arthur Book Worm Acrylic and oil on wood 43 x 34 in.

“My main interest is the female figure depicted in various settings. In my paintings, the female figure is not the type of figure usually represented in western art, but instead physically fit and muscular. The dress of the figure and the books and objects represented suggest a woman who is intellectually and emotionally complex.”


Dick Bobnick • Circle Quarterly Art Review 7 ▫︎ 42 ▫︎

Marilyn Monroe Gouache on heavy weight illustration board 17.5 x 21 in.

“I always wanted to be an artist. As a teen I followed the careers of legendary illustrators; Robert McGinnis, Jon Whitcomb, Frank McCarthy and Gil Elvgren all of whom worked in a realistic style. They stressed that great paintings begin with a great drawing. I developed my skills in college and prepared an extensive portfolio of figurative and portrait art which I continue to produce today.”


▫︎ 43 ▫︎ Circle Quarterly Art Review 7 • Cher Pruys (ASAA SCA, IGOR, AAPL, CSAA, AMS, LMS, OSA, MAA, CFA, NOAPS) Awesome Sloan Acrylic 43 x 31 cm

“I find a strong desire to continuously change my subjects. I try to find excitement, beauty and interest in the everyday things in life, like crushed cans with their amazing shine and reflective surface, to a bag of apples, ripe for tasting, and glistening behind the plastic bag they are encased in. To find beauty in the seemingly trivial objects that really are a part of our everyday lives is so rewarding.”


Anson Liaw • Circle Quarterly Art Review 7 ▫︎ 44 ▫︎

Over Consumption Chalk pastels, compressed charcoal and ink on Arches BFK Rives archival paper 16 x 26 in.

“I feel useless as an artist when I am happy. Pain drives my creativity. The painful experiences that we go through spark and motivate me to possess my objectives, to make purposeful artwork that generates meaningful and fulfilling empathetic connections. As I observe and interpret the world around me 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.”


▫︎ 45 ▫︎ Circle Quarterly Art Review 7 • Aomi Kikuchi Love for all things Fiber Scraps 63 x 30 cm

“I make sculptures, wall pieces and garments using textiles and found objects. Sources of inspiration are Japanese aesthetics: wabi-sabi (imperfection), mono no aware (sympathy), and Buddhist concepts of impermanence, insubstantiality, and suffering. My work addresses infinity as the succession of fleeting activities. I combine acquired knowledge and experiment to create new perspectives and innovative art. I believe that art can make the world a better place.”


Barbara Mierau-Klein • Circle Quarterly Art Review 7 ▫︎ 46 ▫︎

Orange Abstract Digital photo collage 30 x 30 in.

“My digital art images reflect my fascination with the beauty of colors and the moods and emotions they evoke. Highly stylized cityscapes and seascapes are subjects I often turn to for their vibrance and dynamic atmospheres. Creative layering of the original photography, colorful elements, rich textures and other effects allow me to add complexity and a depth to my art.”


▫︎ 47 ▫︎ Circle Quarterly Art Review 7 • Britt Conley Musica Mixed media 28 x 18 in.

“My process is devoted to visually personifying music. I mainly visualize classical or jazz pieces, writing styles or musical concepts. I love researching musical works, their composers and taking repeated deep listening dives before putting brush to canvas. Most of my collectors are musicians yet I aim to show to non-musicians too the beauty and magic of a musical experience, in hopes of changing their next listening encounter.”


Catherine Taylor Parry • Circle Quarterly Art Review 7 ▫︎ 48 ▫︎

Flame in June Acrylic on canvas 50 x 50 cm

“My work is a personal response to the Welsh landscape. I create abstract landscapes with atmosphere. My paintings evoke memories and stories. I use acrylics and oils as I love the different qualities of paint, bringing the surface to life and creating a unique and individual image. My creative life sustains me and makes me feel whole. I have a degree in Fine Art and have been exhibiting my work throughout the UK.”


▫︎ 49 ▫︎ Circle Quarterly Art Review 7 • Celia Carl Anderson Emerge Acrylic on canvas 42 x 42 in.

“I have always been drawn to the human form in art and most often use people as inspiration in my work. I explore the human form’s unique ability to express emotion and become symbolic of greater social situations and dynamics. I am particularly interested in peoples’ stories, struggles, and states of mind, giving a glimpse of a subject’s world, one in which the viewer might see something of themselves.”


Carolyn Dakin • Circle Quarterly Art Review 7 ▫︎ 50 ▫︎

Freedom flight Digital art 45 x 45 cm

“I have always been fascinated by the beautiful intricate complexity of the natural world. For me, coming home to this connection with nature is what truly matters. I take time to photograph many images, which I layer together to create stories of joy and beauty in nature, as a way of sharing this connection.”


▫︎ 51 ▫︎ Circle Quarterly Art Review 7 • Hank Spirek Resting Mixed media on 300gsm paper 47 x 30 cm

“I am a well-traveled artist. Born in Chicago, my artistic life has unraveled in five different countries and some 20 different cities. I received a Bachelor of Arts from Northern Illinois University, majoring in Painting, Sculpture Art Education and completed one year towards an MA at Arizona State University. I have been exhibiting since the 1970s in the USA, Canada and Australia where I lived and worked for 35 years. Works throughout my career have included wildlife themes, figurative motifs, reworking of works of the great masters, and mixed media Photoshopped works. I believe art is meant to give meaning to one’s environment and not be merely expensive wallpaper.”


Richard Chalquest • Circle Quarterly Art Review 7 ▫︎ 52 ▫︎

Oroz Tree Digital media

“I enjoy the freedom of painting abstract art. Selecting colors and shapes to achieve the desired art piece is the critical process. I strive to make a final piece that depicts my desired mood and expression. Painting on the computer assists this process. Every art piece is a flowing process that is extremely enjoyable even though frustrating at times.”


▫︎ 53 ▫︎ Circle Quarterly Art Review 7 • H T Balzer Dead Flowers Withered No.7 Digital photograph

“This photo is from is a series called ‘Dead Flowers’. Im interested in the beauty of aging, the beauty of withering. I love the contrast between the negative impression of withering, and the beauty I see in it. Art is awakening, art is criticism of society and social life, art is reflecting the big themes of our time and art is beauty and aesthetics in whatever form it may take.”


Kerstin Sunabacka • Circle Quarterly Art Review 7 ▫︎ 54 ▫︎

Peace at the port Watercolor 38 x 56 cm

“In my art, I want to capture light and moods and I am inspired by the shifts in seasons and weather. Sometimes a person’s face or a particular event inspires me to grab the brush. I have been exploring graphics, sculpture, and photography, but I always return to the wonderful world of aquarelle and I follow my heart when I paint.”

KERSTIN SUNABACKA Instagram@kerstin.sunabacka

▫︎ 55 ▫︎ Circle Quarterly Art Review 7 • Kristin Holm Dybvig Covered by Clouds Handmade soft pastels on 300g cotton paper 76 x 56 cm

“My lyrical landscapes are based on impressions from Norway. They are not images of actual places but made from memories and express emotions and a state of mind as much as a landscape. Soft pastels have an exceptional intensity and challenge me to be deliberate in building my compositions. I weave colours into poetry to elevate the viewer’s experience and convey the tranquility I find in nature.”


Richard Gilles • Circle Quarterly Art Review 7 ▫︎ 56 ▫︎

Grimes House Inkjet print 32 x 42 in.

“When asked to draw a house, a child will most often draw a rectangle and put an isosceles triangle on top. In my ‘HOUSE’ series, I am exploring this simple archetypal form as it appears in the landscape.”


▫︎ 57 ▫︎ Circle Quarterly Art Review 7 • Lisa Cutler First Bloom

Lisa Cutler is a New York-based photographer whose practice spans landscape, portraiture and street photography. Her new series, ‘Hidden Homes’ seen here is a delightful journey looking at the world through our Covid eyes; where the details of the world emerge around us. ‘Hidden Homes’ was part of The Foley Galley Ex-Lab exhibition, summer 2021.


Moritz Jaeger • Circle Quarterly Art Review 7 ▫︎ 58 ▫︎

Georgetown Grocer Lady Oil on canvas, cut and woven 110 x 80 cm

“Painting, cutting, weaving. My work reflects on how we perceive our surroundings. When looking at the world, we never see its entirety; we give importance to certain details while blocking out others. Our perception is very selective. In our minds, we build it up to a whole picture or narrative. What results is not reality, but a wonderful image of reality, fragmented, but still perfectly accomplished in its own right.”


▫︎ 59 ▫︎ Circle Quarterly Art Review 7 • Ken Macklin Long Sugar Painted steel 106 x 114 x 76 cm

“By combining and arranging materials, I build visually rich, often playful or whimsical sculptures. I return time and again to nature: the trees, plants, birds, hills and forests surrounding my studio in northwestern Canada. Looking out my studio door, I absorb the light, the sky, the trees and the space between things. Inclusive in all my work and growth as an artist, my drive has always been to push boundaries. I continually strive to speak to the viewer on both an emotional and aesthetic level.”


Gabriella Torres • Circle Quarterly Art Review 7 ▫︎ 60 ▫︎

Garden Party Acrylic, oil paint stick, oil pastel, charcoal on stretched canvas 21 x 25 in.

“I am a Latinx visual artist and poet living in Iowa. I work with acrylics, oil pastels, charcoal, natural tools, and other media to create vibrant and expressive abstract pieces that explore themes of connectivity, time, memory, nature, and home.”


▫︎ 61 ▫︎ Circle Quarterly Art Review 7 • Fernanda Raineri Primavera Digital media

“I started my artistic career in 2003, creating computerized graphics in the field of fashion. Some of my creations have eventually become works of art. I am still going forward on this path, designing digital artwork, looking for an original style, between classical and modern, preservation and innovation, with the intention to express emotions and sensations, poetry, light, and with a perfect combination of simplicity of the lines and a rich palette.”


Michael Ian Goulding • Circle Quarterly Art Review 7 ▫︎ 62 ▫︎

Red Panda CV Digital Photograph 14 x 11 in.

“I have worked in a variety of media and subjects, all with the purpose of creating something beautiful and uplifting. That journey led me to focus on the female form, which to me is the conclusive representation of beauty, and to black and white photography, which I believe best accentuates that beauty. I believe if we all focused more attention on creating and appreciating beauty, the world would be much better for it.”


▫︎ 63 ▫︎ Circle Quarterly Art Review 7 • Monica Lee Vigilant Graphite and charcoal on paper 35.5 x 23.5 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”


JOLIC • Circle Quarterly Art Review 7 ▫︎ 64 ▫

Le printemps...enfin Acrylic 40 x 40 in.

Jolic is an abstract artist/sculptor living in the Lower Laurentians in Quebec, Canada. She studied Architecture, Graphic Design and Screen Printing on Fabric before becoming a professional artist. Self-educated, she has been expressing art in many ways and forms for several decades. Jolic’s artworks are found in private, public and corporate collections throughout North America and Europe.


▫︎ 65 ▫︎ Circle Quarterly Art Review 7 • Jozef Danyi Egyptian Transformation Digital photograph

“As a boy, I was interested in the history of ancient cultures and this has been reflected in my artistic work. In 2013, I visited Karnak I Luxor, the breathtaking Valley of the Kings and the gigantic temple of Queen Hatshepsut. Inspired by ancient Egypt, I returned to a theme I covered in 2010 in “The Mummy”. The ET ensemble, a modern set of five portrait photographs, was created as a tribute to Queen Hatshepsut. Photography ET V is the last phase of the story, when Queen Hatshepsut’s eyes are already covered and the facial expressions say goodbye to our world. Transformation is complete...”


Eric Hubbes • Circle Quarterly Art Review 7 ▫︎ 66 ▫︎

Anastasia Acrylic and mixed media on canvas 60 x 80 x 3 cm

“I explore the unconscious, the boundaries of reality and the human mind by painting as unintentionally and freely as possible. My future projects should reinclude aspects of my thoughts and feelings even more than before. “Anastasia”, is a young woman looking at her handy, so concentrated that she does not see the turtles assembling around her and the world-changing.”


▫︎ 67 ▫︎ Circle Quarterly Art Review 7 • Christian Lippuner Humanitas 2021 Plastic 5150 x 3130 x 2120 mm

“I am first and foremost a painter and my topic is “social hardships.” Please take a look at my website, you will find all the answers.”


PACHA • Circle Quarterly Art Review 7 ▫︎ 68 ▫︎

L’Ascension, 2021 - Transition Series Oil on canvas 97 x 146 cm

“From the roots to the heavens, this true luminous course of reinvented, jostled, restarted landscapes brings a piece of dream; a gateway to renewal. The descending and ascending movements participate in this open trajectory, towards a destiny that everyone can compose. The resonance of nature is at the heart of the work. Nature is at the center of my work since it is about defending it for our survival.”


▫︎ 69 ▫︎ Circle Quarterly Art Review 7 • PACHA Lianes,2021 - Transition Series Oil on canvas 97 x 146 cm

Nick Harrison Jones • Circle Quarterly Art Review 7 ▫︎ 70 ▫︎

Swimming Home Acrylic and pen 50 x 40 cm

“I tell a story using line, colour, tone and texture. Whether figurative or abstract, I explore the materials spatially and aim to evoke a visual response in the viewer. I have a graphic communication background and have an interest in sign and metaphor. I am curious to how symbols contribute to emotional responses. My portfolio of work is a combination of observational and abstract drawings and paintings.”


▫︎ 71 ▫︎ Circle Quarterly Art Review 7 • Nicole Farhi Entrelace Jesmonite 90 x 55 cm Base 70 x 25 cm

“My aim as an artist is to stir up hidden emotion - to remind people of feelings which maybe they’d forgotten they have. My source of inspiration remains the human body, and its infinite power of expression. I like to isolate particular parts, so the viewer can see them from a new and revelatory angle. “Entrelace” is a sculpture about love, and the importance of touch. It was made during the seemingly interminable months of lockdown. It is cast in Jesmonite, a reinforced plaster known for its durability and strength. The white surface allows the play of light and dark and enhances the tenderness and the subtlety of the touch.”


Hsiung Yu • Circle Quarterly Art Review 7 ▫︎ 72 ▫︎

Kaleidoscope Acrylic on canvas 100 x 80 cm

“More and more people have lost the ability to imagine. Pick up your kaleidoscope and see if there is no Triangular prism and color in life. Look at the stories in my painting. The kaleidoscope is a vitamin.”


▫︎ 73 ▫︎ Circle Quarterly Art Review 7 • Cynthia Coldren Long Way Around Acrylic, mixed media on paper 28 x 28 in.

“My expressive collage paintings embrace the abstract language. They are curious layerings of color, line, shape, pattern, and texture that explore structure and ambiguity. The paint strokes, diverse paper fragments, and linear marks merge to express a strong connection among disconnected things and suggest a sense of familiarity within the abstraction.”

CYNTHIA COLDREN www.cynthiacoldrenf

Leo Königsberg • Circle Quarterly Art Review 7 ▫︎ 74 ▫︎

Intergalactic daydream Acrylic on canvas 140 x 120 cm

“We live in an electromagnetic universe and we influence this universe through our magnetic fields which is the heart in combination with our brain...”


▫︎ 75 ▫︎ Circle Quarterly Art Review 7 • Cheng Hsien Hsieh Street Watercolor on paper 26 x 36 cm

“For me, art is to transform my life experiences in life into paintings. I like to quietly observe the contrast of light and shadow of all things, and add coffee to make it even more perfect.”

CHENG HSIEN HSIEH Facebook@ Hsieh Cheng Hsien

Roger Callen • Circle Quarterly Art Review 7 ▫︎ 76 ▫︎

Music Box Mixed media, Found objects and collage on cardboard packet 37 x 143 x 10 cm Open and Closed views

“Landscape art is a creative holistic response to nature. The artist’s memories, places, interactions with others are inevitably incorporated. I am interested in the disjunction between our born-into-culture, and the ‘given’ natural world existing prior to life and humanity. Western techno-society wants to control nature and mold it in it’s own image. “Music Box” concerns my own history (like a theme in music) and my tendency to ‘Box’ nature.”


▫︎ 77 ▫︎ Circle Quarterly Art Review 7 • Paul G Emmerson The blue lagoon with coastal signage Mixed media on canvas 90 x 90 cm

“The isolated warning signs along the beach and the desolate beauty of the coast lagoon, using acrylic and mixed media, to describe the traits and processes with estuaries and ecosystems in the transition between land and sea that forms the Blue Lagoon.”


Nathalie Frenière • Circle Quarterly Art Review 7 ▫︎ 78 ▫︎

Open Sky Oil on canvas 36 x 48 in.

“The many landscapes and changing nature of the sky have always fascinated and challenged my imagination. Memories of my childhood and travels depicting the beauty of countryside panoramas and cloud formations guide my creative work. I also seek to convey the fragility of the environment while expressing its serenity. I am not trying to reproduce nature, I express an inner gaze similar to a pictorial dream.”


▫︎ 79 ▫︎ Circle Quarterly Art Review 7 • Dean Gioia Posey’s Twilight Acrylic on canvas 24 x 30 in.

“My art is about uncovering the mystery and beauty of everyday life. I use the drama of light and atmosphere to draw the viewer in. There, perhaps, a sense of the extraordinary beneath the ordinary is revealed.”


Tatiana An • Circle Quarterly Art Review 7 ▫︎ 80 ▫︎

EGO Canvas on cardboard, acrylic, gel pen, watercolor pencils 40 x 40 cm

“I paint because I cannot do otherwise. The metaphysics of the world is what I love to draw. The world without metaphysics would not be interesting. Art should not destroy the soul. Art is creation, not destruction.”


▫︎ 81 ▫︎ Circle Quarterly Art Review 7 • Tong Zhou Trapped in a dream of depression Oil paint on wooden board linen 40 x 50 cm

“Dream and reality. I finished painting. I signed my name. I mix reality and dreams together. I have experienced reality and I also entered out in my dreams. I understand reality I said to myself. I know that calm psychological status can make me face reality. I have accepted myself. I learned how to live in imperfections. I created perfection in my dreams.”


Rae Broyles • Circle Quarterly Art Review 7 ▫︎ 82 ▫︎

Lisa’s Pond Mixed media on canvas 50 x 54 in.

“I am a painter. An artist. An author of visual poetry. There is no alternative. Color, texture, tactile adventures move me. I must freely discover new images, diabolical and vexing techniques and ways of presenting beauty while I fall away from this world and into a realm of physical and mental reverie. Some of my pieces are combinations of video, painting, music and choreography or poetry and this integration of multiple media necessary to express life’s complex beauty is what I strive for.”


▫︎ 83 ▫︎ Circle Quarterly Art Review 7 • Vladas Orzekauskas Pink veil Mixed media 70 x 100 cm

“Intimate, secret, mystical is an aesthetic category that denotes an intuitive, presumed rather than explicit, obvious perception of the essence of an object.”


Sue Daniel • Circle Quarterly Art Review 7 ▫︎ 84 ▫︎

Sunset Magic Oil over acrylic on gallery wrapped canvas 60 x 48 in.

“I like to paint large-format oils on stretched canvas. The workability of oil can’t be replicated with other media, and the big canvases give my paintings a strong physical presence. I strive to create a sense of drama, capturing the challenges and joys I’m experiencing at that instant in time through motion and abstract elements. I want my paintings to display an edgy beauty - sometimes calming, sometimes challenging.”


▫︎ 85 ▫︎ Circle Quarterly Art Review 7 • Erna van Lith La stessa Oil on canvas 40 x 50 cm

“People always fascinate me. Much of who they are, is reflected on their faces. That is what I want to paint, their image with all its character and depth, showing more than a photographic reflection. I let what I see and feel guide my brush. The painting on show is of a self-portrait, even more of a challenge to be honest.”


Sandra Haney • Circle Quarterly Art Review 7 ▫︎ 86 ▫︎

Late Summer Walk Oil 60 x 40 cm

“My work is a response to my surroundings. Over the past two years, my focus has been on painting local landscapes. Sometimes working en plein air, I am attracted to strong composition, daylight and tonal contrast. I like to begin my paintings in a loose gestural manner which determines the route the painting is to take, typically with a large element of abstraction.”


▫︎ 87 ▫︎ Circle Quarterly Art Review 7 • Ian Thuillier Crown Mixed media, acrylic on wood 46.5 x 46.5 in.

“Born from the global pandemic, ‘Crown’ is part of a series of works called ‘Solitude.’ The series of paintings aim to reflect the importance and need for communication and human touch. ‘Solitude’ series includes 12 largescale, mixed-media acrylic paintings created during 2020/2021. Many aspects of life are reflected in these works — solitude, divorce, suicide, abstinence and a new beginning.”


Paul Kenens • Circle Quarterly Art Review 7 ▫︎ 88 ▫︎

Het meisje in de rode kimono Oil on canvas 100 x 120 cm

“My subjects are people from my immediate environment. If it is not myself, then it can be children or women on whom I can notice a split-second movement, attitude or characteristic that appeals to me and I exaggerate and amalgamate it with new elements or a strange angle. Sometimes I look for contradiction or conflict that gives some paintings a surrealistic touch.”


▫︎ 89 ▫︎ Circle Quarterly Art Review 7 • Eduardo Blanco Trío de ases Oil on board 120 x 120 cm

“I consider my artwork as Contemporary Figurative. I mixt a few different styles to get a painting according to the times we live in. My work is the result of reflection, planning, analysis and execution through different techniques, although I try to make it seem fresh and spontaneous. Art is beauty, it is another way of seeing things, it is surprise and emotion. I paint because I can’t help painting.”


Elizaveta Pozharskaya • Circle Quarterly Art Review 7 ▫︎ 90 ▫︎

Prayer Tempera on canvas 70 x 90 cm

“Portraiture is central to my communication as an artist. Concentrating on facial expressions, characteristics and gestures, I seek to capture the essence and uniqueness of the sitter. In doing so, the process of portraiture becomes a dialogue between model, artist and viewer. In my work “Prayer” I focus on the universal nature of this ritual, as enacted by all religions, unifying the spiritual life of mankind, regardless of cultural differences.”

ELIZAVETA POZHARSKAYA Instagram@elizabet_ta

▫︎ 91 ▫︎ Circle Quarterly Art Review 7 • Nyle Major The end of Gaia Oil on canvas 60 x 90 cm

“With knowledge and experience gained both locally and abroad, my works show technical ability and refinement, based on a strong conceptual framework. Traditional painting and art movements in the 18th and 19th centuries have played a significant role in developing my art practice.” “Realism is charming when it borrows a gleam of poetry from the imagination.” - Sigfried Nettement quoting William Bouguereau 1906


Isabel Herrera • Circle Quarterly Art Review 7 ▫︎ 92 ▫︎

Untitled Polaroid photograph

“The images I capture reveal my dreams, my fairy tale; that irrational and surreal language that takes hold of me and feeds my spirit. It is this work of fiction that conveys the truth I know. It is an illusory encounter with myself, where I revisit my childhood, and where ordinary experiences are turned into poetry. In stillness, I have found life to be a succession of vanishing, ephemeral moments.”


▫︎ 93 ▫︎ Circle Quarterly Art Review 7 • Gunny Brørby If I could sing a song

“Nature, the environment for humans and animals concrete and emotional in a symbolic expression is often what occurs in my paintings. That’s what lives in me and is my drive. I wish my paintings shall be good to look at but at the same time convey a message. Art for me is creativity in all forms—what words cannot say, beyond intellectual thinking.”


Eddy Verloes • Circle Quarterly Art Review 7 ▫︎ 94 ▫︎

Losing Our Minds B&W photograph

“I am a literary symbolic photographer., a visual storyteller. Pure and poetic. Misty mysterious. Cinematic photography. Attention to detail. There’s a lot between light and shadow. Sometimes balancing between realism and surrealism, often spiced with a touch of humor. Not staged but spontaneous photos. Always focused on the decisive and/or unguarded moment. I shoot with my soul, not with the camera. I photograph as I live: I let things come to me and I don’t consciously look for them. Please don’t put me in a box.”


▫︎ 95 ▫︎ Circle Quarterly Art Review 7 • Maj-Britt Niklasson The very first morning Oil on canvas 130 x 120 cm

“The long, dark night is over. This very first morning with its high, clear air comes with tranquillity and beauty. A small group, tightly knit together. They look out over a quiet, glassy sea, full of hidden possibilities... Why did I choose this artform? I didn’t choose, it chose me. An inner voice insisting: “Go create in the studio!” The reward is deep satisfaction and joy.”


Kyle Hackett • Circle Quarterly Art Review 7 ▫︎ 96 ▫︎

New Contention Oil on copper 15 x 12 in.

“My paintings explore race, class, and social standing through approaches to self-representation and the constructed image. Exploring the psychological and material impact of depiction, I relate image-making, inflection, and fixedness to concepts of double consciousness. By emphasizing conflicts between inner versus outer, I hope to foster new realities and ways of being understood as not black or white, wealthy or poor, but human.”


▫︎ 97 ▫︎ Circle Quarterly Art Review 7 • Mary Neubauer Ozone Bronze 18 x 30 x 30 in.

“I focus on environmental factors through 3D data visualization. New ways of seeing are possible through dimensional expressions of the vast numbers that stream into sensors every day. The resulting images promote understanding of complex information. They suggest a visual, tactile way of expressing longterm patterns, enhancing sensitivity to our surroundings, and offer an expanded definition of sculpture. “Ozone” tracks 10 years of this air quality indicator.”


Boy/The Beginning Caran D’Ache 6B Grafstone graphite on 42 x 59 cm Winsor & Newton Smooth Surface Heavyweight paper

Susan Brinkmann • Circle Quarterly Art Review 7 ▫︎ 98 ▫︎

“When creating art, I study my subjects profoundly and aim to show what lies beneath the surface. Sometimes people say I show the actual ‘soul’ of my subjects in my portraits. I want to achieve more than just a good likeness, and it has to be more than an illustration. ‘Boy/ The Beginning’ was made with Caran D’Ache 6B Grafstone graphite, which is definitely one of my favorite materials.”

SUSAN BRINKMANN Facebook@Art by Susan Brinkmann

▫︎ 99 ▫︎ Circle Quarterly Art Review 7 • Scott Glaser The Pierre Hotel Ultra fine markers on Arches watercolor paper 39.5 x 31.5 in.

“All of my work regardless of style or medium is created using the grid system (first employed 600 years ago). The challenge for me is to recreate, as closely as possible, my reference image. Art is my visual voice. It’s the vehicle I have chosen as a way of communicating. In today’s world, positive visual stimulation is not a luxury, it is critical. It offers the artist and the viewer time to escape.”


QUADROFARIUS Oil and acrylic on canvas, paper, collage 110 x 80 x 7 cm Details below and full view on the right

Marcus Sherman • Circle Quarterly Art Review 7 ▫︎ 100 ▫︎

“At the moment, I work with subconstructivism. I self-define and name it in this way, based on the method, hierarchical structure, as well as a significant emphasis on the aestheticization of pure form, which is the basis for the formation of the complex architectonics of my artworks. Subconstructivism is a modern representation of constructivism, denounced to the aesthetic form of spatial geometric forms.”


Stephen Barnwell • Circle Quarterly Art Review 7 ▫︎ 102 ▫︎

Leap of Faith Digital collage 16 x 20 in.

“My work explores concepts that are the very stuff of our existence: Life, Death, and Faith. For me, art should not be just a pretty picture, but should attempt to reveal insights into Truth, to elevate the viewer into a new reality and see the world from a new perspective. I want to create new icons, a new mythology, appropriate for modern times, yet rooted in the past.”


▫︎ 103 ▫︎ Circle Quarterly Art Review 7 • Deana Bada Maloney Daphne Stoneware, oxide, ink and found objects 30 x 24 x 16 in.

“My work is a study of living forms, celebrating the structure of how something is made along with the transcendental presence of the subject. Each piece tells a story using symbolism in found materials that I incorporate into the sculpture whether it is from the subject’s natural surroundings or a component of the story. I use a method of oxides during the final firing to capture all the marks made while sculpting the piece.”


FALL 2021

An Examination of Current Trends & Original Practices in Visual Art

Published by Circle Foundation For the Arts Cover Image Deana Bada Maloney

Circle Foundation