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This book is dedicated to art enthusiasts, curators, gallery owners, art collectors ‌ containing a wonderful selection of works that will inspire art lovers no matter their taste.

Cover : Francesco Ruspoli - “Sleeping Mother”, 77 x 67 cm. Back Cover : Jantus - “W. Mray”,184 x 195 cm.

First published in the United Kingdom in 2019 by Contemporary Art Curator. Introduction @ 2019 Contemporary Art Curator. All artworks @ 2019 the individual artists. Measurements and titles of artworks are as supplied by the artists. ISBN All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission. British Library Cataloguing-in-Publication Data. A catalogue record for this book is available from the British Library. Printed in the United Kingdom by UK Publishing. To find more information, please visit: Limited Collectors Edition 5000 copies.



A foremost figure in Southeast Asian contemporary art, he is a multi-awarded artist whose career which spans two decades to date continuously breaks new grounds, becoming more daring over the years in pushing the limits of artmaking, exploring new media, and conquering new territories. This dynamic artistic development has earned him both a commanding place in the market and institutional recognition. Born in 1973, he graduated with a Bachelor of Fine Arts major in Painting degree from the University of Santo Tomas in Manila, where he has also taught for several years before devoting himself fully to art practice. He has globetrotted in mounting solo exhibitions—presenting his works in Australia, Hong Kong, Italy, Indonesia, the United States, Singapore, Switzerland, Taiwan, and Japan. His most recent exhibitions include Comic Lives at Whitestone Ginza New Gallery, Japan (2018), Wild State of Mind at Tyler Rollins Fine Art and Out of Sight! Art of the Senses at Albright-Knox Art Gallery, New York (2017), Shadow Forests: Encounters and Explorations at the Metropolitan Museum of Manila (2017), Mutable Truths: Perspective in Philippine Contemporary Art in Sydney, Australia (2017), Ronald Ventura: Recent Works in Lugano, Switzerland (2016), and Project: Finding Home at the Museum of Contemporary Art in Taipei, Taiwan (2016). He has participated in the Prague Biennale (2009), Nanjing Biennale (2010), and Changing Perspective: Art Jog 10 in Jogjakarta, Indonesia (2017). He was a recipient of the Thirteen Artists Award from the Cultural Center of the Philippines in 2003, and the Ateneo Art Award in 2005. In 2011, his painting Grayground made a record-breaking sale at the auction of Sotheby’s Hong Kong for Modern and Contemporary Southeast Asian Paintings. His dynamically evolving corpus of works exhibit, among many other things, an eclectic of source of iconography, a wide variety of themes and subjects, and formal risks that push the boundary of image-making. His art successfully melds techniques from old masters and classical figuration with the visual culture, realities and technologies of the contemporary age, from digital manipulation to pop culture iconography. His compositions are often loaded with imagery which appears as busy and chaotic, capturing the frenetic flow of information and saturation of images that characterize the postmodern society while intensely engaging the viewers with a spellbinding visual experience. Fused with humor, irony, and a wealth of references to history and contemporary life, his art aims to provoke, tease, and unsettle the mind which leads to reflections on society and the human condition.


Party Animals

Over D Fence

Voids & Cages (Hell). Oil on Canvas. 2013

Wild Watch. 5x7 Ft. Oil On Canvas. 2015-16


The embroidery technique has always fascinated the artist Karin Monschauer, permitting her to externalize the connection and the interweaving of colors and shapes. Historically, this methodology, ‘raqm’ in Arabic, allows to create an ornamental design on fabric through the use of one or more threads of different colors. The digital artist Karin draws on her initially manual skills and uses software designed for art design to create abstract works rich in geometric evolutions, connected to each other with a wide tonal range, divided between hot and cold areas. In this juxtaposition, Karin proposes visual languages ​​characterized by ideas obtained through pure imagination, as well as explicit reference to nature and textures created by the skills of old and modern masters. The latter refer to those Middle Eastern carpets that the Luxembourg-born artist creates at her computer, with the ambivalence between past and present always within her productions. In 2015, thanks to computer graphics, Karin begins the geometric and chromatic cycle of her current artistic production. In fact, her computer graphics methodology challenges the traditional artistic action made by brushes and acrylic colors, because different hardwares and softwares elaborate her creativity into works with high perceptiveness. The figure-backgrounds that Karin obtains provide infinite interpretations that live simultaneously. The digital realizations are printed afterwards in high definition on canvas, obtaining works of different sizes. As a demonstration of this approach, Karin’s realizations are characterized by various codes that are combined in fantastic, artificial universes inside an abstract geometry. The combinations derived are always punctual within a creative process, providing the observer with a never static sensation. Thanks to the Gestalt psychology, a perception of induced movement and good continuity is determined. Karin digitally paints undefined scents that every human being interprets and follows. Currently, her art is permanently represented with one work at the European Art Museum, Frederiksvaerk, Denmark, and four works at Le Bois Du Cazier Museum, Charleroi, Belgium.

Byzanz, 2017, Digital Art-On Canvas, 120 x 120 cm

Crociata, 2015, Digital Art-On Canvas, 102,8x102,8cm

Untitled, 2018, Digital Art-On Canvas, 50 x 50 cm

Untitled, 2017, Digital Art-On Canvas, 49,5 x 49,5 cm

Untitled, 2018, Digital Art-On Canvas, 60 X 60 cm

Untitled, 2018, Digital Art-On Canvas, 80 x 80 cm

Untitled, 2018, Digital Art-On Canvas, 188 x 154 cm

Vortice, 2018, Digital Art-On Canvas, 90 x 90 cm


Jantus (1994, Buenos Aires) is a painter from Argentina that currently lives in Barcelona. He builds his compositions with color stains. Rough and impulsive brushstrokes give dynamism to the images. A noisy sensation comes out of the extreme contrast of color and the rawness of the process is felt in the final works. Color combinations are inspired by his love for comic-books, abstraction comes from a certain character or landscape from where he chooses his palette. Structurally, there is no lead narrative, no focal space, unless you locate that, by default, at the centre of the buzzing, vibrating canvas. There is a wild jumping atmosphere around the whole plane of inescapable, hyperactive brightness that calls the attention to all places at once. The overall sense of explosiveness comes from the gestures which are bold and almost brutal. Vibrancy glows to the spectators eyes out of the colors which clash to each other in an organic environment. Jantus studied at Universidad Nacional de Arte (UNA) in Buenos Aires and in Richard Sturgeon´s workshop. His artworks have been exhibited in Eduardo Sívori Museum and in Romulo Raggio Foundation in Buenos Aires. On the other hand, in the year 2018 Jantus travelled to Europe and Asia for several exhibitions. First, he went to Japan for the Tokyo International Art Fair; later on, he was part of Parallax Art Fair, in London, United Kingdom. Then, we went to Helsinki, Finland, to exhibit at Cable Factory in BELA Biennial. Right now, he is preparing future exhibitions in Rio de Janeiro and New York. An inner impulse leads me to creative process. I paint because I have the need to express. I put color brushstrokes in a canvas, then I take distance and observe. After a moment of reflection I guess what comes next and continue painting. I seek contrast after all, contrast, counterpoint and a composition. Painting comes out of impulse and reflection.

“Lucubration”, 90 x 190 cm, Acrylic on canvas, 2016

“Cyberpunk”, 140 x 200 cm, Oil and oil bar on canvas, 2017

“Toxiconderon”, 144 x 208 cm, Oil and oil bar on canvas, 2017

“Helle-Kin”, 120 x 180 cm, Oil and oil bar on canvas, 2017


Ruspoli’s art explores the dynamic frontier between abstraction and figuration. This fertile area keeps alive the infinite possibilities of being human in an age intent upon closing them down. Using a strikingly vibrant palette, each painting composes a symphony of colours where subtle gradation and dramatic contrast express nuance of emotion and sensuous physicality. The work also expresses the direct sensation of lived experience through organic shapes and forms woven from flowing lines and the gaze of the viewer. You are invited to participate in a creative encounter with these elements, constructing your own visual languages and meanings. From this, questions arise about the interactions between humans and their many environments. It is hoped there also follows an increased sense of wonder at your own capacity for re-interpretation and invention which will bring an uplifting feeling to you and the world in which you are living. Creativity for Ruspoli is a special form of discovery. He starts as an archaeologist of his own imagination, peeling back layers to find the essence of the image which may origin in ancient or classical art, dance or theatre. This process involves lengthy development of ideas worked through on canvas, much like Beethoven’s constant working out and refinement of his musical themes in sketches. This sometimes requires an austere Zen-like mental discipline, where he can get himself out of the way so his art can create itself. This is laborious, but is the only way he has found so far to achieve authenticity in his work. Ruspoli’s work is an exploration of relational space and its possibilities in contemporary society. “ Art expresses a fundamental part of what it means to be human. It is through art that the conflicts of life can be explored, better understood, brought to the surface and put into new relationships with each other. I believe we are living in an unprecedented time of the breakdown in human relationships and interactions. This is happening from the individual and personal level to the opposite geopolitical end of the spectrum. We tend to think of interactivity in terms of technology these days rather than human feeling and connection. My art is meant to directly challenge this state of affairs and re-invigorate and re-inspire the emotional and spiritual dimensions of human life, which is inevitably in direct conflict with much of what we see around us in our world now. These are central question not just of what art is, but of what art does, and can or even should do. The biggest frustration has been struggling against a system that attempts to codify what sells, thereby killing creativity and individual expression. It has taken me many years to find my creative voice, and a large part of this has been a struggle against such commercial forces. They are very powerful and insidious, and institutionally dismiss or ignore what they cannot appreciate”. The relational concern of his work is intended to embrace all viewers, so their interpretations are equally valid as his. The act of viewing is to enter a relationship, a mutual encounter of the painting and the viewer. This is why the figures in his work are placed so viscerally in relation to each other, and why this stimulates a reflection on relatedness which encompasses the viewer. A vital part of interpretation is our emotional response, which incidentally is not solely the preserve of a ‘refined’ academic elite. The experience of viewing/ relating is the essence of his work so he hopes his work is able to offer that precise experience to the viewer. You could say his message, theme and vision is to co-create an experience of emotional connection - whatever it might be - on that precise moment of that particular day, with this individual person in this specific space.

“SANCTUM”-4 parts painting - oil on canvas- 2018- 60x80 inches

“REPUTATION”- oil on canvas-2017- 77x67 inches

“TRANSIT COMPRESSION”- oil on canvas- 2017- 30x40 inches

“SWIMMING IN THE LAKE”- 2018- oil on canvas- 24x31 inches


Randi Matushevitz creates paintings and installations autobiographically respond to the contrarian nature of existence. Her mixed media images are volatile, set in atmospheres built from layers of charcoal, pastel, spray paint, acrylic and oil on paper and/or canvas. They grab you with a holler -- a luminous color or a strident pose, then pull you in with whispers -- hidden figures, otherworldly apparitions. She paints and draws, sprays and scrapes, smudges, collages, and repeats, actualizing a dense surface and depth of field that both embodies and depicts the mutual entanglement and psychic unsettlement of today’s world. Matushevitz speaks eloquently about the ways in which mixed media allows her access to an enormously varied array of visual techniques, the better to respond in kind to the vertiginous paradoxes of existence. From the problems and promises of globalization and the threats to environmental resources in the 21st century, to the most eternal, ages-old strivings of the human heart, in ways large and small we are daily asked to reconcile the conundrums of the life we live. Her art is in some ways nothing more or less than her valiant attempts to do so. In her studio, she is all of us. ~Shana Nys Dambrot Selected solo exhibitions include Conundrum, 825 Gallery, Los Angeles, CA (2018), Urban Dilemmas, HuZgalleries, Los Angeles, CA (2017), Randi Matushevitz, stARTup Art Fair LA, Los Angeles, CA (2017), Mysterious, Dorit Center for the Arts, UCLA, Los Angeles, CA (2016), Welcome to My Garden, Winchester Cultural Center, Las Vegas, NV (2010), Randi Matushevitz: 702 Series, Las Vegas Art Museum, Las Vegas, NV (2006), Randi Matushevitz, Miami Dade Community College, Kendall Campus, Miami, FL (2005), and Salt of the Earth, traveling exhibition, Garden of Sculptures, Xalapa, Veracruz, Mexico, Museo de Bellas Artes de la Provincia de Buenos Aires, La Plata, Bs. As., Argentina, and Roberto Martin Arte Contemporaneo, New York, NY (2002-2000). Matushevitz earned her BA from California State University Northridge and her MFA in Painting from the University of Miami. She currently lives in Los Angeles.

Excuse Me. 2017. Charcoal, Pastel, Spray Paint, Acrylic On Canvas. 84” x 36”

I’m Not A Stereotype. 2018. Charcoal, Pastel, Spray Paint, Acrylic On Canvas. 84” X 36”

It’s A Joke 2018 Charcoal, Pastel, Spray Paint, Acrylic On Canvas 72” x 36”

Drink Up? 2018 Charcoal, Pastel, Spray Paint, Acrylic On Canvas 72” x 36”

Head Spin 2018 Charcoal, Pastel, Spray Paint, Acrylic On Canvas 60” x 36”

Coming Over 2018 Charcoal, Pastel, Spray Paint, Acrylic On Canvas 84” x 36”


Tang Wei Hsu (b. 1980 Taiwan) is an international artist based in New York. He is a recipient of the Asian Cultural Council Fellowship (2009) and was a residency artist of the international studio & curatorial program, Brooklyn (2011). After relocated to New York in 2011, Hsu attended many local and international exhibitions such as “Crystal Cave”, ASYMMETRIK Gallery, New York(2016);  “Across The Pacific”, LAM Gallery, California(2016); “On & On: Art Without End”, Mark Miller Gallery, New York(2015); Outdoor exhibitions include 4heads:GIAF, New York(2016,2013&2012); DUMBO Arts Festival, New York(2013).  As an international artist, he travels widely for varied projects and installations taking place in Taiwan, Hong Kong, Singapore, Demark, Australia, the USA, and so on. In 2013, Hsu collaborated with New York City DOT (Department of Transportation) and carried out a public art installation project: Magic Monkeys. Series sculptures were shown in Sculpture By The Sea in Denmark (2015) and Cottesloe, Sydney, Australia (2016, 2018). Hsu’s large-scale stainless steel sculptures and the drawings of creatures (organic patterns) that he constantly composes in white and black lines, which are seen as his individual idiosyncrasy and artlang, have gradually gained him worldwide publicity. Tang-Wei Hsu, who was trained academically in architecture and art-related fields, has been constantly developed his own imaginative space, imagery and patterns with strong personal expressive language. He first began with two-dimensional creation including works on papers and canvas. Later he got inspiration from his own creation and continues to develop into series of three-dimensional artworks. From small-scale sculptural pieces to large public artworks commissioned for public spaces, Hsu successfully infuses his imaginative world with the realty world. In Hsu’s imaginative world, he tends to create machinery and pipeline-like imaginary materials as well as three-dimensional space in a two-dimensional world from flat patterns. Then he presents those details of his imaginative world in series of works, in which like an eco-system available for viewers to explore as like adventuring into some outer space.

Avision Lake, 90”x 70”, Acrylic and ink on canvas, 2014

Invisible Mountain, 63” x 52”, Ink on watercolor paper, 2014

Device through the space Series 9, 192”x132” Acrylic on canvas, 2008


Edmund was born in1950 and at ten years of age declared, to the consternation of his parents,that he wanted to be a visual artist. However, it all began at age seven, the Henri Mancini theme song for Peter Gunn, an American TV show, captured Grant’s attention. It was the songs’ iconic alto saxophone solo which convinced him to play that woodwind; he continued this pursuit through his collegiate years eventually becoming an artist, a working musician while never letting go of his dream of becoming a painter. After a long hiatus for a professional career of Dentistry, in the mid 1980s, Grant pursued the visual arts and taught himself to paint. Presently, he is an internationally collected, award winning artist whose extensive exhibitions over the last 30 years include shows in many USA cities including Los Angeles, Miami, Dallas, San Francisco and New York, and International cities – Florence, Milan, Monte Carlo, Tel Aviv, Venice, London and Paris. He has exhibited along with some of the world’s top galleries at many prestigious art fairs including The LA Art Show, Art Aspen, Art Monaco and Concept Art Fair-Miami during Art Basel week. Among his numerous awards is the Leonardo Award, First Prize in Painting, the top honor at the International Biennale of Chianciano 2015. His work is in numerous catalogues, art books and publications including a critical essay by world-renowned art historian and art critic Edward LucieSmith. Lucie-Smith regarded as the most prolific and the most widely published writer on art states “Edmund Ian Grant’s powerful images have an extraordinarily complex cultural background. The titles given to some of the works - Americana, Hip Hop, Palookaville – spell out the artist’s cultural allegiances. These monumental heads, cigarettes clutched between their lips, belong to the raffish, late night world of the traditional jazz club………In the late 19th and early 20th century radical artists often presented low life subjects in quasi-monumental forms. Van Gogh and Toulouse-Lautrec were the pioneers who preceded Picasso in this paradoxical endeavor. It is fascinating to see how, pretty much a hundred years later, Edmund Ian Grant finds a new twist to the theme, and makes his images speak to us in demotic American .” Grant has gallery representation in Manhattan, London and Berlin.

Mind Control, 60” x 40”,  152.4cm x 101.60cm, Acrylic on Canvas, 2015

The Player,   54” x 43”,     137.16cm x  109cm,   Acrylic on Canvas, 2018

Palookaville , 60” x 40”, 152.4cm x 101.60cm, Acrylic on Canvas, 2014


The main theme of her creation is questioning of inner (invisible) or outer (visible) territory. The territory is sometimes undermined, abused, polluted and often aestheticized to hide a reality. Human and natural territory are evoked by two entities that coexist in the same universe, both with distinct and sometimes antagonistic characteristics. Nature, raw language, is represented by flora, fauna or the environment; It follows its cycle by its survival instinct. Human, the aesthetic language, is guided by the survival instinct, but is also confronted with its own evolution as well as from the economic, social and spiritual point of view. These choices are often questionable and become her sources of inspiration! It’s with these two raw and aesthetic, material and color, nature and culture languages that she wants to understand, confront, and embellish. She considers herself a societal mirror that shows a tendency to hide reality by aestheticizing. Her photographs, the starting point of her paintings, bear witness to a moment of truth: devastated nature and abandoned waste. She contributes in painting on these images to symbolically decontaminate as well as rely on the plastic language to put a band-aid on a scarred world, and start a healing process with art. Her paintings become semi-abstractions, amazed by movement and the oversaturation of colors. Her goal is to turn the negative into positive by contemporary art!

2 feet under. 2018. Mixed media on wood. 36’’ x 36’’

Duck rescue. 2018.Mixed media on wood. 36’’ x 36’’

Sunflowers fox. 2018. Mixed media on wood. 36’’ x 36’’

Black nuggets. 2018. Mixed media on wood. 18’’ x 18’’


Ai-Wen Wu Kratz, of Hong Kong, China, is a naturalized U.S. citizen. She works and lives in the U.S. She received a BFA degree in Painting and Mathematics from Fort Wright College, Spokane, Washington and a MFA degree in Painting and Printmaking from Cranbrook Academy of Art, Bloomfield Hills,  Michigan. She is an alumna of Skowhegan School of Painting and Sculpture, Skowhegan, Maine; and of New York Studio School of Drawing, Painting and Sculpture, New York, NY. She holds a Diploma from Institute For Writers, Madison, CT.  Kratz was praised by critics for her ‘wide range of competence’ and ‘standard of excellence.’ She is recognized for her remarkable command with lines in her drawings. In addition to the U.S., she had Solo Exhibitions in France, Germany, England, Egypt and Austria. Her works are in collections in Canada, Germany, Bangladesh, Argentina and the U.S., including the Mildred Lane Kemper Art Museum, St. Louis, Missouri, USA.  In 2005, Steve Jobs advised the graduating class at Stanford University to ”Stay Hungry.  Stay Foolish.”  I believe purity at heart and the seriousness to adhere to one’s calling, in combination, serve as the driving force in all fields, especially in art-making. My search in the visual art is on spirituality, intellectualism and aesthetics.  I am interested in the power of colors, lines, shapes, forms and movements.  I associate painting to writing.  For example, about the Amazon River, a line such as, “This river, a wound on the earth, carved by serpents as they passed,” has more apprehensive power over me than the seven thousand words or more in the Wikipedia reporting the facts of the river.  In writing, choice in words, their combination and order, give the power and conviction in deliverance. In the same way, I aim at using lines, colors, planes, forms, shapes and movements to create that magical conveyance without making reference to subject matters.

Spring Canzonetta. Acrylic on canvas.

Renewal / Part I. Acrylic on Canvas.

76 x 61 cm (height x width) or 30 x 24 in.

152 x 105 cm (height x width) or 60 x 41.5 in.

The Gift Of Life. Acrylic on Canvas. 61x 76 cm (height x width) or 24 x 30 in.Â

I Found In Him My Star, My Sun. Acrylic on Canvas. 70 x 115 cm (height x width) or 27.5 x 45.25 in.


Wendy Yeo, R.W.S.W., is a Hong Kong born painter who graduated from the Slade School of Fine Art, University of London. She was awarded many prizes and a Travelling Scholarship to Italy and France where she attended Atelier 17 in Paris. Wendy Yeo has exhibited widely in Solo Exhibitions throughout the UK and overseas including Hong Kong, New York, California, Istanbul and Kuwait, including a two-person Show with John Piper. Wendy Yeo is an elected member of the Royal Watercolour Society of Wales. Exhibitions during the last five years: 2013 Solo show at The Space Gallery, Hong Kong, 2015 Two paintings in an exhibition at the Ashmolean Museum, Oxford, titled “From Palace to Studio: Chinese Women Artists from 1900 to the Present Day”, 2016 “Discerning Eye” Exhibition at the Mall Galleries, London, 2013 – 2018 Exhibited with the Royal Watercolour Society of Wales in Paris, Reykjavik (Iceland)and in North, Mid and South Wales, 2017 Solo Show at Artifact Gallery, Manhattan, New York, 2017 Work in International Exhibition at Yu Kyung Museum, Geoje, South Korea, 2018 Group Show at Amsterdam Whitney Gallery, Chelsea, New York, 2018 International Exhibitions in Venice, Vienna, Rome, Paris, Berlin (Two-Person Show) and Munich, 2018 Solo Show at the Tenby Museum and Art Gallery, Tenby, West Wales, UK. Work in Public Collections: The Slade Schol of Fine art, University of London, University College, London. City University, London, Ashmolean Museum, Oxford, Hong Kong University Museum Art Gallery, Hong Kong Museum of Art, American Petroleum Institute, New York, American Petroleum Institute, Washington D.C.,The Conquest Hospital, Hastings, E. Sussex, The British Library, Kingston Hospital, Surrey, Elsevier, Hoboken, New Jersey, U.S.A., Wolfson College, Oxford, Yu Kyung Museum, South Korea. Her work is also to be found in many Private Collections including those of John Piper and Professor Michael Sullivan. At the moment Yeo is involved with natural forms - e.g. plants, trees, rocks, sea, and water in lakes and waterfalls - portraying form with movement and space and all the natural energy of nature. The media she uses are watercolour and acrylic. Having been born in Hong Kong and studied at the Slade School, Yeo likes to exploit Chinese traditional use of the brush and the oriental use of space mixed with a Western individual interpretation of form, light and colour.

“Ebb Tide”, Acrylic on Canvas, 76cm x 102cm, 2017

“Fish Pond after Rain”, Acrylic on Canvas,76cm x 102cm, 2017

“Waterfall after Rain”, Acrylic on Canvas, 92cm x 122cm, 2016

“Waves”, Acrylic on Canvas, 92cm x 122cm, 2016


He lives and works in Poland. He has presented his art at more than 85 individual shows and participated in more than 140 collective exhibitions in Poland, Europe and USA. He is a member of the Polish Pastel Association, a member of the Union of Polish Artists and Designers and a honorary member of the Pastel Society of America, NY. He has organised and participated in numerous plein-air meetings in Poland and abroad. He was a curator of a famous exhibition of Józef Czapski’s works held at BWA (Art Exhibition Office) in Nowy Sacz, Poland (1991) as well as shows of Nejad - a prominent Turkish abstract artist. His numerous articles on art criticism have appeared in famous Polish titles like ‘Gazeta Wyborcza’ or ‘Tygodnik Powszechny’ and in catalogues accompanying exhibitions. He has taught at all levels of the educational system. He was a manager of ‘Mała Galeria’ (Small Gallery) in Nowy Sacz, President of ‘Pro-Art’ Foundation, Secretary and Vice President of the Polish Pastel Artists Association. His works have supported numerous charity campaigns such as ‘Chcę pomagać’ ( I Wish to Help), ‘Bliźniemu swemu’ ( For The Neighbour), ‘Ziarnko gorczycy ( Mustard Seed ), ‘Sursum corda’, Stowarzyszenie Rodzin Zastępczych ( Foster Family Association ) and dozens of individual events helping people in need. His works can be found in private and public collections in Poland, USA, UK, Germany, France, Italy, Norway, Finland, Australia and in Vatican.

‘Altogether’, 100x70, oil pastel, 2017

‘Multithreaded chaos’, 100x70, oil pastel, 2016

‘Nude in the Moonlight”, 100x70, oil pastel, 2017

‘Sunny day on the beach”, 100x70, oil pastel, 2017


Rostislav Romanov is an artist who strives to capture the beauty and strangeness of the inner links of the world. His art is insearched of the quantum of unorthodox shapes and lines that link the everyday life scenes. He questions the traditional concept of form while inviting both body and soul to experience, voice and create a unique artistic language. When Rostislav was at school his art mentor and teacher John Hinchcliffe said he can do it, he can become a professional artist. So with no obvious path before him, he set out in the world of art. In the beginning, Rostislav was trying to feel his way around different societies trying to fit in what he thought was meant to be. Instead, he fell in an unconventional illness for many moons, suns and seasons how long that is a bit of a blur of what was going on around him. After rehabilitation, Rostislav realised the old way of life did not work for him. He had a second chance to explore the surroundings of nature. To his amazed he found out that he is more prolific and crazy in his new lease of life than his jailed old one. With his unique perspective and a new lease on life, he chose to look into the structure of the worlds nature and to use that to form his own language in art. The hardest thing Rostislav is trying to do is trying to break away from what is normal in natural beauty but instead looking at the theory of what makes it that way. Rostislav is always seeking new ways to communicate and explore in different mediums and techniques to get his voice across. Rostislav shall never rest in his search of something what? He only knows one part is salt the rest well it is a long journey let’s see what happens together.

“Straight out off salty rivers running wild in my mind.” Date: 2018. Medium: Magic colour pencil and wax oil crayon on linseed soak cotton rag paper 620gsm. Size: 101cm by 68cm

“2 Salty Groynes, with the added saltiness sunrise, Winchelsea Beach.” Date 2018. Medium: Oil on canvas. Size: 61cm by 74cm


Henry Rice is an artist who collects and organises images, images created from photographs that are made ‘other’ by various post-photography techniques. Looking into visual desires and how they emerge through the consumption of the digital image. Rice has received an MA in Photography Arts at the University of Westminster in 2018. In 2017 Rice won the best photo in London Photography Festival, best in show at New Art West Midlands and top place in the international photography category for F the Art World.

Birth? This image is made by using a photograph of a pomegranate and motherboard, it has been put into a specifically design program that reorganises its pixels by RGB value. The digitally manipulated photograph is migrated from the confines of the computer screen and brought into the gallery, while the original still remains in the digital world. 2017 Program designed by Ross Bardon

Viewing When Rice saw the Mona Lisa in person for the first time he could not help but feel underwhelmed. He knew the face of the woman staring back at me but the intimacy was lost. Rice concluded that this was because he have seen her face repeatedly on TV and computer screens, which had become my definitive image of the painting. Rice explored the positives and negatives of viewing oil paintings in this format; the celebration of accessibility, the image breaking out of the confines of the elites’ private collections and free for all with the internet. The poignant change of the image, by being framed in the mundane and to a scale the artist never intended. 2015

Mapping Rice has tried to encapsulate what it is to remember a place; the journey that was undertaken, the sights, the sounds, the memory. The memory however is never a clear image or a solid static representation. Memory twists and warps over time and upon reflection the details though to be unremarkable suddenly appear to be critical, and the essential becomes unimportant. To express this, Rice has comprised an image out of photos collected on same day from the same location. Fused together they become a confusing medley that expresses the memory of the place. 2012

Humanz Appropriated images from the internet, sourced via the top twenty 2017 search terms from the world’s most popular porn website, Pornhub. Databent using the statistical information the website provides on its global users. The work uses Video, Magazine and still images. 2018


Maria José Cabral was born on 30 January 1993 in Lisbon where she lives and works. In 2014 she graduated in Sculpture from the University of Fine Arts in Lisbon and in 2018 became master in Painting by the same University. Since 2012 she exhibits regularly, already counting exhibitions in the cities of Lisbon, Coimbra, Funchal, New York, Madrid, Venice and Palermo. It is through the images that best express herself, but as an artist, she values the various forms of communication that lead her to convey a message, whether through painting, sculpture, photography or even writing. Having as one of the focal points of her work the spontaneous formation of colors, a characteristic that accentuates the thematic universe linked to idleness as a means of personal development and transcendence, her work results in the plastic exploration of the various layers of memory which together with the imaginary fused with possible mutations and (re)creations. At this stage, her painting reflects a nostalgic environment which originates from the overflow of personal archives like the family album. Through materials like acrylic or oil pastels, the spaces in the outside are frequent, as the faces unrecognizable using this way of annulment as a form of temporal detachment. It is a process of assimilation and contextualization in the contemporary world, of some concepts that reflect their theoretical and plastic thinking, combining these to the experimental side that meets the fragments of time rescued from various situations and experiences. It is in the Interregnum between the conscious and the unconscious, and in the restlessness that exists the will to represent the absence / presence that she associates with the memory. It’s also a work that stem from an ongoing engagement with leisure- time as the generative source to understand the identity construction experience through “home”. Remembering and creating new images, the artist incites the past as a means to understand the here and now, where the desire to escape to the time that is exhausted becomes transformed, through the layers resulting from the continuous overlap of time, into clear images of the present. The artist is always on a search for the understanding of those that she consider to be the main contributions to her artistic (re)creations, whether they belong to real life or to the her imaginary.

Pause Mixed media on canvas 65 x 106,5cm 2017

Pool #1 Mixed media on canvas  86 x 116 cm 2016 


Living in different countries has helped Sho to think globally and made him aware of how to make paintings that will potentially communicate with many people of the world regardless of their cultural background. While he embraces our personal uniqueness, he seeks collective humanity in all we share. He usually paints with fingers to give his work organic, dynamic and humane feel. It helps him depict the energy of living and sense of urgency to express feelings in this fast-paced society. Through the directness of this painting method, He aims to create lines or forms that are sensitive yet strong, random yet specific to his feelings. Through his experience, He feels he was saved by art as an angst-driven youth. His attempt is to return the favor by doing the same to the viewers. Through his work, He portrays the struggle to find identity and aim to deliver the message that no matter how vast the society becomes, we are all unique and irreplaceable and although it may be difficult, it is possible to find a sense of purpose.

Title: “Anger Towards Self” Year: 2018

Title: “Procreative” Year: 2018

Medium: oil on canvas Dimensions: 46”x36”

Medium: oil on canvas Dimensions: 46”x36”

Title: “Battle Scars” Year: 2018 Medium: oil on canvas . Dimensions: 46”x36”


Eriko Kaniwa is an international award winning fine art photographer based in Tokyo, and the creator of the Sensegraphia Photographic Fine Art. Sensegraphia is a conceptual redefinition of photography, in which the visual aesthetics of the photograph are used to develop and express a sense of nature that enables us to recognize that humans are a part of the Earth. It is a major concept of her works. Kaniwa spent two years exploring the symbols of Japanese nature worship, which are exemplified in the “eight million gods” of Shinto, and reflecting on how ancient Japanese viewed natural scenery and symbolized it as an object of prayer. Traveling to over twenty locations throughout Japan, she captured images of torii gates built in water, sacred “wedded rocks,” World Heritage sites, and other spiritual landscapes. These images are collected, together with text, in her book JOKEI: Symbols of Nature Worship, Sacred Places in Japan. The book was multiple awarded internationally as the one of the best fine art photo book in the world. She creates digitally enhanced artwork based on her philosophy, not only the book, but also her series of works have been multiple awarded internationally, such as PX3, ND awards, SONY WORLD PHOTOGRAPHY AWARDS, IPA, and so on. Her variety types of works can be found at now some galleries online in London and NY., also at the art fairs and international exhibitions such as Paris Photo/fotofever 2018, Barcelona Foto Biennale, 2018 and others. Her interview/articles published has been on the magazines or the art book such as NY ARTNews- “Meet the artist Eriko Kaniwa”. “To take photographs and look at them is to become a witness to the manifestation of events that appear and disappear within the flow of time immemorial. For me, photography is not a philosophical metaphor for death or the past, but rather a crystallization of the temporal dimension with which human react so vitally, achieved through the medium of light.“

Title: The Scenic Beauty - Moon. Created in Japan 2018. Long Exposure, Digitally enhanced

Title: The Scenic Beauty - Sun. Created in Japan 2018. Long Exposure, Digitally enhanced

Title: Nautilus Universe. Created in Japan 2018. Digitally enhanced

Title: Zebra - Life Circulation. Created in Japan. Digitally enhanced


Hiba Sultan is a young Saudi woman who aims to remind us and herself of issues we all have forgotten though her artwork. Self-therapy is what she calls her work. Being simply human, a woman, and maintaining inner peace is what she discusses the most. Acrylic for fluidity and oil for details. At times her canvases are ordinary old or new objects considering the strong feeling she gets that it will describe her vision or subject more vividly. Beauty in life inspires her, any artist that magnifies the subject discussed in an incredible way inspires her.

Grip Of Feelings

Left Way - Path To Peace


Right Way - Path To Peace


Within his work process Eiko Ojala likes to study the forms of shapes and to work closely with light and shadow. He likes to keep his illustrations minimal and well-advised as possible. Through simplicity he tries to find the very essence of ideas and details. Eiko Ojala was born in Tallinn 1982 and now splits his time between Estonia and New Zealand. He has worked with New York Times, New Yorker, Monocle, Wired, V&A Museum, Taschen, National Geographic and many more.

Dreamer - 2017 paper cut, digital

Myth - 2016 paper cut, digital

Earth - 2016 paper cut, digital


Esther Gracia Marques was born in Lleida (Spain) on May 14, 1977. She studied science, particularly chemistry. Currently she combines her job with her passion, the painting.Every day she gives more relevance to her vocation in the art world. The art world crossed in her path at the worst point in her life (2008) and has remained essential for she. At the time She is immersed in the oil painting as a form of escape and expression. “Painting relaxes my mind and helps me to be in balance with myself”, she says. Esther Gracia Marques is a self-taught artist. For Esther Gracia the human body is a transparent mirror of feelings and emotions. In her oil paintings on canvas, she revealing a hidden feelings language through facial expressions, gestures and human body’s movements that establishes an immediate connection with the viewer. She opts for oil painting, and she brings her subjects thoroughly alive, capturing the tactile qualities of each body or face she depicts as well as showing the effects that strong feelings have left on them. Her ability to realistically render skin tones, the estructure and texture of the body give her work a physical presence that establishes an immediate connection with the viewer. She discovered the naked human body is home to many feelings, as well as with the contrasts of light, color, and darkness that enhance these feelings. She is influenced in her artworks by her love of high contrast photography. “I learn as i go painting” she says and that quest for emotional harmony and strength is the main source of her work’s power.

INNOCENCE, Oil on canvas, 100cmx130cm, 2015

POSITIVE ENERGY, Oil on canvas, 100cmx130cm, 2016

THE LADY, Oil on canvas, 170cmx80cm, 2015

PROVOCATION, Oil on canvas, 130cmx100cm, 2016


Danish sculptor, textile designer and ceramicist Naja Utzon Popov was born in Copenhagen, Denmark in 1973 into a family of artists. She inherited her creative genes from her grandfather, Jørn Utzon, a Danish architect known for designing the iconic Sydney Opera House in Australia; her mother, prominent Danish artist Lin Utzon; and her father, acclaimed Australian architect Alex Popov. Naja’s childhood years in Denmark have always been an important source of inspiration for her work, as were the years she spent in Australia studying drawing, painting and etching at the Julian Ashton Art School. After moving to England, Naja continued her formal artistic training with a BA in Ceramics at the University of Westminster school of Media and Design. Today, she lives in her native Denmark and works out of her studio in central Copenhagen. Thanks to her family background, Naja has always been exposed to contemporary design. These influences find expression in her work, where she translates her encounters with nature into textiles, glassware, ceramics and sculptures. By adding her own personal touch to works that beautifully combine contemporary design with Mother Nature’s gifts, Naja carries on the family tradition of creating outstanding art. Naja has created gravity-defying clay sculptures for the Rosendahl A/S corporate headquarters in Copenhagen and presentation sculpture was commissioned by the Institute of Architects in Barcelona. A monumental outdoor sculpture entitled ‘Gathering’, which rises from the ground like ancient columns formed from Welsh slate, was commissioned for the corporate collection of the Danish organisation, Humana. One of her more recent project of a sculpture installation was for art collectors Sheela & Ivan Levys new restaurant in Palma de Mallorca, Fera Restaurant. Other sculptures and installations have been purchased by the likes of Saks Fifth Avenue, Lovell Chen Architects and the new hospital wing in Copenhagens main hospital designed by 3xN Architects, to name but a few. Bespoke retail design projects include an exquisite line of glassware for Zone, sushi dinner service for UK sushi chain Feng Sushi and two exclusive ranges of high quality floor rugs commissioned by specialist retailer, Carl Hansen & Son in Denmark. Naja has worked directly with architects and interior designers to create unique and site specific artworks and floor art in the form of rugs.

Untitled 2018

Personalities 2018

Traces of the Past, Ceramic columns

Traces of the Past 2014


Edward Lee specializes in landscape photography of places with arresting, natural scenery. Lee’s distinctive style captures mosaics of contrasting natural features, including mountains, water, terrain, clouds, and sky. With bold colors, dramatic scale, and sheer beauty, his photographs evoke awe, wonder, and a sense of the otherworldly. A distinguishing feature of Lee’s works is their intense visual complexity—which is tempered with symmetry and elemental geometrical shapes and figures present in nature. His artistic influences include landscape painter Georg Guðni, Picasso, and Miró. Through his photography, Lee hopes to share the awe and beauty of nature to inspire people and to instill a reverence for the environment. Lee, who is self-taught, turned professional in 2016 after years of travel photography. After a trip to Norway in 2016, he shifted his focus from cities, monuments, and architecture to natural landscapes. Lee is the founder and creative director of Picerrific Photography (IG: @picerrific). He has shown his works in art shows in Chicago, New York City, and Sydney. Based in Chicago, he travels the world for photography.

Edward Lee, Blue triangle, 2018. Photograph.

Edward Lee, Red mountain, 2018. Photograph.

Edward Lee, Red boats on Emerald Lake, 2013. Photograph.

Edward Lee, Golden field, 2018. Photograph.


Jesse Nusbaum, 29, who maintains a studio in his hometown of Weston, Conn., is a sculptor known for creating realistic bronze animals. “I strive to replicate the actual subject,” explained the artist during a recent interview, “utilizing micro-detail encourages an intimate, close-up view.” Nusbaum’s commitment to fidelity is displayed in a unique technique he developed to highlight surface details. The resulting sculptures appear so lifelike that viewers have reported feeling like they have “experienced a face-to-face encounter with the actual animal.” In November 2017, Nusbaum was inducted into the Silvermine Guild of Artists, one of the youngest artists to become a member of the guild. Nusbaum is represented by Zenith Art & Fashion gallery in Miami, Florida. Currently, the gallery has 6 of Nusbaum’s bronze sculptures on exhibit. Nusbaum’s work also has been featured in numerous exhibitions and venues in the tri-state area. His Husky sculptures are on display in the University of Connecticut men’s and women’s basketball trophy cases in recognition of their national championships. In 2015 and 2017, Nusbaum was invited to have his work featured at Art Basel in Miami, Fla. His work is scheduled to be featured again at Art Basel in late 2018. More exclusively, Nusbaum’s work will also be displayed at Red Dot Miami in December of 2018. Nusbaum has sold a number of pieces to private collectors in the United States, and most recently, completed an international sale to a private collector in Brazil. Nusbaum has been selected to work alongside world-renowned artist Fernando Cid de Diego to design and to create a sculpture for a proposed new museum dedicated to Martin Luther King Jr. in Atlanta, Ga. “I selected Jesse to work with me in Atlanta because I saw in him the same attributes I possess as a sculptor; just not at such a young age. He will make his mark in the art world as a sculptor,” said Fernando Cid de Diego. World Wide Art Books, a leading art publisher, has selected Nusbaum’s work to appear in two separate editions; “Important World Artists” in late 2018; and also in “International Contemporary Masters,” in 2019. Designed in California and published annually, these books are curated art anthologies presenting select master artists and sold at prestigious venues around the world. Nusbaum was also showcased in “The Art Album Live” in 2015, a book published by Dawud Knuckles, the owner of Art on Dekz. Original Living Magazine’s winter 2018 edition also featured Nusbaum’s work in an article titled, “A New Conceptual Art and Fashion.” Nusbaum was also selected into Connecticut Magazine’s 2019 edition of Connecticut’s “40 Under 40. In addition to pursuing sculpture, Nusbaum mentors and teaches drawing, painting and sculpting to public school students in Fairfield County, Conn. He continues to conduct private lessons to people of all ages at his studio in Weston and also mentors numerous artists on how to navigate the art world, particularly sculpting. Nusbaum earned a studio art degree from Muhlenberg College in Allentown, Penn. For more information on Jesse Nusbaum, please visit:

Spanish Fighting Bull, 2017, 100% Hot Cast Bronze Sculpture, Dimensions: 21” H x 13” W x 19” D

German Shepherd, 2015, 100% Hot Cast Bronze Sculpture, Dimensions: 17” H x 17” W x 18” D

Jesse Nusbaum at Art Basel with English Bulldog and German Shepherd Sculpture

American Bear, 2018, 100% Hot Cast Bronze Sculpture, Dimensions: 11” H x 13” W x 21” D


2018 ATIM Masters Award-winning artist Tinatin Vachnadze was born in Tbilisi, Georgia into a family of creators. She graduated from Academy of Arts with a Masters in Fine Arts and Fashion Design. Upon graduation, Tinatin participated in many shows and group exhibitions. 1999 proved to be a monumental year for her when she and her family moved from Tbilisi, Georgia to Atlanta, Georgia in the United States. Within her first two years of moving, Tinatin was hired at a significant company of the art world. However, since 2002, she has become an independent artist with works featured in private collections and prestigious galleries across Europe and the United States. “Having grown up in a family of creators, art has always been the window through which I interpret and understand the world. I try to put on canvas the depths and endlessness of the mind. My formal education collaborates with my interest in spirituality to influence the stylization and color selection prominent in my work. It is my main desire to provide maximum aesthetic pleasure to my audience and to touch the soul with human emotions familiar to all.”

”Victory” 60x48. Mixed Media and Oil on Canvas

”Healing” 24x34. Mixed Media and Oil on Canvas

“First Love “ 24x36. Mixed Media and Oil on Canvas

“Moonlight” 30x40. Mixed Media and Oil on Canvas


William H. Thielen is a full-time studio artist living and working in Carbondale, Illinois, U.S. His work has been shown throughout the United States and Canada. He has been a visiting artist in many universities throughout the Midwest and has had his work reviewed and published in national and regional newspapers, art magazines and art books. He holds both a B.S. and M.F.A. in studio art. It was during undergraduate school that he discovered abstraction. Thielen found that when creating, it is risky to trust the intuitive nature of emotions and the intellectual information that comes from observation. He overcame this risk through the language of abstraction. To him, the process of abstraction is one of spontaneity, flexibility and trusting the intuitive nature of the act. Also inherent – and even necessary – is an emotional reaction and metaphorical reckoning on the part of the viewer. All of this helps to create a new visual language with which to address the issues behind the visual statement. The issues behind this artist’s work are personal and autobiographical. He works with them in an attempt to find his own identity in a divisive social structure. It is a way for him to find a common ground while existing in a society that is full of hostility and hatred. His works are about extremes and the tension that is created when opposites are thrust together. The opposites need each other to define each other. His compositions— sometimes simple, other times complex—aid in building the works as they evolve. Sometimes black and white is dominant and other times, color; just as life is not always—if ever—on an even plain. The black and white is about the constant struggles of good and evil, life and death, control and rigidity. The color is entirely about emotions, something we all have, yet often try to ignore. Thielen, however, recognizes that emotions have a concrete nature which cannot be dismissed. Thielen concentrates on the history of the process so that it silently complicates the depth of the object. By juxtaposing complicated geometric patterns with freehand shapes and line, works are created that stimulate, disturb, and distill feeling. The viewer, through a metaphorical language, must attempt to resolve this tension and find the truth in these works. Thielen’s work looks for emotional truth in a post-modern world. It is an act of continuous clarification and transformation.

Untitled No. 900 (no easy answers). 84’’h x 72’’w, acrylic on canvas and felt. 2018

Untitled No. 901 (obstacle course). 84’’h x 72’’w, acrylic on canvas and felt. 2018

Untitled No. 902 (reading between the lines). 60’’h x 48’’w, acrylic on canvas and felt. 2018

Untitled No. 903 (fever pitch). 60’’h x 48’’w, acrylic on canvas and felt. 2018


The core and fundamental themes in my artwork is symbolism and history. It stems from a lifelong interest in Egyptian hieroglyphics and cave art. Also, being adopted I’ve always wanted to know who I am and who I come from, so there’s a strong interest in knowing my ancestors too. History has been a passion of mine since childhood and I read all kinds of stuff including history about art, guitars, civilizations, wars—you name it. I like to communicate history visually, through my artwork. To unlock the mysteries of the past and make them relevant to today. I don’t know any other way to say it—history has always been an obsession. I might have become a history teacher if I hadn’t had ADD! I’ve been influenced by lots of artists. I would say Picasso, Dali, Miro, Kandinsky, Klee and Chagall are strong contenders! I love the movement and vibrancy in their works. I strive to do the same, but with an emphasis on lines and symbols on top of layered backgrounds.

The Pianist. 2017. Acrylic enamel and watercolor on canvas. 24 in x 30 in.

Zodiac. 2017. Acrylic enamel, glazing and watercolor on clay panel. 36 in x 48 in.

Collar Symbols. 2018. Acrylic enamel, stain and watercolor on canvas. 40 in x 30 in.

Forgotten Man. 2017. Acrylic enamel, gold and watercolor on canvas. 40 in x 30 in.


Born in October ‘78 in Moscow in the 4th generation of architectors and artists of my father’s family. As soon as my mother has been a teacher of English which opened to me the opportunity to see my passion for learning foreign languages and traveling. Graduated as a Master of Technology and Designer of architectural spaces. Have been working as interior designer and decorator for 15 years. Having made public and private spaces in  different countries. Create and produce furniture, home textil, homewear, lingerie. Have been exhibiting and selling around the world my works such as painting, sketching on black background, photography of nature and people in a special way. This year my photo and art books as well as a book of poetry are going to be published in english-speaking countries. Statement Artwork: Monochrome. Minimalism. Elegance. Harmony. Unfinished phrase of the brush to give the opportunity to enlarge the viewers’ imagination. Statement  Photography: Harmonize the interior spaces of living and working, as public so as private ones, with the meaningful and colorful accents (photos)  and images - this aim of mine feeds my inspiration and motivation to catch the unique, hardly noticeable moments of any kind of life. 





I mainly make paintings about painting; formal elements of colour, structure and gesture make up abstract compositions where painterly properties are the focus. Making pictures that do things that only paint can do really interests me. The idea that painting is often intellectual enough in its self is important, and has a modesty to it that I feel sits at ease with my quite sincere approach to making work. I rarely use paintbrushes, instead adopting other tools; such as draft excluders, squeegees and rags to create marks. The gestures created from these processes often act as compositional focal points, and paintings are sometimes left alone as finished work once these marks are made. I like the idea of making big gestures in small paintings and so the size of the work is often moderate, when I do make larger works I find that they do different things than the smaller ones. This is no bad thing I find and is something I consider and subvert in my practice. Minimalism interests me and I often borrow from its language in my work; austere and simple compositions aim to contradict the heightened use of colour. Colour is crucial to the work, and I often use the pastel tones of the retro and pre digital. I like the idea of looking back technologically speaking, rather than forward; and I feel that this sits quite well with the use of paint, an inherently analogue medium. The architectural nature of gesture sits at the heart of much of my work, and exploring how painterly marks can act as structure in a composition is drives my processes. Chance plays a big part in the forming of these gestural frameworks, as you can never be entirely sure what sort of mark you will end up with. Because of this chance element work is often made and unmade until you end up with a composition that sticks. This serves to add a history of making to the pictures that I feel is important to the way the work operates.

Title: ‘Monument I’ Medium: Acrylic on canvas Size:  80 x 90 cm Year: 2018


August Vilella is considered one of the most sought after Barcelona artists abroad. His artworks have been exhibited around the world in cities such as Tokyo, Paris, Shanghai, Dubai, Amsterdam, Hangzhou, Barcelona, Taipei, Oxford, Shenzhen and Rotterdam. In 2016 he was the winner of the Best Artist at the “Tokyo International Art Fair”. In 2017 he was awarded for the Best Innovative Art at “The Global Art Awards” of Dubai. And in 2018 he won the “International Artist Grand Prize” of Taipei and the “Chairman´s Award” in the Art Revolution Taipei where his work was chosen as the best among 4.546 candidates. Furthermore, prestigious magazines such as “The Global Times”, “Vice”, Hi-Fructose” or “Beautiful Bizarre” have been reporting about his impressive development as a master of his genre. He creates oil paintings by means of a surreal intuitive method of painting. Thanks to this method and without using any previous sketches or ideas, he gives shape to his subconscious mind. In some way the process is similar to Jazz music but in painting, because when he works in his art pieces he is used to lose control of the brush, and the shapes start to appear automatically like when we observe the clouds in the sky and these start to form some elements that we think to recognize. The result of this practice are art pieces with a very particular dreamlike aura and a magic, metaphoric, and even philosophical language, which invites the viewer to reflect. All this iconography is represented with a very refined technic, his style can remind us of old masters because he works with very small brushes, puts many slim layers of oil paint and varnish and plays with the lights and shadows. In consequence, we can see in Vilella´s artworks a very curious contrast between a very technical and elaborated style, and a creative process that turns out to be completely intuitively improvised and unintentional. Like the own August Vilella is used to say: -“When we remove the will of the artist regarding his creation, each painting becomes a work of art of the world and for the world; a piece of art in which all people can find themselves reflected and, above all, a work of art with a life of its own that wants to be seen, to wake and to be felt.” Actually, he usually says that he doesn’t choose the topics and characters of his paintings, in some way they choose him, so the message of each painting comes out only when the work of art is completed. Thanks to that, each character that appears in his canvas become unique, and each artwork unrepeatable. All this turns each of his paintings into an Odyssey, which moves into the depths of the vast subjective ocean, and whose outcome is always unknown, different and unexpected…

The Architect - 2019 - Oil on canvas - 100x100cm


1973 Birth of Ina City, Nagano Prefecture.Lives and resides in Himeji city from 1975. Illustration, artist activities of colored pencils, pen name of TWO.AI from 1989 to 1995. (The activity was suspended at the Great Hanshin Awaji earthquake.) Illustration activity restarted as an Japanese pop star specialist painter Katanashi Mugyou after 20 years in about 20 years.Resumption of color pencil drawing activities in 2015. Starting exhibitions and competition exhibitions mainly in Japan, the UK, Australia and the United States after 2015. Started art fair participation in the world starting with Art fair MĂĄlaga since 2017.

title : EN year : 2018 technique : Various other crossing (colored pencil & Graphite pencil on Water paper panel ) size : 116.7Ă—72.7 cm


For artist Irene Hoff, life is all about collecting stories, experiences, insights and inspiring the world to see what really matters. She does this by: taking on life adventures, small and big, doing the things she fears the most; by dreaming big and realizing her dreams such as getting Leonardo DiCaprio’s signature on one of her animalart which she subsequently donated to ‘race animal extinction’; and last but not least, by making beautiful and alluring art. Irene works with mixed media, using acrylic on canvass, enriched with colorful printed patterns on special coated paper. “I love to work with large-scale pieces to create a big impact. Irene believes that the spaces we inhabit, where we live, work, play, eat and dream everyday not only shape the way we feel but also our health, happiness, passion and zest for life. They affect fundamental things such as our sleep, creativity, love, and our overall sense of self. It is with this in mind that Irene creates each and every painting. The process is done with profound passion and care as if she was a therapist, doctor or shaman. She firmly believes that art can positively influence our state of mind. Irene feels we are losing the authenticity of who we truly are; losing our balance as humans. And once we lose our stability, we lose our freedom. The way we now live our lives not only causes damages to our body and soul, but also to our planet. For Irene, being in balance means having the ability to choose to feel good, inspired, loved, healthy, open and sensitive to all things and people that surround us. It means that our ‘energy source’ flows through and around us, uplifting ourselves and letting it shine on our environment. Her figurative art is not only a visual way of expression, but also a means of transferring ‘energy’ and insights to the person attracted to her work. She believes her art holds the potential of stirring positive thoughts, stimulating our ‘energy source’ and breaking down impeding feelings and beliefs. Irene’s art truly reflects who she is: her lightness of being, instinctive curiosity, unbounded humor, intense perceptiveness, and infectious positivism. She translates onto a canvass an illustration of her perceptions enthralled in emotional and spiritual growth at the time of creation. The imagery and symbolism she uses become a unique gateway in moving people, helping them to see the bigger picture and the roles that each of us has the potential to play.

The Time Is Now. Mixed media on canvas. Year 2018. 170x140 cm


I’m painting about the girls with salor uniform. They are living in the situation just bitter/sweet life. A sailor uniform is an important motif for me rather than a female high school student In Japan, while a sailor suit gives us an image which is different by each time, it is a universal icon symbolizes a girl. While expressing purity, and youth and cheerful, sexual and a momentary image are evoked. And it is not a mere uniform for them. It is an item for being cute which asserts itself, and is arms. It gives the element which receives an attack in many cases rather thanestimated that it is individual that it is conspicuous by their community. In Japan where such peculiar human relations exist, the sailor suit canserve as a very symbolic motif.

Relief. 2017. Acrylic,Oil On Canvas. 162Ă—194cm


My art concept is based on applying to the individual emotional experience, both positive and negative ones. Throughout the centuries the politics, economics, the periods of the war and peace, revolutions and religious struggles, the innovation and technology discoveries affected the people lives just creating the challenging survival circumstances, but have never affected the emotional development of each personality from the childhood till the old age. The teenager search for themselves, struggling for love and the professional choice, existential crises of the mid ages and so on - the emotions capturing us are meant to make us all equal disregarding the national or religious or gender issues. The changes in the emotional experience is the true reason of the human evolution. We should just choose to dare to be ourselves instead of preserving our comfort zone.

Ophelie, 150 x 105 cm, ink on watercolor paper, 2018


My work is a visual record of the world around me; capturing those moments that have become rooted in my memory. I am not interested in replicating nature, but rather the bits and pieces that have struck a cord with me. I tend to work large, starting with bold black ink sketches that reference organic shapes. I then obscure parts with multiple layers of broken color. I work back and forth in this manner developing a thick build up of paint in some areas while others remain thin and open. Washes contrast with impasto and interplay with the loose drawings within the piece. The essence of my work is exploring the beauty that is present in the natural world. In this process I take in what draws me to nature and bring it back to the canvas via my own voice.

Beyond the Garden Gate, 2018 ink and acrylic on canvas 65”h x 60”w 165.1H x 152.4W cm


Working with painting, drawing, and installation, my art practice focuses on image traditions and their topicality, perception in spacial contexts, and the relation between painting and techno-visual cultures. I’m interested in how the complex pictorial environment transforms our perception and visual memory. Image technologies have constantly changed the concept of reality, including nature and the human body, explaining and distorting them at the same time. I try to reflect the paradox dynamics between fact and fiction in those visual models, while deliberately using imprecise ‘low-tech’ media. Their stubborn opaque material has a rich complexity of its own that counters the intellectualism of technology and discourse. The non-translatable phenomenon of a picture is a surprising surplus in every work, no matter how theoretical its initial idea might be.

Armada (13). 2018, acrylic, enamel, marker, crayon, oil crayon on canvas, 230x200cm


Alexandre Coxo is a young Portuguese artist who produces his paintings in two extremes: the natural, in the figurative elements; the artificial, by the logicalmathematical speech. In this way, it seeks to develop images that somehow we already know and, simultaneously, do not know where or when. With his paintings Alexandre intend to create a meditative atmosphere. Between the intimate and the public, he develops an ambiguous imagery that allows him to change between the authoring process and reflexive essay. His work process follows a disciplined method consisting of several sequential steps through which imaging material is found to allow him to compose a limited set of paintings. Usually, this process begins with a trip without destination from which arises the motive and the need to capture images. The work continues in the studio producing his paintings. In the composition and in the painting Alexandre Coxo uses some influences of European art, from the great classics, like Diego Velázquez or Rembrandt, to the contemporary painting. His academic training includes a Master’s Degree in Veterinary Medicine from the University of Trás-os-Montes and Alto Douro, followed by a Degree in Visual Arts at the Faculty of Fine Arts of the University of Porto. After the academic training he attended drawing and painting classes at the Atelier de Arte Realista do Porto. From early on, Alexandre painted and exhibited in Portugal and abroad, having received several prizes in painting contests, and being represented by some galleries. Alexandre Coxo was born in 1987, in the city of Porto, and at the moment lives and work in same city.

Tiro - A Man Who Can Change. Oil on linen. 75cm x 100cm. 2018


Did that image just change as you walked beside it? Look again. Yes, it did. Like our ever-shifting visual experience of the world, Howard Harris’s dimensional photographic constructions merge aesthetics and technology to produce an intriguing new way of experiencing photographic art—with depth and the appearance of subtle differences from one moment to the next. Harris’s creations simulate the way we see. They mimic the complex process of perception by engaging the eyes, mind, and emotions in an intricate dance whose other partners are the changing light, our angle of view, and the space in which the work exists. The result is photographic art as you’ve never seen it before. Harris has long been fascinated by both visual perception and design. The Denver native earned a BFA from Kansas City Art Institute and worked in architectural design and space planning before enrolling in Pratt Institute in Brooklyn, New York. There he received a Master of Industrial Design, studying with internationally renowned design theorist Rowena Reed Kostellow. Countless hours of exercises in three-dimensional form and relationship helped integrate Harris’s strong structural inclination with an intuitive, non-linear approach. Exposure to the work of Op artists Julian Stanczak, Yaacov Agam, and Josef Albers, as well as sculptors such as Henry Moore, reinforced his interest in the ways twoand three-dimensional art can trigger unexpected perceptual shifts.Harris’s patented dimensional photographic constructions begin with whatever catches his eye—from the landscape and wildlife to urban structures. Always musing on how the mind responds in a non-linear, multi-dimensional manner to what it encounters, the artist uses technology to alter the image to varying degrees. Some remain relatively straightforward while others move into the non-objective realm in which thoughts and emotions are suggested through intense color and dynamic line and form. Each photographic image is then printed an aluminum surface and then modified and printed on acrylic as a subtle grid. The philosophical ground beneath Harris’s work draws in part from his study of quantum physics and chaos theory, the proposition that the observer always affects what is being observed. With a minor in Eastern philosophy from Pratt, the artist also finds himself influenced by the Eastern perspective in which reason and logic take a backseat to the more spontaneous emergence of form.

Not Alone 2018 Print on Aluminum & Acrylic 36x30in

Miro Dream 2018 Print on Aluminum & Acrylic 36x30in


Brooklyn-based artist and designer David Good centers his work around the role of the Internet in society. His portfolio spans an array of mediums throughout his studio practice David Good Design. A Chicago native, Good earned undergraduate degrees in Linguistics and Communications Design while attending the University of Southern California in Los Angeles. The foundation of his methodology stems from “the intersection of verbal communication through the study of language and of visual communication through the study of Communications Design.” It was during his time in Los Angeles (2010-2013) that he began conceptualizing social media platforms as a medium. “Art and design do not exist in a vacuum,” he notes, “and so when I create images I am not only interested in the aesthetic and conceptual qualities of the image itself, but in how it is shared, where it is seen, and how it fits into the larger cultural zeitgeist.” Good’s experience includes working as a designer and copywriter for ad agencies, start-ups, Fortune 500 companies, museums and hotels. He earned his MFA in Communications Design from Pratt Institute in New York to further push the boundaries of art and design. While at Pratt he focused on the evolution of art since the invention of the computer. He wondered, “if life imitates art, then what do GIFs and memes say about life now?” In a brief exchange of emails and Instagram messages with linguist Noam Chomsky, designer Milton Glaser, and art critic Jerry Saltz, he found there to be limited knowledge on the subject. Good has been featured in Aesthetica Magazine, selected as a contributing artist for London-based boutiques Wolf & Badger, while performing as an expert panelist for design pedagogy in his writings for He has participated in shows with Brooklyn Collage Collective. Good’s art and design work extends into New York City’s queer nightlife; he designs digital promotions using GIFs, videos, and animations for events held in Manhattan and Brooklyn at venues such as the Dream Hotel and the Museum of Sex. Good continues to share his work on Instagram @davidgooddesign, beckoning viewers to question how the screen has transformed their understanding of the world. Epitomized through his prolific body of digital collage, Good explores feelings of loss, absence, excess, and anxiety. He juxtaposes bright colors, subdued gradients, and pixelated noise with old photographs creating a familiar, yet enigmatic nostalgia for the past, present, and future.

A Day With Friends, 2018.Digital Collage

March Of The Chickens, 2017. Mixed Media


As he is a lover of the old Greek Area and painters as Rembrandt, Van Eyck, Carravagio, it is no wonder that somehow, underneath the work he makes, the influence of those has some impact in his work. Especially he loves the drama and light in these works. A second big influence in his work are the Surrealist Magritte and symbolist – expressionist Ensor (both lived and worked in his homecountry : Belgium) Many of his works are slightly anecdotal. His believe in a better world, a nature and people we have to take care of and respect equally, is somehow a red line in his work. Although sometimes he likes his pictures to have something to bring a smile out, most of his work is quite critical about our way of living. His work has been printed on different materials and some were printed as a triptych (Van Eyck : who was working in his hometown). The preferred material he prints on lately is Haghnemulle paper, although not all require that paper. My latest work is being a mixture of original studio pictures and new backgrounds of several different origins to bring out the feeling I am looking for. The works presented in this book are part of a series that try to evoke expressive feelings that refer to the painters as Carravagio.

Title : “Back To Caravaggio’s Dream”

Title : “Lady of Smarts 2” (part of a Triptych of 3 lady of Smarts)

Year : 2018

Year : 2018

Photograph manipulated

Photograph manipulated

Print : Hahnemühle Fine Art Paper 90,00cm H x 60,00cm W

Print : Hahnemühle Fine Art Paper 60,00 cm H x 40,00cm W


SARAH CAPPS is an artist from Charlottesville, Virginia. She works in acrylic, oil, and watercolor to merge her experience of sound-to-color synesthesia in music with the local landscape. The landscape provides a calming and serene backdrop for her experience of bold visuals of color, texture, and form within music. In addition to hybrid musical landscapes, she also creates abstract variations of her visual experience of music. How does she create paintings based on music? Good question. Sarah has synesthesia, or a crossing of two or more senses, and it allows for a unique visual experience of colors, shapes and various textures while listening to music. Her goal is to capture the song and its feeling by sharing her experience of particular instruments, the singer’s voice, and/or a collage that serves as an imprint of the entire song. It’s like trying to hit a moving target. She attempts to convey that movement by using many layers of paint to express the forms within the song, which also allows for greater texture and vibrancy in the final product. Sarah’s process is unique for each painting that she creates. When she begins a painting, depending on whether it’s a commission or a song that she chose, she listens to the song a number of times, at least 20, and selects a meaningful portion of the song related to the requester (or herself if she chose it). Then she attempts to capture the emotion and meaning of that song with a number of layers revealing the movement of the visuals she experiences while listening to the music. She frequently receives commission requests for weddings, anniversaries, proposals, birthdays, and just because from other music lovers. In 2018, Sarah has shown her works at the Brick Lane Gallery in London, the Earth Fire Spirit Gallery in Lexington, Virginia, The Local in Charlottesville, Virginia, and also participated in Prague Art Cocktail II, a one month exhibition featuring 30 artists from around the world in the Czech Republic. Sarah was honored to be the only artist representing the USA, and hopes to continue sharing her work across the globe. In December 2018, she will have pieces traveling to The ROOM Gallery in Venice, Italy for the Contemporary Venice International Exhibition.



18x18” / 45x45 cm. Acrylic on canvas

24x30” / 61x76 cm. Acrylic on canvas

Completed in 2018

Completed in 2018


Oto Rimele is a painter, visual artist and author of visual spatial settings. He expresses himself with pure form and colour. Currently, he is Full Professor for drawing and painting at the University of Maribor, Slovenia. In 2004 he received the Prešeren Fund Award, the highest recognition for achievements in the field of art in the Republic of Slovenia. Recently, an important book of his artwork has been published, entitled Oto Rimele: Spirituality of Material Absence, which was written in co-operation with an important connoisseur of world art Professor Dr. Jure Mikuž. As regards construction, his images are created is such a way as to enable radiation of colour light. The images are accurately placed into the space of the exposition area and achieve the creation of non-material colour communication: his images-objects enable the light of the space to pass into the light of the image, the silence and the inner sound of the image. Rimele strives to achieve such a state of the visual image that will establish, in the interaction with the spectator and the space, the state of wholeness: the artistic image is here in order for the spectator to be able to become aware of himself again and enter the dimension of his nonmateriality. His work could be described as “sacral minimalism” and corresponds, as regards the content, to the European spiritual tradition and contemporary authors such as Mark Rothko, Anish Kapoor, James Turell, Bill Viola, Arvo Pärt. 

K1 Round Mirror, 2015 Wood, color, wax

O-2, 2018

210 x 198 x 5 cm

Wood, acrylic and oil color, wax

The artwork is multi-paneled (11 panels)

145 x 65 x 8 cm


Associate Member of the Royal Photographic Society and member of the Lift-Off Global Community and of the AOP, Dayana Sharon Marconi is an Italian photographer based in Rome. She worked and travelled across Asia, Europe and USA, exploring different cultures and embracing diversity. She achieved a BA in Intercultural Studies at the University of Trieste, Italy, and a MA Photography with Distinction at Falmouth University, UK. In her work, she is interested in exploring the ways in which photography can be used as a tool for psychological and emotional research, investigating her inner world as the one of the portrayed individuals and viewers. Her latest work “I can hear you now” is a two-year project employing a great variety of visual solutions and artistic choices: photography, moving image, a short-documentary and score create a 360-degrees experience so that viewers can explore themselves while observing “the other”. Collaborating with other artists and professionals, she made her work adaptable to a wider audience: the artistic experience is accompanied by scientific and historical interpretations and the visual research by an analytical approach. As a sufferer of Anxiety Disorders, Marconi is particularly interested in the impact of Mental Health problems on individuals. She often feels the urge to scream out in pain but this inner pressure is never expressed since our lives are managed by social norms that stigmatise such a behaviour. She transformed the act of screaming, commonly considered as disruptive, in a constructive action that allows her sitters to release their negative emotions or memories, to enhance a constructive dialogue about Mental Health, a topic still considered a taboo in our culture. In 2018, the project has been exhibited during “Art in Mind” at The Brick Lane Gallery Annexe, in London; at FuoriLuogo Art and Culture Residence, in Italy; during the art show “I am here – Here I am”, at The Studio in Marks Tey, UK, and during “Shutter Hub Open 2018” exhibitions in London and Amsterdam. “[ɪˈmaː.ɡoː]”, the documentary introducing the project, has been shortlisted for London Lift-Off Film Festival Online, selected as semi-finalist at $2 Film Festival in New York and awarded with two bronze medals at Global Music Awards for the music created by the composer Elena Maro. In 2019, the project has been selected for Nvmen Art Prize in Rome, Italy; the Shibuya Station Exhibition in Tokyo and March’s edition of “Photography Now” at Brick Lane Gallery, London.

“I can hear you now: Rage, explosion”, 2018.

“I can hear you now: Rage, load”, 2018.

Long exposure, natural light.

Long exposure, natural light.


“Art is a placid lake in the busy city life,” says New York-based artist, Bo Mi Jo. “In this enthusiastic city getting more done in less time is the order of the day. It sweeps us along by the crowd of doings, thoughts, and feelings, and takes away the mindful connection with the present moment.” Bo translates the fleeting moments of a fast-paced life into still spheres on a tranquil surface that create a peaceful and calm clarity, bringing a modern sensibility and elegance to the canvas. She says, “When we focus on the present moment and gather ourselves floating into one, the flow of a swift current disappears. There only remain objects in still -- objects of things, objects of beings, objects of thoughts, or objects of feelings. Once things, beings, thoughts, and feelings separated from us become objects, we can let ourselves mindfully observe the relationship between these objects and peacefully coexist in the same space with them.”

Title: Moonrise

Title: Romantic Monday

Year: 2016

Year: 2017

Material: Acrylic on Canvas

Material: Acrylic on Canvas

Size: 36 x 60 in.

Size: 36 x 60 in.


Born and raised in Colorado, Tucker Eason moved to California to receive his BFA from Occidental College and the Art Center College of Design. With Graphite and Charcoal as his primary medium in undergrad, Eason worked in mural sized portraiture and after graduation began to experiment with oil. From his studio in East Oakland Tucker explores themes of abstraction, scale, and human experience through his varied portraiture and object work. Since living in the Bay Area he has various shows including a piece at the DeYoung Museum in San Francisco.

Otto. 2018. Oil on Canvas. 36 x 48

Self Portrait - Black. 2018 .Oil on Canvas. 36 x 24


Hartel, from New York, spent his early years there, in Buffalo, Jackson Heights, Manhattan, and the Bronx, and has lived and worked in New Jersey, Waterford Ireland, Saint Martin F.W.I, Netherlands Antilles, Washington DC, West Virginia, and now in Sligo Ireland. He received liberal arts masters and bachelors degrees and certificates from Museum of Modern Art, NYC. Hartel has always been interested in fine arts and has enjoyed membership in numerous ensembles of many musical genres nationally and internationally, and has performed as drum set, marimba, tympani and concert snare drum soloist. Hartel has accepted several awards as percussionist, including seven consecutive blue-medal awards for solo auditions with the New York State School Music Association, Most Outstanding Musician Award, John Philip Sousa Award, and a scholarship to Cleveland Conservatory of Music. He’s currently active in several musical ensembles of various musical genres. Hartel paints and draws with mixed media including oils, acrylics, oil pastels and charcoal, in figurative, abstract and neo-expressionist styles, with influences that include DeKooning, Pollock, Twombly, Clemente, Miro, Frankenthaler, Mitchel, Kline and Wool. Hartel has exhibited and enjoyed representation by art galleries in New York City, Los Angeles, West Virginia and Dublin with works currently in residence at Green Gallery, Dublin, Ireland. His work has been sold and auctioned for private collectors and charitable organisations. Hartel is featured in many art book publications, magazines, cover art, online galleries and social media. His work includes abstract photography. “I think of my work as celebrating the spirit of everyone’s inner child through an improvisationally eviscerated and evocative energy. I feel this expressive energy retained in the strokes, lines, forms and colours encompassing their fleeting application, yet everlasting presence. Experimenting with a variety of tools and techniques, I believe my work yields a spontaneous veracity that may otherwise be mitigated by hesitation. I subscribe to a raw sense of urgency I feel parallels the excitement of life and all its accompanying intellectual, emotional and existential vicissitudes. I strive to create a visual immediacy that may be combatively intense, keeping the viewer’s eye in perpetual motion. I like to conceptualise my work as a bridge between fantasy and abstract reality that I hope challenges our thoughts, perceptions, follies and wits. This union of interactive physical and psychological senses, whether harmonious or divergent, engenders a gestalt with the viewer and artwork that transcends each.”

Belle Femme Sçduisante. Oil, Acrylic, Charcoal On

Grande Donna Grasse. Oil, Acrylic, Charcoal, Oil Pastel

Canvas 20X16in.

On Canvas


Victor Varela (born in Havana in 1961) is a Cuban artist, author, and theater director. He studied theater at the National Art School and Arts at San Alejandro Academy of Fine Arts. In 1985, he founded the legendary Obstacle Theater based on the fundamental visually-iconic idea of treating time as a painting surface. By burdening his theater, he resolves a dichotomy: theater or painting? Both of them at the same time was his discernment. In 1997 Varela left Cuba to travel the world and returned to two-dimensional painting again in 2005 with great sales and success. He has been based in New York since 2010 and dedicates himself to painting and theater simultaneously. Resurrection And Vertigo In Víctor Varela’s Painting Varela’s painting portrays two aporias: a dramatization of the moment and an undermining of limits, and both reveal the same purpose: piercing History to find a place where to assault the chaos and ride the time carousel.   On the clash between the drawings and impulse, between the figure and abstraction, his composition bleeds, to dislodge the look and place us in an ambiguous domain. In that tension, the forms compete for claiming a private space in the imagination of the viewer firstly, and then a kaleidoscopic contemplation in which the fixed, petrified in time image is moving in a theater of mental associations, in a scenario of psychic automatisms. However, the impact is echoing even before we can intellectualize it. In Controversy with History, beyond the anecdote of a naked man who climbed an electric pole and holds a high-voltage cable with his hand to challenge the blunders of history, what we find above all else is an awkward harmony between density and evaporation in a context where the word Art can be read. All to the Square, on the other hand, slightly reveals a network of figures that are part of the same knot in which polished and sharp forms coexist with a tremendously destructive dramatic force. There, the crowd is crossed by the demolishing horns of a machine made to prune people, and show, in black and white, the dystopia of the social unit as opposed to the interests of the power. We are facing the state’s misrepresentation of the welfare after being enforced to a contract that we already signed before birth.       Therefore, Varela is attesting a beyond the death of art at two incompatible voices: a Renaissance one that places the artist in the center and another poststructuralist that reaffirms the disappearance of the subject in most recent contemporary art.

All to the Square / 80 x 80 inches / Acrylic / 2018

In controversy with History / 48 x 36 inches / Acrylic / 2018


Kay Kok Chung-Oi received her Doctorate Degree in Education from Durham University, UK. Kay also graduated with a Master of Arts in Art Education and a Bachelor Degree in Fine Arts from the School of the Arts Institute of Chicago, USA and Royal Melbourne Institute of Technology, Australia respectively. As a visual artist, Kay chooses to utilize “history “and “culture” as her portal or point of entry while making visual artworks. “Culture” connotes religious practices and beliefs too. As art is a mirror of society and helps to evoke or provoke viewers to contemplate their lives and their past; a life and history that forge their own identities. History also reminds us of past events in terms of the political, social and economic development of a country or nation. These events inevitably reflect certain characteristics of a society that constitute “culture” and meaning at that particular moment in time. Culture and memory or our sense of the past closely enhances our identity. Hence, history and culture assist us to look back in order to seek positive changes or effects in our lives. Kay’s artworks revolve around the field of geometry as it best expresses her artistic viewpoint. This is in part, because she has been greatly inspired by the works of particular Russian avant garde artists namely, El Lizzitky and Kalemich. These artists have used geometric shapes, a form of mathematical expression, that Kay has chosen as her form of visual expression. Kay uses geometric shapes and colours to create historical or cultural symbols to reflect her artistic vocabulary. Additionally, Kay also creates artworks based on books that were written by a renowned ethnohistorian, Professor James Francis Warren from Murdoch University, Australia. For example, her solo exhibition, “Distant Call” in 2004, was based on Professor James Francis Warren’s book, “Rickshaw Coolie: A People’s History of Singapore 1880-1940”. These artworks were mentioned in Professor James Francis Warren’s keynote speech, which was delivered during the inauguration of National Singapore Museum in 2007. Kay’s artwork, “Virtuous Cycle” was awarded as the winning entry for Macpherson MRT Station in the Land Transport Authority Integrated Art Competition, 2007 in Singapore. The artwork is located at the platform level of Macpherson MRT Station. Kay has also presented in international conferences and published her works internationally. Kay published her first book entitled. “Let the Children teach us Love: Teaching International Children in Istanbul” in March 2018. The book is about her life as a volunteered English language and Art teacher in Istanbul from 2000 to 2001.

Hope II. 2018. Size: 60cm X 90cm. Acrylic

Warrior. 2018. Size: 130cm X 160cm. Acrylic


“I know that within the depth of my soul, the light of creativity prevails and orchestrates a symphony to the rhythm of our hearts.” Ed Morét My strong interest in world travel and my love for the environment compelled me to paint the story of climate change and its direct impact on our civilization. The artwork centers on environmental themes such as global warming and endangered species. My travels throughout the world have granted me a firsthand look at the melting glaciers and deforestation, which has served to underscore the importance of my work. Award-winning international artist Ed Morét was selected as one of the top 60 Masters of Contemporary Art for 2017 and 2018. I was also recognized and nominated for the Global Art Award in Dubai and received and Award for “Messenger of Peace” from the award-winning Art Tour International Magazine in Florence, Italy in 2017. Along with international shows, my art has been shown at the Southern Nevada Museum of Fine Art in Las Vegas, the Museum of Art and Design in NYC and the Chelsea International Fine Art Show in NYC. My artwork has been shown in several art books and international magazines. In 1986, I received an Honorary Doctors of Humanities Degree for my contribution to global concerns.

“Ascension”, 36”x36”, year 2017, acrylic painting.

“World Peace”, 36”x36”, 2018


Janice Alamanou’s photography began as a small child depicting the shorelines of Norfolk, UK. Her first images published in the book ‘A Personal Account of Time & Tide’ were captured at the age of 12. Her art developed to portraiture and fine-art nude and the natural step was to amalgamate the two. From life she has evolved to have subtle meaning of environment and people within her art. Professional photographer from the year 2000, she is now multi-award winning receiving 5 awards in 2018 including 4 International Photography Awards, one for one of two books published 2018 ‘From the Shoreline’. She was nominated and reached top 4 at the Global Art Awards 2017 in Dubai with her original and unique 1st Photography with Precious Metals, ‘Gold Leaf’ a tree hand gilded with 24ct gold, now sold, but new work with Palladium, 24ct Gold and Copper are in the collection. “I’m very excited by the copper - the 1st piece ‘Salt Marsh Verdigris’ will tarnish in time as though the wreck is still rotting in life’. says Janice. She has also been chosen to be Awarded a ‘Top 60 Masters Award’ in April 2019 along with exhibiting for Create4Peace in New York. Janice Alamanou’s photography is in Galleries in Barcelona, Florence, in a museum in Austria, in residency at the Rosso Cinabro Gallery in Rome, is a permanent Museum Piece at the Yuk Yung Art Museum, South Korea and she has two galleries in New York representing her work and exhibiting internationally.

To Mopw



Sónia Domingues was born in France. She was still a young girl when she came to Portugal and soon in her life the Art assumed an important role. At fourteen, she was invited to partake on what would be her first Collective Exhibition which allowed this young artist to reveal herself on the magnificent Universe of Art. At sixteen, more convinced that art would be his accomplishment both Personal and Professional life, she got specialized in several artistic style, aiming to innovate her Dynamic “Art Style”. Her constant Journeys abroad allowed her to acquire new Products and Pigments which made it possible to accomplish the effects of her Dreams. Due to its Bubbling Nature Creative, her Inspiration emerges from the Depths of the Oceans until to Universe, with real passion, love and emotion.Thus, her Artistic Plurality, is Showed by the developing a Eclectic and Unique Style, with a Very Contemporary Artistic Spirit, with the presence of the Figurative, in a form of expression both Impressionist and Expressionist, with the preponderant Symbolism, using the Cubism, the Geometric Abstractionism and the Futurism as soft spices’’, passing by the Pop & Conceptual Art, touching in the Art Nouveau” until the Surrealism...! That’s why, sometimes, in the same creation/work, can contain various Artistic Styles ‘Living Together’, always with the same essence, Elevate/Emblazon the Beauty, as Sonny explains: “ ...I Construct, Create or Paint what I Dreamed*), so my Paintings emerges from Dreams, as my desire for them come True. Each Story, each Dream, is shared with all Art Lovers in all kind of surfaces, independently the dimension or the difficult degree...and if the Great World of Arts is a Big Travel, I want to stroll through all Artistic Styles, showing my own Vision of them...for I Believe...Art can Give...Sound to the Silence, Movement to Stillness, Life to the Inanimate and Emblazon all the Virtue!” - Sonny* Her Art and Artistic Vision, has resulted in many Individual and Collective Exhibitions around the World and in Recognition of his Talent, has received more than 50 of the Most Prestigious International Awards. Between Exhibitions she also creates taylor-made Works of Art for customers on all types of surfaces, since Screens/Canvas - Oil/Acrylic until Stained Glass in the maximum Security Dimension. Throughout her artistic career has participated also not only in Creation of Prototypes, in the Entertainment Area, as performs Image Consulting, to all appreciators of their Artistic Style, thus creating all Type of Fashion Accessories & Artistic Interventions in Men and Women’s Fashion Wear. “Sonny’s Art” can be found both in Continental Portugal and Islands as in several countries, namely Spain, France, Italy, Switzerland, Germany, Luxembourg, Denmark, UK, United States, South Korea, Dubai, Brazil, Norway, Finland, Angola, Mozambique, East Timor and Japan.

Living Eye Of Life’s Collection Nr. II All Eyes have Eyes

Living Eye Of Life’s Collection Nr.V Your Eyes Touch on


Me M​e lodies Without End


I cannot explain myself, the only thing I can say about me is that I’m not only one thing; I’m everything, I’m feelings... emotions! My work is an expression of that. It’s an outburst of what is to create; a deep pain, a deep plager; As if we were achieving an unique perfection... conquering a virgin world; The desperation to survive in this monetary society! Loose and quick brushstrokes do not allow the fear invasion on he clean and “perfect” images. The Goal Is To Capture Emotion Rather Than Reason.


“Try The Shoe”

Acrylic on Canvas

Acrylic on Canvas






Mantziaris Nikolaos is a self taught artist from Greece. He studied dentistry and discovered art through dental laboratories. His pieces are mainly talking about problems of modern societies and social issues, like immigration, human trafficking, drugs, war etc. He makes many different types of art, from digital illustrations to paintings, sculptures, mixed media etc, and gives a precise meaning to each artwork which makes viewers feel related when seeing them. His pieces have smart messages, mostly melancholic and need viewers with strong stomachs and a unique taste of beauty.

Title- Ethans Cow, Year: 2016, Technique: original digital work of art, Dimensions: 134 x 200 cm

Title: Human Trafficking, Year: 2017 , Technique : plastic colors on canvas, Dimensions: 120 x 213 cm


My art captures my own realities—the world as I feel it or imagine it. I have chosen Photography as my artinstrument because it allows me to grasp these “realities” in an instant, without the distortions caused by the passage of time and changing feelings. My images are captured both in black and white and color creating timeless portrayals of my imagination and desires. Although they reflect somehow my Mexican heritage, they seek to break national boundaries and transport the observers to an unidentifiable interior place of great beauty and peace.

The empty Chair. Digital, 2013

Transition. Digital, 2015


Khalilah Birdsong is interested in survival and resurgence. Distress, weathering is palpable on the canvas, but so is resurgence. She builds layers up and then takes them away to create a painting that is, ultimately, whole. The process of layering and stripping builds contusions, bumps and raw ridges, but also reveals patches of older, more forgotten colors. Every painting is an experience through process, which translates to the canvas to create a story that can only be experienced visually. Her process is strenuous to the medium. Through it, her paintings achieve resolution. Khalilah creates large-scale abstract paintings that explore issues of depth and line. Fields of variegated color serve as her foundations: multi-hued paint progresses across the canvases, artfully uneven in saturation, conjuring a sense of movement and force. Birdsong’s color palette presents more juxtapositions still. Studying the alternating hues, a viewer may come to see the way that one color, barely visible on the finished surface, can serve to gird and guide the layers that succeed it. Khalilah works with Hathaway Contemporary Gallery in Atlanta, Georgia, the Cincinnati Art Underground in Cincinnati, Ohio, The Fine Art Associates in Honolulu, Hawaii and AHC Projects in Hamburg, Germany. Birdsong has had solo and group exhibitions in the United States, Japan and Italy. Her paintings are in private and corporate collections around the world, including commissioned works. Her installation work has also been commissioned by corporations in the United States. Birdsong’s work can be found in U.S. President Barack Obama’s private collection, which is being considered for his Presidential Library.

Amongst the Towering Gates

Under the Higford Tree

Acrylic on canvas

Acrylic on canvas






Ina is a Graphic Designer and Illustrator. She comes from a very artistic oriented family, and grew up surrounded by art. Since se was very little she painted and drew in a very natural way. She could spend hours painting in every corner of the house, but she lost confidence during her teenage years and stopped drawing. After High School, she attended the Art Institute in Caracas, Venezuela and received her degree as a Graphic Designer. She was involved in many branding projects at Future Brand, Caracas, Venezuela and Future Brand, São Paulo, Brazil, where she lived many years. After that, she remained working as a freelance Graphic Designer. In the meantime, she had two beautiful daughters and at that moment, she wanted to reconnect with her inner child that love to draw and paint, so, she started again. She took some courses and workshops in order to rescue and improve her drawing skills. Three years ago she moved from São Paulo to Denver, Colorado where she has her home studio and enjoy hiking and being in touch with Nature. Ina is always looking for the perfect palette and every piece of her art is drawn and painted by hand giving attention to every detail. She likes loose strokes and sometimes, she mixes them with structured shapes. Nature inspires her to paint flowers, and wildlife in general, and creating patterns is a passion of her as well.

Title: “Are you an Ant or Grasshopper ?”

Title: “Unity Makes Us Strong”

Year: 2017

Year: 2017

Watercolor on paper

Watercolor and Gouache on paper


Karl Weiming Lu is regarded as a true global Renaissance man of our time, his life and art span from East to West. He was born into a big intellectual family for generations in Hangzhou, China. He was a pioneer of Chinese Elite Students Movement of early 1980s, and a civil engineer and building designer in 1980s China. Besides, Lu also worked for The New Art magazine of China Academy of Art in mid 1980s, and he participated the significant “85 New Wave Art Movement”. In 1991, Karl W. Lu relocated to Australia to have his postgraduate studies in philosophy and international studies in The University of Wollongong and University of Sydney, and further achieved triple Masters degrees in Art, Design, and Architecture in The University of New South Wales Australia. He has returned to art practice professionally since 2000 and exhibited & published globally. Trained in both Eastern & Western culture and art traditions, Lu always combine the two to create unique hybrid contemporary artworks with his own originality. Lu created his “Memory Series 2002 – 03”, which positively [in terms of positivism] recalled early 1980’s elite Chinese students’ movement based on his memory of a multi-disciplines’ student salon activities, in Hangzhou, China. His painting “Memory @ Talking about Dreams” originated his distinctive “Dripping Fluid Style” in 2003 which was exhibited and published in 2003 and 2004 by College of Fine Arts, UNSW Australia, since then, it has been further developed by Karl Lu into his on-going Abstract “Dripping Fluid Series” which also led a wave global hot pop art phenomenon of various “dripping flow art” over the past decade. Following the “Memory Series”, Lu manifestoed the “Contemporary Art Positivism” in 2008 and created the on-going historical “Positive Dialectic Global Life Series 2008 – xx” with an innovative style of Digital Graphic Design Paintings painted with graphic design thinking and effects to positively address Karl W. Lu himself as a Master of Art and a Master of Design as well. Since 2010, Lu has created his unique Chinese Ink-brush Abstract works of the “Origin Series 2010 - xx” to express his philosophical, scientific, and artistic intuition about the origin of universe, life, and art. Since 2012, Lu has also become a leading art critic published with top art web media in China. Lu is a Member of National Association for the Visual Arts, Australia, and a Member of Asian Australian Artists Association.

Dialectic Self-portraits with The Life Flow Of DNA

Memory @ Talked About Future AI Of WWW.COM [a]

(Global Positive Life Series 2008 - 2018),

(Memory Series 1981 - 2003 - 2018),

Mixed media on canvas, 122cm x 102cm, 2018

Mixed media on canvas, 61cm x 46cm, 2018


Born in Dahr El Sawan in 1965, Julie Bou Farah graduated from the Académie Libanaise des Beaux Arts in 1991. She then taught at her Alma Mater and Notre Dame University. In 2007, she became a Lecturer at the Lebanese University, and participated in several exhibits in Lebanon and abroad. Her creative spark began in 1983 when her family sought refuge in Athens, Greece. Stunning landscapes ignited her love of beauty and art. At her cousins’ home, Julie discovered a paint box and was immediately drawn to it. Thus, she caught the creative bug, and began painting her internal and external world. Her passion for art became her life’s calling. Throughout Julie’s career as an artist, she remained in touch with her inner child. A sense of immediacy and playful spontaneity characterizes her artistic instinct that emanates from the heart. Her imaginative style focuses on daily life in its simplest and most charming form. In addition, her inspiration derives from the enchanting world around her which makes her reflect, smile, and dream. Thanks to her captivating Circle of Life, 1992, she became a Sociétaire at the Salon d’Automne which took place at the Grand Palais in Paris, France. It depicts the delightful world of children, nature, and life. What’s more, her esteemed art work Le Manège (Fun Fair) was also a great success. In 1999, it was awarded the First Prize at the Henri Matisse sixteenth UMAM biennial in Nice, France. On one hand, this painting represents a painful contrast between life and childhood innocence. On the other hand, it denotes the ugly, twisted world of snipers, and the malicious, underworld spirits of the dead. It embodies symbols of hope and joy, in the bleak reality of a country at war, and in a state of despair, chaos, and insanity. Furthermore, Bou Farah’s inspirational, abstract work focuses on space, form, and design, which is brought to life through exquisite, lively colours. She incorporates various scenes of interiors, furniture, animals, flowers, and figures. She has created a number of vivid images depicting a magical, vibrant, and ideal world. She is married to artist and trompe l’oeil specialist Jacques Rizkallah. Together, they have two arty, adolescent children, Jad and Janna. These gifted family members live surrounded by tall pine trees in the beautiful hills of Brummana, Lebanon.

Title: Inside/Outside The Box

Title: The Middle East

Media: Mixed Media On Cardboard

Media: Acrylic

Size: 47 cm x 30 cm. Year: 2014

Size: 120 cm x 72 cm. Year: 2014


“Linda Lasson is a textile artist based overlooking a lake and forests in the northern part of Sweden. The surrounding landscape is a constant presence and inspiration to her when creating embroideries, taking elements from the patterns, shapes and colours of nature and blending them into intricate works of art. Utilising simple, thin sewing thread, Lasson’s work has both sculptural and graphic expressions. She combines materials such as reindeer skin, geotextiles and lining paper. Ms. Lasson sews black thread onto her woven cloth compositions. Combining traditional technique with her own, Ms. Lasson stitches in different directions with varying densities and length for a three-dimensional effect. “I want to give a voice to nature through my textile arts,” Ms. Lasson states. “I have lived in the Jämtland Mountains, near the Sami culture, and it has affected me both as a human and an artist.” Studying the artistic and cultural tradition of the indigenous, Nordic Sami population, Ms. Lasson’s embroidered textiles represent colonial oppression and a profound appreciation and concern for our natural environments.Recalling the craftsmanship and autonomous identity of hand-made mercantile products, the award-winning artist Linda Lasson works and resides in Northern Sweden. Ms. Lasson’s embroidered textiles are exhibited in Sweden, London, Amsterdam, Montreal, and New York. Organic with a simultaneous graphic effect, her artwork hangs in many public and private collections world-wide. “

“Välliste” 52x 65 cm. Embroidery on lining paper.2016


Born in Bursa, Turkey, in 1989, Ayca Güney Turkish painter. She focused on painting when she was 16 years. In 2010, she graduated from Başkent University, with a Bachelor’s degree in Interior Architecture, Ankara. She also studied in Germany, where she won the ‘Best Architectural Concept 2010’ award at ‘imm Cologne’ trade fair along with Prof. Bernd Benninghoff’s design team. In 2013, she was accepted to Product Design Master Program in Domus Academy in Milan. During her master, she worked with Miriam Mirri. Her first solo exhibition were featured at Art212 Gallery, in Istanbul. Also in 2017 she exhibited at Florence Biennale, with the theme ‘Earth, Creativity, Sustainability.’ In 2017-2018, she attented group exhibitions in London, Florence and Bodrum. In 2017, she won ‘’Middle East Female Art Award’’, Global Art Awards, Dubai. In her art works, you would see a sensory form of stylized, idealized and empathetic portraits that is a depiction of her friends, family, book characters and musicians; all of which have found a new life with her by watercolour and oil colour.



24x32x0.3 cm

24x32x0.3 cm

Watercolour on paper

Watercolour on paper




Time Lin was born in 1960, and he showed his talent since his childhood. When he studied in elementary school and junior high school, he won the first prize in every year’s art contest. Despite studying in the regular classes, his painting was selected in the Taiwan Fine Art Exhibition when he first submitted. Seeing his painting sized 16K made in senior high school, artist maestro Mr. Ru Song, Xiao praised him as “a genius ever seen in forty years.” He was admitted in the entrance examination of National Taiwan Academy of Art he spontaneously prepared for. But at that time, Taiwan society still deemed a painters’ career as unpromising, so he chose to turn down the opportunity and enlisted himself in military service. After he left army, he started his career in advertising industry. Then he was promoted with his artistic talents and persistent efforts, from designer, art director, producer to creative director throughout his career. In 2010, when he was 50, he picked up his paintbrush again and became a self-taught artist. He continue to polish his craft till this day. Since 2013, his oil paintings were selected for the Art Mirai International Art Exhibition at National Art Center in Tokyo, the annual exhibition of Royal West of England Academy, and the Salon d’Automne in Paris. His ceramic works were selected for the Zijin Art Ceramic Award in China and he became a formal member of the Societe du Salon d’Automne. He also received recognition by National Taiwan Museum of Fine Arts. In addition, his “Wu Shan Yun Yu”installation works were showcased at the Florence Biennale 2017 and awarded fifth place for videos and won the Lorenzo il Magnifico Art Prize. His creative dance project was selected for Songshan Cultural and Creative Park New Points on Stage. In 2018, his works were selected for the Société des Artistes Indépendants and Société des Artistes Français and exhibited at Le Grand Palais in Paris. Up to the December, he have been arranged eight solo exhibitions and participated in twentythree group exhibitions. He named himself“Time Lin”because he thought that“time is art”. He use time as the core, with new, beautiful, appreciative as a concept, make good use of different methods and tools, and constantly challenge himself. By participating in large-scale competition at domestic and foreign, breaking the framework of art creation and restrictions and creating the “NBA” art.

Foreplay Time. Oil on canvas. 2016


Marion Schmidtke was born in 1961 in Höxter/Germany. She studied art and musik at the university Duisburg from 1983 until 1989. Until 2014 she worked in her profession as art and music teacher. She painted since her study time. In 2014 she moved to the island Fehmarn/ baltic sea. Here she continues to paint large dimensional pictures in her favorite technique aryl. These are often instantaneously captured moments of her nordic sceneries. What is  important for her is the distinctiveness and mystery. Her desire for beauty calm and clarity can be felt through - out. Everything in her paintings seems to be subtly plant. As well as the short appearances of the animals she shows the reflection of the water or lonelyness of the solitarily painted dunes. Her paintings are unobtrusive in color and expression and make the beholder pause and compare the different approaches towards speed between nature and civilization. Selected group exhibitions include Now Art, In Arte Werkkunst Gallery, Bergamo, IT, (2016), Now Art, Medialenum, Padua, IT, (2016), Europäische Kunsträume, Gallery Achtzig, Berlin, D, (2017), Earth-Creativity & Sustainability, International Biennale of Contemporary Art, Fortezza da Basso, Florenz, IT, (2017), Intuition, Onishi Projekt Gallery, New York, NY, (2017), On Tour London, Italien Arts in London, Royal Arcade Gallery, London, GB, (2018), traveling exhibitions, Time Horizons, My Micro Gallery, Milano, IT, (2018), Time Horizons, Camden Image Gallery, London, GB, (2018), Artist Du Monde Cannes, Art Expertise - Firenze, Gallery per l’arte contemporanea, Art Fair, Cannes, F, (2018), Fantasia, Galleria Merlino, Florenz, IT, ( 2018), The Silent Witness, Onishi Projekt Gallery, New York, NY, (2018), Selected solo exhibitions include Ozean, Bella Donna Haus, Bad Oldesloe, D, (2014), Now Art, In Arte Werkkunst Gallery, Bergamo, IT, ( 2016), Pattern of Nature, My Micro Gallery, Milano, IT, (2019).

Algenteppich II (Red seaweed II). 100 x 180 cm. Acrylic on canvas. 2018

Nordischer Strand (Nordic beach).110 x 180 cm. Acrylic on canvas. 2017


Sara Shamma is a renowned painter whose works can be found in both public and private collections around the globe. Shamma was born in Damascus, Syria (1975) to a Syrian father and Lebanese mother. She graduated from the Painting Department of the Faculty of Fine Arts, University of Damascus in 1998. She moved to London in 2016 under the auspices of an Exceptional Talent Visa where she currently lives and works. Shamma’s practice focuses on death and humanity expressed mainly through self-portraits and children painted in a life-like visceral way. Her works can be divided into series that reflect often prolonged periods of research, sometimes extending over years. Shamma believes that death gives meaning to life, and rather than steering away from a subject that is increasingly taboo in contemporary culture, she considers the impact of grief and deep internal emotions.The Syrian conflict has a distinct impact on the way that Shamma portrays her subjects. Working mainly from life and photographs, the artist uses oils to create a hyper realistic scene, using transparency lines and motion to portray a distant and deep void. Shamma has previously taught at the Adham Ismail Fine Arts Institute in Damascus, and alongside her practice has always had a strong dedication to sharing her knowledge with the next generation of artists. She was a member of the jury for The Annual Exhibition for Syrian Artists held by the Ministry Of Culture, in Damascus, 2006. Shamma believes in helping others and has been supporting the United Nations World Food Programme since 2010, during which time she produced Fighting Hunger., sold by Christie’s Dubai in 2012 with all proceeds going to the WFP. Shamma has participated in a number of solo and group exhibitions including: “London”, Art Sawa Gallery (Dubai, 2017); World Civil War Portraits, The Old Truman Brewery (London, 2015); Diaspora, Art Sawa Gallery (Dubai, 2014); Q, Royal College of Art (London, 2013); Birth, Art House (Damascus, 2011); Love, 360 MALL (Kuwait, 2009); The Royal Society of Portrait Painters Annual Exhibition, The Mall Galleries (London, 2013); Nord Art 2012 organized by KiC – Kunst in der Carlshütte (Büdelsdorf, 2012); UAE Through Arabian Eyes, (Dubai, 2008); Syrian Artists, Souq Wakef Art Center (Doha, 2008); Panorama of Syrian Arts, Catzen Arts Centre at The American University (Washington D.C, 2007); (shortlisted) International Painting Prize of the Castellon County Council, (Castellon 2005), Castellon and the Municipal Arts Centre of Alcorcon, (Madrid, 2005-2006); Women and Arts, International Vision, Expo Sharjah (Sharjah, 2005). Art Awards include first prize in Latakia Biennial, Syria (2001), 4th BP Portrait Award, National Portrait Gallery, London (2004), 1st The Waterhouse Natural History Art Prize, The South Australian Museum (2008), and a painting prize at the Florence Biennial (2013).

Alien. 2016. Oil on canvas.120x100cm

Dream. 2017. Oil on canvas. 250x200cm


Through my photographs, I aim to depict the nostalgia of travel. I explore the idea that while cultures across the globe may contrast vastly, the values that get us by, are common to us all. It is this connection with other cultures that breeds nostalgia. There is a strong sense of time and place within each frame. Whilst the origins of my photographs may vary, the message is consistent. The works are usually printed on a photographic rag which enables the viewer to experience the texture of the emotion within the moment captured.


When the person interpretation is the interpretation of their works, you can probably get to know them, better than in any other way. Degree in philosophy and he has studied photography, as well as a self-taught poet and artist. As one great thinker said, nothing human is alien to me. Life is a constant change, so the creative process, as a phenomenon with life, is constant experimentation. Ideas flows in him without pause. He thinks, if I exist, and I believe, then I exist. He started with creative processes with poetic discipline, to expand to others, from the world of art and literature. Painting, personally, is a therapeutic process, through which he captures, on the canvas, without any logical elaboration, his feelings, both positive and negative. His interest is to leave for others, embodied in his work, the pleasure that represents his work, and that his feelings come together in creating it, with yours when you look at it ...



61x50 cm

64x54 cm



Spryte graffity, earth and acrylic on canvas.

Spryte graffity, scissors, brush, earth and acrylic on canvas.


Nance” is Nancy J. Balmert. Nancy splits her time between Houston, Texas and her hometown, Seattle Washington. After raising two sons and completing her Masters Degree in Studies of the Future, Nancy took up painting. “It was something I always wanted to do.” She’s studied under the Texas State Artist, Dalhart Windberg for more than a decade. Windberg’s pastoral scenes and distinctive style have made him one of the most popular artists in the world. The subjects found in Nancy’s paintings showcase the wide variety of her interests. Her landscapes reflect the places she’s been in her travels, from churches and castles in Europe to Pacific Ocean beaches. Nancy has created a series of still-life paintings based on popular songs from the Sixties and Seventies. She calls these her Bar Paintings. “I think painting should be fun.” Most noteworthy are her series of large floral paintings: “There is so much beauty in the world.” Her floral works have been recently showcased in art shows at the Amsterdam Whitney Art Gallery in New York City. Curator Ruthie Tucker said “Capturing bright hues of light and color with remarkable forcefulness…each flower emerges to become dynamic, expressive and electrifyingly lifelike.” In January, 2018 Nancy received the International Prize Leonardo Da Vinci, in Florence, Italy. She was awarded the International Prize of Nations Tribute to Tiziano in Venice, Italy in March. In May she was awarded International Prize Raffaello in Bologna, Italy. In July, she was honored in Rome, where she received both the International Prize Giulio Cesare, and I Signalati award. In November, she’ll be honored in Bruges with the International Biennial of Flanders, and in December will be honored in Milan with the International Prize CARAVAGGIO - Great Master of Art. Nancy was recently chosen as one of “The Best Modern and Contemporary Artists” 2018. She is also being featured in the volume, The Best Modern and Contemporary Artists 2018 curated by Salvatore Russo and Francesco Saverio Russo. Nancy’s paintings can be found at Amsterdam Whitney International Fine Art Gallery, New York, NY, The Marshall Gallery of Fine Art, Scottsdale, Arizona, and Prellop Fine Art Gallery, Salado, Texas.  Nancy’s also an author, having published Moments of Truth: A Tour of the Other Side, under her pen name, Nancy Jaye. The book is based on her near-death experience. After Nancy’s near-death experience in 1996, she was having difficulty remembering. In 2000 she asked her doctor what to do to improve her memory. Her doctor recommended that she take up something new to help her rebuild the circuitry caused by lack of oxygen. She decided to take up oil painting. Nancy quickly discovered that she absolutely loves to paint.

Summer Night’s Rose, Oil on Canvas, 24” x 20” 2018 Multi Color Hibiscus II, Oil on Canvas, 38” x 38” 2016


Sophie Zhang was born in Beijing, currently living and working in London. She recently graduated from the Royal College of Art in MA Painting, after being awarded First Class Honours in BA Fine Art by the Slade School of Fine Art.  Zhang’s paintings attempt to solicit from the experience of temporality an abstract diagram, so to stage a relationship to the play of objects and the traces of language. There is within this a play of the syntax of drawing, painting and sculpting in her practise, in order to create a meeting point between imagination and memory. While her subject matter, recently being influenced by a 4000-year-old Chinese vessel from the Victoria and Albert Museum, serves as ciphers for an experience of time (and fascination) that touches the threshold of memory, the graphical and painterly syntax is drawn from a more immediate Modernist memory. As she constantly redefines the source of interest and progresses between drawing, painting and sculpting, the vessels depicted are not only drawn out of deep time but serve of meditations for this quality of time’s absence. Thus each painting emerges out of strife between oblivion and recollection: for each mark or shape there are traces of lines that cannot surface as visibility yet are somehow retained. The vessels both stand and float, they expand and contract but always retain the feeling of the absent centre. Zhang was selected as one of the top fine art graduates by the Federation of British Artists and featured in ‘FBA Futures 2017’ at the Mall Galleries. Other London-based exhibitions include ‘Nostalgia’ at Art Number 23, ‘The Other Art Fair’ at Old Truman Brewery and ‘Paper Cuts’ at Transition Gallery. 

Float. 168x95cm. Oil paint and pastel on linen

Recollection. 168x95cm. Oil paint and pastel on linen


Rawan Ita is a Detroit based artist of Babylonian descent. She was a full-time graduate student studying architecture, an intern, hairstylist, and volunteer. On January 20th, 2017 she was hit by an SUV while walking. As a result, Rawan lost much of her physical capabilities and life as she knew it had changed. Injuries involving her spine, musculoskeletal, and nerves left her weakened and hurting. She felt isolated and lost, derailed without warning. Her limited mobility and loneliness inspired her to find purpose in new circumstances. She needed a form of release. She found art and quickly realized the power it has over inner healing. In the beginning months of rehabilitation, Rawan was unable to use her fine motor skills such as gripping a paintbrush, drawing, and other basic tasks. This led her to explore other ways in which she could find this release. In doing so, she discovered fluid art. She found that with this form of making she could use lightweight and larger tools that were easier to work with. She became obsessed with the feeling of allowing the free-flowing paint to manifest her emotions onto canvas. She made mess after mess until she mastered the mixing of hues and graduated to fine details, all created intricately by hand. To create, Rawan persists through the pain and finds therapy through painting; splashing her fear, anger, and pain onto various substrates. Whether she paints with alcohol ink, watercolor, or acrylic, Rawan always discovers a place of safety, relief, and pure bliss as she experiments with canvas, glass, tile, vinyl, and wood. Her fascination with painting may have bloomed from a traumatic event, but she thanks God for the gift of making art. She finds it a blessing to be able to express the good, the bad, and the truths of life through what she calls Project TheraPaint. Her faith taught her how to persevere while painting brought a sense of purpose back into her life. In the beginning of her art endeavor, Rawan was invited to showcase her work in Detroit, Chicago, New York City, and Venice. As her artistry grows, Rawan’s hope is that others may connect with her emotionally evoking paintings and find inspiration through their own journey.

‘For the Sake of Healing’. Fluid Acrylic Technique. 30” x 40”. 2018


Kelly Deakin is a Pyrographic Artist from Ucluelet, BC Canada. Pyrography is a fancy way of saying burning. As well as finding influence in M.C Eshcer’s work, at age 14 Kelly received a book called The Butterfly Ball and the Grasshopper’s Feast, inside were detailed templates created by Alan Aldridge and Harry Willock, it is the detail that stuck with her and is evident in her pieces today. Kelly has considered herself an artist since she could hold a crayon, she comes from a solid base of excelling in Art throughout her school years followed by completing a distant education commercial art program, after which her art was put on hold to raise her young family. Now with her children grown Kelly has created a niche for herself with burning detailed pieces from 1cm in size to 170cm in size and she continues to strive in creating larger and more eclectic pieces. Kelly’s idea behind her work is to bring nature back into the homes and offices and corporations that are surrounded by and engulfed in technology and everything digital. Kelly loves color, the natural colors that surround our world, yet, she works in sepia, not black and white. She says, “burning is a medium that allows the canvas to hold some of its own natural flavor and still allows the subject to come to life.” She is continually inspired by her outdoor world and incorporates the flaws of the natural canvas’s she uses into her work. “There is nothing as creative as the flaws of nature” Kelly has coordinated several successful art shows introducing new and upcoming artists into the art world. She strives to encourage and engage artists to put their work out there for the first time, knowing that with a first public showing one is exposing a part of one-self to the world. Kelly is very family oriented with four grown children, two step children and ten grandchildren. She is a member, employee and active volunteer with the Pacific Rim Arts Society, a member of the Port Alberni Arts Council, Alberni Art Rave and the Federation of Canadian Artists.

Dragon in the Fog Pyrographics on Artist Conk.17” x 24”. 2013

Bear-cycle - Pyrographics on Sitka Spruce 2017


Derwin Leiva grew up in Santa Clara, Cuba, in 1978, and all his life he has been fascinated by art. At a young age he would help his grandfather make charcoal from the Aroma tree. He would always look forward to helping him because it was a way for him to get free drawing material. He would pick up empty cigarettes boxes and break them, revealing the white surface on the inside of the box and, thus, a space on which to draw. Leiva would fill with joy at each chance he found a way to create new lines and fresh shapes, to bring images to life, and it was this one of his first experiences harnessing, capturing, if you will, his passion for art. In 1995, political circumstances forced him and his family to escape Cuba and they moved to Miami. Starting a life in a new country was very difficult. He missed the family and friends left behind, but art was never far away. A few years after arriving in Miami, he had the opportunity to meet the Cuban guitar player, Arturo Fuerte. His music was a constant backdrop to his work. Even today, many of his works are as inspired by his rhythm, as by his own love of music. Other important influences are Picasso, Braque and Wifredo Lam. Their styles shattered traditional forms of artistic representation and resonate with the broken Memories of Leiva’s early life in Cuba. In 2004, he moved to Honolulu, Hawaii, where he started taking drawing and painting classes at the Honolulu Museum of Art Linekona School, and where he later attended the University of Hawaii, Manoa. There, he obtained his Bachelor’s Degree in Fine Art with a concentration in sculpture. While completing his studies, he was exposed to a variety of media (painting, photography, print making, glass, metal fabrication, and bronze casting) that enriched his work. Now, as an emerging Cuban-American artist he is interested in representing various aspects of Cuba, including its political, social and cultural life. In his work, he tries to depict a society that has experienced extreme oppression, but that also retains its rich culture and its love of life lived at its fullest. Through the use of rhythm and motion in his work, he aims to mirror the experience of freedom and liberation he found through Cuban music.

“The Blue Guitar” 2018, Oil on Canvas, 60” x 48”

“Café Métela” 2018, Oil on Canvas, 60” x 48”


Megan Vun Wong is an international, published, award-winning visual artist. A recipient of a number of Arts Council Grants, she graduated from York University in Toronto, achieving her Masters Degree in Fine Arts. Vun Wong was awarded the Gissur Eliasson Scholarship and the Isbister Scholarship upon completion of her Undergraduate Degree from the University of Manitoba. A philosophical painter, Vun Wong has been painting for over 25 years in the Abstract Expressionistic genre. Her preferred medium today has been enamel paint which she gesturally applies onto her canvasses and, more recently, her unique plexiglass constructions. Her artworks speak of the vagaries, the vicissitudes of life while reaffirming the mystery that is life. Her present project involves work that pertains to the attainment and lifetime process of self-actualization. Achievements: Selected to be on the Canadian Contemporary Art Database: 2019: Artist of the Year awarded by Circle Foundation of the Arts 2018: Contemporary Paintings @ Monaco Yacht Show, Monte Carlo 2018: Contemporary Curated @ Lake Como, Italy 2017: Digital Exhibition at Monaco Yacht Show, Monte Carlo 2017: Solo Show @ Artifact gallery in New York City 2016: Contemporary Art – Carrousel du Louvre and Galerie Thuillern Paris, France 2016: Selected for Art Expo New York, April, 2016 2015: Spectrum, Miami 2014: Timeless Award Honouring Creativity and Excellence by Arttour International 2014: Selected to be in Arttour International – 60 Masters of Contemporary Art 2014 2013: Invitation to exhibit Pool Art Fair, New York, March, 2013 2012: Awarded exhibition at Basil Miami, Dec., 2012 2011: ‘Snowboarder On A Sunny Slope’ , enamel on canvas painting, selected by Canadian Sports Manitoba, an organization that supports Olympic and Paraolympic Athletes, to be made into limited edition fine art prints, as its major fundraiser.

Toward An Identity.

Toward Balance & Bounty.

24 inx 24in. acrylic on canvas. 2018

24x24. Acrylic on canvas. 2018


Tolmie MacRae is a video artist from Sydney, Australia now based in Cologne, Germany. His background comes from studying digital media at the College of Fine Arts, Sydney and also VJing – from parties to working with a progressive metal band to performing with the Sydney Symphony Orchestra to celebrate the Sydney Opera House’s 40th birthday; he tries to blend these different spheres, (allowing the ideas from the various subcultures to cross over and influence his art works). Through his art practice Tolmie explores the multiplicity of existence predominantly through the medium of video. Over the past five years his work has explored themes of meditation, transcendence and immanence by investigating the flow of light and time on people and landscapes. He plays with opposing ideas and then fuses them together. Rather than transcendence and immanence or creation and destruction as binary opposites the artist explores the tension of these seemingly competing states of existence as combined dualities. It is not a political or spiritual investigation for the artist but rather an individual exploration of the state of existence. As the poet Fernando Pessoa wrote: “…. here’s what my senses learned all by themselves: Things have no meaning-they have existence. Things are the only hidden meaning of things.” He tries to present the subject as something that is timeless but real and immediate at the same moment. His work is about allowing people’s movements and actions to fold upon themselves so that past and present meet in various layers (generating a visual and temporal abstraction of the moment and the body). With influence from Oskar Fischinger, he tries to discover creativity in a form of abstraction through video. Other influences on his practice are James Turrell’s large scale light rooms, Bill Viola’s video installations and Daniel Crooks single channel video artworks.

Entheogen Vignettes Multiplicity

Title: Entheogen Vignettes (Series of 15 Prints)

Title: Multiplicity



Digital Art/Print

Single channel HD video

LED light boxes with latex print on polypropylene


Bristol based Laura Carter specialises in contemporary landscape photography. Carter’s photographic practice explores the relationship between photography and Modernist painting. With influences from artists such as Mark Rothko are strongly embedded in her ideology, utilising similar fields of colour, image structure and abstract forms in her photographic style to bring to life her painterly landscapes. Her images are a formal inquiry into the relationship between photography and painting, physically exploring through a contemporary practice the medium, both in terms of our perception of subject matter but also in terms of how a photograph establishes as an object. This featured series of landscapes ‘2.42 Miles’ was created during Carter’s final year studies at Bath Spa University. The landscapes taken at eye level, exhibit the fundamental formal similarity and rhythm of the common horizon line, providing a personal space to her of 2.42 miles. Her research focused on geometry to discover the distance of her horizon, the farthest point the eye can see, depending simply on the height of the observer; making it a totally unique space. The images created therefore portray the exact distance of Carter’s personal horizon. This something individual to each of us, yet barely considered when we appreciate the landscape. In this photographic series she explored the ongoing theory and consequent juxtaposition that; the horizon line offers us possibilities, yet also so distinctly establishing a boundary.

Untitled Title of series: ‘2.42 Miles’ .Year: 2017 Technique: Photographs

Untitled Title of series: ‘2.42 Miles’ .Year: 2017 Technique: Photographs


Eleni Tsamadia (b. 1994, BSc ASFA 2018) is a visual artist currently residing in Athens Greece. Her practice derives from conceptual art and she transmits her ideas through various mediums, often combined and presented as installation work. In the latest environments and performances, she focuses on exploring, the circuit of commitments and conventions that structure the contemporary perception of our being. Her work addresses bodies that struggle to grasp the terms of their own subjection, bodies that attempt to overcome their perishability but whose tools or methods ironically lead them to perish. With her topic choices, Eleni points out that our understanding of our realities today is a fusion of Aesthetics and Ethics. According to the artist, these strong but controversial critical forces and their meeting point, have almost become a new ontological interpretation towards Life’s gist. So, how can someone engage with this hidden evaluation of stuff? Furthermore, how can this current situation of the collective unconscious, be depicted efficiently? ... are some of the questions that the artist is intensively trying to resolve today

Jump In The Line installation view *environment of figures made from filled stockings These figures are meant to be relatable and ambient at once. Jump In The Line installation view

The environment aimed to depict the in between space of

(totem desire )

emotions before a desire is formed.


Mary Manchin creates beautiful macabre pieces to make you rethink the past and how it is perceived. Almost all of her photos are original images from the early 1900s that she collects from estate sales and oddity shops around Los Angeles. She scans her found photos to preserve the original then photo manipulates and digitally paints them in Photoshop to make them a past you’ve never seen. No one really knows the true stories behind old photos if no one kept telling the story; even then the past starts to blur as details are lost through generations. Mary re-creates these photos to show a possible story you maybe never knew. When Mary was younger, she would create colorful, surreal Photoshop pieces. She would incorporate her family and friends, with a dark twist. She always had a fascination with old photos and the stories behind them. One of her first freelance jobs was working for a  funeral home scanning in old photos from people who had passed, removing all the dust and scratches for their slideshow at their funeral. From there, Mary combined her two passions and has been creating these haunting yet beautiful pieces since 2013. When Mary isn’t manipulating photos, she creates taxidermy terrariums. She always wanted pieces that incorporated life and death while still paying respect to the animals that have passed. She could never really find what she was looking for, so she started to create them herself. Her taxidermy pieces are in an array of antique/antique looking frames, domes and candle holders. She creates these terrariums in vessels that match the feeling(s) that her photos give you. She believes that taxidermy should be more than just framed pieces, creating art which celebrates the life they had.

Hanging Around. 2018. Taxidermy

Inner Child. 2015. Photo Manipulation


Chinese artist He Ping talks to Lorella Fava about his latest exhibition, Persistence of Form. Speaking further on this idea of the familiar and unfamiliar, Ping necessitates that even though one can deem the human figure as realistic, what the public might recognize as “realistic” and “abstract” are their own personal inferences of what he paints. In this manner, Ping attempts to deconstruct not the structure of an object he attempts to portray per se, but the preconceived notions of realistic/familiar and abstract/unfamiliar. Innovation, in this sense, is a “departure from common belief”. Despite his focus on questioning the traditional ways of looking at art, what is interesting to note in Ping’s work is that his hold on tradition is still apparent is his use of calligraphic techniques to produce works that are more instinctive in nature. “I wield my brush freely to express a perception or concept. Nonetheless, in the process of painting, habitual practices and techniques of Chinese character writing are indeed manifested.” Thus, through Ping’s colorful work, the viewer is able to enjoy quintessential elements of Chinese culture with a contemporary and modern searching expressionistic approach. “It is through searching in the depths of things that I discovered the infinite possibilities of painting. There possibilities may not be apparent, but they are indeed an existing component of the colorful and structural constituents of life and the universe.”

Gravitation, 2018, Acrylic on Linen

High Frequency, 2018, Acrylic on Linen


It is a very humbling experience to be writing about myself in the following few paragraphs, it always begs the question where to begin. And quite naturally, every story begins with one’s origins and roots. I was born in Baku, the capital of Azerbaijan also known as “Land of Fire” as a tribute to our cultural heritage and well-acclaimed hospitality. I was always an eager student interested in drawing and painting during my school years. But it was only after one of my teachers who noticed me on how I was able to accommodate colors with emotions on the paper that I started to believe in my potential. Since then I knew I wanted to be inspired by art, design and painting in my life. Fueled by this desire, I set once and for all that I will continue to learn endless new styles and techniques. In that, lessons that I was fortunate to take up from my instructor (Aytan Rzaguliyeva) were fundamental and foundational in becoming more confident, self-conscious, and learning new skills to begin creating. I continued my education during undergraduate years by taking more classes. University opened yet another paradigm for me in my abilities. Following the university, I decided to land on a new journey and created my own family which became my full-time obsession. Years later, I was reminded by another inspirational instructor Raida Mustafaeva that decision to become painter and a mother does not necessarily need to be mutually exclusive, and once again I was able to see my way through art and design. It felt overwhelmingly refreshing to be able to create again , and liberating at the same time to be able to ‘talk’ or ‘think’ on my canvas rather than saying or explaining my ideas in live. I have been fortunate to meet and find my source of inspiration, and I do hope that my kids will find theirs in their mother’s passion.

Untitled, oil on canvas. 2018. 120 x 100cm


My name is Roger Vilà and I am a multidisciplinary artist from Barcelona focused on performing and fine arts. Combining both drama studies and art lessons with the huge master Jordi Aligué since the age of five, I am attracted to combine different artistic languages in what I do. Also my influences expand in diverse fields. In this sense, I see myself both as artist and canvas. When I am working on a new piece, what moves me is the will of telling stories and expressing emotions, I guess it is because of my acting studies. But at the same time, I also have a strong appeal to the formal aspect. My artwork deals with elements of the modern world such as violence, communication, hedonism or mobile phones.  I have exhibited in “Museu Marítim de Barcelona” and been part of collective exhibitions, the last one taking place in Sardinia with big artist names such as Agustín Ibarrola, Benet Rossell and Humberto Rivas, among others. My desire to explore other artistic languages has led me to break into filmmaking and, inspired by one of my painting series, I have created, co-wrote, co-produced and starred “/KRAKT/“, a shortfilm-videoart alongside Salvador Sunyer.

/krakt/ over black 5, 2017. 75x55cm. Mixed media on cotton paper


The realistic paintings by Alvīne Bautra depict people dissolving into empty space. Painting compositions embody the feeling of movement in slow motion. The multiple and overlapping faces and body parts seem to slip away, however, the characters glance straight to the viewer with expressions of indifference, slight or grotesque smile and boredom. Alvīne Bautra paintings reflect human existence. The inner world which faces unknown thoughts and emotions which are not noticed to others. Unknown about known. The artist also considers movement as a metaphor of human being, the human multi-layered nature, diversity and also uncertainty. Through the paintings she outlines the complicity of human mind and body in the existence. It is individuals’ transformation that leads into the unknown. Alvīne Bautra is young Latvian artist who currently studies in Art Academy of Latvia, MA in Painting. In 2014 she enriched her knowledge at Kunsthochschule Berlin Weissensee in Germany and in 2018 at Estonian Academy of Arts. Alvīne Bautra was born in 1990, currently lives and works in Riga, Latvia.

Between the presence and absence 2. 130x100cm. 2018


I was born in 1977 in Teckomatorp, Sweden. I discovered the painting rather late, in 2009 when I attended a 5-day summer course in drawing. From the very first moment I was in love and could not stop to sketch. At that time it was only pencil and charcoal. In autumn 2011 I started painting with color. First painting was called simply ÂŤThe fruitÂť. It was exhibited once in Lund, Sweden. Even though I have no art educations, I always say that I just follow my heart. I have also worked as a photographer for over 10 years.

Title: Trapped No.1 Size: 76,5x41,5x3,5 cm Medium: oil & dripped wall paint on canvas. 2018 Gallery Price: 3536$


I was raised in a multicultural country, the Taiwanese background deeply influenced by Chinese aesthetics and the culture surrounding Japanese anime and manga, all of which have shaped the enticing space of imagination to me. I often postulate that painting and sculpture are the same manifestation since they both depict ambiguity in concrete dimensions to me, and this ambiguity attains layers of symbolism and meaning, which could be conveyed through a variety of compositions and motifs. Material is an important aspect of my work, and animal by-products such as vintage and antique leather symbolise creatures that were sacrificed by humanity and represent an ambiguous existence between life and death. Through my work, I intend to reflect on conflicting phenomenon, namely the inevitable relationship between obsessions and humanity. If ‘indulgence’ is postulated to be an aspect of humanity, this means that moderate ‘obsession’ is human nature and part of human beings’ spiritual needs. The disproportionate state on such initial humanity is the ‘inordinate obsession’ which illustrates that the behaviour of being overly obsessed with gratification shows that our instinctive needs, in particular those associated with the dark side of humanity such as desire, fetish, and obsession, are magnified excessively. My work assumes that all patterns, objects, motifs, colours and materials can be analysed, deconstructed and criticised in all their manifestations and forms. The binary opposition in my work represents the dichotomies between a material’s initial form and the value/definition given to that material. My intention is to evoke hidden metaphors that refer to the relationship of certain materials to life and death: the artworks were once living creatures. Consequently, my work deconstructs the value of materiality and addresses the dilemma of using vintage, antique, luxury or animal by-product materials. The patterns or motifs in my work can be deconstructed, and the behaviour of viewers who speculate about the materials is considered part of the work and completes the process of deconstructing the value/definition of materiality. As a result, my work is experimental deconstruction. It establishes an inner equilibrium between rational analysis and sentimental interpretations. By exploring these responses, the processes of deconstruction helps each individual viewer form their own perceptions and uncover their own opinions about desire, fetish, ambivalence, sadism and obsession.

It blends frames of work and play. ‘ Acrylic, oil, leather, photographic paper on linen,193x59 cm, 2018. Nature there mingles with humanity. ‘Acrylic, oil, leather, photographic paper on linen, 193x59 cm, 2018.


Chrys Roboras’ work focuses on displacement, belonging and identity. Chrys’ paintings are based on being in between two countries. Being born in Australia and living Greece. Roboras’ innovative approach is not built on a single moment of vision. She consciously transcends familiar landscapes and liberates figures lost in contemplation to construct a new reality. The strength of Roboras’ figures lies in the intensity with which she paints their eyes, which confront the world with an insecure joy. They wish for direct communication with boldness of color and texture, challenging the viewer to participate in their personal drama. The exquisitely bold and lyrical application of color contributes to the symbolism of each composition, advancing the expressiveness of the figures’ faces. Influenced by the romantic period of Caspar David Friedrich, the intense melancholy became her obsession one could say. Other influencers include Henri Matisse, Peter Doig and Tassos Missouras. Ultimately, Roboras stirs the senses through jolts of color and texture to engage in direct communication with the viewer. Her use of color unfolds with a sense of rhythm and purpose. If color influences the way individuals experience the world, these portraits serve as paradigms of the crossroads between imagination and reality.

Pink Horizons, Acrylic, Oil, Oil Sticks, Oil Pastel, Pencil On Linen, 60x80cm. 2018


I grew up in rural Pennsylvania, in a small town of no more than a few thousand residents. Deeply conservative, most placed religion above all other virtues, and anyone deviating from religious law was treated as a herald of immorality. I was a man whose love for other men violated the cultural norms, forcing me to conceal my personal life from others in the public sphere, often causing severe feelings of guilt and alienation. My paintings represent fantasies and fears about the ‘Other’ through depictions of the everyday queer male. Working within the tradition of the Cadmus Circle and Hudson River School, I perch the figure on the edge of the quotidian, where lush landscapes, colorful gradients and intricate patterns interact to create a ‘magic reality’ that is both ordinary and extraordinary. A formal and conceptual tension is at play, which is structured by ever-present dichotomies: public/ private, nature/culture, taste/kitsch, transparency/opacity. Loosely based on my own relationships, experiences, and imagination, my work functions like a daydream, where memory and longing shape a personal fiction. Recently, I have been gesturing to the vast canon of European royalty painting by blending the epic and banal in painted images of gay men and their dogs. This combination quotes the pageantry of that history - their rich garb and over-the-top landscapes - and in so doing, elevates queer bodies from second class, to royal class.

Devan and Bowie (II) Oil on canvas stretched over panel. 24” x 30”. 2018 

ERIKA HOLM SWEDEN | www.holmpetre.comÂ

There is something about a self-portrait. Something revealing. As with portraits in general, the camera captions emotions and tensions not always visible to the eye. When photographing myself I get frustrated with the feeling displayed – it never represents what I try to portray. But with time I relax from the expected and find something else, often more interesting and authentic. I start to add layers, eager to see what else there is to find within the photograph. At some point the layers come together, forming a unity in balance with each other. Creating a new artwork, a new story, a new world. Bright, dark, twisted or sane, they always seem to hit a note, revealing something about myself. Each photograph like a layer of me.

Image title: On death Details: On death, 2018, digital photoart, double exposure


Fabio La Fauci’s work, often inspired by Surrealism, Abstract and figurative, and oscillating between abstract atmosphere and organic reality, escapes all attempts at artistic classification. His works’ intrinsic plastic ambiguity enables a transformation, the passage from one form to another form and from one meaning to another meaning. This process derives from the artist’s subconscious, from his most hidden fears and emotions and art becomes, in this perspective, a sort of catharsis.

Diptych Migrating To The U.s. 30x40 Cm Each Oil And Acrylic On Canvas 2018


Fatinha Ramos is a Antwerp-based illustrator and visual artist originally from Portugal. Her work takes us on a journey through an imaginary world of singular textures and rich color pallet, with surreal compositions that create an emotive and fascinating universe. She has been internationally recognized by: 3x3 Pro Show NY; Creative Quarterly; Nami Concours; Global Illustration Award; World Illustration Award (AOI)…etc. One of her latest children’s books: “Sonia Delaunay. A Life Of Color” published by MoMA (The Museum of Modern Art New York) got a New York Times book review, a Global Excellence Illustration Award and White Raven.

Title: We live in the Age of Fear. Illustration for MO* MAGAZINE


The main objects of the vast majority of Gregory’s works are humans. Gregory takes a keen interest in behavioral expressions of persons who found themselves in a state of hardship and having to carry the burden of their severe misfortunes. In his works Gregory strives to guise the inner world of people overwhelmed by their daily routine. Naturally, people find it easier to show their positive emotions rather than reveal the negative by baring their very consciousness and overcoming fear. While creating his works, Gregory uses the riot of colors to relay the drama of the situation, the time and people in the most sincere and open way. Gregory is the new wave in Russian art and steps away from politics in his works. He represents the new school and generation of Russian avant-garde that is highly in demand these days. He delivers true Russian emotions and soul in rich and deep colors trying to bring back more focus on the Russia’s rich heritage with courage and variety.  His exceptional technique of contrasting dark and light tones further enhance the severe mood of his paintings. Stylistically, Gregory draws inspiration from primitivism and Parisian school of the 20s. His works are similar to those of Mashkov, Konchalovsky and Falk.



In my work as an artist, I move at the border between reality and fantasy in strong colours typical of the Swedish region of Skane. Ever since I was a child, I have had an interest in drawing and painting. This interest has grown into a deep passion for sculpturing and I have been working with stonewear for the last 20 years. I also like to experiment and mix materials and I sometimes use metal in my pieces. The creative process fills me with true happiness, something that I hope can be reflected in my art. I find inspiration by studying people in different situations, not least during long walks by the Baltic Sea. A key element in many of my pieces are leaves of some kind, and I like to imagine things that might be hidden underneath a fallen leaf. It could be a special feeling or an occation. I never calculate in advance. I just let the feelings and colours come out in the creative moment. It is like a meditative state of mind.

Dreams of You 2

A Sunny Day


Ivanova (Aydartsyan) Kallista Samvelovna, born in 1985 - internationale artist. Country: Armenia / Russia. Author of the new style in the world of contemporary art ARTKALLISTA. ARTKALLISTA Style - panel is a separate king of art, based on decoration, monumental art, applied art. ARTKALLISTA Style - is a gold metallic relief images, contours, details, elements and bodies; clean, bright colors, textured surfaces. The main distinguishing features of this art movement are varieties of acrylic painting and decorative art. The works are based on dimensional decorative elements, multiple layers, different details, bright and fresh colours, metallic and gold pigments. The artist works like a sculptor to create dimensional forms with the help of brushes and palette knives on canvas. The mix of deep meaning and aesthetic beauty truly makes such works masterpieces of modern art. Depending on the lighting such works are constantly changing their colour composition, and this way the very image of the created works change as well. Paintings fascinate with a rich colour palette and dimensional details. A subtle perception of beauty fills with powerful energy. This is something new, perfect and even naive ... One can feel the trend of a new style, new wave, new time in this art movement... quote: «I believe that nothing is impossible and human possibilities are limitless. That is why you can feel courage, brightness and saturation in my works. This is a message and call not to be afraid of anything, to accomplish your goals no matter what. My principal goal is to give the viewers the shine of bright colours; to leave a legacy of magic and beauty in the world of art; to give not only external, but also inner beauty.» Art works ARTKALLISTA are for confident, successful and luxurious people who value inimitable style and beauty.

Logical Circuit. Technique: Canvas, Acrylic

Sculpture Of Life. Technique: Canvas, Acrylic

The Size Of The Picture: 50/902018

The Size Of The Picture: 50/802018


Jingyi Wang is a figurative artist who specializes in oil painting. Observant and perceptive, she combines her excellent sketching ability and imagination to form a new kind of conceptual painting. Ms. Wang is known for her cactus series in that the series of artificial cactus paintings, cacti represent all creatures in natures. Through the strong and independent characteristic that the cacti represent, she intends to express the impact that human activities on nature. Jingyi Wang was born and raised in China. She received her BFA degree in oil painting from China Central Academy of Fine Arts in 2013, received her MFA degree from New York Academy of Art in 2016. She was awarded for an artist residency at the Terra Foundation of American Art in Giverny, France. Her works had been widely exhibited at Art New York 2017 Art Fair, Sotheby’s New York, the Metropolitan Pavilion, Flux Factory Gallery, Portraits Inc., Jacob K. Javits Center, Amerasia Bank Gallery, Panepinto Galleries, the United Nations Headquarters, etc. Jingyi has been painting botany since 2014 when she moved to New York. As a perceptive young artist, her art works help to redefine our relationship with our nature surrounding, therefore, impact our culture in a unique way. Her art works are widely published at art magazines such as Acrylicworks5 magazine, Creativepaper magazine, ArtMaze Mag magazine, Studio Visit magazine, Her works were reported by Major Medias such as The China Press, Sing Tao daily Newspaper, World Journal and she had a one on one interview by SinoVision English Channel in 2017. On October 2017, Ms. Wang’s first solo exhibition titled “The Growing” was opened at the Amerasia Bank Gallery in New York. In 2018, she opened another solo exhibition “My Loneliness is a Garden” at Art Lines Gallery in Hackensack, New Jersey.

Title:Cactus#1 Size:20inch diameter Year: 2017 Technique: Oil on canvas


I come from Poland. I hold a Master’s degree in Arts and I graduated from the Photography Academy in Cracow. It is in minimalism where I find the richness of impressions. In my photos, I capture carefully thought-out colours and arrangements in frames, I draw my photographs intuitionally but consciously at the same time. An object, although frequently insignificant, is the biggest source of inspiration for me. It provokes discovering or arranging a 3-dimensional relation in a 2-dimensional plane whose visual frames, however, should not constitute an ideological constraint. In ceramics, I experience the matter, I touch the space. I shape by winding down. I change the evanescent thoughts into a simple form of visible interpretation.

Title: Coexistence (‘Coexistence’ is a series of five arrangements, here is one of them.) Year: 2014 Technique: Photography Print-out 100 x 66.7cm


Reflecting a life which is both culturally Japanese and American, my graphite drawings hybridize influences from traditional Japanese calligraphy combined with Western drawing practices and aesthetics. Growing up in Japan, every Saturday afternoon was spent with my Sensei, a calligraphy mater who would assign words for each of us to practice. We would spend hours producing copies of the Sensei’s sample. The goal was to imitate the sample, paying attention to the line quality, the varying speed, the pressure and angle of the brush movement. The handling of the brush had to become rhythmic and graceful. In preparation to entrance exam to art schools in Japan, I had to take private lessons to learn drawing with graphite and charcoal. Saturday afternoons were spent at a Western style art studio with pedestals, still lifes, and white marble copies of Roman busts. The fluid ink was replaced with malleable graphite and ephemeral charcoal. The wet immediacy of calligraphic line was replaced with illusionistic volumes meticulously rendered in chiaroscuro. Instead of going through dozens of rice papers in a session, one sheet of high-quality cotton paper was given to work on. My current works evolve from the perspective of having a physical body with a globally conditioned mind in a temporal space. I intuitively draw the Japanese calligraphy, stretching, weaving, and changing it until the composition demands the meticulous solidification of mass, light, and shadow. I reference Japanese proverbs as well as my own poems, which in their own way resonate to the simplicity and richness of haiku. In each work, hiragana and kanji characters intertwine to create a single line which has only one entrance and one exit on the pictorial plane. The line usually begins at the top right and ends toward the bottom left of the page, following traditional Asian writing. It is a single line symbolizing a life: one entrance as birth, and one exit as death, representing the two doorways opening and closing our being. Traditional Asian art-forms have often integrated word and image. Woven into my calligraphy, I often include images of persons, animals, and still lifes drawn from my familiar experience. Whether through the literary artifacts of traditional proverbs, or through personal expressions in poetry and pictures, these wordimages are reflections on human nature, place, self, ephemerality, permanence, and universal wisdom. Simply stated, these drawings are expressions of a unique perspective, where East and West combine.

Title: 出会いはわかれのはじめ_Hello is the beginning of good-bye (Mimi & Taxi) 71” x 42” (180 cm x 107 cm), Graphite on paper, 2018


Miro Frei is best known for his black paintings called “flowering bodys”. In these he focuses on life’s essentials like loneliness, separation, love, sex or the abyss. To him a black background suits best, representing the night, amongst other things. At night, many things are not visible and the question rises if they exist or don’t exist. Each stroke stands for a question in the field of existence. “Reduce to the max” stands above all and therefore there are as little brushstrokes as possible. As a general theme, Miro Frei’s work is about focusing on the essence. «The work of Frei is both delicate and bold. His floating figures bear a resemblance to cut-outs forcing the imagery’s audience to make sense of hidden shapes and emotional affinities. His sense of form enables him to proceed down the path of self-exploration. He shows the ability to combine content and form in a seamless esthetic application.» (Stephen Glass, 2017)

Flowering Bodies/Pink (2015) Acrylic/Canvas, 60Cm x 70Cm


Oleksii Gnievyshev originally hails from the heart of Ukraine, from the capital Kiev. There he spent his childhood, visiting an art school during his schooling years, which prepared him for later studies in art. In 2009, Oleksii was accepted at the Academy of Art in Kiev, where he studied for five years, receiving his degree in 2014. In his studies, he was mentored by teacher Volodimir Bagalika, who is regarded as a renowned artist and teacher on the Kiev scene in creative art and painting. Oleksii Gnievyshev possesses a unique and particular painting style which blends classical realism with a modern touch. In a series of portrayals, Oleksii narrates tales from Greek mythology along with an interplay between human and animal nature. His pictures appear vivid and powerful: the animals embody a particular sentiment and the interaction between the characters tell a story. Influences from Asian culture can also be seen in Gnievyshev’s works. The fascination with Japan does not only stem from general interest, but also from the historical and familial background of the artist: Oleksii’s family have their roots in Japan. When asked about the inspiration behind his works, Gnievyshev speaks of the fascinating energies that individuals emanate, as well as of the certain kinds of wisdom which animals possess. The beauty of the interplay between two beings is what gives meaning and depth to his art. He also talks of abstract realism, an artistic movement given birth through renowned artists many centuries ago. In keeping with this tradition, Gnievyshev presents an abstract interpretation of real objects and forms, which are portrayed according to perception and feeling, giving life and authenticity to his oil paintings.

“Love” oil on canvas, gold acrylic 140x100 cm 2018


James Earley first came to prominence in 2013 when he was chosen to be a part of The Art Investors acclaimed 2013 “Seven Artists Exhibition”, this exhibition was held at London’s Strand Gallery and focused on 7 of the very best young Artists in the world. James’ display of his portrayal of famous musicians was much publicised. His work took another route in 2015 with his powerful and emotional studies of homeless people, victims of war and religious martyrs. This work took him to another level in the art world as he was nominated by The British Portrait award, The Royal Institute of Oil Painters and The Royal Institute Of Portrait Painters culminating in his work being displayed at the iconic and famous Mall Gallery in the heart of London. James has exhibited in London, Paris, Madrid, and Amsterdam and will exhibit his work in New York in 2019. James has been described by the German Kunst Heute Publication as one of the most relevant artists in the world today. James Earley has thus emerged as one of the foremost pioneers of figurative painting in the world today, a fact all the more remarkable since James is a self taught artist.

Shadows. Oil on canvas 2018

Mary. Oil on canvas 2018


My artistic career led me to exhibit very young since 1996 with my Polaroids and my square paintings on wood in different cultural places in Belgium. I did personal and collective exhibitions in several cultural centers and art galleries in Brussels, Athens and Europa. After my exhibitions, publications presented my artistic work in several English, Belgian, French and American magazines. With my images from the Rabid Animals series, I explore the relationship between humans and bestiality. A photographed image, painted and drawn. The drawings on the walls, the floor and the bodies show an unfinished project of possible life. The bodies are sculptural works of art.

Image : White Wall 008, 2017, Photography


Please imagine. I aimed to create a new world by combining the photos I took. Nature,Things,People... By adding a little spice to reality, we can change our view of the world. I would like to convey that through my work. Without a doubt, nature gives us our most spectacular art forms. By adding more colors, patterns, twists and turns, the altered geometry transcends into a visual exploration for the viewer. My goal as an artist, is to engage the viewer long enough to ignite their curiosity and keep them visually stimulated.Â

Mantle in the deep sea of the Arctic

YELENA LEZHEN UNITED STATES | www.lenazhenart.comÂ

Yelena Lezhen is an American artist located in NJ near New York City. Her preferred media is oil, acrylic and ink on canvas and paper. She started painting and drawing from very young age graduating the art school and then Art and Design Collage in Kiev, Ukraine. She immigrated to the US from Ukraine and settled down in New York. Yelena participated in numerous art exhibitions in the US and Europe, and won a number of juried selection art competitions and awards. Her paintings and drawings can be found in private collections around the world, including United States, Germany, Spain, Sweden, Israel, Russia, and Ukraine. This is what the artist herself says of her art: In my work, I try to capture what is arising in my mind: thoughts, memories, dreams, and fairy tales. These are stories that sometimes slowly or sometimes fast unfold on my canvases. To understand what I mean, a passing glance is usually not enough. One needs to stop for a while, observe closely, get out of the closed room of stereotypes and open the door leading to understanding what I try to convey. Many of my artworks are made in mixed media technique. I harmoniously blend ink drawings into acrylic colors. This sometimes almost random arrangement of abstract acrylic blots on paper helps me to bring up images from my imagination. I frequently resort to using of gold and silver tones. Gold and silver emphasize the artwork’s precious nature and enrich it with a refined connotation.

The Horse. Acrylic on Paper. 2017

SUA ROSE KIM SOUTH KOREA | instagram @suarosekim

Sua Rose Kim is an artist, photographer, actor and film director based in London. She becomes an art through rose and self-portrait. Rose, especially her blue rose is visually stimulating which indicates rose in the blues. She tempts people with its beauty and its scent but also, make people can’t come closer by its thorns. This contradiction may show her identity as person who wants to be loved by all, who wants to get hurt by non. The grainy, layered imagery evokes sense of intrigue and mystery. Like a puzzle, Kim provokes us to answer the question her images seem to pose to solve the riddle.

Rose Blossom, 2018, Digital Art (Digital painting and

24th Rose, 2018, Digital Art (Digital painting and

collage on Photography)

collage on Photography)

TSOKU MAELA SOUTH AFRICA | www.tsokumaela.comÂ

An archivist of a future African past in the present time, I wish not only to preserve but to rewrite the collective memory of blackness across the spectrum of her muddied hues in a language so vivid and worthy of our rebellion. To become we re-imagine what is and what is not. The edge we once knew to be fear became a springboard for us to leap into the unknown only so our dreams could learn to fly. Therefore the Afrofuturist dreams in Surrealism.

Title: Ikombese (Umbahlo) Series: Appropriate (2018) Dimensions: 130 x 150 cm Medium: Â Photography

Profile for Contemporary Art Curator Magazine

100 Artists of the Future  

100 Artists of the Future