Contemporary Art Curator Magazine Issue 2.

Page 110

Contemporary Art Curator Magazine

Issue 2

2025 Visionaries: Artists Shaping The Future. Creative Catalysts for Change: The Artistic Activism


19-Time International Award Winning Acrylic on Canvas Painting, 101.6-cm High x 76.2-cm Wide x 3.556-cm Deep

Art and Mental Health: Unveiling the Therapeutic Canvas

Creative Catalysts for Change: The Role of Contemporary Art in Societal Transformation

The Rise and Fall of NFTs: A Contemporary Art Perspective

Cover Artist Gayle Printz WORLD MASTER ARTIST




© 2024, Contemporary Art Curator Magazine. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law.

The contents of this magazine, including text, graphics, photos, and other material are protected by copyright and are intended solely for the personal non-commercial use of our readers. The artworks and articles published in this magazine represent the views and opinions of the respective authors and artists and do not necessarily reflect those of the publisher or editorial staff.

Any unauthorized use of material from this publication may be subject to legal action.



Alexandra Kordas

Aase-Hilde Brekke

Ai-Wen Wu Kratz

Akshita Lad

Angela Keller

Annette Tan

Aurelio Gaiga

Barbara Crimella

Bea Last

Betsy Stewart

Birgit Kalkofen

Bogusław Lustyk

Brenda Hartill

Britta Ortiz

Carla Kleekamp-Ferdinandu

Carol Carpenter

Carolin Rechberg

Keith Grafton

Craig Robb

Daniel McKinley

Dina Torrans

Fina Ferrara

Gayathrisai Chandrasekaran

Gayle Faulkner

Gayle Printz

Gerhard Petzl

Gunilla Daga

Gustavs Filipsons

Hanna Rheinz

Hans Jørgen Henriksen

Irina Howard


Ivana Gagić Kičinbači

Jahan Gerrard

Jan Lowe

Jean Cherouny

Jenifer Carey

Jeong-Ah Zhang

Josef Kursky

Julia Krumpen

Karl Lu

Kat Kleinman

Kathy Stanley

Katja Lührs

L. Scooter Morris

Ticha (laetitia) Vandewerve

Leigh Witherell

Lone Bech

Manuel Morquecho

Marcel Jomphe

Marcelle Mansour

María Isabel De Lince

Maite Baron

Marian Sava

Mark Stafford

Maureen Golgata

Michael Kopplstätter

Mitchell Gibson


Natalia Revoniuk

Natalia Rose

Neela Pushparaj

Oenone Hammersley

Olivia-Patricia O’Neal

Ori Aviram

Patrick Joosten

Paul Delpani

Paul Scott Malone

PJ Riley

Rajul Shah

Rania Abulhasan

René Cheng

Sabine Leclercq Haanaes

Seung-Ja Kim-Leutiger

Sodoma X

Sotaro Takanami

Stanislav Riha

Stefanoiu Vasile

Sun Bae

Susan Platt

Ted Barr

Tim Taylor

Tom Ashbourne

Vivian Atienza

Wendy Cohen


Gayle Printz

My name is Gayle Printz, and I live in Atlanta. Over the years, I have practiced law, raised three children, and written children’s books. I have been surrounded by the arts all of my life. Growing up, I spent two months every summer playing piano at Interlochen Arts Academy in Michigan where I was influenced by the creativity around me. As a result, I have always been inspired by beautiful art, beautiful music, and people who work hard to express and share their feelings through artistic endeavors. Painting was something I always wanted to try. I simply never had the time to devote myself to it. When COVID-19 regulations mandated we shelter-in-place, I suddenly found myself with an abundance of time. As I wanted to channel my energy into something creative that I could undertake without socializing, in May of 2020, I turned to online shopping...this time, buying art supplies. Hoping to bring light back to a world darkened by the Pandemic, I picked up my first paintbrush to reflect upon, and interpret, beauty that remained in a World interrupted.




Thank you for having me. My name is Gayle Printz, and I live in Atlanta. Over the years, I have practiced law, raised three children, and written children’s books. Although I have never taken a painting class, I have been surrounded by the arts all of my life. Growing up, I spent two months every summer at Interlochen Arts Academy in Michigan. I could usually be found playing the piano, but it was impossible not to be influenced by the creativity with which I was surrounded. As a result, I have always been inspired by beautiful art, beautiful music, and people who work hard to express and share their feelings through artistic endeavors.

Painting was something I always wanted to try. I simply had no time to devote myself to it. When COVID-19 regulations mandated we shelter-in-place, I suddenly found myself with an abundance of time. I wanted to channel my energy into something creative that I could undertake without socializing. So, in May of 2020, I turned to online shopping...this time, buying art supplies. Hoping to bring light back to a world darkened by the Pandemic, I picked up my first paintbrush to reflect upon, and interpret, the beauty that remained in a World interrupted.

Having achieved recognition worldwide, how do you balance maintaining a distinct artistic identity with the expectations that come with global fame?

My artistic identity is the result of instinctively expressing who I am at the moment through the unconventional use of color, three-dimensionality that allows new imagery to appear as you change the angle of your gaze, the deliberate, yet unrestrained, movement of brushstrokes, and a palpable sense of artistic freedom. My work is said to possess a “truly unmistakable style” with “great linguistic power.” My paintings actually will speak to you. Listen… as the whispers of your imagination invite you in to experience, what the critics say is, a “ground-breaking style unlike anything yet seen.”

Any of those glowing reviews could cause an artist to worry about their ability to live up to the expectations that come with the accolades. But I do not paint with expectations in mind—my own or anyone else’s. I simply want to create what does not yet exist. Regardless of the beauty created by others, I do not look to anyone else’s artwork when creating my own. I do not want my paintings to duplicate the work of another artist. It is infinitely more fascinating—for all of us—to explore the unfamiliar. So, I follow my heart, and the flow of the paint, into new territory—breaking what seem to be some firmly established artistic rules. I will try anything when painting—particularly if it has yet to be explored. No expectation or judgment is looming—only the subdued excitement of those of you who honor me by watching to see what I will do next. I thank you for that.

I have been referred to as everything from an “Artist Without Boundaries” to a “Rule Breaker.” Unlike formally trained artists, who tend to use specific themes, subject matters, or color-combinations across their bodies of work, I have created a modern art portfolio in which each painting differs in breadth, scale, and concept. Absence of training gives me the freedom to experiment and, by doing so, create a painting uniquely my own. I do not have to un-learn the style of others; I can be myself. My paintings freely cross artistic genres ranging from abstract, modernistic, geometric, expressionistic, and post-impressionistic to paintings reminiscent of the 19th Century Masters. Asked how I am able to accomplish this, I explain that experimentation is the cornerstone of my artistic experience. I also admit to being an unintentional artistic rule-breaker. Unintentional? Yes. Because, as an artist without training, I am simply unaware of the rules. And in a world without rules, the artistic possibilities are endless.

“Listen to the whispers of your imagination…”

Can you share a memorable experience or encounter that significantly influenced your artistic journey and contributed to your growth as an artist?

I was actually discovered by the European Museum Curator, Ksenia Milicevic.

Two months after I began painting, I had an extremely memorable experience while entering my first international art competition. It happened by chance. On July 13, 2020, while searching for a way to archive my ever-growing art portfolio, I happened upon a call for artists entitled Art-Resilience. Assuming the competition was about being resilient during the pandemic, I thought, “Hey, I’m resilient. Look what I just painted!” All I had to do was email a few simple facts with two images of my artwork attached. Previous exhibitions were beautifully curated, and there was no entry fee unless my work was chosen. I saw no downside to applying.

I could only submit two paintings for consideration by the jury and had no idea which paintings to enter. So, I took a poll; I sent images of ten different paintings to eight of my most encouraging fans, told them I was entering a competition in which the theme was resilience, and asked them to rate the paintings in order of preference.

The competition deadline was July 15, 2020, and that is exactly when I tallied the votes and emailed FIRST and POND. A few hours later, I received a response from the extremely talented museum curator/artist/architect, and mentor extraordinaire, Ksenia Milicevic, requesting my professional artist’s image for their website. I asked if that meant one of my paintings was accepted. She said, “Yes, of course. Both. They’re perfect.” I was shocked and immediately sent her the only image of myself I could find on my phone.

Ms. Milicevic then asked for the link to my website. After admitting I did not have a website, I immediately posted images of my artwork on SmugMug and sent the link to Ms. Milicevic. She gently informed me that, although my artworks looked beautiful on SmugMug, I should set up a storefront website before the August 8th Exhibition because collectors would want to see my work. Collectors? I hope they don’t mind the permanent disclaimer on my website: “This website is under construction…” just in case something goes terribly wrong with it. Technology is not my strong point. And, although I am thrilled to have it, setting up my website was so time-consuming I did not enter my second competition until October—a month before one of my paintings became part of the permanent physical exhibit at Musée de Peinture de Saint-Frajou in France.

Ms. Milicevic then asked for a copy of my C.V. Naturally, I did not have one. She very gently told me to send her what I had, and she would work with it. I sent a “C.V.” with my education (the University of Pennsylvania and Boston University School of Law), past jobs, the titles of books I have written, all of the Bar Associations to which I belonged (New York, New Jersey, and Georgia) and, realizing she needed something relating to my artistic background, I included Interlochen Arts Academy. As that only amounted to two pages, I added images of my artwork. Ms. Milicevic was very pragmatic; she removed everything except my education, Interlochen, and the titles of my books. Fortunately, she has much more to work with, now.

Ksenia Milicevic walked me through every step necessary to present my artwork to the world. But, the best part of our relationship, besides the relationship itself, is the way in which Ms. Milicevic inspires me to be myself. She always said I had a very distinctive style such that, at some point, when people saw my work, they would recognize it as mine. There is no greater compliment—no more liberating advice—I could have received. Because I cannot be anyone else, Ksenia Milicevic freed my spirit and gave me the confidence to become the painter I was meant to become. And she left me with a website which, I suspect, she checks on. We remain in


close touch; for I will always respect and appreciate the woman who took me under her wing without expecting anything other than my future success in return.

My story would be incomplete if I failed to mention that The Art-Resilience Competition had absolutely nothing to do with being resilient during the pandemic. Rather, it was the coveted 2020 International Art-Resilience Competition held yearly in France, by The International Art-Resilience Movement founded by Ksenia Milicevic. The stated purpose in selecting artwork was in no way related to my personal resilience. It was “to present works characterizing the rigor in a search for artistic quality, creativity and technical mastery.”

Wow! At the time I thought I must have been one of the only applicants, but I was mistaken. The competition was overwhelmed by applications, and I was one of only eight American painters whose work was selected for the Exhibition. Before selecting my work, the jury had no idea I first picked up a paintbrush two months before. Or that FIRST was literally my first painting—ever. The whole experience was akin to being on “The Voice” with artwork. All that mattered were my two paintings and how the jury felt upon seeing them. In a dream-world, this is the way a competition would be. But I have been told it is highly unusual for anyone, other than a firmly established artist, to be so warmly welcomed into the European Art Community. The fact that people of their artistic stature believe I have something to contribute to the art world provides all the inspiration I need to continue on this unexpected path.

Art has the power to inspire change and reflection. Are there social or environmental messages that you would like to incorporate into your work, and if so, how do you navigate the responsibility of being a globally recognized artist?

Art definitely has the power to inspire change and reflection but, in my case, change and reflection seem to have inspired art. Every experience and encounter shapes how we see the World. And how we see the World informs our sense of artistic expression. So, messages of unity and freedom embody the underlying essence of my artwork. Why? Because my paintings represent a spontaneous reaction to a life-changing pandemic shared by People around the world. Life informs art.

At the height of the pandemic there were thoughts and feelings I needed to express. So, in May of 2020, I picked up a paintbrush to explore artistic expression in an untraditional way. As a result, I found freedom from isolation. I did not begin painting to start a business. I did not even intend to show anyone my work. I painted because I wanted to express myself without being judged. By painting, I felt as if I had discovered a private way in which to articulate my feelings. The illusion of privacy enabled me to throw my heart on the canvas and engage in a deeply personal journey.

My journey did not remain private for long. I did end up showing my work, and no one was more surprised than I when, two months after I began painting, two of my works were on Exhibit in Europe. The international response was overwhelming. I was offered gallery representation and solo exhibitions. But, with Covid ravaging the world, I declined every offer that was not online or in print.

My September 2020 newspaper interview epitomized how the world was changing. As the subject of a threepage article, I was instructed to remove all of the artwork we recently nailed to our newly painted walls and replace it with my own. The journalist then came to preview her subject (me) and her venue (the walls of our house). I opened the door, and there stood a woman with a plastic bag over her head. No joke. She wore one


of the clear zipper bags in which linens are often sold. I was delighted her germs were contained, and it wasn’t a terrible idea—mostly because the bag was unzipped so she could breathe. She returned a week later with a fashion photographer who I was hoping would bring clothes or a makeup artist. He brought neither; but he did photograph my artwork; and the newspaper article turned out so beautifully, I gave the journalist a package of face shields before her departure.

As brick-and-mortar galleries started closing, I used their online platforms to show my work. I never anticipated the acclaim that followed; I thought I was merely doing my part to help keep the galleries afloat until they could re-open. I am also a bit camera shy, so I was attracted to what I perceived as the anonymity provided by the online platform. Needless to say, anonymity did not last long either. I was lucky.

I suppose one could say I have navigated the responsibility of being a globally recognized artist wearing a mask—both literally and figuratively. In addition to the camouflage provided by the world’s latest fashion statement—surgical masks—I could hide inside my artwork by working in the abstract. Creating abstract art, I can be myself; perfection is not mandatory. This fact alone lends freedom to the process.

As a master in your field, what advice do you have for aspiring artists who aspire to make a lasting impact in the art world?

Infuse inspiration into your artwork and use that energy to inspire others:

• Know that expressing yourself artistically is a good thing,

• Try things; create what you want to create, particularly if has not been done before, and,

• When you stumble upon something you love, embrace it with all of your heart.

For you may uncover that you have the rare opportunity to enrich your own life and the lives of People around the globe.

The art market is ever evolving. How do you approach the business side of art, and what advice do you have for artists navigating the commercial aspects of the industry?

In other words, how does one make their artwork marketable?

There is a set of objective factors you can rely on to establish the worth and marketability of my work, and another set of subjective artistic factors that draw Investors and Collectors to my work. Objectively, as people are cautious relying on their own judgment when buying art (and jewelry), buyers need to be certain that my artworks are continuing to increase in value (they are) and will sell at a premium on the secondary market (they do). Accordingly, my international reputation as an important established artist is paramount.

As my last name is not Picasso, those buying and selling my artwork rely on several other objective factors:

(1) The overwhelming positive feedback from some of the most influential people in the Art World: Curators, Art Historians, Publishers, Art Critics (who, luckily, have not been at all critical), Art Dealers, Cultural Foundations, Galleries, Collectors, Investors, and Art lovers,

(2) The 57 paintings I have sold in the short time I have been showing my work,

(3) The price those paintings commanded which, I will only say, is rarely under the asking price and always


more than I envisioned,

(4) The fact that every Collector purchased more than one painting because my work touched them so deeply, and

(5) The magnitude of my artistic accomplishments, including:

- 29 Illustrious International Prizes,

- 53 prominent International Art Publications featuring my work,

- 9 Publications in which my artwork is featured on the cover,

- 38 International Solo and Physical Exhibitions,

- 650 different International Gallery Exhibitions,

- A staggering 1600 Juried International Art Awards,

- The fact that every painting for sale at my Online Art Gallery is an International Award Winner, and, perhaps most notably,

- The fact my painting COLORS is on permanent physical exhibit in France at Le Musée de Peinture de Saint-Frajou.

Galleries also rely on subjective artistic factors that motivate collectors to buy my work. My paintings are characterized by the bold use of unique color combinations, three-dimensionality, distinct brushwork, texture, flow, and movement. Engaging a novel painting technique, partly turning, partly mixing, and completely making a mess, I use a paintbrush to blend a unique sense of beauty with universal significance. Drawing you into the painting, I encourage you to use your imagination as the lens through which to find the personal and universal meaning that connects you to each work. It is said that my “ground-breaking three-dimensional works” have a “uniquely recognizable style” that creates “naturalistic abstractions” which “deviate from anything we have yet to see in the art world.” As such, it is said I succeed in my goal to provide viewers the freedom to assign context to, and find meaning in, the intangible beauty of art.

I never imagined that sales and international recognition would be part of my artistic experience. I am amazed by the overwhelmingly positive responses to my paintings. I am both humbled and thrilled that my work is considered an important addition to the Art World. There is no greater compliment.

Abstract art often involves a deep connection between the artist and the work. Can you share any personal stories or emotions that have influenced your creations?

My painting adventure began with my aptly named premier creation, FIRST. My intention was to use color, depth, and varied brushstrokes just to see what would happen. A lot happened. I found that creating something meaningful is an intense process in which time ceases to exist. I cannot tell you how often I begin painting what I hope might become a masterpiece and, when I next look at the clock, it is six am. Though this is not particularly good for my circadian rhythm, it does help keep paint off of my cellphone. Because I lose track of time when I paint, I could not guess how long it took before I looked into FIRST and realized it was as though people were coming to visit from inside the canvas. I no longer felt isolated after that. Figuratively speaking, there was always someone around to keep me company.

FIRST was critically acclaimed before it was dry. In fact, it has been said that FIRST is one of my most mature works. What no one knows is that FIRST was created in our kitchen on a child’s travel easel I happened to find during my Covid-Cleaning Phase. I employed what can only be referred to as novel painting techniques—which I still do because I know of no others— but I made such a mess, I was evicted from the kitchen, even after clean-


ing the ceiling. I did get paint all over everything—including my Golden Retriever who sits faithfully under my easel and never complains when I drip paint on her nose.

IN THE DARK is not merely entitled IN THE DARK, it was actually painted in the dark. In April of 2020, I created a “Man Cave” for my husband. A space all his own —with the only television in the house that has the football channel. It also has a ping pong table. I had good intentions.

Following my eviction from the kitchen, I bought a real easel (two actually, one lives outside) and painted in the open area next to the Man Cave; the ping pong table held most of my recently acquired art supplies. By the time football season began, I had taken over everything except the Man Cave sofa and television. Having already invaded the boundaries of the Man Cave, I did not want to turn the lights on during the game my husband was watching near my easel. So, I painted in the dark—or an area far too dark to see what I was doing. It was the least I could do for the man who has taken every single image of my paintings.

When I turned on the lights, IN THE DARK was like receiving a gift. It has an impressionistic feel with an Abstract twist that will captivate you with its color, texture, and depth. I studied IN THE DARK for days to determine where it should be signed. When I realized it is filled with meaning from every direction, I signed IN THE DARK on an angle to enable its owner to choose the direction in which it should be displayed. There are countless paintings I have signed in a corner on an angle so, when you think that you may have discovered all that the painting has to say, you can turn it and begin all over again. I am not afraid to enter uncharted territory. And I suppose I am not afraid of the dark.

NOIR is a beautiful study in reflection. It is also a wonderful friend of the dark. Oddly, the dark enhances the painting: NOIR not only glows in the dark but, in the dark, you can see your reflection. I have to say it was a little disconcerting when I first discovered this. But, after seeing myself in the painting, it took me no time to recover and realize that it is an incredible phenomenon.

And then, there was light: One day I was outside painting the 60 by 48-inch IRIDESCENCE. I was preparing the under-layer of the painting roughly fifteen feet from where my family was sitting. As I began to move the canvas, my family shrieked and told me not to touch it. I did not see what the fuss was about; because the painting is so large, I was just trying not to drop it. But what everyone else saw, outside in the sunlight, sent them into a state of awe. IRIDESCENCE is literally iridescent. As I was moving the painting inside, my family was watching it change colors. Completely. Over and over. It is impossible to capture this in a photograph or even on video; you must either trust me or experience it in person. IRIDESCENCE is an amazing piece, and I made sure it was finished with several coats of UV-light protection, because it should really be on a wall touched by daylight. If I had a home on the beach, IRIDESCENCE would be there. It is composed of light, relaxing sandy colors. I am not quite sure how I did it, but I love the result. So too does renowned curator, Beatrice Cordaro, who put IRIDESCENCE on the cover of Contemporary Art Explore I (Palermo, Italy).

BRUSH is one of my rare seascapes—rarer still because BRUSH II and BRUSH III were scooped up by Collectors. I just cannot bring myself to let go of this one. BRUSH has been compared to the works of nineteenth century painters. The impressionistic effects within have been said to suggest a certain eeriness to the mood. So, I am frequently asked what I was thinking when I created BRUSH. The truth is that, usually, I am not thinking about anything except what is coming to the forefront as I paint. I paint with intent, but the painting itself somehow takes over. It has a mind of its own. So, I do not need to explain what I was thinking the intent behind


a painting, because what I think is less important than what it means to you.

I have always felt uncomfortable telling others what to think—even my children. I began painting to inject color and inspiration into my world and the world of others who need to bring beauty back into their lives. BRUSH was just one example of what appeared when I tried to do that. In the case of BRUSH, I will say that I deeply missed seeing the ocean. But, interestingly enough, even though BRUSH is a seascape, the ocean is not visible. Perhaps this created the sense of eeriness suggested. I can only guess at this interpretation because I see BRUSH as completely relaxing. This is why I will not reveal the story a painting is meant to suggest. The story is yours to tell. And, the truth is, a collector’s knowledge of art makes their interpretation of the story much more interesting.

BLUE DOG and PURPLE PLUNGE are all about color on highly textured surfaces. With BLUE DOG, once the abstract figure appeared, I pulled my fingers through the canvas to uncover a beautiful mixture of color within the layers of the painting. BLUE DOG is a statement piece. When I show it, collectors have to pick their jaws up from the ground; all they can say is that BLUE DOG is magnificent. PURPLE PLUNGE is about creating a beautifully colored under painting and controlling drips of high flow acrylics to create figures that, to me appeared to be plunging into a purple abyss. I love the color combinations on both pieces. But, with BLUE DOG, I also found that the larger canvas lends itself to greater creative freedom. And creative freedom is what I am all about.

It is often said there is more to my work than meets the eye. Look closely and you will find the magic for which I am famous: my paintings somehow change depending upon the angle of your gaze. For, as with life, the meaning in my work depends upon the way you look at it.

AVERY exemplifies this unintentional phenomenon. AVERY is magical. It has a very light Impressionistic background seemingly covered by an abstract formation. If you look at AVERY straight on, from a distance you can see the profile of a very young girl looking left with her ponytail on your right. As you move toward the painting, the profile disappears and the face of a woman emerges straight on. The grid, which can be so prominent in photographs, is absorbed into the painting. My husband was the one to point this out after I had already named the painting AVERY —the name of a wonderful little girl who blessed our lives the night both Averys were born. As I said, AVERY is magical. She has also won over thirty international awards.

I am often asked why, out of all of the things I could have focused on, I chose to devote myself to painting. The arts were always an important part of my life. But why did I choose to paint? Did I have an epiphany? No, I did not. But I have never shied away from a challenge, and there may have been a conversation that challenged me to paint: In April of 2020, my sister and I were discussing our childhood museum experiences. I always preferred the Metropolitan to Modern Art Museums because, when studying an abstract painting, I often felt, “I could do that.” My sister apparently felt the same way. She recounted a conversation she had years earlier with the curator of the Guggenheim Museum in New York. Standing in front of a very famous abstract painting, the Curator asked what she thought. My sister replied, “I could do that.” To which the Curator aptly responded, “But, you didn’t. Did you?!”

The Curator was correct. My sister had not painted anything. And, neither had I. As a result, I had no way of knowing if I could create a meaningful painting. There was one certainty: I would never know what I could accomplish until I tried. So, I tried. The pandemic gave me time. The curator—I never met—gave me motivation. And, as it turns out, not only can I paint (who knew?), but painting has changed my life. My work is unlike that of


anyone else, but that is exactly what creates the intrigue.

Travel often plays a role in shaping an artist’s perspective. How have different cultures and environments influenced your work, and do you have a favorite place or experience that left a lasting imprint on your art?

Travel shapes the perspective of every traveler. As an Artist borne of COVID Isolation, I have been painting during a period in which travel was out of the question. But I do love to travel and was fortunate enough to visit my seventh continent in the nick of time: December of 2019, right before the onset of a pandemic heard around the world, and five months before I began painting. By February of 2020, I prepared for the worst and began to interact less and less in public. I used the time to work on projects I had put off at home. I finished several children’s books and tweaked a 300-page book I had written for adults. By March our Governor spoke of locking down all but essential businesses and, in April, he did just that. With the death toll skyrocketing, and much of the world trapped in an abyss filled with fear, my biggest adventure was cleaning out file cabinets, closets, and drawers… Until I started painting, and my life changed.

Only recently did I begin traveling again. Trying to make up for lost time, this year I went to The Arctic to see polar bears and beluga whales, Spain to be with my best friend as her son got married, Puerto Rico to celebrate our anniversary, and Florida to look for sand dollars. Rather than influencing my work, travel took me away from it. And although it will not keep me from traveling, when I do go away, I miss painting.

On the other hand, without me, my paintings have traveled the world, visited cyberspace, and toured the World Wide Web: (1) In physical exhibitions: Miami Art Week, ArtExpo New York, Art San Diego, and the Tokyo Tower Art Fair; (2) Permanent and year-long solo exhibitions: The MoCA (Los Angeles, California), Circle Foundation For The Arts (Lyon, France), Contemporary Art Curator Magazine (England and Wales), Artavita (Santa Barbara, California)and Contemporary Art Awards (Queensland, Australia); (3) Collecting countless International Art Prizes: Top Contemporary Artists To Watch in 2024 (Contemporary Art Curator Magazine, England and Wales), Harmony For Humanity -The Global Consciousness Art Prize (England and Wales), The International Voices of Tomorrow Art Prize (Barcelona, Spain), The Faces of Peace Art Prize (U.K.), The International Art For Peace Prize (U.K. and Barcelona, Spain), The 2023 Exhibizone Grand Prize (Vancouver, B.C.), The Fifth International Prize Leonardo da Vinci (Milan, Italy), and The Gallerium International Art Prize (Vancouver, B.C.); and, (4) Accepting distinguished International Awards: The Biafarin Award (Toronto, Canada), The Art Diamond Museum Artist Award (Rome, Italy), and The Art Collector’s Choice Award (New York, NY), to name a few. In the process I learned that my paintings are not quite as attached to me as I am to them; some did not even bother to return home.

Artists often leave a legacy beyond their work. What impact do you hope your art will have on future generations, and how do you see your artistic legacy evolving over time?

Art is a universal language. It transcends boundaries. It allows us to communicate, find meaning and experience the world…together. It is my hope that, by translating the colors of my world into the universal language of art, I can help promote unity and inspire all People to celebrate the beauty in life…even in the midst of adversity.

I believe there is unrealized talent inside of everyone. When we are able to tap into that talent, we can share part of ourselves with the world and contribute in a way we never thought possible. We can use the time we have to bring back the beauty into a world we once knew. For if there is a silver lining in the pandemic, it belongs to


those who used this time to grow by discovering untapped abilities.

To create something lasting I must remain true to myself. From the beginning, art experts advised me to keep doing exactly what I am doing. So, I have. It creates a real sense of freedom to find out what I can accomplish by simply breaking the rules. I am extremely fortunate the Art World feels I have a contribution to make. To be so warmly welcomed into the international art community, particularly after crossing established artistic boundaries, makes me realize that the Art World is exactly where I belong.

Abstract art can be open to various interpretations. Do you have a specific message or theme you aim to convey through your work, or do you prefer leaving it open-ended for viewers to interpret?

There is profound universal and personal meaning in each of my paintings. But because I believe the importance of any work of art is based upon the emotion it evokes, I will neither define that meaning nor intrude upon your journey to find what makes each painting significant to you. There are no answers I am trying to convey. Rather, by encouraging freedom of thought, I hope to give you uninterrupted freedom to feel and experience the world in unanticipated ways. It is liberating to be allowed to think for yourself in an arena in which you can never be wrong. For, with artwork, the interpretation of the viewer trumps that of the artist.

In each of my works, the story is already there. I am merely allowing it to be told. My contribution is to create a painting that entices you to wonder and think about what that story might be. Therefore, in trying to create a synchronicity between that which is objectively beautiful and reflects universality, I leave it to you to draw on your emotional memories and imagination to assign context.

It can be difficult to get past the distractions inherent in abstract art because the meaning is not as defined for the viewer as it might be in the work of classic painters. Though my work is not purely abstract, it does create a non-literal view of the world. It allows me to explore freedom of expression in my own way. When the paint dries, it is that sense of freedom I hope to pass on to you: I want the freedom that I feel—the freedom to develop, and safely express, yourself —to be transferred to the viewer who, instead of trying to figure out what I was thinking when I created the piece, must be willing to consider what makes that piece meaningful to them. I may not tell you the story a painting is meant to suggest, but this is only because that story is yours to tell. Interpreting art is a very personal thing but, in truth, the only limitation is your imagination.

It may be challenging to explore your inner feelings about a work of art. But, to me, that is what art is all about. You do not need to be influenced by anything other than what is literally in front of you. The only limitations are your imagination and willingness to explore what is inside of you. When you embrace being in an unfamiliar world, there is a richness and tranquility that can fill your soul. And I hope my artwork fills yours.

Thank you for having me.

ON MY MIND, ©️ 2021, A Twelve Time International Award Winning Acrylic on Canvas Painting, 76.2 cm Wide x 101.64 cm
High x 4.572 cm Deep
EYES, ©️ 2021, A Ten Time International Award Winning Acrylic on Canvas Painting, 76.2 cm Wide x 101.64 cm High x 3.556 cm Deep IMPRISONED, ©️ 2021, A Fourteen Time International Award Winning Acrylic on Canvas Painting, 76.2 cm Wide x 101.64 cm
High x 3.81 cm Deep
AVERY, ©️ 2020, A Twenty-Two Time International Award Winning Acrylic on Canvas Painting, 76.2 cm Wide x 101.64 cm High x 3.81 cm Deep
SHE, ©️ 2020, A Seventeen Time International Award Winning Acrylic on Canvas Painting, 76.2 cm Wide x 101.64 cm High x 4.52 cm Deep
BRIDE, ©️ 2021, A Twenty-Four Time International Award Winning Acrylic on Canvas Painting, 30.48 cm Wide x 30.48 cm High
BALLERINA, ©️ 2021, An Eight Time International Award Winning Acrylic on Canvas Painting, 30.48 cm Wide x 30.48 cm High
HER, ©️ 2023, A Seven Time International Award Winning Acrylic on Canvas Painting, 30.48 cm Wide x 30.48 cm High
WHY, ©️ 2023, A Four Time International Award Winning Acrylic on Canvas Painting, 30.48 cm Wide x 30.48 cm High
BLUE LADY, ©️ 2021, An Eleven-Time International Award Winning Acrylic on Canvas Painting, 40.64 cm Wide x 50.8 cm High
ANGUISH, ©️ 2022, A Fourteen-Time International Award Winning Acrylic on Canvas Painting, 40.64 cm Wide x 50.8 cm High
ETHEREAL, ©️ 2021, A Seventeen-Time International Award Winning Acrylic on Canvas Painting, 91.44 cm Wide x 60.96 cm High x 3.4925 cm Deep
ABC, ©️ 2021, A Six-Time International Award Winning Acrylic on Canvas Painting, 25.4 cm Wide x 50.8 cm High x 3.81 cm Deep
CLIMB, ©️ 2020, A Fifteen-Time International Award Winning Acrylic on Canvas Painting, 91.44 cm Wide x 60.96 cm High x 6.096 cm Deep
FIRST, ©️ 2020, A Thirty-Two Time International Award Winning Acrylic on Canvas Painting, 60.96 cm Wide x 91.44 cm High
BRUSH, ©️ 2020, A Twenty Time International Award Winning Acrylic on Canvas Painting, 60.96 cm Wide x 45.72 cm High
BLUE DOG, ©️ 2020, A Fourteen Time International Award Winning Acrylic on Canvas Painting, 121.92 cm Wide x 91.44 cm High x 3.556 cm Deep IN THE DARK, ©️ 2020, A Fourteen Time International Award Winning Acrylic on Canvas Painting, 76.2 cm Wide x 60.96 cm
High x 6.096 cm Deep
High 33
TOGETHER, ©️ 2020, A Thirty-One Time International Award Winning Acrylic on Canvas Painting, 91.44 cm Wide x 91.44 cm

A 10-Time International Award Winning Acrylic on Canvas Painting, 121.92-cm High x 152.4-cm Wide x 3.81-cm Deep

©️ 2020 by GAYLE PRINTZ


I believe that every moment has a special quality and my mission as an artist is to wait until the moment reveals itself to me. In this prescious glimps there is created a vision, a message. It is as if art creates me, not the other way around. I am just a witness.

Art represents the possibilities and glimpses of emptiness that are the gateways to heaven and sometimes hell. The moments, the gaps in between “something” and “something else” where reality shows its inner beauty and mystic content, are the moments where everything is vibrating and at the same time is standing still. Prescious, silent, extraordinary streams of consciousness and glimpses of truth.

In this way I try to communicate with the world around me, and I feel very lucky being an artist: I only give an offer back to life that supports me. With all its shadows, sorrows and pain, hopes, dreams and joy, human beings have the ability to change direction since we are part of life itself.

- That is why I consider art to be a life-supporting ritual.

Om Mani Pedme Hung, 2008. Photo, photoshop, printed on plexiglass, 30x40 cm
House of Prayer, photo, 2021. Photo, 50x60 cm.

I find inspirations in literature, classical music, contemporary stage design, choreographic lines in ballet and in vocal arts. I attempt to focus my works on spirituality, intellectualism and aesthetics. My works are not intended for beautification, rather, they are to offer the viewer pathways to reach a higher level of spiritual and intellectual experiences.

To the public, I wish to say: “Come to us, the visual artists, dancers, poets, writers, playwrights, musicians, and storytellers. Together, we’ll form a shade to shelter you from the heat and weariness of life. Together, in this sanctuary, we shall hear the birds’ happy mating; share the breeze of renewal; and bathe in the warmth of the fragrant earth.”

I am grateful for joining my fellow artists to enrich the visual world and to bring happiness to others.

Spring Canzonetta, 2018. Acrylic on canvas, 76 x 61 cm
In Praise Of Children Literature, 2023, Acrylic on canvas, 76 x 81 cm


Angela Keller’s paintings are a journey into the depths of the human spirit. Her work encourages us to look beyond the superficial and to find joy and meaning in the labyrinth of our own thoughts and feelings. Keller stands out as a visionary artist whose paintings serve as a bridge between the real and the imagined, the conscious and the subconscious.

Keller’s paintings can be seen as beacons of a re-emergent surrealism, a call to return to the exploration of the inner landscapes of early 20th-century surrealists. However, her approach is distinct in its accessibility and warmth, inviting a broader audience to partake in the dreamlike narratives she weaves. Her art does not alienate but welcomes, does not disturb but comforts, all while maintaining a depth that allows for endless interpretation and discovery.

Through the Wasteland, 2022. Oil on linen, 60 x 83 cm

Situation, 2021. Oil on linen, 80 x 80 cm



Annette started taking interest in painting in the mid 1990’s. She began taking watercolor lessons and after a few years she decided to experiment with acrylic. Her inspiration comes from the beautiful nature around the world. Most of her work consist of landscape. In the most recent years she has been in many group exibitions both in the US and Europe.
Misty River 2018
Autumn Birch 2020 43


As an artist in today’s world, Ms.Lad believes that art can serve as a powerful catalyst for mental health and emotional wellbeing. She believes in the power of art to elevate the soul and serve as a source of inspiration and positivity. Ms. Lad’s art stands as a testament to the celebration of emotions, stories, and beauty in a world often saturated with negativity.

Ms. Lad’s art has the capacity to evoke feelings of serenity, peace, and contentment. In the face of overwhelming negativity and darkness, her goal is for the viewer to find solace and inspiration in the beauty of the natural world and its inhabitants. In her artistic process, Akshita draws inspiration from her own emotions and experiences, using them as a guiding force. Every painting by Lad is a thoughtful infusion of sensitivity and emotion. Colors and textures are deliberately chosen to create a harmonious atmosphere, inviting the viewer to connect with the profound emotions and stories embedded within each piece.

Akshita Lad’s ultimate goal is to establish a deep and instinctive connection with her audience, emphasizing the importance of mental well-being. At the core of her art lies the intention to bring joy to others by offering a visual sanctuary that fosters feelings of serenity and peace. She strongly believes that art has the transformative power to uplift the soul, and through her creations, she aspires to guide people towards a more positive and emotionally fulfilling life.

Autumn’s Embrace, 2023, 100x100cm, Acrylic & Soft pastels on linen canvas
Autumn’s Glow, 2024, 100x100cm, Acrylic & Soft pastels on linen canvas
Sakura Dream, 2023, 100x100cm, Acrylic & Soft pastels on linen canvas
Winter’s Grace, 2024, 100x100cm, Acrylic & Soft pastels on linen canvas


I have been painting since 1996.

In the first years I experimented freely in search of a personal style.

From 2007 to 2017 I worked on a rigorous geometric abstraction.

Since 2018 I have been creating works that investigate the growing importance that technology has assumed and will assume more and more in our lives.

I work on the deformation of images ( images of people seen in their daily lives reading a newspaper, drinking a coffee, ect...) as in the case of television interference or digital distortions.

Some of these works only present these digital distortions as if they had taken over our reality, waiting for something new, that we don’t know.

Other works present interpretations of famous paintings of the past reinterpreted and modified in this key, as if technology were erasing our past, our history, our memory, perhaps our humanity.

All the works are characterized by vivid and intense colors, to represent the seductive and positive aspects with which each new technological discovery is presented, always leaving out any potential negative aspect.

Some works investigate current events at a political, social and economic level to demonstrate how technology can be used by authoritarian regimes and governments to limit individual freedoms.

Interference 73 - cake sunday, oil on canvas, 100x120 cm, 2024
Interference 70, oil on canvas, 100x120 cm, 2023


Sculptor, painter, performer, curator of interdisciplinary artistic projects and costume designer, Italian-Dutch.

Research focuses on the creation of sculptures/installations capable of creating a sensation of temporal suspension, through which we can connect with our interiority and the landscape that surrounds us, thanks to a synthesis between the natural elements, the place with its historical, social and economic characteristics and ourselves with our tensions and desires; shapes, volumes, voids and shadows will be composed obtaining an order established by desire. From here the fold project was born, which I define as “the folds of the soul”. Different shapes of my sculptures arise from the “Folds of the soul”, forms capable of describing an inner journey which, thanks to the silence of nature which gives us suspension and timelessness, given by its beauty and perfection, allows us to listen to the noise caused from the tangle of memories in the act of “materializing”. The “folds of the soul” can be described as a form capable of synthesizing our psychological layers through a single volume and of becoming an element of exaltation of the landscape both inside us and outside, creating a sort of dialogue, a landscape- bridge in which to get lost in its facets.

Several site-specific installations(sculptures in Japan, Bilbao, Dakar, Bihar in India and Italy, “the Place of Soul and Wind” homage to the Ora del Lago, wind that crosses Vallecamonica, foundation stone of the LoCar project. Collaboration with AAC France and the Borgo degli Artisti Association as artistic director. PerdutamenteNatura, 2024, Rusted Iron and color gold, prototype for Università Cattolica Brescia, 400x200x100

PerNatura,2024 Rusted Iron and Color gold, 200x100x50


Based in Scotland my creative practice is process led. Curently i am exploring drawing in its broadest sense,creating sculptural drawing installations, using salvaged, Recycled and found objects for example plasti, paper, fabric, iron and wood.

Installations depend on location, space and environments and are created or reinvented according to that space, both a reaction to or a statement of. The installations and sculptural drawings engage via dialogue and conversation on very current global and societal issues. Relationship, connection, community, placement, humanity are all responded to as with a focus on current global issues.

They are both subtle and challenging , a contrast between fragility and strength. They have been referred to as both monumental and fragile at the same time. My creative practice looks to what it is to be human, the frailty, the strength and is demonstrated through the choice of materials used. Salvage or found however, the aesthetics , the craft remains important

The Red Bags / Repurposed, waterproof canvas / Bamboo/ Bullet Holes / Size variable depending on location 2022
The Red Bags reimagined /Repurposed, waterproof canvas / Bamboo/ Bullet Holes / Size variable depending on location 2022


My work is philosophically based and my interest in biology and cosmology informs the subject matter. I create paintings of microscopic nature hidden from the naked eye: the layered inter-connectivity that could represent the origins of life in a drop of water to systems in the vast cosmos. These micro/macro images which, while impossible to witness without the use of a microscopic or telescope, are the vortex upon which all life depends.
“Biocriticals No.4”, 2016. Acrylic, sumi ink on canvas. 48” x 48”
“Microaquea No. 2”, 2012. Acrylic and Sumi ink on canvas. 36” x 36”


Working in tourism since 1970, I lived overseas and travelled around in Europe, America, Asia and Africa (11 years in Kenya). The last 22 years I lived in Palma de Mallorca / Spain and now I’m back in Germany. I started painting as a child and meanwhile painting art is my passion, my most favorite hobby. With mostly strong colors I’m able to express my various impressions and ideas, which cool me down and relax. I’m autodidact – of all tried out materials I prefer painting with acrylics and especially on wood. I get inspired by everything, what is surrounding me – art, books, culture, traditions, pictures, textiles, exhibitions, events, colors, light, sea, beach, sunrise and sunset, animals, landscapes, seasons, nature, plants and flowers, daily news – the list is neverending. Travelling such a lot left its marks on my art. Especially the colors and the smell of Africa and Asia are deeply in my memory. My pictorial language mainly consists of a figurativeness reduced to the essential into which I ornamental transfer very harmonious forms. This is completed by my abilities of applying glowing colors. By achieving a correlation of abstract and figurative forms and color I’m able to give my work of art some sensual attractivity. The portrayal of perspectives and mostly the strong expression of bright colors are my trademark. My artworks are now part of private collections worldwide, such as Germany, Spain, Switzerland, United Kingdom, United States, India and Australia.

Coffee Art - MISSING AUDIENCE, 2021, coffee and acrylics on canvas, 50 x 60 cm
All Nation United in Peace, 2011, acrylics on canvas, 70 x 50 cm


Can a stone scream or a flower cry?

Will a falling horse get up?

Can you hear the grass rustling over the dying lake?

Do you know how a deer’s heart trembles when the bullet hits its target?

Can you feel the earth’s breath weakening?

Are you willing to lose, Don Quixote?


and inc on canwas,100x130cm,2015 58
Shogun, acrylic

After a fight, acrylic and inc on canwas,100x130cm,2015


Blood river, acrylic and inc on canwas,100x130cm,2015

Bloody snow, acrylic and inc on canwas,100x130cm,2015

Stone monuments, acrylic and inc on canwas,100x130cm,2015

Termite mounds, acrylic and inc on canwas,100x130cm,2015


Born in London, England, Brenda Hartill emigrated to New Zealand with her parents in the late 1950’s, and was educated there, graduating FA honours at the Elam School of Fine Art Auckland. She returned to London in the late 1960’s to study at the Central School of Art and Design, In the early eighties, she turned towards printmaking and has successfully published her own prints since. She is a member of the Royal Society of Painter Printmakers (RE)

Her work is experimental, abstract and embossed. Collagraph, etching, watercolour, collage and encaustic works. Her main love is abstracting the essence of the landscape in richly coloured textured works, often enhanced with silver and gold leaf. Recent works include a series of watercolour paintings with collagraph embossings. Her on-going fascination is with erosion, weather patterns, natural textures, growth formations and universal organic forms.

HARTILL Taking Off I Embossed watercolor UF 51x43cm 1200
Eye in the Sky III 2020 mixed media framed 52x59cm


It’s scary how a few very powerful people in the world can ruin the lives of millions of people and overall affect life on earth in a negative direction. It is always the children who pay the highest price.

We live in a world where many children are left to fend for themselves, or the adults find it difficult to protect them from war, terror, natural disasters, pandemics, etc. Millions of children worldwide have a hard time and not without reason. We find it difficult to protect them from the obvious dangers, but especially from the dangers lurking on the Internet such as bullying, exposure to fraud or gambling addiction. These are all dangers that adults are not always aware of until it is too late.

Unfortunately, man does not live in harmony with nature, but tries to master it, and unfortunately we are on the way to moving to the point where we think we have to change the building blocks of life and change what it means to be human. It happens without us knowing the consequences, and in many ways man is his own worst enemy.

We think we can subdue nature. However, the earth shows us time and time again that man is ultimately only a small piece, and that our power over the earth is not as great as we would like to believe. When the forces of nature rage, we humans are very small.

The highest price, 2022, linocut printed on paper, 30 x 42 cm
The circle of life, 2023, linocut printed on paper, 42 x 30 cm.


Creating works of art is a compelling life force. It encompasses passion, spontaneity, intellect and self-discovery. Inspired by the ever-changing elements and beauty in nature, I enjoy abstracting and reinventing familiar forms to create new images that strike a balance between reality and imagination. Employing multi-media techniques in oil, acrylic, ink and watercolor paint on a variety of surfaces, I use color as my primary focus to transmit energy, meaning and emotion in my art.

Frozen, 2023. Acrylic on canvas, 61x91 cm1 cm


2023. Mixed Media on canvas, 101x76 cm
River Song, 2023, Acrylic on canvas, 91x91cm

New Horizons, 2023, Mixed-Media on canvas, 101x76 cm



For me art is the vehicle to understand and process existence. With the abstract aesthetic of my work, I invite and provide the possibility for everyone, to explore what they see, to focus on details which invoke meaning to you. Originating from the observation and metamorphosis of the material in dialogue with energetic impact from myself, I intent to create entities existing within themselves, whilst activated through a viewer or encounter with an environment. Through allowing the work to come from alert sense perception, observation, reaction, instinct, emotion, and spontaneous inspiration from within, rather than preconceived ideas, the artworks feel more organic rather than constraint. While the artworks can be sheerly decorative, for me each is an expression of my soul or of gathered understanding. Sometimes instantaneously delivered over minutes and other times accompanying me in the journey of life for months or years before completion. It is important for me to let the artwork dictate when it calls to be finished. Catching this moment, between looseness and yet accenting space, requires acute awareness to the shaped presence, and it is what draws some of my fascination, as this alertness schools and transfers to how I encounter moments in life. It is much like continuously seeking to witness the magical and transformative experience of exchange in-between matter and energy, where you become the tool to manifest while trusting the falling into place of each mark, until the artwork arrives in a state, where it dictates its own place of rest.

New Birth, Tempera on Raw Canvas, Size, 2024
Ephemeral Contemplation Stone, 2022, Ceramic Sculpture, 12 x 24 x 56 cm

Composing Monuments for the Stage of Performance, 2015, Mixed Media Installation/Performance, size site specific


In Communion with Presence, 2022, Mixed Media, Performance, size site specific



My objective as an artist on a base level is to create an object of beauty that is pleasing to the eye yet has a depth to it that makes one think about what they are seeing. I use wood, steel and objects to create metaphorical vistas that contain messages within them that are relevant to my beliefs and viewpoints. Yet by using objects that are laden with content or symbolism I have come to understand that not everybody sees things the same way I do. When I present these different objects, people come to my work with different histories and stories that are relevant to them and these items. I rely heavily on this in hopes that they create their own story or statement with each piece to make it relevant to them.

Within these sculptures I include houses, chairs, and other objects that, with their inherent symbolism, develop metaphors about issues that are important to me. Many of my ideas stem from a fascination with how things are connected, both literally and figuratively. The combination of wood and curved steel are utilized as both compositional elements and to create spaces for these objects to reside. I have always been interested in how objects function within a given space, how they occupy it and the relationships created with the other objects in that space. Because of the broad range of symbolism, these sculptures can speak on many different levels and to many different people.

Listen to the Wind, 2024, Wood, Steel, Acrylic, Butterfly, Silver Spoon - 43cm x 53cm x 18cm
In the Night So Still, 2023, Wood, Steel, Acrylic, Bottle, Typewriter Part, 33cm x 58cm x 15cm


Defining My Art. Art Going Beyond When we look through windows

We are looking beyond When we go through a door

We are going beyond When we read We are thinking beyond Through music Through television

Through almost everything that we do

We are trying to escape To go beyond With my work

I am trying to give the viewer

A place to go Beyond

2022 78
2023 79


I have had the pleasure of working with nature, bronze, clay, gypsum, metal, marble, minerals, cement, wood, found objects, colour and sound.

I have found that in exploring the creative process, my artwork reflects various ideas and developments in my personal mythology. This process continues to inspire me to action and to dialoguing about our evolving world and times. It is one of my most valuable teachers.

My themes tend to be inspired by ideas about Nature, our human belief systems, personal and planetary evolution and our ultimate interconnectedness.

Heirloom #13 - World Love, 2024. Copper and mixed media, 145 x 110 x 5cm
Under It All, 2017. Copper and wood, 60 x 25 x 25cm

Now what?, 2024. Marble and mixed media, 92 x 35 x 19cm

Being There and Earthward, 2019. Bronze, marble, wood 25 x 60 x 30cm


Disturbed by how human boundaries are often penetrated through interactions with others, violence, hatred, and abuse are stepping stones in her performances. Through expelling these emotions, Fina questions life and social standards, highlighting our areas of discomfort.

For Fina, performance is an ongoing act of collective self-evolution.
FREEZE, 2023. Installation for Performance A CRIB FOR
RIP CRIB, 2023. Conceptual Object for Performance A CRIB FOR SARAH


My artworks are based on the themes of Quest, Soliloquy, Rebirth and Nirvana. These themes reflect key life moments and are an expression of my thoughts, emotions, sensations, and experiences. As I reflect on and synthesize my experiences, floodgates open for new creative ideas. I record these ideas and refer to them for inspiration. I am strongly influenced by the exuberant colors and patterns of my childhood home in India.

I start my canvas by priming the surface. Next I create broad outlines of shapes, and arrange the color palette for ready use. I then let the process take over and evolve. When I use images as reference, I tend to use their abstracted versions as a starting point. I work extensively with acrylics. Creating textured art is an intensely tangible experience that brings the artwork alive for me. I use palette knives for layering and mixing heavy body acrylics with gel mediums. I also use gold leaf quite regularly as I am drawn to the color of gold, a powerful symbol of abundance. I continue working until I feel excitement and can embrace the artwork unconditionally. The whole process consistently feels cathartic, infusing me with a deep sense of joy and fulfillment.

Much of individual experience is shared so I intend to give voice to such universal experiences and themes including our search for meaning, the constant inner dialogue, endings and beginnings, and the spiritual lessons - some more poignant and difficult - that we learn throughout our lives.

Mighty Rise, 2023. Textured Acrylic on Canvas, 100 x 80 cm
Matterhorn, 2022. Textured Acrylic on Canvas with Gold, Silver and Rose Gold Leaf sealed with High Gloss Varnish, 61 x 46 cm
Mt Fuji, 2023. Textured Acrylic on Canvas with Gold Leaf sealed with High Gloss Varnish, 91 x 61 cm
Golden Dawn, 2022. Textured Acrylic on Canvas with Gold Leaf sealed with High Gloss Varnish, 86 x 61 cm


I describe my creations as Textural Acrylics representing the experience of observing paint flow from the palette knife, forming captivating textures and colors. Each stroke channels emotion and captures a moment of creative inspiration. Music soaring, I start with a loose outline of 5-6 lines of composition and then fully immerse myself in the act of creating. My process is a multisensory experience into the fusion of sound and color, where each note becomes a brushstroke. I liken my paintings to cherished children—it’s a relationship that involves nurturing, engaging in heartfelt conversations and weathering the challenges of creative adolescence with boundless love and patience allowing the work to evolve organically.

The end result is akin to witnessing a child mature into a beautiful fully formed adult. When a viewer engages with my work, I want them to do more than observe; I want them to partake in the sensory journey. Inhale the delicate fragrance of blooming flowers, listen to the subtle rustle of leaves, lean against a tree, and simply breathe. My paintings are meant to cease to be a static image—they become portals, immersive experiences where anyone is welcome to wander, explore and connect with my artistic vision. I aim to create a sanctuary where the boundaries between creator and audience blur, and the shared experience becomes a celebration of art and life.

Autumn’s Paintbrush 2022
Woodland Shadows 2022
Dulcet 2024 92
Peek-A-Boo 2023 93


Artwork description: “The Human Kaleidoscope, resembling a distant wheel, reveals intricate mirrored figures best observed up close with all its details and pattern. Much like life’s wheel, individuals are nestled within structures of time and space, each with unique roles and intentions. Yet, zooming out, humanity’s collective patterns emerge, akin to the regularity of wheel spokes.”

The sculpture: The Mandala alike bronze sculpture in black and blue colours will remain and survive our generation for thousands of years and stands symbolically for the endless wheel of becoming and perishing.

The office Mandala wall art: It contents the human bronze sculpture Kaleidoscope as well, which is embedded in a tile alike pattern of lines and colours. The intricate variety of details you can discover within the sharp- and blurriness or in combination with coloured lines like the rainbow in the centerpiece. The yellow lines represent the connectedness of people within such busy office environment.

Kaleidoscope, Bronze, H 195 x W 120 x D 11 cm, 2024
Today is forever (Office Mandala), Fuji crystal archive behind 4 mm Acrylic glass, glossy, 120x120 cm, 2024


My art is about existence; life. Being a human, a woman. On the Swedish west coast, I had a studio. Close to the window, there was this reed. They were leaning towards me, waving in the wind, telling me secrets and showing me their hidden rooms. Spaces in between! Each Image I make is born from the previous, in an interaction between life and the material… to see through the surface in between heaven and earth.

Early bird 2022 96
Yellow garden 2022 97


Statement:”When painting,communicate the Inner Realm,cross the boundaries of human mind , touch the Soul and find revelation through artwork.”

The sole intention and purpose of my work is to communicate with the unknown in our subconscious mind.To find the connection with our true selves which i believe is something common we all possess..Most of the cases there is some originally found sketch on the bases of which i develop my work.Its always found by some unconscious way, unintentionally, but I still go further and develop it letting intuition lead me.The whole art process as such is intense and quick.The technique is developed to let unintentional to become intentional,that is why it first hand appears a kind of brutal, because this process is like a volcano that sculpts.I am interested in the pure logic of interconnection of the certain images which had aroused unintentionally in the process of such painting, actually they have acquired certain logic.Images can cover images, until the actual artwork arises.Dr.phil.Ingrid Gardill on my art: We appreciate this artist because he executes his paintings with open working methods and with techniques that he is always developing. His large-format, abstract paintings are convincing because of their radical formal language, which is characterized by vitality. he allows his forms to take on a life of their own he allows his forms to take on a life of their own, or sometimes they enter into a surprising connection with the depth of the background. Confronteers,2023.Oil on canvas,100x100cm

Waves,2024.Acrylic on canvas,160x160cm


It was my father who taught me to draw, my mother who shared her “absolute Eye”. She was able to memorize the different hues and shades of colours. In Gymnasium I had a pretty good art professor and learned essential techniques. During my studies abroad I took the chance to learn some East Asian art techniques. It took a while until I decided to make ART the centre of my life. I started with etchings and other drawing techniques and then turned to oil painting. From time to time I use art as a tool to reflect language and connect what seems to be essentially different.

PALOMA de GUERRA (Kriegstaube), oil on canvas, by HANNA RHEINZ (HRZ) 2022
SHORT-CUT, Oil on Canvas, 89 x 116 cm by Hanna Rheinz (HRZ) 2023


Emerging from the depths of his engineering and psychological background, self-taught artist Hans Jørgen Henriksen (alias de Hansi) has established himself as a spontaneous, expressive zonation painter with motifs of water, landscape and cities. His captivating paintings, imbued with a profound reverence for water, resonate with a raw emotion that mirrors the fluidity and power of this vital element. Harnessing the transformative potential of zonation paintings, using af abstract-figurative and subjective approach, de Hansi masterfully blends vibrant hues and intricate lines to capture the essence of water in its myriad forms. His landscapes dance with the playful rhythm of streams and rivers, while his urbanscape paintings reflects the serene tranquility of reflective lakes and canals. Beyond mere aesthetic delight, de Hansi’s art serves as a poignant reminder of water’s essential role in sustaining life and preserving our planet’s delicate balance. His paintings serve as a stark reflection of the urgent need for environmental stewardship, demanding us to safeguard our water resources and embrace sustainable practices. de Hansi’s artistic journey is marked by a remarkable versatility, seamlessly transitioning from the sweeping vistas of nature to the intimate details of urban life. His paintings, infused with a deep-seated emotional resonance, invite contemplation and introspection, challenging viewers to engage with their own relationship to water and the environment. His works embody the essence of art as a force for positive change, inspiring us to cherish and protect the life-giving element that sustains us all – water.

Tre cime de Lavaredo, 2023. Acrylics on canvas, 120 x 100 cm
Radical citybreak, 2023. Acrylics on canvas, 100 x 80 cm


Emerging from the depths of his engineering and psychological background, self-taught artist Hans Jørgen Henriksen alias de Hansi has established himself as a spontaneous, expressive zonation painter with motifs of water, landscape, people and cities. His captivating paintings, imbued with a profound reverence for water, resonate with a raw emotion that mirrors the fluidity and power of this vital element. Harnessing the transformative potential of zonation paintings, de Hansi masterfully blends vibrant hues and intricate lines to capture the essence of water and life in its myriad forms. Beyond mere aesthetic delight, de Hansi’s art serves as a poignant reminder of water’s essential role in sustaining life and preserving our planet’s delicate balance. His paintings serve as a stark reflection of the urgent need for environmental stewardship, demanding us to safeguard our water resources and embrace sustainable practices. de Hansi’s artistic journey is marked by a remarkable versatility, seamlessly transitioning from the sweeping vistas of nature to the intimate details of urban life. His paintings, infused with a deep-seated emotional resonance, invite contemplation and introspection, challenging viewers to engage with their own relationship to water and the environment.

Some are naked, 2024. Acrylics on canvas, 100 x 80 cm
Kings path, 2024. Acrylics on canvas, 90 x 130 cm


My work bridges the old and the new, blending classical techniques and aesthetics with contemporary perspectives and interpretations. It delves into the intricacies of human nature and explores the transformative power of our experiences.

Through my art, I seek to delve into the depths of the soul, understanding and reflecting on the profound emotions, thoughts, and challenges that shape us. My purpose is to offer empathy, compassion, and healing, guiding the viewer on a journey of self-discovery and transformation.

My work is deeply personal yet universally relevant, encouraging emotional and intellectual discovery. By harnessing the universal language of symbols and visual metaphors, I invite viewers to explore their own inner landscapes and find connections to broader human experiences.

My process is a delicate combination of research, thoughtful decision-making, and spontaneous, intuitive solutions. When I allow my subconscious to guide me, uncovering hidden layers and meanings within each artwork, that unfolds a mysterious conversation between creator and creation, extending beyond the realm of conscious choices.

By working predominantly in a monochrome black-and-white palette, I aim to emphasize the starkness of these opposing forces. I want to capture the tension and harmony between them, showcasing the interconnectedness of light and dark.

This choice also allows me to strip away the distractions of color and focus purely on the forms, textures, and patterns that convey the essence of the human experience. Ultimately, I am a conduit of love and light, striving to bring peace, love, and harmony to the world.

Passion, 2023, Oil on canvas, 76.4 x 102 cm
Friendship, 2024, Oil on canvas, 102 x 76.4 cm

FLUIDISM is the most important moment in my artistic career. It is the essence of what I am. It is all about fluidity. Everything flows. Fluidity belongs to the human being, is in our biological composition and in the composition of our society in which we all are immersed. It is about a strong communication system with its own language and infinite ways of expression. It is about a reality that finds and elaborates its nature in the liquid state of things. We are immersed in it and we are carried away by the flow of eternal becoming.

FLUIDISM is a concept through which I express my artistic creed in works of art, inspired by the existence of a complex substance of outstanding properties and qualities – WATER.

WATER is a unique and indestructible substance.

WATER is the basis of life, growth and change.

WATER has the ability to regenerate continually.

WATER soothes and heals.

WATER shows understanding and sensitivity. WATER is an accomplished artist.

WATER is the most important element on the planet, can be found in 70% of our earth and in the same proportion in the bodies of humans, animals and plants – sometimes even in a larger quantity.

I have chosen to use the seven colors of the rainbow and the shades obtained by combining them in all of my artworks

MARILYN MONROE,2021. Acrylic on canvas, 80x60cm
MODERN WOMAN, 2020. Acrylic on canvas, 100x80cm
Vincent van Gogh, 2023. Color pencils on paper, 30x21cm
JOHN LENNON, 2021. Acrylic on canvas, 80X60cm


An intuitive search for knowledge and an intuitive experience of reality are at the heart of my work. I explore the interference and coherence of soul and body, spiritual and material, space and time, and the struggle for inner freedom in the contemporary realm.

A form of artistic asceticism—self-discipline, self-questioning, and composure—are essential for me so that I do not waste the forces available to me but rather channel them into expression.

I believe that art can lead to the sublime and open the mind, eyes, and heart to that which is beyond. When we encounter a profound work of art, we adopt the mentality of listening to our inner self; we enter silence. This possibility of uncovering and revealing the transcendent via matter through my own artistic inquiry is at the core of my artistic quest.

Drawing, 2024. Digital Print on Hahnemühle Photo Rag Satin, 80 x 80 cm
Hommage for Love, 2024. Digital Print on Hahnemühle Photo Rag Satin, 100 x 80 cm


My paintings are composed of basic but indefinable shapes, gestures and fields of colour in a spontaneous way to evoke a wide spectrum of visual and emotional associations.

These works are from the Diary series on paper. They document the process of making each work or series of works, a day in my studio process. Using hand gestures and brushstrokes I explore the dynamic tension between colours to achieve rhythmic balance, luminosity and atmosphere.

Untitled, 3.8.23. Acrylic on paper, 50.8 x 40.6 cm
Untitled, 3.9.23. Acrylic on paper, 50.8 x 40.6 cm

These two paintings both investigate the dynamics of the subjects, including the manipulation of its effects and movement. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination! My aim within these two works is to show nature at its most dynamic, with colour and movement, telling a story that encourages creativity. These subjects are ones that I know so well, the storm coming in is a natural wonder I see regularly, and the Bisons are dear to my heart and so magnificent.

I wanted to catch the vitality, emotion, passion, and movement and record that moment, it’s a very personal journey. I like to question the concept of movement, revealing an inherent awkwardness as with the Bison, showing the power and nature that echoes our own vulnerabilities, establishing a link between the subject’s reality and that imagined by its conceiver.

When 2 fronts meet - magic. 2022 116
Spring Fever - Bisons Grip, 2023


Jean Cherouny paints with her rollerblades to create original, layered, textured paintings with spiraling layered lines in a style she calls Active Expressionism. Jean Cherouny is inspired by 20th century painters Jackson Pollock, Rebecca Purdum and Mark Rothko. The Abstract Expressionists were also called “action painters’’. Knowing how Pollock energetically threw and dripped, how Purdum paints with hands and figures, taking work far beyond the capabilities of traditional brushwork, reveals the connection to Cherouny’s 21st-century work.

Jean uses her wheeled tools while in a dance with her eye, mind and body. Informed by a series of phases she draws on nature through texture, line, color and form. Jean moves across the canvas creating unique color fields with her body. Her wheels are the vehicle to finding joy in upheaval.

”As in a dance, the shapes are fashioned with my rolling wheels on the canvas. I

feel a sense of the power to change something, even though it remains unclear what it is. Making art is a restorative process, allowing me to change and live my life, going forward with great anticipation of what could be.”

While her love of movement led her to the competitive world of skiing, mountain biking, and abstract wheel painting with rollerblades, beneath the surface of her work lies a powerful commentary on the challenges of being a female artist. Her art challenges traditional gender roles dislodging the male gaze from its central position and demanding equal recognition for women in the arts and worldwide.

Horizon Advantage, 2021, Acrylic on Canvas, 244 cm x 157 cm
Afloat, 2021, Acrylic on Canvas, 157 cm x 114 cm


With each new oeuvre I rediscover the joy of beauty and creation. My curiosity about life has led me, in art, to experiment with many methods of plastic expression. But whether I’m working in oil, sculpture or print, it’s all a way of sharing my zest for life, of capturing the instant.

Matisse, who has been a major influence in my work, said that a great modern conquest has been the secret of expression through colour. It is precisely this secret that I use with oils, combining my intuition, quick strokes and my transgression of the limits of drawing to achieve expressivity in my paintings.

The subject matter of my work is inspired by my passion for beauty, and shaped by my imagination and personal experiences. This can be seen in the series “The Piano Tuner”, which takes us on an exotic journey; in “Ibiza”, where the luminosity and atmosphere are more important than the figures, which are more essence than substance; or in “Marrakech”, where the atmosphere of jostling and haggling demand that the viewer pause and observe. Jazz is a spontaneous artistic expression. My love of music has enabled me to capture the movement and the atmosphere in oil as well as in prints.

The discipline of printing has helped me to synthesize my work; again, the long process of making the plates doesn’t stop me seizing the instant.

I consider my works to be accessible, but not easy, striking but pleasant.

Fishermen with the catch, 2024. Oil on canvas, 130 x 97 cm.
The three guitarists, 2022. Oil on canvas, 145 X 97 cm.


My life and art are based on my own philosophical thoughts and experiences. I am interested in the philosophy of immanence and transcendence on all beings, And this means that I try to focus on the essence of life by establishing core values, and at the same time, sublimate it into my works.

I look at the relationship between human and nature and the universe from a very broader perspective. I think all thoughts and consciousness are breath, The breath is the switch between the conscious and the subconscious mind, It’s a connected cycle of creation and extinction. And It’s a soul resonance beyond the time frame. I try to listen to all the conceptions of all things, have an open mind and remember what resonates. Therefore, my surrealism is simply is not just an exploration of the unconscious. It’s a question of will and philosophy, constant introspection. I value awakening and balance, and try to embody the meaning of existence and non-existence, and the nature of things in an implicit and artistic way.

My art is intended to make the viewers think, but my delivery is intended to make the viewers listen to their own inner voice. It makes people, including myself, think beyond reality and into the essence of reality. As I look back on that afternoon so long ago that presented my life, When remembering the experience of seeing the interconnected nature of all things.. The flash point of all creation in the present moment is immortality.

A nap of one spring day. 2023. Mixed Media on Canvas. 65 x 91 cm
And, In That Moment. 2021. Photography and Digital painting on Canvas. 59 x 81 cm
Breath, Air and Shadow. 2020. Photography. 31 x 42 cm

Everywhere But Nowhere.

2023. Acrylic on Canvas. 53 x 73 cm


“My intention is to go beyond the obvious and present a glimpse of the extraordinary. Colour, form and texture in a perfect balance create their own energy and emotion. Each shape must be precisely placed to harmonize with the others, each colour speaking to the next components in singular unity. Together they define the expression of the intangible.”

Born in Czech Republic (formerly Czechoslovakia). In 1974, he began studies in the Faculty of Film and Television Graphic Arts at the Academy of Arts, Architecture and Design in Prague. He obtained Master of Fine Arts degree in 1980.

While living in his homeland, he was well known as an illustrator and graphic designer, although he always preferred to work in the field of fine arts. He worked as an Art Director in Publishing House in Prague and as a professor at the College of Applied Arts in Prague. He moved to Canada in 1987 where he has been working on various projects in the field of fine arts. For the past 30+ years, he had many solo and group exhibitions (in person or online) in Europe, USA and in Canada.

Many of his paintings became part of private collections around the world as well as part of well-known corporate art collections in Canada. In 2021, Josef was a finalist in category of Abstract Art at the Global Art Awards in Tokyo, Japan. In 2024, he obtained an award for his art at the Botticelli International Prize in Florence, Italy.

Midnight Snack I., Acrylic on canvas, 122 x 102 cm, 2017
Midnight Snack III., Acrylic on canvas, 122 x 102 cm, 2017


Together we can change the world - art will be our language

Pictures reach everyone, touch, fascinate, irritate and provide plenty to talk about. True to the motto: Is this art, or can it go away?

My pictures are part of “wildlife art”. I portray animals partly in their natural environment, but mostly alone on a black background. By painting in this way, I want to emphasize the beauty and majesty of each animal and bring it closer to the viewer. Because only what we have seen, we are prepared to guard and protect. That is my most important message.

I collect ideas on my travels and wherever I go. I admire people who are committed to nature and our environment. With my pictures, I try to do my bit for conservation. That’s why I often focus on environmental pollution and the destruction of animal habitats. Because pictures say more than words.

The Swarm, 2024. Gouache on black canvas, 160x120 cm
Alien, 2024. Gouache on black canvas, 60x40 cm


Karl Weiming Lu is a Contemporary Artist of Science & Philosophy; a Premium Plus Member of National Association for the Visual Arts, Australia; a visiting Professor of Boya Think Tank of Beijing University, China. Lu was born in 1962 into a big family in Hangzhou, China. Since 1991, he relocated to Australia to have his postgraduate studies in philosophy and international relations in the University of Wollongong and University of Sydney, he further earned triple master’s degrees in art, design, and architecture from UNSW. Before came to Australia, Lu was a civil engineer who also participated in the 85 New Wave Art Movement in mid 1980s China. Since 2000, he practices art professionally, his artworks have been exhibited, published, awarded, and collected globally. Trained in both Eastern and Western traditions, he often creates unique styles with both oil and Chinese ink brush techniques. “The Memory Series 2002-03” originated his Xie-Yi acrylic & oil painting which evokes both real and imaginary landscapes where 1980’s elite Chinese students pondered philosophy, psychology, literature, economics, art, and science. Lu created the “Dripping Fluid” technique in 2003, which had been further developed into his “Dripping Flow Abstract Art”. Since 2010, Lu has created his unique Intuitive Abstract Art of “The Origin Series” to abstractly paint his intuitions about the origins of life, nature, and universe with bold and fluent brush strokes. Please contact him at:

The Origin @ Universal Orbit W [Origin Series 2010-2014], 2014, Mixed media on canvas, 61 x 46 cm


Memory @ Talking about Next Generation Artificial Intelligence, acrylic & oil on canvas, 91 x 76 cm, 2003



Art allows me an avenue to express my hope for the world. I am a photographer and collage artist, focusing on unique floral collages, as well as leaf and succulent compositions, because they symbolize my enthusiasm for using color to bring about positive changes, starting from within.

The intention of my work has always been to make people feel better, even for a moment. I often use dozens of flowers in a single floral collage, a process that is both meditative and inspirational.

The beauty of a floral collage represents healing, because fractions of color combine to create a new cohesive form. I am dedicated to creating art inspired by compassion, meditation and hope.

Out Of The Darkness 2024 132
Buttery Bliss 2024
Springtime 2024 134
Botanical Gardens


I am a visionary artist and ecopsychology educator based on the US West Coast. My acrylic paintings and mixed media artworks explore intuitive, embodied sacred art journeys to the ecological self: the self that recognizes its inherent interconnectedness with the more than human world. My art has been achieved from decades of self-directed experiential learning, celebrating earth, the rising feminine spirit and invoking wholeness, joy and aliveness. I do not set out to paint a particular image. Rather, I create a prayer on the canvas and allow intuition and following the flow of paint to see what emerges. This method of intuitive process painting requires trust as one must bypass the inner critic to allow for deeper messages from soul to emerge on the canvas visually. It is a spiritual, healing and satisfying contemplative experience that has brought me many unexpected surprises over the past few years. Each painting represents a sacred inner journey, sometimes inspired by outer journeys to places that have touched and changed me, such as Kauai and Jamaica where I was born and raised. I believe this type of intuitive process painting is one method of restoring wholeness and opening and deepening connection to Earth. My paintings continue to teach me long after I have completed them. I affirm my belief that nature plus art, equals joy and resilience.

Queendom Come, 2019. Acrylic on canvas, 61 x 76 cm
She Has Returned, 2018. Acrylic on canvas, 61 x 76 cm

Even as a child, I was fascinated by the breathtaking nature and its wildlife! The incredible variety of colors and shapes as well as the sunlight, how it plays with light and shadow. With my pictures I would like to draw attention to the beautiful nature and the fact that we are just guests on the fantastic planet Earth. We should rediscover, love, admire and protect nature every day. My motto for many years has been “Love and protect the earth and its wildlife!” Because what you love, you also protect!

Beginning of anything 138
Blue Night Fog


Keith Grafton is a British artist effortlessly blending traditional and digital contemporary art forms. Positioned as an abstract-conceptual surrealist, he skilfully utilises digital tools to bring his visions to life. His camera functions as his palette, meticulously curating a diverse array of images that he expertly reinterprets, manipulates, and repositions through photomontage, poetry, digital painting, and drawing. Through his work, he explores the impacts of fashion, commercialisation, and technology on our lives, delving into the emotional landscapes shaped by love, hope, and desire.

Grafton’s artistic signature is characterised by vibrant colours, playful elements, and high-contrast patterns seamlessly interwoven into everyday objects and urban landscapes. His art beckons viewers into a futuristic realm, catalysing introspection and shedding light on often-overlooked facets of our shared reality. His intention is to offer fresh perspectives on contemporary issues, serving as a gateway to understand the world around us.

©️Keith Grafton,Talk In The Taxi, 2023, Ltd Edition Archival Pigment Print on Cotton Rag Paper, 60 x 60 cm
©️Keith Grafton, Tomorrow We Can Try Again, 2023, Ltd Edition Archival Pigment Print on Cotton Rag Paper, 60 x 60 cm


I am a sensory illusionist.

I gather the experience of being in a moment, at a place, at a time. I use that information to create the image. It is the sense of how the light and the color filters through the image and the atmosphere you might be surrounded by at that moment in time. There is a thread of something real that exists above everything else. And in trying to reach the truth, you are trying to make it real through beauty, through something beautiful. In that ultimate moment of sensory experience also exists a glimmer of hope, the promise of something bigger than we are.

My goal is to make artwork that is so beautiful it cuts to the heart of what is true, to create art that is of this moment, but exists as something timeless. It resonates with the person viewing the work as real although it is not quite realistic. It has meaning, although that is not specifically stated because of its use of color or symbolism, or imagery. Although there is the artist’s intention behind the work, there is also the meaning the viewer has upon seeing the work. Combined, the work’s meaning is elevated.

Of Our Own Making, 2023. Acrylic and Mixed Media on canvas, 43.18”x88.9x7.62cm
What’s Love Got To Do With It?, 2023, Acrylic and Mixed Media, 66.04x66.04x7.62cm


I am an emerging artist I’ve always had a love of art. My art is strongly influenced by the Melancholic style which allows people to connect and interpret personally. My inspiration comes from a very personal place of loss and by sharing my story and connecting with other grieving parents to share their stories in my project, “The Invisibility Project” I hope to create what I hope are visions not only of pain, but also hope.

My focus has been to let loose of any boundaries I have placed on my creativity and to just create. A famous quote from a favorite artist, Edgar Degas has become my guiding mantra. “Art is not what you see, but what you make others see”. I hope that through my creations I can start a conversation and inspire others to share their grief and their journey so that the veil of invisibility surrounding grieving parents will be lifted and society can better understand how to help parents who have lost part of their hearts to heal

The Artist: Self-Reflection 2023 Acrylic on Canvas 76.2 x 76.2 cm
Ghost of You 2023 Acrylic on Canvas 50.8 x 50.8 cm


Artist´s statement

I find hot encaustic which was used by the Fayum painters 2000 years ago most exciting to work with. Encaustic consists of beeswax, pigments and dammar resin. The dammar raises the melting point of the beeswax, hardens it and gives the paint its unique optical depth of my contemporary portraitures.

Astor Piazzolla, tango composer, 2019, encaustic on wooden panel, 40x40x3 cm
Marguerite Duras, French writer, 2022, encaustic on wooden panel, 40x30x3 cm,
Portrait of Erin, 2023, watercolor on paper, 40x30cm
Portrait of a shaman, 2021, mixed media on canvas, 70x50x2 plus wing 10 cm


Maite Baron is a Spanish-British artist based in London. Her abstract-conceptual-expressionist art channels personal experiences drawn from nature, memories, dreams, and daily life. Her creative process flows spontaneously through automatism where each brushstroke intertwines memory and imagination with contemporary themes. Beginning with a feeling, colour, or found object, she engages in dialogue with her mediums until interconnected series of artworks unveil emotional journeys as narratives unfold.

Baron’s artistic signature is characterised by bold imagery emphasising texture, colour psychology, energetic mark-making and unorthodox collages, resulting in intricate pieces of ambiguous poetry. Through her art, she explores the fragility of time, gender dynamics, the urgency of the climate crisis, and the profound power of love and the spiritual. Beneath the surface, her art carries layers of meaning, symbolism, and metaphor, seeking resonance beyond the literal. Her intention is to shift consciousness, create a sense of possibility, and make the viewer feel connected and alive.

©️Maite Baron, Life Journey I, 2023, Acrylic Paper, Hessian, Bicycle Chain on Artist Wood Panel, 110x81cm
©️Maite Baron, Life Journey II, 2023, Acrylic Paper, Hessian, Bicycle Chain on Artist Wood Panel, 110x81cm


My art captures my own realities—the world as I feel it or imagine it. I have chosen Photography as my art-instrument 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.

Love Ones,2018,Photography,77 x 50cm

What are you looking at?,2020,Photography,76 x 50cm



I explore plant morphology to extract typical growth patterns that I reinterpret in new creations. These new forms, although treated realistically, exist only in my imagination. They emerge from my subconscious cogitations and my inner world, and are slowly distilled through sketches into new creations that aim to demonstrate the wide-ranging adaptability of plant entities. This series of drawings will occupy my production for the next few years and will be the subject of two creative residencies to be held in 2024 and 2025.

Fragment of an Unknown World, No. 1, 2023, Digital Graphite, various support and size
Fragment of an Unknown World, No. 2, 2024, Graphite on light-blue Pescia paper, 38 x 48 cm.


Today, the world is witnessing several catastrophic wars killing thousands of civilians. My art aspires to effect socio-political change, to advance humanity for the better, to influence viewers to rethink social issues of war and peace. Aiming to make people re-examine their way of looking at the world. For works of art do not represent “reality,” and “the real world,” rather, “art creates realities and worlds.” People perceive and conceive in the light of narratives, and images. That is why art is central to socio-political issues. Born and raised in Gaza to Palestinian Christian parents from Jaffa who were displaced from their homeland in 1948. I experienced wars in my childhood and youth. Through my art, I am committed to reflecting on a specific topic towards resilience, optimism, hope and peace. Using symbolism in my self-portrait “Patience” is rich in its meanings and interpretation. It reflects my soul as a universal Western-Eastern woman documenting my identity and human emotions of longing for peace as an essential part of humanity. It raises my voice to communicate with the world to be heard as prolonged war in Palestine continues for 75 years with no peace. In response to this situation, I have depicted the kind of art that may transform. My art explores new world creation as an alternative to the daily flux of gloomy narratives. In my artwork of “The Angel’s Symphony of Peace”, the world may listen to peaceful music to inspire human hearts to end war and spread goodwill.

Patience, 2023 156

The Angel’s Symphony of Peace, 2023




My work is based on the direct observation of elements of nature and phenomena that take place in various areas of the planet. Beyond an objective reading, what I do is perceive sensations originated in these phenomena and translate them into a visual language, impregnated with my own experiences.

People evolve and are influenced by what happens around them; as our environment changes, our perception of it also evolves. Through the shapes and colors of my painting I seek to eternalize the subtle nuances generated by this wonderful process of human interaction with nature.

Harmony 2024 oil on linen 43 x 63 cm
Ray of light 2024 oil on linen 63 x 43 cm


I worked with Belgian black marble, white marble. On the surface of my sculptures I represent streaks through which I immortalize the waves which are at the basis of matter, demonstrated by quantum physics, called VIBRATIONS in 3D.

AURORA 2024 pink marble 37x47x13cm
BOLERO 2020 83x34x07 cm
BRAIN 2023 50x34x07cm
EL CONDOR black belgian marble 50x50x50cm


These wall sculptures encounter the boundaries between bodies, beings, and beliefs, in an attempt to amplify the connection between our consciousness the cosmos.

Despite an unresolved existence, we are lucky enough to be alive on the verge of embracing an Earth+ role. As the authors in the middle of an unknown story which must be acted upon to reveal the deeper truths of existence is the contradictory, but authentic perspective taken by these wall sculptures. The common representation of space we create is a collapse of infinite waves while acknowledging it is beyond our mental grasp. Possibly… even in the realm of all possibilities, it is unlikely for us to conceive, however, that doesn’t mean that we cannot be grasped by it in a moment of inspiration— to interpret a universe that lies between our mandalas of intuition and sciences interpreting our observations.

Mark Stafford was born in Anchorage, Alaska (1978). He studied in Tucson and earned an MFA from PAFA in Philadelphia, before moving to Brooklyn, and participating in the AIM program at the Bronx Museum. He has shown his work nationally and internationally, in multiple galleries, fairs, and museums of art. Growing up and building his foundational years of education near vast natural environments, served to construct the bridge between physicality and consciousness, and eventually towards using the disciplines of art to form answers to the nature of reality.

The Enfolding of Calabi-yau’s Narrative, 2021. Synthetic fibers, pigments, and epoxy. 157.5 x 152.4 x 25.4 cm (62 x 60 x 10 in)
Dependent Arising, 2021. Synthetic fibers, pigments, and epoxy. 149.9 x 139.7 x 40.6 cm (59 x 55 x 16 in)
Enlightened Matters, 2021. Synthetic fibers, pigments and epoxy. 208.3 x 167.6 x 53.4 cm (82 x 66 x 21 in)

Articulation, 2024, Synthetic

Sustaining fibers, pigments, and epoxy. 132.1 x 149.9 x 55.9 cm (52 x 59 x 22 in)

MAUREEN GOLGATA @coolblue2863

Led by the fragility of life, my practice questions what it means to be human and our role in the natural world.

Immersed in the reverberations our stories carry, how they shape our perceptions and interactions with the world, I delve into our inner selves. Searching for commonalities, rites of passage, and human connections, my paintings examine intimate and vulnerable moments and emotions mined from life. Using gestural drawing as a powerful form of storytelling, layers of visceral paint application, mark making, scarring, and erasure are guided by stories told through line. Often sitting between abstract and figurative spaces, fragments of drawing that remain visible generate an urban patina, expressions of lived experiences. Fascinated by color and light’s profound ability to evoke memories, saturated color and shifting value relationships work collectively to provide sustenance for the emergence of light. Through this relationship of light and darkness, breadth manifests to free the imagination. As in life, the poetic and lyrical negotiate dominance with the chaotic and turbulent in my work. These nuances of the human experience point to echoes of marked shifts in cultural temperature and the sublime interconnectedness of man and nature.

We Walk Together No.1, 2022, acrylic and charcoal on canvas, 76cm x 102 cm
We Walk Together No. 2, 2022, acrylic and charcoal on paper, 46 x 61 cm


A signature style encompassing bands of pigment that switch between static, thick marks and blurred, flowing sweeps. The human figure remains at the core of explorations, courting the viewer’s memories, and leaving him with a vague gnawing that he has missed something lying just beneath the surface. Perception and distortion are key in the protagonist, while the backgrounds are clean monochrome color compositions.

A heady mix of voyeurism, exhibitionism, and 21st century existentialism, the work exposes the intimate and uncanny. The distinctive palette touches on the nerve of vulnerability, desire and control. The subject matter, however, remains shadowya tension between abstraction and distorted reality, a conflict between the self and the void.

J’ADORE, 2024. OIL ON LINEN, 100X100 CM


One day I went to a local gallery and I talked with the gallery owner. I told him that I was an artist and he insisted that I show him my work. I showed him a few pieces. He loved them.He gave me my first public showing. His kindness gave me the courage. Several other gallery owners saw my work and gave me shows.

When I finished my residency I moved to Arizona and opened a medical practice. I placed several of my works in my office. One of my clients was an art agent. She encouraged me to sell my art. She took some pieces to an exhibition at The Museum of Fine Art in Paris. I won the Jury Prize for Creativity.

My art still revolves around visions and dreams. There are exhibition halls in my visions that I continually draw inspiration from. Art provides me a place of peace and solace. I believe that my work helps me draw down beauty and peace from the heavens.

Woman 76, oil metal emboss, 40in x 40in
Dream 156, oil metal emboss, 40in x 40in
Woman 45, oil metal emboss, 36in x 36in
Woman 44, oil metal emboss, 40in x 40in


Embedded within the tapestry of storytelling, my art emerges as a emotional journey through time, memory, and emotion. With a palette that spans from pastels to photography, my essence converges upon the canvas through the dance of acrylic, oil, and graphite. Each stroke is a whisper, each hue a resonance of my soul.

Rooted in the soil of anime, manga, and the vibrant hues of Japanese culture, my style is a fusion of influences—from the visionary strokes of Hayao Miyazaki to the surrealism of Salvador Dali. Through color and space, I summon vignettes of light that shimmer with cinematic allure, evoking an intangible force that ignites hope within the abyss of uncertainty.

My work evolves as I do, a testament to the journey of self-discovery. From abstract surrealism to evocative portraiture, each piece is an autobiography of my passions and influences. Inspired by Yayoi Kusama, I infuse light particles, blurring the lines between reality and illusion, inviting viewers to ponder the enigmas of existence.

In the symphony of contrasts—light and dark, shadow and illumination—I provoke introspection, urging us to confront the mysteries of our world and ourselves.

Witnessed Daylight Tiger, 2022, Pencil On Paper
Hiroyuki Sanada, 2022, Pencil On Paper


My paintings do not depict things which I actually observe, but rather what I recall from the past, and more accurately, what I wish to see. Drawing from historical and cultural imagery a map of identity that intermingle Eastern and Western ideals of beauty, as well as mythologies. Believing that color stimulates a conversation between motion and shape, I transcribe life’s events through hue, shape and motion and translate onto canvas with a syncopated beat the magnificence of our world.

With constant motion and impression intensity, we experience overwhelm in the search for a tangible means of selfexpression.

Complexity and lack of clarity leads to an experience of separation, loneliness, and a yearning to connect to something. Someone. While at the same time to separate and be distinguishable, differentiated. We are held captive by a state of unrest, but in the end I believe, beauty will save the world.

Nobody’s Home, 2020

Harbinger of the Storm, 2021


My artworks are reflections of the exploration of myself and the world, manifestations of complete trust and freedom, a belief that everything is possible.

Artistic skills have evolved in tandem with a spiritual journey of around 20 years of practices, and traveling - visiting museums and galleries in 87 countries. Which lead to the creation of my own art technique.

The application of symbols, rich with both information and energy, becomes a transformative act on canvas.

I believe that artworks created through this process carry profound meaning and the ability to impact not only aesthetic satisfaction but also a positive energetic influence on individuals or the place where the painting is displayed. I have personally witnessed this phenomenon on numerous occasions with my customers. This methodology finds scientific validation in quantum physics and the phosphogenic theory, resonating with the effects observed in the works of artist Mark Rothko.

At the core of my current mission is the refinement of the methodology for creating paintings that can touch the deepest chords of the human soul and emotions. In turn, this has the potential to alter an individual’s thought processes, motivation, and actions, leading to transformative changes in their life. This occurs through the natural synergy of the harmonious state during the painting process and the connection to informational field of the Earth and more.?

Everyone can choose to be happy and loving and live to their fullest potential.

“Feather of the celestial guardian”, 2023. Acrylic on canvas, 120x40 cm
Synergy, 2024. Acrylic on canvas, 120x80 cm


I draw on my training and experience in theatre design to present a wonderful array of visual stimuli afforded me during extensive travels. Known for my imaginative and distinctive use of colour and light, I have progressed from painting wildlife on paper to larger more diverse images of nature in oil on canvas to fantastical depictions of water. I have perfected a method incorporating hand painting with multiple paint pouring. My mixed media technique embraces collage as a means to create texture. The water theme is further enhanced by a resin finish that produces an incredibly lustrous effect. I am deeply concerned about our planet from the destruction of rainforests to pollution and overfishing of our seas. I endeavor to raise awareness through my work and donate regularly to conservation efforts.

Splash, 2022, Mixed Media on Wood, 63.5 x 96.52 cm
Fire Underwater Tamu Massif 2, 2023, Mixed Media on Canvas, 50.8 x 76.2 cm


1. Living in Merida, Mexico for several months -every year for 14 years- my studio window set across from a bus stop whereby I was privileged to see local life.

The ‘Mother and Daughter’ image was done later while living in Santa Monica - a scene imbedded in my memory. There was what appeared to be a mother and her grown daughter who tenderly laid her head on her mother’s shoulder, as if wanting something - not to be known by me.

2. During the period living in Mexico, often I would go to the abundant local market to buy extra large eggs for the my ‘Egg’ series. One day while there I saw what seemed to be a cherished old blind woman with a boy who was about 8 years old sitting next to her -with his hand on her knee-

There were baskets hanging above and stacked next to them- to sell. I assumed he was there to collect the money and comfort her and she him. Neither looked poor or needy, possibly a purposeful method of providing money for the family. I did wonder how many years she had been selling baskets. I saw her but she could not see me yet she knew I was there.

These paintings had my heart.

Material and process: linen burlap with many layers of hand primed gesso, painted with mixed media casein, pigment and oil.

“Mother and Daughter”-Mexico Memories Series / 2015-17 / Mix Media, on Linen Burlap/ 56.2 x 110.5cm / Olivia-Patricia O’Neal

“Basket Vendors” -Mexico Memories Series / 109.2x 68.6cm / 2018 / Mix Media on Linen Burlap/ Olivia-Patricia O’Neal


Color, oil paint, is the main issue in my art. Color as a matter that can be sculpted, shaped, engraved and shoveled. In most of my paintings color is strong and dominant, while line and composition – though not neglected – are secondary. In addition to canvas, I often paint on old books, bibles, art books, monetarynotes, accountbooks, comics, etc. I’m intrigued by text, print and painting relations.

Being a 20th century product, realism, modernism, and abstract are my points of reference, and the periods that influenced and shaped me. I create from an internal place, but the traditions of art and their history are familiar to me and presence clearly in my background.

At first, my paintings were figurative. The bible and mythology were the subjects that interested me the most. Furthermore, I drew from observation. In the past few years, I’ve become more absorbed in the abstract. Basic forms intrigue me

I enjoy creating series. They release me from the need to decide What to draw and let me concentrate and work solely on the How

When I work, I’m always surprised by the gap between intention and outcome, the produce of the matter’s own will, objection and point of view. In those precious moments, when the action streams off effortlessly, I feel myself become a mere instrument; I’m only a tube, or an insignificant mediator. These are rare moments of exaltation.

Heaven, oil on canvas, 100X150cm, 2002
Heaven2, oil on canvas, 80X160cm, 2023
Anxiety, oil on canvas, 80X160cm, 2023
leviathan, oil on canvas, 100X150cm, 2002


The essence of color and imagination

Patrick Joosten is a French abstract painter, renowned for his idiosyncratic artistic style and prodigious creative flair. He is a self-taught Virtuoso of Abstract Artistry.

Born in the cultural hub of Paris, Joosten has forged an independent path in the world of art, driven by his innate curiosity and an unrelenting passion for creative expression.

Radiant Soul - 2024 - 95x95 cm
Beating Heart - 2023 - 80x80 cm

- 2023 - 115x80 cm

Red Sea Underwater -2018 - 150x100 cm


The Triviality of everyday Life - Exploring the Metaphysical Realm Through Altered Toy Camera Photography

The combination of a toy camera, overpainting, and century-old negatives in these photographic artworks creates a captivating exploration of the metaphysical realm. Through intentional blurriness, imaginative brushstrokes, and historical elements, viewers are invited to contemplate the nature of reality, perception, and the interconnectedness of past and present. These thought-provoking pieces challenge traditional notions of photography and offer a unique and immersive experience for art enthusiasts seeking to delve into the metaphysical depths of visual art.

Paul Delpani is an international self thaught artist, exhibiting across the continents. His art work evolves in series with a twist to thoughtfullness.

All series are limited to 5 pieces + an additional archive print.

Triviality of everyday life 194
Pay attention 195
Communication 196
care of the child 197


Malone was born in Houston and has lived most of his life in the American South and Southwest -- the settings of much of his work. He holds degrees from the University of Houston (BA 1978) and The University of Arizona (MFA 1986). His polymathic career, in addition to painting, covers numerous experiences and disciplines. He has been a soldier, a bartender, a newspaper journalist for five years between degrees, an instructor in English literature and writing at several colleges and universities, a book critic, an editor at a literary magazine, a writer and poet, an author. His books include the award-winning “In An Arid Land: Thirteen Stories of Texas” (1995), a second story collection (2000), and a novel, “This House of Women” (2001). Since its publication, and before, Malone has lived and worked full-time as a visual artist. His paintings have appeared in a number of exhibitions, galleries and publications, on both sides of the Atlantic. First an abstractionist, Malone investigates his themes, people and landscapes in several other painterly genres as well. The Rossocinabro Gallery in Rome now represents him. The “Flash” paintings are a testament to the evolution of an idea over time, two attempts at joy, from the quiet spirituality of the first to a more boisterous and physical evocation in the second. Malone lives and works at his studio in Rockport, Texas, a fishing village on the Gulf of Mexico. For a more complete bio see his website.

Flash #1, 2005. Oil on canvas, 137 x 107 cm
Flash #2, 2020-05. Mixed on canvas, 137 x 107 cm

I’m painting thought and emotion, the concerns that keep me awake or wake me early and also my excitement for the future . It’s a way of pushing the negative out and reaching the top of a wave we usually call “the here and now”. My paintings are an expression of the human condition, sometimes fiery and bold and sometimes nuanced with melancholy . I hope you can see that each one is a portal or crossing from which you cannot go back . Like keeping a treasured recipe from your family member they are a message from the past to help you with your day.

You Carry The World 2023, acrylic and enamel on canvas, 107x117cm All That Glistens, 2024 , acrylic and enamel on canvas,174x89cm, 201


I am an international artist whose Art engenders respite and renewal from the chaos of daily life. My work is a fusion between the ancient art of kintsugi, the spiritual world of chakras, and the emotional resonance of color.

The art of Kintsugi, is a practice of mending broken pottery with lacquer mixed with precious metals. Through this process, the once-flawed object becomes a work of art, each golden seam celebrating its history and resilience. I draw inspiration from Kintsugi as a metaphor for the human journey. We, too, bear the scars of life’s trials and tribulations. These scars; like the cracks in pottery, tell our unique stories and signify our strength.

For me, the concept of chakras, energy centers within our being, aligns beautifully with the idea of kintsugi. Just as kintsugi restores broken pottery; balancing and healing our chakras helps us mend the energy imbalances with in us. Each chakra is represented by a distinct color, symbolizing a different aspect of our physical, emotional and spiritual well-being.

My paintings explore the harmonious relationship between these energy centers and their color fields.What needs repair does not need to define us. We can heal and evolve into improved versions of ourselves.

Primarily trained in Japan, my Art has been shown at the ION Orchard Gallery and the Arts House in Singapore; Ueno No Mori Art Museum, National Art Gallery in Tokyo, Tokyo Metropolitan Art Museum.

Emergence, 2023, Acrylic & 23kt Gold Leaf on Wood, 41 x 41cm
Intuition, 2023, Acrylic & 23kt Gold Leaf on Wood, 30.5 x 30.5cm
Revival, 2023, Acrylic & 23kt gold leaf on wood, 30.5 x 30.5cm, 2023
Divinity, 2023, Acrylic & 23kt gold leaf on wood, 41 x 41 cm
Soar, 2024, Acrylic & 23kt gold leaf on wood, 30.5 x 30.5cm
Muladhara Healing I, 2023, Acrylic &23kt gold leaf on Tree Bark Paper, 49 x 50cm
Manipura Healing I, 2023, Acrylic & 23kt Gold Leaf on Tree Bark Paper, 49 x 50cm
Free Spirit, 2023, Acrylic & 23kt gold leaf on Wood, 61 x 76cm

RANIA ABULHASAN // @3plus5dots


These paintings are an exploration in colour, composition and textures. They balance freedom and risk with compositional intent and have been happy new spaces for ideas to flow and find their way from thought into physical space. I hope you feel a similar sense of tranquility, calm, wonder and possibility while being with these.

Tranquility // C // 205 x 127 x 4 cm // Mix media on linen canvas
Tranquility // B // 142 x 105.5 x 4 cm // Mix media on canvas

RENÉ CHENG - IG @reneartemex

René Cheng is a bi-cultural Mexican artist of German and Chinese descent living in Mexico and Europe.

This master painter is an award-winning artist and has participated in different individual and group exhibitions in Mexico (see below), Italy (Chivasso, Meneghetti), England (RBA - Royal Society of British Artists Annual Exhibition 2021), France (Paris, Singulart), Spain (MEAM , European Museum of Modern Art, Arte Libre Gallery, Yuri López Kullins Gallery and Arte Roma Gallery), Scotland (RSA - The Royal Scottish Academy of Art and Architecture RSA Annual Exhibition - OPEN ART 2021), Argentina (V International Biennial of Contemporary Art of Argentina), Switzerland (Artbox), Greece and the United States of America (Art Expo NY, Spectrum Miami, Dallas Art Expo, Richeson School of Art and in Los Angeles), WTC MexicoCity Arte Capital & Pride Expo.

He has exhibited in the following museums: Officina de la Scrittura and at Palazzo Enaudi (Turin, Italy), Museo Soumaya, Museo San Carlos and the Museo Centro Cultural del México Contemporáneo (CDMX), Museo Dr. Luis Mota Maciel (Acámbaro, Michoacán) and at the Anahuac University, CDMX.

All of his work is protected by copyright at INDAUTOR and each work of art has its unique certificate of authenticity. He is a member of the following societies: Badischer Kunstverein in Germany, ARTAC in Mexico, as well as the AIAP, an NGO associated with UNESCO and the IAA; IGOR (International Guild of Realism) in the USA.

A great opportunity for art investors and collectors.

“¿Dulce hogar? - Historias veladas” (trans. Eng. “Home sweet home? - unveiled stories”) - 2021, oil painting on canvas, 90 cm x 120 cm, René Cheng 212

“Bold Warrior” - 2024, oil painting on wooden canvas , textile cotton 100%, 120 cm x 90 cm. René Cheng - Original idea and bodypainting by Artist Jonaz Soriano.



Fascinated by the power of colours and painting as an expression of liberty and happiness, Sabine L. Haanæs has been an abstract painter since 2005.

In contrast to the rigour and structure of her education and first work experiences, Sabine’s artwork conveys freedom and spontaneity, mix nuances and textures in an agile pursuit of aesthetics and emotion. Sabine not only plays with colours, but progressively integrates the subtle play of materials into her work: by appropriating new, less traditional tools, such as rollers, spatulas, scrapers and sponges, she also broadens her palette of new materials such as inks, powders, modelling paste, sprays... She plays on the interaction between these materials, combining shades and transparency with a broad range of colours to create a free and energy-filled art.

The colour as a starting point. The freedom in artistic approach. The sharing in will.

has exhibited her art in many places in Europe such as Geneva, London, Venice, Amsterdam, Zurich, Barcelona or Madrid

Ikat, acrylic, Ink and spray paint on canvas 50 x 50 cm
Red Topaz, Acrylic and oils on canvas, 100 x 100 cm


To me, photography really means painting with light. The things, surfaces and colours that surround me are not plain objects, that I capture and depict, but the palette from which I create my abstract paintings. The spirit of the place, of the moment, becomes a living visual narrative. Discovery of spiritual curiosity through photography- this is the task I set myself with my works and which I am faceing over and over again. A small section of a cracked wall, crumbling and full of weathered colors grows into a picture that can be more: A narrowing gorge? An aerial view of a canyon? The satellite image of a sea bay? I scale the object, and let the viewer fly, and discover parallels between the microcosm and the macrocosm, between the short life of a person and the long life of a planet. This mission runs through my entire work, regardless of motif, technique or format. My vision: see small things, feel big things- this is my promise to the viewers: I take them through my pictures on the same journey that I am on when my works are created: I find small, hidden objects, filter and amplify them, detach them from their usual context, and bring them to a new, greater meaning. In a new format, turned into art and exhibited, these objects begin to stimulate and talk in an imaginative way. Seeing small things and feeling big things is like adding a spiritual value, on an immaterial, mental level.

space of mind, 2023. Digital print on AluDibond, 75 x 100 cm

move forward, 2023. Digital print on AluDibond, 75 x 100 cm

flow of water, 2024. Digital print on AluDibond, 75 x 100 cm


to light, 2024. Digital print on AluDibond, 75 x 100 cm


SODOMA X (also called SODOMA XIA) is A 23-year-old and self-taught photographer and digital currently based in Berlin. (She creates works) about self-expression. Most of her works are pretty dark, but it is just how she works to integrate into and embrace her Inner self and then maintain her individuality. Her works are infinite darkness.

They are horrific but stylised nightmares. They are also reflections of her strong personality. Her works have recognizable high fantasy and satanic styles with extraordinary and provoking colour grading, sophisticated compositing, and exquisite details. They are emotionally provoking pieces, driving viewers into an infinite dark fantasy realm and making viewers forget reality.

’Weltschmerz’ ( literally world-pain or world-weariness ) is the central concept of all her works.

German Techno music, expressionism paintings, Catholic elements, and European Medieval Art are the main inspirations. Steven Klein’s works, H.R. Giger’s and Hieronymus Bosch’s works give her visual inspiration. Her aesthetic is also influenced by UK goth and punk culture. Traditional photography and fascination with new technology are also of great inspiration to her who then challenge herself in manipulating mymedia to combine this visually. The works in this exhibit feature a range of photography and new technology manipulation techniques, various types of processed colour grading and compositions.

SHAPE SHIFTER I, 2024, Mixed Media, 38 inches x 26 inches, Mounting: Acrylic Reverse(Substrate), 120cm x 80cm, Hand



SECOND II, 2024, Mixed Media, 38 inches x 26 inches, Mounting: Acrylic Reverse(Substrate), Hand Signed


This work is a hand-colored woodcut folding screen. It is colored directly on the printed Japanese paper. It borrows the appearance of animals living in the jungle and expresses the human world. From left to right: Jungle, Sun, Moon, and Rain.

From December last year to the present, I have been many media interviews for my solo exhibitions that have traveled to four locations and a retrospective exhibition at the Takashimaya Archives Museum, and it has been a very tense three months.

For me, creating is like the water I drink when I’m thirsty, so I will continue to create every day, regardless of genre.

Law of the Universe , 2003?, wood cut prints and colors, wooden screens, 213×520cm, Collection of Takashimaya Archives Museum



Stanislav Riha - Standa Visual artist, photographer and writer Member of CARFAC

Born in 1952 in Prague, former Czechoslovakia. He grew up in Lesser Town (Malá Strana), surrounded by great medieval and modern art and artists that caused his desire to create.

Artist’s statement:

In the last three decades, I have been creating wall-mounted, cast resin and aluminum sculptures combined with canvas and gold leaf and exploring the computer as an art tool for creating digital artwork.

All my life, I have loved to create art full of emotions and feelings, “soul,” with the satisfaction of fun. I am interested in the balance and composition of colours and objects rather than the reality of the items.

The direction of the last two decades is aimed at understanding and, through artwork, expressing the human struggle of emotions and adaptions. For the past ten years, I have been polishing my creative work in the Surreal-abstract style.

The main motto of my artwork is; Just as in a good story, the readers have space to create their image; in a good impression, the viewers can create their account.


1961-1964, Open school of painting and drawing; 1967-1969, Private studies of applied art and design; 1979-1981, Classical hand drawing and architectural design under MgA Milos Saska in Prague,

Antarctic post, 2024, mixed media, 81 x 51cm

Arctic morning wind, 2024, mixed media, 81 x 51cm


My credo is: the sculpture must have a message, otherwise, it’s easy to make a sculpture when you have nothing to say. The world has never had a greater need for the restorative power of art. I feel that now, living in a troubled world, it is more necessary than ever to create beauty that will be transformative.

In the last works I focus my message on the new language of the human body in relation to the dynamism propagated and induced by digital technology that shaped its behavior.

In the contemporary era, the way we see and perceive art and things around us has changed almost exclusively through the phone or other internet-connected devices.

In my sculpture “New Aphrodite”, I reflected the behavioral change from the ancient, through the leitmotif of the lyre that seems abandoned, to the contemporary through the mobile phone as a trigger of the dynamism generated by the virtual environment.

The dynamism of the face’s physiognomy through successive positions, as on a film, accentuates the sensation of movement, in full agreement with the dynamics of the body and clothing, giving an impression of animation, displacement, change or action.

In my sculpture “From the creative Orpheus to the contemporary man”, the physiognomy of the face of the two characters is relatively similar, the man has not changed, only technology has shaped his behavior.

More recently, the TV remote control seems to be abandoned in favor of new internet technologies like the mobile phone.

“The new Aphrodite”, 2023, marble, WidthxHeightxDepth: 27x64x19 cm

“From Orpheus the creator to the contemporary man”, 2022, Marble and stone, WidthxHeightxDepth: 87x150x57 cm.



Sun Bae, originally from Charleston SC, is a Korean American artist. A graduate from Savannah College of Art & Design, moved to New York City and began working within the fashion and art industry. Drawn to nature, early impressionist painters, and works of contemporary artists, she was fascinated to explore colors, textures, and natural materials. Her most recent oil paintings are palettes of opaque colors painted in voluptuous layers. A dream like landscape of earth tones, bright hues, and soft colors painted in relief. Organic shapes, similar to flower petals, rise from the canvas in a procession of rolling waves.

Moon Flower, 2023. Oil on canvas, 63 x 46 in Wolf Rayet, 2022. Oil on canvas, 70 x 96 in 229


Susan Platt has been involved in the photographic industry for over 30 years. She began her career as a portrait and wedding photographer, owning and operating a profitable portrait and wedding studio. Platt was one of the most sought after photographic artists’ in Northern California (USA).

Platt’s photography is a kaleidoscope of life. From landscapes to street scenes, wildlife to abstracts, she captures the essence of everyday existence. Each image is a window into her world-her daily experiences, observations, and artistic expression. Take a journey through her lens and see the world through her unique expression.

Ferris Wheel Fantasy; 2023; Photograph; 8.25 in x 16.5 in Jungle Fowl; 2023; Photograph; 20 in x16 in 231


Contemplating the mysteries of life and the connection between the physical body and the mind/soul has been a central theme in my artistic journey. Through my work, I strive to explore the meaning of human life, particularly the intricate software that animates our being.

I have always found inspiration by gazing at the night skies, marveling at the stars, and contemplating our relationship with them. Do we belong to different worlds, or are we interconnected with the celestial bodies through the shared elements of our existence? These questions sparked my initial ‘Deep Space’ art series.

FLY, an acronym for ‘Free the Life within You,’ encapsulates the essence of my artistic philosophy. It represents the freedom to detach ourselves from the physical constraints that bind us to earthly routines and logic. By liberating ourselves, we gain access to the complexity and potentiality of life, embracing diverse perspectives, ideas, and faiths.

Life encompasses the activation of our physical bodies. It encompasses love, artistic creation, the thrill of new thoughts and ideas, and a plethora of human actions that imbue our existence with meaning and purpose.

‘You’ symbolizes the true essence of self, detached from external trappings and superficial identities. FLY’s essence seeks to celebrate authentic self-expression, fostering unity among individuals regardless of their backgrounds or circumstances. I have discovered that one of the most effective ways to achieve this unity is through collaborative creation. When we create together, our higher mental, emotional, and creative faculties converge, amplifying the power of our self-expression.

Black Hole 1, 2023, 70x50 cm, oil, tar, acrylic on canvas
RECO 13, 2023, 150x80 cm, oil, tar, acrylic on canvas
RECO 11, 2024, oil, tar, acrylic on canvas, 120x100
RECO 18, 2023, oil, tar, acrylic on canvas, 180x100 cm


My work is born from my interrogations on a society which calls for change; political, ecological, societal or personal.

Why are we looking for change, existential crisis or awareness? Are we so different from each other? Aren’t we all in search of independence and freedom? How do we need to exist in harmony with ourselves and others. These questions led me to a series of sculptures on canvas.

Back in 1994, I made a larva in gas mounted on paper. Today, these larvae have been transformed into a stone-like silhouette on canvas. The canvas illustrates what we want to get rid of to achieve the dreamed change and the silhouette emerges in a new space, the hope of a better life. The stone-effect on the silhouettes, shows that despite our will of change, we feel at certain moments as we are walled.

The serial works “Sur Toile” are mysterious and full of little secrets as it is for all of us. Made of paper, there are different stages; destruction-reconstruction. Importantly, they depict the flaws, the wounds faced by the individual, it must explode into small pieces to reinvent itself, rebuild itself to find its truth to build the change. It is composed like an encounter, a taming between the canvas and me. Step by step a paper structure develops like a puzzle of various fragments of life that fit together.

I hope and trust that everyone, as myself, has the patience and the courage to gain the freedom to exist.

Sur toile torsion, 2022. Paper on Canvas, 160 x 120 x 40 cm
Sur toile Double, 2021. Paper on Canvas, 120 x 160 x 30 cm


Two Studies

Color is the sensation of wavelengths reflected - spectra which has not been absorbed, or subtracted, from white light by the art object. Three-dimensional shape is perceived by the value of light, with highlights and shadow, usually from a tightly controlled light “source” in sculpture and photography. Physically opposite, black light pigments convert invisible wavelengths into hues which can be seen, usually as primary colors. Light is given off directly by the pigment. It is light added, rather than absorbed and fractionally reflected. When applied to a sculptural shape, the ultraviolet light source has no power to define form, because light is given off directly from the form itself, becoming the light source, setting the shape free from paradigms in art. “Ultraviolet Fresco Form” is plaster of Paris over carved polystyrene, painted with ultraviolet stage paints, illuminated with black light. Because it emits light from every facet, the sculpture appears flat, like a twodimensional design to the camera lens.

“Elea Garden” is a pastel of the storage shed in an overgrown back yard of the studio overlooking the Tyrrhenian Sea, where Homer wrote “Odyssey”, drawn while on residency in Southern Italy.

“Ultraviolet Fresco Form”; Acrylic on Plaster of Paris on Polystyrene; 25cm X 25cm X 25cm; 2024
“Elea Garden”; Pastel on Paper; 25cm X 30cm; 2-17


I love working in stone. The process of discovering its natural energy, colors, and complexities is truly amazing and exciting. This material is as old as the earth itself and is just waiting for me to reveal its hidden beauty. My signature style is sensuous curves, touchable textures, and compelling tension between positive and negative space. I naturally think in 3D so I’m constantly handling the sculpture and working on all sides throughout the creative process.

A beautiful sculpture that communicates energy and emotion comes from satisfying conversations with the stone, not from imposing my will. While I am working, I look and listen to the stone, touching it in a way that allows it to communicate with me. If that doesn’t happen easily, I’ll wait, working on another sculpture until it’s ready. Somehow, I know when it’s time for the silent one to talk to me. The combination of my talent, technique, and listening is how I create elegant abstract sculptures that make you want to touch them, and make them a part of your life.

Innocence (2022) 240
Limelight (2024)


With my art, I want to inspire people to playfully engage with critical issues of human existence and inner emotional worlds, and to go beyond the normative boundaries of thinking, into a world of fantasy, color and intuition. Self-encounter and selfawareness are important pillars of reconnecting with our suppressed soul parts on the path to inner transformation, and are core aspects of my work.

The Good Samaritan, 2016, Oil on canvas, 220 x 160 cm
Crown of Creation, 2018, Oil and neon pigment on canvas, 240 x 180 cm


Wendy Cohen is a Sydney-based artist who has attained BFA and MFA degrees. She actively exhibits her work at The New York Art Expo, Art Spectrum Miami, Art San Diego, and The Other Art Fair in Sydney. She has been published in various art books and received a Top 60 Master by Art Tour International awards in 2021, 2022, and 2023 Wendy creates innovative virtuosic mixed media paintings that communicate the harmony and beauty of the world. Incorporating her fascination with abstraction, whether it be an entire non-objective canvas, juxtaposed with collage elements, Wendy metamorphoses her unique vision that depicts energy and movement that rotates with an interplay of various shapes, tones of color, and light. As a result, her works are imbued with a sense of curiosity, wonderment, and intrigue that is open to the viewer’s interpretation. Fluttering Forms, 2024, 90cm x 120cm on linen canvas

Plush Lush Velvet, 2024, 90cm x 12cm on linen canvas


The emergence of Non-Fungible Tokens (NFTs) has been one of the most polarizing developments in the art world over the past few years. From digital art to music and virtual real estate, NFTs have infiltrated various sectors, sparking both enthusiasm and skepticism. This article explores the trajectory of NFTs, examining their ascent within the art community, their impact on artists and collectors, and the challenges that have contributed to their fluctuating popularity.

The Rise of NFTs

NFTs burst onto the scene as a revolutionary way to buy, sell, and trade digital assets with a level of security and exclusivity provided by blockchain technology. At the heart of the NFT phenomenon is the ability to assert ownership of a digital item through a unique, immutable digital ledger entry. This was a game-changer in early 2021, when the digital artist Beeple sold an NFT of his work for a staggering $69 million at Christie’s, catapulting NFTs into the mainstream spotlight.

The allure of NFTs was multifaceted. For artists, NFTs presented a new platform to gain recognition and monetize digital art without intermediaries. Collectors, on the other hand, were drawn to the exclusivity and potential for significant returns on investments. The hype was further fueled by celebrities and high-profile endorsements, which promised a blend of art and technology that could redefine creative ownership.

The Impact on the Art World

The initial impact of NFTs on the art world was profound. Artists who had struggled to monetize digital creations found a lucrative new market. NFT platforms like OpenSea and Rarible not only facilitated these transactions but also introduced artists to a global audience, democratizing access to the art market. Furthermore, the transparency and traceability of blockchain provided a clear record of ownership and provenance, addressing long-standing issues in art transactions.

However, the integration of NFTs into the art world was not without its critics. Many traditionalists viewed digital art as lacking the tactile quality and enduring value of physical artworks. Moreover, environmental concerns regarding the carbon footprint of Ethereum transactions, a popular blockchain for NFTs, sparked significant debate.

The Fall: Market Saturation and Decline

By late 2021 and into 2022, the market began to show signs of strain. The explosive growth led to market saturation with countless NFTs of dubious quality and value. The novelty began to wear off as stories of market manipulation and scams proliferated, shaking buyer confidence. Financial instability in the broader cryptocurrency market further impacted NFTs, as falling crypto prices eroded the purchasing power and investment appetite of many collectors. The result was a sharp decline in NFT sales and prices, leading many to speculate about the sustainability of the NFT market.


Current State and Future Prospects

Today, the NFT market is at a crossroads. While the frenzy has undoubtedly cooled, the technology’s potential to reshape art ownership and creation remains undeniable. Innovative uses of NFTs continue to emerge, including in areas like virtual real estate and augmented reality art, suggesting that the core concept of NFTs will evolve rather than disappear.

Moreover, improvements in blockchain technology aimed at reducing environmental impact and enhancing security could address some of the critical concerns. The art world continues to watch closely, with the understanding that NFTs could still represent a significant shift in how art is created, valued, and traded. The story of NFTs is far from over, though its initial chapter was a whirlwind of speculation, innovation, and controversy. As the market stabilizes and matures, the true value and utility of NFTs in the art world will become clearer. Whether as a passing trend or a transformative force, NFTs have undeniably left their mark on the contemporary art landscape, challenging traditional notions of ownership and the very definition of art itself.



Contemporary art serves as a dynamic force in shaping and reflecting societal changes. Through a blend of bold expression, critical commentary, and interactive experiences, artists today are setting stages for dialogue and inspiring shifts in societal norms and values. This exploration delves into the various roles contemporary artists play in driving transformative discussions and actions within society.

The Power of Visual Provocation

At the heart of contemporary art lies its potential to challenge and provoke. Utilizing a range of mediums from sculptures to street art, artists create works that critique social and political environments, urging viewers to question the status quo and engage with pressing global issues. This visual provocation acts as a catalyst for public discourse, often leading to shifts in perception and societal change.

Interactive Art and Audience Engagement

Contemporary art’s impact is magnified by its interactive capabilities. Through installations that require viewer participation, art transcends traditional viewing, involving the audience directly in the work. This interaction deepens the connection between the observer and the issues presented, transforming audience members from passive viewers into active participants, and imbuing the art with personal and collective significance.

Artistic Interventions in Public Spaces

The transformation of public spaces through art introduces a powerful medium for societal conversation and change. By embedding art in everyday landscapes—through murals, installations, and unexpected art forms— artists make their messages accessible to a broader audience, fostering community engagement and dialogue. These public artworks not only enrich the visual environment but also promote communal and individual reflection on societal issues.

The Digital Frontier: Art in the Age of Social Media

In the digital era, the scope of contemporary art has expanded exponentially. Social media platforms facilitate the rapid dissemination of art, enabling artists to reach global audiences instantaneously. New technologies such as digital art, virtual reality, and augmented reality are redefining how art is created and experienced, democratizing access to art and amplifying voices from diverse backgrounds. This digital expansion fosters a global dialogue on change, enhancing the collective impact of art.


Collaborative Endeavors and Collective Impact

Today’s artists frequently engage in multidisciplinary collaborations that incorporate diverse perspectives and community input, enriching the creative process and output. Such collaborative efforts not only broaden the scope of artistic influence but also ensure that the art produced resonates more deeply with varied audiences. By integrating art into community development and social initiatives, these collaborative projects illustrate how creativity can be a foundational element in civic engagement and societal evolution.

As a vital catalyst for change, contemporary art possesses an unparalleled ability to influence society. Through innovative approaches and engagements, artists challenge perceptions, encourage dialogue, and facilitate social and political transformations. As we continue to navigate complex global challenges, the role of art in inspiring and effecting change remains more crucial than ever, highlighting the enduring power and potential of creative expression in shaping our world.



In the intricate tapestry of contemporary art, the threads of mental health weave a poignant narrative. Art not only offers a window into the artist’s inner world but also serves as a powerful medium for therapy and advocacy. This article explores how artists harness their creative endeavors as a form of therapy and a platform to elevate mental health discourse, thereby enriching our understanding and acceptance of mental health challenges.

Art as Therapy

The concept of art therapy is grounded in the idea that creative expression can foster healing and mental well-being. Artists often turn to their medium as a safe space to confront and process complex emotions. This therapeutic use of art provides a non-verbal language for emotions that are too difficult to express in words. For many, the act of creation is inherently therapeutic. It involves a physical engagement and a moment-tomoment interaction with the medium, which can help in managing stress, anxiety, or depression. The repetitive motions of brush strokes, the molding of clay, or the rhythmic movements of a dance are meditative practices that help center one’s thoughts and emotions.

Spotlight on Artists

Contemporary artists like Yayoi Kusama and Tracey Emin have openly discussed how their art practices are deeply intertwined with their personal mental health struggles. Kusama’s mesmerizing infinity rooms and dotted motifs speak to her ongoing engagement with visual hallucinations and obsessive thoughts, providing a form of escape and self-soothing. Similarly, Emin’s raw, autobiographical works delve into profound personal trauma and healing, making her a figure of vulnerability and resilience in the art world. These artists, among others, do not shy away from depicting their vulnerabilities, thus offering solace to others who might feel isolated or misunderstood in their mental health battles. Their work not only serves their healing but also challenges societal stigmas surrounding mental health.

Art for Advocacy

Beyond personal therapy, contemporary art has emerged as a formidable force in mental health advocacy. Art installations and public works that address themes of mental health invite broader public engagement and dialogue. For instance, installations that simulate the experiences of mental health disorders can provide viewers a glimpse into the sensory and psychological experiences of those conditions, fostering empathy and understanding.

Art exhibitions centered on mental health themes also play a crucial role in educating the public and promoting mental health awareness. These exhibitions often collaborate with mental health professionals and organizations to enhance their impact, blending artistic expression with informational outreach.


Educational Initiatives

Artistic involvement has extended into educational settings, where workshops and art therapy programs are incorporated to aid emotional development and wellbeing. Schools and universities are increasingly acknowledging the therapeutic benefits of art, integrating these practices to support students’ mental health, particularly in alleviating the pressures of academic and social stresses.

The intersection of art and mental health in contemporary art is a testament to the profound capability of art to heal, communicate, and advocate. As artists continue to use their platforms to challenge the stigma around mental health and illustrate their personal journeys, they enrich the cultural discourse and contribute to a more inclusive understanding of mental wellbeing. Through their vulnerability and creativity, they not only transform their own lives but also those of their audiences, making art an essential ally in the global dialogue on mental health.

The canvas of contemporary art is more than just a mirror of personal experience; it acts as a transformative instrument for collective healing and understanding. Each brushstroke contributes to building a more empathetic society.


© 2024, Contemporary Art Curator Magazine. All rights reserved.

No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law.

The contents of this magazine, including text, graphics, photos, and other material are protected by copyright and are intended solely for the personal non-commercial use of our readers. The artworks and articles published in this magazine represent the views and opinions of the respective authors and artists and do not necessarily reflect those of the publisher or editorial staff.

Any unauthorized use of material from this publication may be subject to legal action. COPYRIGHT NOTICE FOR CONTEMPORARY ART CURATOR MAGAZINE 252



SEESAW ©️ 2021 GAYLE PRINTZ 19-Time International Award Winning Acrylic on Canvas Painting, 101.6-cm High x 76.2-cm Wide x 3.556-cm Deep

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