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OUR MISSION

Established in 2013, Women in Art 278 is an international art magazine featuring female artists across age, ethnicity, geographical locations and art genres. Through the magazine we create a network for female artists and also, and perhaps most importantly, connect artists with art collectors. We believe when women are encouraged, empowered and inspired, it can transform her life, her family, and her community.

CALL TO ARTISTS

Looking to showcase your art? We accept a plethora of artistic styles and genres. Read more about submission requirements on our website.

FOLLOW US

fb: facebook.com/ART278.org twitter: @WomeninArt278 instagram: @WomeninArt278 PUBLISHED BY

Girona Consulting, INC Š 2013-2018 all rights reserved DISCLAIMER

Featured artists maintain the copyright for all content and art. Reproduction of any kind without written consent is strictly prohibited. For additional information about Women in Art 278 visit ART278.org Publication Dates: Januar y 1 - April 1 - July 1 - October 1


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in the depth of winter, i finally learned that within me there lay an invincible summer.

Albert Camus

French author & philosopher 1913 - 1960

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CONTRIBUTING ARTISTS Alexandra Sofia: Photography Alicia Maury: Oil

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Angela King-Jones: Impressionistic Photography Christina Klein: Painting and Sculpting D.A. Atay: Illustration

Darla Barolini: Oil and Chalk on Canvas Debbee Lotito: Acrylics, Watercolor, Ink Elisabeth Lucas: Digital Photography Elzbieta Petryka: Manipulated Photography

* Emily Adams: Textiles and Collage Erica Thune: Abstract Erin Marvin: Oil Ingrid Dohm: Acrylic Jess Linden: Oil Painting Judith Gale: Mixed Media Kelly Carter: Oil and Mixed Media Lena Spencer: Acrylic Painting LIESL MARELLI: Photography Madolyn Kelsey: Watercolor Monique Hierck: Surrealism Morgan Rouche: Acrylic PRITI BARA: Oil Painting Rada Yakova: Acrylic on Paper Syra Larkin: Oil and Acrylic Tara-lee Hollander: Oils Therese Misner: Acrylic Trishia Crane: Oil Zakiyyah Y. Aquil: Acrylic

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Representation Matters ​Why is it important to have a female-centric art magazine? I am often asked this question (although less eloquently and filled with an unfortunate sprinkling of less nuanced disdain for anything women-only). Women in Art 278 is in its fifth year of production. Starting with a dream in 2013, we have been a positive addition to the art world, to the artists we showcase, and to the clients we help connect to artists. We actively try to “be the change we wish to see in the world.” So, for those who may be unaware about the discrepancy between female and male artists, here are some statistics that will break your heart and fuel your desire for change ...

Museums who was just appointed?! Congrats to Barbara Jatta!) Only five women made the list of the top 100 artists by cumulative auction value between 2011-2016. In the list of top 100 individual works sold between 2011-2016, only two artists were women. Of those 100 artworks, 75 of them came from just 5 male artists. Venice Biennale: The 2009 edition featured 43% women; in 2013, it dropped to 26%. In 2015, it was 33%, and in 2017 was 35%. No major international exhibition of contemporary art has achieved gender parity.

51% of visual artists today are women; on average, they earn 81¢ for every dollar made by male artists.

The good news is that, while in 2005, women ran 32% of the museums in the United States, they now run 47.6%—albeit mainly the ones with the smallest budgets.

Work by women artists makes up only 3–5% of major permanent collections in the U.S. and Europe, and 34% in Australian state museums.

Less than 4% of the artists in the Modern Art section of New York’s Metropolitan Museum of Art are women, but 76% of the nudes are female.

“The men liked to put me down as the best woman painter. I think I’m one of the best painters.”—Georgia O’Keeffe Women lag behind men in directorships held at museums with budgets over $15 million, holding 30% of art museum director positions and earning 75¢ for every dollar earned by male directors. The top three museums in the world, the British Museum (est. 1753), the Louvre (est. 1793), and The Metropolitan Museum of Art (est. 1870) have never had female directors. (Did you see our Facebook post about the FIRST female director of the Vatican

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Liesl Marelli Editor-in-Chief

Note: Statistics/Facts provided by National Museum of Women in the Arts

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ArtReview’s 2016 Power 100 list of the “most influential people in the contemporary art world” was 32% women, 70% white, and 51% European.

Although some of the statistics are a bit out of date, the underlying message is that there is room for improvement. At my local art museum on Florida’s Treasure Coast, I cannot help but look at the names of the artists represented. Most are male, far too few are female. And, once you notice that women are blissfully forgotten or neglected to be valued (given physical space like male artists) you never stop noticing. So go to your museums. Go to your art galleries. If you don’t see enough women represented, ask why? And, ask for change. Be a part of the change! As always, keep creating. Keep inspiring those around you.

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Of 590 major exhibitions by nearly 70 institutions in the U.S. from 2007–2013, only 27% were devoted to women artists.


Can adian artist

Alexandra Sofia Ph otog raphy

Inspired by the essays of Virginia Woolf, Judith is the first in a series of photographs that explores the characters of A Room of One’s Own. The essay itself is a statement that without money and space, women are unable to produce creative work. Characters are used to demonstrate contemporary feminist commentaries. An imagined sister of William Shakespeare and immensely talented artist herself, the character Judith is denied the opportunity to practice her craft, based on the fact that she’s a woman. After fleeing an engagement, becoming pregnant then finally committing suicide, we are left reeling wondering what would have become of Judith’s inherent genius if she was given the same opportunities as her brother.

Judith, 2017 Colour Integral film composite 7x7 $550 CAD

Virginia Woolf brought forward the idea that there must be a physical connection to texts; my photographs give breath and form to her immutable characters and concepts. I offer lacunae - the missing parts of a manuscript - to my audience here in this imagery. Integral film emulsion - known by most as Polaroid - is similar to ink: instantly applied, it transforms a scene, exaggerates the truth and reveal the figures of Woolf’s writings. ABOUT THE ARTIST: Alexandra is from Calgary, Alberta, Canada. While engaged in any project, Alexandra feels compelled in the moments of transition to investigate, record, and create a narrative that is embodied in a series. She is a full time student at the School of The Photographic Arts: Ottawa and a working photographer across North America.

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Pue rto rican a m e rican artist

Alicia Maury oil painting

TOP ROW (LEFT TO RIGHT) Jacaranda In Front of The Golden Clouds Oil on Canvas $1,600 Flamboyant Garden Oil on Canvas $400 Fountain At The Edge Of The Tree Oil on Canvas $500 MIDDLE ROW (LEFT TO RIGHT) Pink Roble Tree Faraway Impressionist, Oil on Canvas Secret Garden Impressionist, Oil on Canvas $1,200 BOTTOM ROW (LEFT TO RIGHT) Marine Golden Boat Oil on Canvas $1,600 Stormy Day At The Beach Oil on Canvas $500

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a m e rican artist

Angela King-Jones Impr e ssio nistic Ph otog raphy

ABOVE O’er Mountains This image was created using ICM in a horizontal movement, then later in Photoshop, added the static image of the birds. I love the combination of movement and static.

RIGHT One day like this This image was created using the ICM technique or In Camera Movement. Panning the camera up and down while leaving the shutter open.

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a m e rican artist

Christina Klein Painting and Sculpting Dad’s Favorite Wallpaper Acrylic on Wood Panel, 182cm x 365cm There is a sense of nostalgia that comes with rural living. Stories of the good old days are commonplace, with a deep sense of longing to make life the same as it once was. But as time passes and the stories are told and retold, they themselves get warped and the memories become fragmented. The central figure in this painting is my father, who often tells stories about his childhood. For this painting I wanted to depict the unraveling of a story and how those tales change over time. The top portion of the painting was based on one of my previous wood installations. I recorded interviews with my mom, aunt, and grandparents describing an F5 tornado that struck their home. From there, I used my idea of what that experience might have felt like and suspended wood from the ceiling of my studio, which later became the model for this painting as well.

Postmortem Wood Sculpture 365cm x 365 cm x 243

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Close examination of the body after death was the idea that launched this project. I collected wood from shipping crates and construction sites that was discarded after it’s one time use. New wood was also utilized, though it can be hard to distinguish between which pieces are new and which have a history because of the short-term use of the discarded wood. I also implemented window frames from an abandoned home and installed mirrors on the floor to disorient the viewer. Parts of the sculpture are suspended with electrical wire from discarded cell phone chargers.


Tu rkis h dutch artist

D.A. Atay

Illu stratio n

geisha, a3, Illustration The name speaks for itself. My geisha is a mixture of the past and the future, robot and human, the traditional and the modern. Boundaries are vague and maybe it is better this way. ABOUT THE ARTIST: DuĚˆnya Atay is a visual artist & designer who works with different mediums across various branches of art - from illustration to graphic design, street art to sculpture. Playing, questioning, destroying and most of the times rejecting what is given as real and creating her own reality is what she does. She works mainly with ink, gouache and assorted print media.

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A m e rican Brazilian Italian artist

Darla Barolini

oil and Ch alk o n canva s

Italy Meets Brazil Oil and Chalk on Canvas, 60 x 70 inches ABOUT THE ARTIST: I come from a diverse cultural back ground my father is from Brazil and my mother is from Italy. Both these cultures have influenced my artwork. I have the love of traditional portraiture and figurative painting as seen in Italy, and love for expressive bright colors and emotions that I found in Brazil. My paintings are based off of photographs taken at different times and different places. Some parts are also painted form direct observation. After taking the photographs, the images are sketched, collaged and rearranged cognitively. The finished image is a mystery, being repainted and re-conceptualized throughout its creation. People are painted next to others, then washed out and repainted in a completely different space by different models. It becomes obvious that the scenes never actually existed in real life. The images are lies, but the people feel real and are recognizable as someone you may have seen before

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a m e rican artist

Debbee Lotito Acrylics, Wate rcolo r, Ink

LEFT Love Set Them Free Watercolor and Ink on Paper 24” x 20” RIGHT TOP Untitled Watercolor and Ink on Paper 4” x 6” RIGHT BOTTOM Embodiment Acrylics on Paper 18” x 12”

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ABOUT THE ARTIST: I work in a variety of media, not limiting myself through choice of materials but using whatever is appropriate to convey the raw, authentic result I have in mind. My choice of medium often is acrylics, watercolor and ink because they have a very fast dry-time and I really appreciate the chaotic element of the timeline. Allegory is important to my work, as my creations are abound with images culled from the fantastical realm of imagination. This allows me to approach a wide range of subjects in a multi-layered way. My daily experiences, the personal trials of my past, and my direct environment all have a part to play in my work. The use of line and bright colors is crucial to the raw emotion of each work of art and the subtle juxtaposition of color-to-emotion gives each piece a twist.

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G e rman A m e rican artist

Elisabeth Lucas Digital Ph otog raphy

Pedestrian Bridge in Phoenix, Arizona

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Giant cactus in Phoenix, Arizona

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Polis h artist

Elzbieta Petryka Manipulated ph otog raphy

ABOVE Embrace Manipulated Photography Best print quality up to 76 x 54 cm. Facundo and Vanesa Manipulated Photography. Best print quality up to 114 x 152 cm. TOP RIGHT

BOTTOM RIGHT LEADER Manipulated photography. Best print quality up to 76 x 57 cm. RIGHT PAGE Rehearsal Manipulated Photography. Best print quality up to 68 x 102 cm. ABOUT THE ARTIST: First, I started to dance tango. Then one day I just took my compact camera and started to take tango pictures. Now photography is my ‘night job’. I work as a photographer at tango and flamenco events: festivals, dance marathons, concerts, shows etc. I use on-location lighting which I rarely can adjust. When shooting I focus on capturing a beautiful piece of reality. I never create the scene. The reality of the picture is just an intermediate product. At the post processing stage I’m trying to create or increase the painterly feeling of the photo. For me it brings out the beauty of the moment even more.

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can adian artist

Emily Adams Textile s and colla g e

ABOUT THE ARTIST: I am a textile and collage artist from Ottawa, Canada. I graduated from Algonquin College’s animation program in Spring 2016, and have been working in the animation industry. I started practicing embroidery in December of 2016, and since then have amassed a small portfolio of embroidered, collage rug and felt works. My work has been featured in a few group shows through travelling exhibit Feminist Fiber Art in Toronto, Boston, Rochester and Los Angeles, and through 307 Craftivists in Cheyenne, Wyoming. I am going to be involved in upcoming show Stitch Fetish: San Francisco in October, and a solo show set to open mid November in Ottawa. I was definitely a bizarre kid growing up. An overweight, mentally ill middle child and only girl in a family of five, growing up in a small Canadian village, and eventually moving to conservative, sterile Ottawa, I have always been somewhat of an outsider. This shows up in my work and is reflected in the themes I work in, which include mental illness, sexuality, politics and body image. I grew up on dial up internet trying to find a sense of community, which I never quite found until i started to make art.

TOP Illusory Screen Embroidery, 8” Cotton Embroidery Floss, Linen 2017

BOTTOM Emotional Eater Hooked Rug, 24” Yarn, Linen, Embroidery Hoop 2017

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a m e rican artist

Erica Thune A bstract

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Out of the Blue Mixed Media on Canvas. Acrylic, Spray Paint, Ink. 3 ft. x 3 ft.


a m e rican artist

ERin Marvin oil

Cordillera Oil 4’ X 5’

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a m e rican artist

Ingrid Dohm Acrylic

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afternoon tea Acrylic on Canvas 30 x 24 inches


Britis h artist

Jess Linden Oil painting

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ABOUT THE ARTIST: Jess Linden (b. 1988, England) is a painter and illustrator. Her paintings and illustrative works are abstract and bold, with caricature-like subjects constructed with fluid lines, sometimes shown to be looking at the viewer or as if sitting for a portrait. Some larger pieces concentrate on the face alone, confronted by the head on stares the observer could feel as if they were looking into a mirror. Others show subjects melting as if deconstructing and decaying, a metaphor for our human existence. Some subjects are shown to be made up of what could be liquid or air filled tubes, a metaphor for our blood, veins, oxygen and essentially life. The abstract oil paintings in eye catching, complimentary palettes are executed gesturally with confident lines.

LEFT PAGE Into The Night 60cm x 60cm Oil on Canvas 900$ RIGHT TOP Quinevere 30cm x 30cm Oil on Canvas 300$ BOTTOM Forget Me Not 50cm x 50cm Oil on Canvas 700$

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a m e rican artist

Judith Gale Mixed M edia

Argus II, Mixed Media on Canvas, 2017, 58” x 44” ABOUT THE ARTIST: Judith Gale is an internationally exhibited artist, featured in galleries in Chelsea, New York, as well as in Italy and Madrid. Her lifelong interest has been focused on the environmental world, which serves as the lens in which she envisions and creates her art. She is a graduate from the School of Visual Arts, majoring in Fine Arts. Hidden Wonders is her current series of work inspired by the molluscan seashell’s manifold of colors, patterns, and textures. The beauty of nature is her muse, which drives the conception of these oceanic paintings. Her hope is to revitalize people to treasure the natural world by encouraging viewers to dive into the voyage at the bottom of the sea and honor our maritime eco-system. Judith serves as the Vice President of The Molluscan Science Foundation, Inc., a nonprofit organization dedicated to the preservation of our coral reefs.

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Conus III Mixed Media on Canvas 2017, 42” x 59” Conus II Mixed Media on Canvas 2017, 33.5” x 59”

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a m e rican artist

Kelly Carter Oil and Mixed M edia ABOUT THE ARTIST: Through the process of painting I ask questions and relive memories. The motivation lies in a need to communicate and come to grips with the simultaneous beauty and horror that can be found in situations I have previously encountered in my life before practicing art where I worked as helicopter crewmember in the US Army. The way painting masters often captured human tragedy amongst the backdrop of breathtaking scenery often inspires me. The chaos and gore of violence I have witnessed has often been set in vast beautiful terrain. When capturing this duality I find the process of creating cathartic and a much needed means of contemplation and oblivion. The end product can afford me a small fleeting answer or simply be a compiling of jumbled memories and emotions to reflect upon. The work itself is often landscape based focusing on the duality of beauty and horror I have found in my own memories or in situations I can relate to that bear importance. Perspective abstraction and saturated colors often mimic the vague reality of my dreams. Throughout the painting process I often turn the picture plane while working. This action results in an image that can be viewed in many positions and is often disorienting. The inconsistent viewing experience is a way to add to the confusing or complex nature of the problems I am questioning. I strive to communicate the tension and frustration felt when you boil down a situation or a memory to its basic parts yet understanding still eludes you. In more recent work I am expanding from my personal view on my own experiences to my thoughts on how others view like situations. Thus beginning to question human nature other than my own. I work with a sort of personal symbolism that is defined by my experiences. In the work I often relate beauty with landscape and nature and horror or wrongness with human figures and manmade objects. This symbolism also extends to color choice and usage. By using flat colors amongst a realistic background the viewer tends to feel the heaviness of the item flattened leading to more consideration of the area or idea. The highly saturated colors push much of the landscapes into a dreamlike realm. The combined efforts of color, form and perspective harbor a unique style that is able to ask questions in an intriguing manner. The People Behind Oil/Mixed Media on Canvas 18”x20” $150

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Love Like We Do Oil on Panel 24”x36” $800

Restless Mixed Media on Panel 45”x 28” $650


a m e rican artist

liesl marelli ph otog raphy

minimalist rooftop Photography 20”x20” Printed on Aluminum ABOUT THE ARTIST: My venture into minimalism was an unconscious decision. At one point, my perspective shifted and found happiness in textures, minimalist composition, chaos-free captures of the world around me. Although I appreciate many artistic styles, I gravitate toward images that evoke sentiments of peace, quiet, tranquility, calm. The image itself is a slice of reality. For example, the photograph here was actually the rooftop of a gas station store. Everything below the roof could be categorized as environmentally destructive, dirty (litter on the ground), bright and unnecessary neon signs and so on. But from the roof to the sky, there was a different feeling. I believe that the way we see things reflects our optimism or pessimism. We can see the dark reality but don’t have to dwell in it. We can see it, cope with it, help be a positive catalyst of change and also focus on the good we see and let the good reside in us and reverberate outward.

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a m e rican artist

Lena Spencer Acrylic Painting

ABOUT THE ARTIST: The inspiration began with a sketch night at the Sam Bell Maxey House. We hired a model to dress in late 1800 period clothing so we could sketch. The images were lovely and the history in the house compelling. The juxtaposition of historical images, cultural and historical references, pattern and design, with today’s modern woman resonated and I began to look for connections to create narrative. My work conveys my perspective on relationships, motherhood, childhood, feminism, and life through images and materials that have been used in the past and recomposed to create a new narrative in a contemporary form. Repeated motifs stress similarities, unity and explore composition. The bicycle played an important part in shaping the future for independent women in so many ways. The images chosen have symbolic and emotional content, reusing and valuing the past, and celebrating a daring and independent spirit.

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LEFT PAGE New Woman Acrylic on Canvas 24” x 48” RIGHT TOP Bike Wench Acrylic on Canvas 36” x 36” BOTTOM RIGHT Wheel Women Acrylic on Canvas 60” x 40”

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a m e rican artist

Madolyn Kelsey Wate rcolo r

MARY GRACE A portrait of my sister. The dragonflies surrounding her represent how I see her spirit as well as the different tones of blue. The white silhouettes of flowers represent her love and fascination with nature and how I’ve watched her grow as a person.

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dutch artist

Monique Hierck Su rr ealism

TABITHA | Strong Women Heart & Soul Artistry - Surrealism

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a m e rican artist

Morgan Rouche Acrylic

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SheHulk Fantasy Portrait Acrylic on Canvas 18x24

Hellboy Fantasy Portrait Acrylic on Canvas 18x24

Mystique Fantasy Portrait Acrylic on Canvas 18x24

Fire Groot Fantasy Portrait Acrylic on Canvas 20x24


indian artist

PRITI BARA OIL PAINTING

Tranquility Oil Painting 24’’x16’’

Waterfairy Oil Painting 9’’x10’’

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Fairy Women Oil Painting 36’’x24’’

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Umbrella Girl Oil Painting 24’’x24’’


B ulgarian artist

Rada Yakova acrylic o n pape r

TOP LEFT ALTER EGO 15 Acrylic on Paper, 28x38cm, 2017 TOP RIGHT ALTER EGO 17 Acrylic on Paper, 28x38cm, 2017 RIGHT ALTER EGO 18 Acrylic on Paper, 28x38cm, 2017 RIGHT PAGE ALTER EGO 19 Acrylic on Paper, 28x38cm, 2017

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ABOUT THE ARTIST: I studied art in Sofia, Bulgaria, where I learnt extensively about technique, composition and colour. Although I don’t want to ignore or deny my cultural background, I felt I wanted to focus on expression and on my identity as an artist rather than on perfection and realism in my work. In my paintings I try to capture the inner struggle I constantly feel between my past and my future. I recognize myself in the nervousness and the continuous movement of the ballerina’s (ballet is a very important part of our culture) who, together with other females I paint, are a metaphor for the doubts and fears that are part of my existence and which I try to control by painting them. My goal as an artist is to make strong and expressive paintings by accepting this constant battle between confidence and hesitation, stability and restlessness, rules and freedom. The more I accept these polarities and succeed in bringing them together, the more convincing my work becomes.

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Iris h artist

Syra Larkin Oil and Acrylic

ABOVE Let’s Sail Together Oil on Linen, 42 x 92 cm Let’s Sail Together, like us the figures here will make a journey. The impression is they will go together, the swan acts as a guide but there is an uncertainty as the figures both hold their own futures in the form of little boats in their hands. LEFT My Heart’s Desire Acrylic on Linen, 74 x 83 cm In My Heart’s Desire the figures are enclosed by the wooden patterns used by a luthier to construct an acoustic guitars. The back and the front forms that will be bound together to form something of enduring value. TOP RIGHT PAGE Flight Oil on Linen, 92 x h120 cm The white horse a symbol of balance and wisdom, carries a women and child into the long night and to an unknown destination.

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ABOUT THE ARTIST: I live and work on a small wind swept Peninsula on the west coast of Ireland known as The Maharees. The winters can be long and grey and although my paintings are not always muted in colour. The winters here tend to inspire an introspective and somewhat muted mood in colour and form which is often based in a classical art heritage. After all we are never more than a breath away from what went before. My paintings are mainly based around our relationships to ourselves and to one another. I do not set out as an artists to challenge more to give us a greater sense of ourselves. To gaze at a painting is to take time out from the reality of our lives and enter into the thoughts and reality of another. BELOW Sisterly Love Oil on Linen, 55 x 95cm. Sisterly Love is full of symbolism. For me the painting is full of optimism. You can see the sun as setting or the sun as rising on a new day, either way the painting is imbued with a quiet tranquillity.

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So uth African

Tara-lee Hollander Oils

Ode to Frida Oil on Board with Palette Knife, 60cm x 90cm

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A m e rican artist

Therese Misner oil painting

I’m the fairest Abstract, 20 x 20. This abstract has organic layers of rose pink color on a textured canvas.

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Spanis h Britis h M exican artist

trisha crane oil

The Painted Horses Oil on Canvas 38 X 48 $575

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african a m e rican artist

Zakiyyah Y. Aquil Acrylic

SHIPS Acrylic, Landscape 16” X 20”

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artist d Alexandra Sofia Photography Ontario, Canada alexandrasofiaphotography.com Instagram: @aleksandrasofia

Erica Thune Abstract North Dakota, USA ericagthune.com Instagram: @ericagthune

Alicia Maury Oil Florida, USA aliciamaur yfineartgaller y.com

Erin Marvin Oil Ohio, USA behance.net/marvinej45bf

Angela King-Jones Impressionistic Photography Minnesota, USA Twitter: @AngelaKJones Christina Klein Painting and Sculpting Kansas, USA ChristinaKlein.com Instagram: @christyaklein

D.A. Atay Illustration Den Haag, Netherlands dunyaatay.com

Darla Barolini Oil and Chalk on Canvas Texas, USA darlabarolini.com Instagram: @DarlaNormaBarolini Debbee Lotito Acr ylics, Watercolor, Ink Michigan, USA debbeelotito.com Facebook: debbeelotito

Elisabeth Lucas Digital Photography Arizona, USA elisabeth-lucas.pixels.com

Jess Linden Oil Painting Madrid, Spain jesslinden.com Instagram: @jess_linden_

Judith Gale Mixed Media New York, USA judithgale.com Facebook: judithgalemont Kelly Carter Oil and Mixed Media Illinois, USA KellyCarterArt.com Instagram: @kellycarterart Lena Spencer Acr ylic Painting Texas, USA nxsgaller y.com Facebook: nxsart

Elzbieta Petryka Manipulated Photography Mazowieckie, Poland Facebook: tangodreamcatcher

Liesl Marelli Photography Florida, USA Instagram @liesl.bee Saatchiart.com/LBMarelli

Emily Adams Textiles and Collage Ontario, Canada slightlythreadening.daportfolio.com Instagram: @slightly_threadening

Madolyn Kelsey Watercolor Ohio, USA behance.net/madolynkelsey Instagram: @madolynkelsey

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Ingrid Dohm Acr ylic Illinois, USA ingriddohm.com Facebook: ingriddohm

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directory Rada Yakova Acr ylic on Paper The Hague, Netherlands radayakova.org Instagram: @radayakova

Syra Larkin Oil and Acr ylic Kerr y, Ireland syralarkinart.com Facebook: shoreline.studio

Tara-lee Hollander Oil Painting Western Cape, South Africa taralee.co.za

Therese Misner Acr ylic Oregon, USA theresemisner.com Facebook: ThereseMisnererart Instagram: @theresemisnerart Trishia Crane Oil Texas, USA suumiart.com Instagram: @tshintonc

Zakiyyah Y. Aquil Acr ylic Florida, USA fineartamerica.com/profiles/ zakiyyah-yasmine Instagram: @zakiyyahyasmine

Women in Art 278 welcomes female artists from across the globe and varying art genres. To learn more about featuring your artwork visit us online at www.ART278.org or on Facebook at facebook.com/ART278.org Art exhibits, solo shows, calls to artists and more are available on our events page on Facebook. Know about events that may interest our readers? Share it with us and we’ll spread the word.

publication dates January 1 April 1 July 1 October 1

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Thank you for supporting female artists!

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PRITI BARA Oil Painting Rajasthan, India fineartamerica.com/profiles/ priti-bara.html

call to artists

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Morgan Rouche Acr ylic New York, USA Facebook: comicArtbyMAR Instagram: @ComicArtbyMAR

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Monique Hierck Surrealism - Heart & Soul Artistr y Zuid Holland, Netherlands MyEnchantingStor ybook.com Facebook: Artistr ybyMo


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Women in Art 278 Magazine  

January 2018 / An international quarterly-published art magazine featuring women in the arts from across the globe and art genres. We welcom...

Women in Art 278 Magazine  

January 2018 / An international quarterly-published art magazine featuring women in the arts from across the globe and art genres. We welcom...

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