Issue 2 no barking art [SHE]

Page 1

no barking aRt 2

issue 2 she autumn 2014

City Women



Shizico Yi

no barking Team Camilla Barrett Aster Reem David Naomi J Davis Sharon Sondh

In a New York State of Mind

A sen

designer Shizico Yi

contributors A-Z Laura Colantonio Ana Cvejic Imogen Eveson Carla Mylius Fleck Mikala Grante Lulu Hoar Georgina Howard Yuni Ko Alice Marcelino Olga Mikhaseva Betty Ritschel Sande Robert Veronica Shimanovskaya Ebru Varol

The Hierarchy of the Cat


Women artists around the world

e: Emma McGuire

ntimental Journey

tion or Sculpture?

editor’s note Once we decided to make a women artists issue, people started to ask, “are you a feminist?” no barking aRt if was anything, feminist would be one of the last things. Why? Because we believe feminism is dead, so are religions and politics too. We believe in art and we believe in truth. Females and males can only be equal when we stop to see ourselves as a man or a woman. This is a special issue for women artists because women deserve to be celebrated. You have been here with men over 1000s years in civilizations, you have been not yet treated equal in the history of art. You have been taken away of your freedom in making, and you have been told because you are a woman so do this and don’t do that. This 2nd issue brings in outstanding women artists from around the world wishing to portray a view of this beautiful landscape of contemporary women artists through their practices. Each one of them contributes an unique tone and melody to this women symphony. The truth doesn’t need to be told in order to be true, it exists as the way it is. The 2nd issue “she” is just a book about this truth, the truth of contemporary women artists seen through their practices in all sorts of mediums. It is our duty to bring them to this platform, because they are simply here, beautifully exist with all these richness in their works. Poet and artist Sande Robert’s poem sums up the desire within all the women, “ To her To her children Now they will never settle for less” No matter you are a man or a woman, we are all the children of THE woman. Let there be many more women artists special editions, if not next one, may it be every 2 years. shizico yi


women imogen eveson

Learning a new city is like learning a new language. I became fluent in London over the eight years I lived there and didn’t find its rhythm and punctuation too hard to grasp. Sydney belongs to the same language family as London. It deviates in some ways, inevitably, but I am getting there. I am learning new buildings and streets and ways of doing healthcare. I’m learning new bus routes and numbers and ways to say aubergine. I’m learning that winter is not winter as I know it and that August is inside out. (The word that forever has been a warm, hot, amber, orange, ember in my mind is now cold and would-be-bare, were it not for the deciduous trees here in the southern hemisphere.) I’m learning how exciting it is to be in a new land, but how comforting to be under the same sky.

[ I’m learning how exciting it is to be in a new land, but how comforting to be under the same sky.]

Imogen Eveson

NEW YORK is as much about

Ebru Varol’s photography explores the object. In her images, light and the ab antagonistic. Working together, they pu The experience of witnessing this expec speculate, and even predict, the stories would tell, if only their balance tipped to hopeful longing that is vividly experien the viewer or the object, is projecting New York, in Ebru Varol stasy reached through deligh ty. Here, lifelessness is in fact the

t the inanimate as it is about the living. e soul of the city as witnessed by the bsence of light are harmonious, never ush the lifeless to the very edge of life. ctant threshold challenges the viewer to s of the metropolis these silent sentinels owards life. Her still images freeze this nced in perfect ambiguity as to which, g their consciousness onto the other. l’s photography, is echtful confusion and uncertainlife in essential form: on the brink.

Ebru articles

ebRu varol


[Here, lifelessness is in fact the life in essential form...] -Ebru Varol

georgina howard

‘The Hierarchy of the Cat’

photograper : Geogina Howar

georgina howard ‘The Hierarchy of the Cat’

a beautiful essay on the out-dated idea of women’s ‘traditional’ role of ‘bringing up baby’

As a young female of the 21st Century I have observed a shift and generational change in the female role as a mother. Growing up I experienced what society would consider a ‘traditional’ role of ‘bringing up baby’; my mother was ever present and all – giving, until we eventually flew the nest. Now to fill the void of the departed children, she has the cat to nurture and mother once again. My work is very much self-reflective, in the sense that I can connect with the subject yet see myself so far removed from the situation. Seeing myself as a mother in the future, I would love to have the tender time to raise my children as my mother did; yet in my generation this out-dated ideal is less likely so, when factoring in the rising cost of living and the modern emphasis of the female conquering her career first.

Elinor Carucci, “Mother” Series, 2004

Early this year, an exhibition at The Photographer’s Gallery, Home Truths: Photography, Motherhood and Identity, was an exhibition exploring representations of motherhood through the works of eight contemporary artists. The Curator Susan Bright explains; ‘Like photography itself, the expectations and demands of motherhood are in flux; both subject and medium grapple for new meaning in a changing world.’ (2013, “Home Truths”) Even though my work reflects the absence of mother and child, it still refers to the changing effects of how a woman is perceived to be a mother. In particular I can draw comparisons of Elinor Carucci’s (b. 1971, Israel) series Mother (2004,2013), to my own work. Inbal Mizrahi, Press Officer at The Photographer’s gallery describes ‘Through her photographs

Carucci expresses her fears of motherhood – that it would result in the loss of her creativity and sense of identity’. (2013, “Home Truths”) This appears as a common theme amongst female artists, such as that expressed by Tracey Emin and her critique toward motherhood. In a recent article in ‘You’ Magazine, Emin stated: ‘The mother who’s in the studio painting will resent going home to her children.’ When people have children,

they have a sense of purpose. When you don’t have children you have to define and make your own purpose, and make your own reason for being here.’ (2013, “Tracey Emin: I never had children because I’d resent leaving my studio for them”) Like the purpose of ‘the cat’ in my image, my mother’s sense of purpose is lost with her children gone. Through photography I react to what I have observed and in doing so voice my opinion on what I see

as changing normali- B i b l i o g r a p h y : ties from one generation to the next. create a tension motherhood-and-identity between the staged Home Truths: Photography, Motherhood and and the candid im- Identity’, July 2013. age, to replicate reality and gener- hmtat ipl :. /c o/. wu kw/wf .edma ai li yl /ate an interest in a a r t i c l e - 2 3 1 2 3 5 5 / way that the viewer Tracey-Emin-I-childrenId-resent-leaving-studio can engage and re- them.html#ixzz38qZlVdrB late to the subject. , ‘Tracey Emin: I never children because I’d written by had resent leaving my stuGeorgina Howard dio for them’ , April 2013.

[Like photography itself, the expectations and demands of motherhood are in flux; both subject and medium grapple for new meaning in a changing world.] Susan Bright 2013, on Home Truths photos by photographer Georgina Howard



Emma McGuire

by Mikala Grante

photographer: Aster Reem David interview+research : Camilla Barrett



Just when the BBC may encourage you to believe that only a hipsterish mishmash of barbers, mechanics, restaurant owners and bodyguards live in East London, one meets an honestly authentic resident by the name of Emma McGuire. Growing up in Nottingham, the daughter of Susie Daniel and Peter McGuire (authors of The Paint House: Words from an East End Gang, one of the most influential books on Skinhead subculture to date) McGuire graduated from the Royal College of Art in 2005. Now, living and working in East London, a fertile ground for many revolutionary subcultures, McGuire’s work has been influenced by a multitude of counterculture movements and artists, including Nan Goldin, Francesca Woodman and Robert Mapplethorpe. 2014 has been a busy year for McGuire, following her hugely successful solo exhibitions “XXXX” (solo exhibitions

2013-2014 at Chatsworth House, Galerie Sardac, France and Giorgio Brato Studio, Milan) and “Warriors”, a collaboration with artist Echo Morgan, in 2012. This coming November, McGuire will open a new solo show in New York City, marking her second collaboration with the Duke of Devonshire. Highly anticipated, the exhibition continues to explore the themes of self/identity, social and philosophical systems of male and female bodies, and visceral repetition which are always present in McGuire’s work. McGuire’s research-based approach to her work reflects her unique and insightful creative process. In order to present an earnestly direct comprehension of her models, she immerses herself in the experiences of her subjects. For example, in both her work at the Repton Boxing Club (Bethnal Green, London) and more recently with the famous Renzo Gracie Club in New York City,

she spent hours observing and photographing the training, getting to know the fighters, and understanding the intricacies of the sport; whilst making herself an invisible observer, enabling the camera to become the unnoticed recorder. All of the final images were shot ringside at tournaments. The images bridge the gap between the camera and the living, breathing subjects in front of our eyes; she insists on shooting with film in order to capture the fragility of moments and allow crackling noises in the images. The results are serious, earnest moments which she then painstakingly develops with a complex lithographic process to redefine the viewer’s comprehension of her imagery. Furthermore, by her constant participation in the frontlines of the scenes she depicts, this allows her space to reveal the layers and dimensions hidden in the forms of the body. McGuire’s other series of work reflect her explorations of body, identity, myth

and anonymity; always searching for a balance between unveiling and exposing dark and underground worlds, and generating a place for the hidden, unknown and fragile self to exist – works including The Emperors New Clothes, Degrade and Angel/ Angela (see her website at: www. McGuire is currently working on an exciting new series of prints, “Rorschach” (reflecting the inkblot test to assess personality via ambiguous designs). This exploration pushes the boundaries of the viewers’ perception and interpretation of the body and our psyche. In writing about McGuire’s work, one is confronted with an inadequacy that can only be addressed by physically existing in the space with her oeuvres. We encourage you to engage with this formidable artist by experiencing the work first-hand. Emma McGuire currently lives and works between London and New York. She is also a Senior Lecturer in Fine Art (specializing in Printmaking and Photography), University of East London, UK. Mikala


_ McGuire


left top: xxxx 3 below: xxxx 1

Artist Studio : McGuire is currently working Emma in her studio: on series of on an the exciting floor arenew an exciting prints,series “Rorschach” new of prints,(reflect“Rorschach” (reflecting inking the inkblot test the to assess blot test to assess personalpersonality via ambiguous ity via ambiguous designs) designs).


McGuire is currently working on an exciting new series of prints, “Rorschach” (reflecting the inkblot test to assess personality via ambiguous designs). This exploration pushes the boundaries of the viewers’ perception and interpretation of the body and our psyche. In writing about McGuire’s work, one is confronted with an inadequacy that can only be addressed by physically existing in the space with her oeuvres. We encourage you to engage with this formidable artist by experiencing the work first-hand. Emma McGuire currently lives and works between London and New York. She is also a Senior Lecturer in Fine Art (specializing in Printmaking and Photography), University of East London, UK. written by Mikala Grante photographerAster Reem David interviewer and researcher Camilla Barrett

Emma McGuire



Angel Angela series

a sentimental journey

by betty ritschel death, life, motherhood and womanhood, Betty Ritschel, the runner up of no barking aRt Prize 2014 short list talks about these fundamental subjects through her creative process

Dead or Alive II Betty Ritschel

Last week oil on canvas

Actually, I do not find it stimulating to write an article about being a female artist. I find it uninspiring that in 2014 we still spend time on a subject that we should have moved far beyond. My generation is definitely much more ahead than just years ago where our colleagues really had to fight for the right to be in this field. But that is only here things are like this, you just need to fly a few hours and girls still have to fight for the right just to go to school. So seen from the perspective of the women in that part of the world, we just have a luxury problem. If I as an artist start spending time and anger on these kinds of thoughts I get lost in a negative circle and cannot work freely. So while working I have to fake that the problem does not exist, otherwise it is just getting too hard with which to cope.

In the way I have been raised I have always found that we as girls and boys were given the same equivalent opportunity both at home and in the school system and therefore I have never given the subject much attention. My belief is that you make of your life and your career exactly what you intend and work towards. Of course you run into barriers, but we all do even males. What especially disturbs me is when a piece of work is labelled feminine, based on female sentimentality. That can really upset me, as things are not as clearcut‌. An artist like Catalan can at first view be shocking and give a very hard impression, but going underneath you find that his work is based on fragility and sentiments and therefore also have feminine aspects.

I have to admit that what I am doing and the way I am working is definite going to be labelled feminine. I am very much using what I have around me as inspiration – things I see in my everyday life. In the beginning I almost apologized for being banal, but I think it’s actually here that things are happening for me. I try to work with the daily hurdles that I as mother, wife and artist am going through. There are lots of things to take care of and they suck out my creative energy. It is an on going fight and I only manage if I am stubborn and really want to stay in front of your canvas. Otherwise “they will eat you”. I love my frustrations and they continually give me something on which to work. My main inspiration is the human body and working with the “space” between people, both physically and psychologically. I am looking for sentiments to build up my canvas.

The human body has always fascinated me but it took me quite a long time to figure out how to use it and to find my way around. In the beginning I used so much time on developing and changing my characters/figures trying not to use them more than once. It took so long and used all my energy so the experimental part, that I find so interesting, decreased. Therefor I began to reuse the figures and I got very familiar with them, to the point that I now somehow see them as my little family. My research often starts inside myself and I’m a very much drawn by my emotions. To give an example I will use my “funeral project”, which was made right after losing a loved one, and got started because I felt unconfident about the fact that one day I was also going to die. I often work with contrasts and in this case I chose “life” in contrast to the figure of death. I mainly work in layers, and often very different layers, all made on the same subject and united by colours.

Seven days around

“Actually, “I do not find it stimulating to write an article about being a female artist.I find it uninspiring that in 2014 we still spend time on a subject that we should have moved far beyond.” -

Betty Ritschel

The Funeral The three layers each represent a moment in life. 1st layer: When a child is born we say, ”he was brought into the world last night” and later “he left the world this morning”. The light blue map is symbolic of the place where we spend our time during life. 2nd layer: Mourning figures 3rd layer: Is a red trace. An electrocardiogram, that in a very exact way shows whether there is life or not. Dead or alive I The painting represents “death”. The red line in the bottom fades out and the person is dead. The figures are expressing their trapped pain. I have used very few colours, because there is almost no hope left.

Dead or alive II The painting represents “life”. The red trace is started and life begins. The figures in the background are still in a process of mourning. The figures in front are through that process and ready to “face the world again”. I have mainly used a green colour to symbolize “hope”. That is very much the way I work - collecting happenings or memories, join they on my canvas and united them through colours. Right now I am working on a project, which is a kind of diary. A work in progress that follows my daily life situation, working upon the daily hurdles that I am going through. I take episodes and am inspired by my daily life and the things that surrounds me– my children, my to-do-list or other things that I’m in touch with.

ritschel Dead or Alive I

“Last week” is the first picture in that series and I did it when my children started school again after three months summer holiday. Usually I’m very well prepared with lots of sketches, but here I had very few sketches just a very strong feeling about what I wanted to come up with. I wanted to try and express the feelings that I had collected during these three months where I was more or less prevented from working. For me it was a feeling of being totally “full”. The memories and happenings that I had collected are all joint on the canvas, in no particular order, just on top of each other. In the end I try to unite the layers through colours and decide what to give importance. What I like about working in layers is the dept that is built into the painting and “themes” that are not revealed at first glance. “After the gym” is the relief you achieve after having fulfilled something almost impossible. Victories during the day that gives you joy and hope, and which encourage you to face another day.

“Seven days around” here I am playing with the athletic skills I need to make use of, in order to get through my day. The feeling that I have to run, jump and spin around the whole day just to get through. That is the way I work and how I build up my canvas. I am very often pushed by my curiosity, and I love when I am able to come out with something that I did not expect. When I am able to reach the point where I work almost unconscious. Here it gets very physical and I just work almost without thinking, just using my intuition. That is the part I love the most the joy I feel and the satisfaction can keep me busy for days. So in order to keep the satisfaction going I fake that we as women are affected by any form of sexism. It is not that I do not want to face the problem but personally I have never suffered from any kind of discrimination. Seeing other people being more successful than me - male or female, stimulate me and make me work even harder.

betty ritschel

After the gym


Although sometimes perceived as installation, some artists’ works pertain more to the field of sculpture – mixed media sculpture perhaps, but sculpture nevertheless. Some good representations of this kind of sculpture was a part of 2014 No Barking aRt Biennale in Shoreditch: Veronica Shimanovskaya’s Far Afield and Perepeteia, and Jane’s Wollatt’s The Lottery. Jane’s composition The Lottery consists of a family of tightly bound balls, whose threads are made of torn strips of fabric. They are placed into something reminiscent of a half-open apron or a homemade bag attached to wooden planks. The sculpture makes an odd and eerie impression, as all the tactile and visual references are seemingly skewed. The questions ‘why?’ ‘who?’ and ‘what happened?’ come to mind while looking at Jane’s

work. This piece is based on lottery balls from the Foundling Hospital, now in the Foundling Museum, which were used to manage the numbers of children accepted into care by the hospital. If a white ball was selected the child was taken in; if it was red, the child was put on a waiting list; and if it was black, the child was rejected. There were more black balls and only a small number of white ones. Jane engages the viewer into a voyeuristic experience the nature of which is not easy to pin down. Whether it is cold and forensic or heart-tearingly emotional, one can only decide for him/herself. Jane’s practice deals with personal and domestic violence, mental disturbance and obsession. Being a psychiatric nurse she experiences her patients’ behavior patterns and they often inform her art. Jane is interested in the internal life of the human


psyche and the ten lives through in the Staying minimal in her choice o Veronica creates environments ou which, she insists, is the most imp her work. The objects simply crea in the installation space. Far Afiel ple, is a repetition of the same el of plywood, a 120 mm long nail of paper, arranged in a random piece is reminiscent of a flower, a an old cash register. There are a them on the floor of the gallery, the busy environment of the show an ambience of a curious and m of… What may it be? The piece is Veronica’s grandmother who grew tral Asia. Her story about enjoying steppe amongst blooming poppie Nietzsche, during the time of the sian revolution, and while the ind lution was in full swing, inspire

on or sculpture?

nsions it external. of materials, ut of thin air, portant part of ate a density ld, for examlement made and a piece pattern. The bayonet, and a hundred of and even in w, they create menacing field s dedicated to w up in Ceng walks in the es ÂŹÂŹreading e 1917 Rusdustrial revoed the work.

by Veronica Shimanovskaya


Jane Woollatt 2014 new work


Veronica’s other piece Perepeteia could have been considered a lumino-installation, had it not included an elaborate cluster of metal spirals onto which a digital animation of swirling light was projected together with the looping musical phrase of Claude Debussy’s ‘Jeux’. Enclosed in the dark room of the gallery, the piece is inspired by Greek tragedy and transformation in human life. Veronica’s practice is concerned with the world of fiction and its power of creating reality.

Perepeteia, installation 2014 Veronica Shimanovskaya


top: new work by Jane Woollatt left: The Lottery, Jane Woollatt next page: new works by Jane Woollatt 2014


a b o u t j a n e Artist Jane Woollatt explores themes of memory, identity and abjection. She selects materials and objects that show signs of ageing, history and decay. She is interested in the nature of materials and attempts to identify the character of an object or material and express that in the art piece.

women aRt around

tists d the world

Artists are teachers. To educate is to lead [as in Latin roo to lead people out of confusion and to lead our life towar ment through art. In this series, we talk to three women a also art teachers; through their works and words, we can future in art is in good hands.


ot: educare]; rd enlightenartists who are n fairly say, our




“...problems of the contemporary world who feel the suffering of others...� Olg



d require the participation of spiritually strong people, ga Mikhaseva on being a teacher and a woman artist.

Education that gets artists is a complex and purposeful process of training that expresses their interests and the interests of the whole society. The set of acquired competencies and experience of the activity is necessary for the realization of their professional and creative potential. But contemporary education is one-sided because it considers only the development of mental abilities and ignores the matter of educating a heart warmth, compassion, generosity, patience and sense of responsibility. Since I work as a teacher of art discipline at the Art College, I encountered this problem face to face. In the process of learning, we make for young artists all necessary conditions for their disclosure of creativity, the mastery of academic drawing, painting, composition thinking and art materials. But I realized that, to access full functionality formation of the personality, we also need opportunities for the realization of spiritual and moral potential, activity aimed at the development of socialization and ethical values.

Our students express their attitude towards reality via artworks.But since young artists are busy with professional tasks they do not pay attention to disclosure of their moral potential. That is why, ‘we should make every effort to help them to develop a heart warmth and kindness’. I think that a woman teacher can play a major role in the solution of this problem because women are more inclined to show mercy, compassion and they are able to teach it to others. They have this potential because a woman is the source of love, kindness, charity and mercy. Having a subtle emotional organization, own unique view on contemporary issues and rich inner world, women artists and teachers can take care not only about their families but also whole society and via society the entire planet. I think the women should take most active part in the promotion of best human qualities. But without work the words become dead. I would like to share with you about my experience of charitable lessons for children

whose families are in a hard financial situation and children who have physical or mental disabilities.Мy charity project had a dual focus. Primarily, it was aimed to the helping children who need special support. On the other side, the project was aimed to the realization of spiritual and moral potential of young artists at the age of 20 years who need to practice not only for professional skills but also practice of generosity, charity, compassion, patience and love. We had done great preparatory work before our project started. So I motivated my young artists on a small feat. First, we have called the representatives of social protection of our city and found out that there are some offices in each area of the city which is attended by children aged 6 to 11 years. Then, under my leadership the students had developed programs of creative lessons that called “We do origami with own hands”and “The magic of illusions”. For the first program we had chosen the technique of modular origami.

Model in red bordeaux Acrylic , gouachel ,Olga Mikhaseva

Also, for our project joined students’ parents and they helped us to make more 5000 colored modules for children’s creativity. For the second program we had decided to tell about optical Illusions and performed an artwork in the technique of monotype. These techniques surprised students, children and the parents too. All lessons we had done as the series of master-classes where we combined the creation of children’s artworks, fun games, competitions and learning a new useful material, presentation of prizes and gifts.As a result, each child received a soft toy, sweets, own crafts, positive emotions and their parents had tears of joy and smiles on the success of their children. So, the idea of helping children, whose families are in a hard financial situation and children with physical or mental disabilities, were accepted by my students with gratitude and love. Dear women artists and teachers!Myriad problems of the contemporary world require the participation of spiritually strong people, who feel the suffering of others deeply and devote themselves to make something for needy people.Indeed our society needs such a strong spirit and generous heart people and we are able to educate them. Please, go ahead, create and give love & care for those for whom it is utmost important. by Olga Mikhaseva, painter , art teacher of Kazan Art College

Still-Life Series Acrylic Olga Mikhaseva

yuNi ko yuNi ko

“The gift of life is to

recognize that life itself, flows” -- Yuno Ko


In Korean, Yuni (=Yun윤) means circular, round, and unity. I absolutely love my name and the significance that it holds for me as a woman and an artist. Since I was a little girl, I’ve collected anything with a circular shape; round edges always comfort me. The shape of the circle connects to my heart. My passion for art started in my early teens, and was further developed when my family moved from Korea to Canada. My parents are adventurous travelers and they gave me opportunities to see the world and experience different cultures, societies, and art. I studied art in France and Canada and my work evolved into my own vision. Growing up in West Vancouver, surrounded by trees, mountains and ocean, I was profoundly influenced by the environment and its abundant beauty. I explored and painted the Canadian landscape and other subjects in a realistic style.

My current artwork is focused inward, on my feelings rather than on my studies of nature and other outward subjects. When I paint, I feel more in touch with my emotions. This led to my series called “The Flow”, which represents the transitional movement of feelings and experiences throughout my life: joy, love, sorrow, courage, fear, pain, accidents, diseases, death, friendships, family, faith and hope. Life is always in a state of flux. I have learned to take each day as it flows. We cannot stop or control this movement; we recognize and adapt as we live it. All of us face challenges with weakness of our mind, body and spirit. If we are fortunate, new opportunities arise to liberate us. We begin again. This is the gift of life - to recognize that it flows. During my recent travels, the organic rounded shapes of old European roads, buildings, walls, and bridges ignited my artistic soul.

Inspiration came flooding over me and I saw myself, Yuni, connected to the circles: the ancient stones, sun, earth, and moon. My female identity, personal history and world history felt united in a flash of recognition and deep insight that led to my “Memories of Circle� series. Metallic colours are significant because they infuse me with strength and represent my identity. My father spent over 30 years in the metal business. His research lab inspired me to use metallic colors, and they symbolize a positive creative power that flows through me. Texture is very important in my work, the layers of bright colours are my happy memories shining through. Each stone represents a connection I feel to the people who have helped me through difficult times. These memories bring a peaceful energy, and give me strength to overcome hardship.

My spirit of gratitude emerges through harmonious circular strokes. Bright continuous lines represent heartfelt connections and balance. Peace in my relationships is very important to my spirit. I find it intriguing that an artist’s emotions can be communicated to the heart of a viewer, and that is my intention.

yuNi ko

lulu hOa

[I know I am asking a lot communicate such a with so little imageries...]



a huge amount of things

detail of “ Mosquito�, cast coloured resin by Lulu Hoar

When one is asked to write about oneself as a ‘Female Artist’ does one write about being a ‘woman’ an ‘Artist’, or a ‘female Artist’. What does being a ‘female artist’ mean exactly, are we different to men? Do we think differently? I do not really the know the answer to these questions, however I do know that ‘female artists’ have struggled through-out our time in gaining respect and recognition and that now, very few successful (well known) female artists have children. I can in fact only think of one example and that is Paula-Rego. When I gave birth to our son, I was determined my life would not change, I would continue in the same professional manner as I had always done as an Artist and Lecturer. On the face of it, and certainly to the outsider, it did not. What changed however was my emotions. The world-wide conflicts that we are constantly surrounded by suddenly became more real, I wanted them to stop, to bring harmony and peace, to find a solution through communication.

It took some time to realise that I was/am unable to change the world, but I can as an artist and a lecturer relay an awareness of how lucky we are to be living in a time of peace, as minuscule as that might be in the grand scheme of things, I hope to make a small difference. I am not a landscape painter perSe but one who uses the landscape as an inspiration for my work. I am fascinated with our connection to the landscape and how we use it as a source for our needs. I am currently working on the progression and development of the LGV (ligne grande vitesse) the new railway line at the back of my home in south-west France that will eventually go from Bourdeaux -Tours -Paris. From the very first ‘scrape’ into the landscape resembling a giant artist making his first mark, to the now lunar landscape, of a line snaking its way across the countryside without yet it’s rails, evolving from its once agricultural land, I have been documenting visually its

progression. The most exciting event during this ongoing project being a ‘gyro-copter’ flight, a birds eye view of a landscape, that I have been working from, since it’s conception. When working on site my mind is filled with emotion, I see the first paintings of a landscape depicting ‘War’ that first introduced me to contemporary landscape works of art, ‘Paul Nash’, ‘David Bomberg’ and ‘Otto-Dix’ to name a few. (all men)! How talented these artist are to communicate the desolation and destruction of ‘War’, depicting a landscape de-void of human presence, but who have obviously created the scene. I am of course, now working from a similar landscape but in peacetime. It is not so long ago that Europe was at war, in the 1st world war France became a battlefield and in the second it was under occupied territory and all European countries were experiencing the same of level of death and destruction on a day to day basis as is , Syria, Egypt, Irak, Iran, Palestine, Israel etc....of today.

top Patterns in the landscape below Mapping out Artist Lulu Hoar

Salinas en sal Study Series No 2, 3, 7 ( clockwise from top to left ) Artist Lulu Hoar

Conflicts of War. Fighting over land, resources that are not ours to fight over. We are the guardians of our generation, looking after the land for the next, whether you believe the world was made by god or science, I do believe it is not ours to give away. I like to think that my emotions are portrayed into my paintings, making others think differently perhaps on; contemporary landscape art, our wealth, our richness and our ability to communicate in so many different ways that should be used in a positive and not a negative form. I am I know asking a lot of my work to communicate such a huge amount, with so little imagery in its content, but for me when I view my work I am transported back to a time and place, an emotion. I have, within the works, I hope, a sense of being, a sense of place, a sense of peace and for those viewing it a sense of joy and pleasure. by Lulu Hoar

alice ma

Alice Marcelino is one of the new generation of photographers in London. She es with vibrant street life through her lenses and pitch-perfects in her melodic v Alice has a keen eye for right moments and sharp ears for music which put he



practices across various professions; advocates for fashion designers, caressvideo art. er photographs and videos in a league of their own.

in her own words


was born in Angola, a young country which was independent from Portugal in 1975; it undergone a massive civil war which involved several opposing powers such as Cuba, Soviet Union, South Africa and the United States. Shortly after I was born, I moved to Portugal where I grew up and adopted the Portuguese culture instead. Photography happened on my late 20’s on a time I was a bit lost disappointed by the lack of passion and purpose of my day to day job. Luckily I started working as an assistant for an English photographer in Lisbon that gave me the bases of the craft. From there I started to practice and soonrealised how engaged I became with it and decided to take it more ‘serious’ by enrolling for a degree on Photography in London.

Thinking of myself within a style I see me as a ‘visual story-teller’. I am a bit stiff with words but I love the fact that you can do poetry with images where the words you can’t see on pictures are the lives of people. The way we live, the way we behave, our traditions and costumes are all part of an evidence of our current civilizations. I find inspiration in many situations and particularly around my neighbourhood. I live in Brixton, which buzzes and pulses with a vibrancy unique only to itself. Brixton in its own right, is like a mini United Nations; the people, with their mixed ethnicity, the ever changing streets and with a vibrancy unique only to itself. Brixton in its own right, is like a mini United Nations; the people, with their mixed ethnicity, the ever changing streets and markets places, the corners and squares offering eclectic goods, and the background noise of traffic conversation and music, all create an environment to feed a creative soul and for me living in Brixton is like being fed.

This background also drove my attention to African culture posing questions about its identity and how it is perceived in the 21st century. On 2012 I started a project titled Kimdumba that talks about African hair culture and it’s importance on the expression of black identity. The works of photographers like JD ‘Okhai Ojeikere and Eileen Perrier largely influenced this project where I wanted to portrait the individuality of their hair style choices reflecting their cultural background and beliefs.

This year I’ve done several collaborations within the performing arts, fashion industry and the most meaningful job being the collaboration with the documentary photographer Lindsay Maggs currently showcasing her exhibition about Sierra Leona footballers amputees.

alice marcelino

[I love the fact that you can do poetry with images]

lauRa colant

[ My grandpa’s warning words


“There’s no rest for the wicked!”]


detail of “ Louis” Laura Colantonio

My grandfather’s warning words “There’s no rest for the wicked!” are still resounding in my ears and now more than ever I see how true they were. The pace of everyday life is so pressing that often we are left dishevelled. We run, but where to? Yet we have no choice but to keep the pace and learn the steps, trying to turn them in to a dance routine – the only way to avoid being swept away. With this artwork I reproduce a personal and intimate vision of this fast and pressured living, where thoughts too must keep steady to avoid the tempting and exciting driving force that would drift them elsewhere. I imagine those thoughts like dynamic, alive lines chasing each other along ever-changing paths, passing by, running, creeping in and changing direction, only to leave seemingly different trails behind.

In the same way as one thought can cross the mind of different people, I likewise multiply the lines and arrange them into different intersections, surfaces and volumes as much as the physical boundaries of my canvas allow me to. It’s my own governance over the surroundings, my last chance to exercise some control on life around me. Then I give my artwork the stability and reassurance of a name – ‘Louis’ – to counterbalance its inner movement. With ‘Louis’ I ponder upon this dynamism of forms and lines; I use the compactness of colours to represent my creed in the true energy of the human being and the feasibility of human ideals. ‘Louis’ is strong and well compounded, the black ink runs smooth and quick amongst the colours – it’s hard, intense yet sinuous.

detail of “ Louis” by Laura Colantonio

In this work some spaces are meant for dreaming, others let the viewers be totally free to see their inner selves, in that precise moment. It speaks boldly and equally listens to the mood of the viewer, in a sort of osmotic exchange. by Laura Colantonio

“ Louis� by Laura Colantonio

cArla m.fl When asked about who touches her the most as a woman artist , photographer Carla Mylius Fleck could’t help to tell the world her passion about Cecilia Lawrence, a famous woman artist in her motherland Brazil.



I first heard of Cordel Art and Cecilia Lawrence (1922- 2008) through her great-granddaughter Mayra. CORDEL ART started in the late 18th century in the Northeast of Brazil, it is handmade booklets sold in street markets hanging from a string hold by pegs. It consists of illustrations and writings reflecting the artists personal view of events, believes, legends, gossips, religion, politics, romance, adventure, rhymes, poetry, lyrics... fiction or facts often with a touch of humour. It is a true form of popular expression. Lawrence is one of the artists contribute to this art movement. Her story touches me deeply. In a country were machismo prevail particularly at that time, Cecilia Lawrence took her daughter and left her abusive husband , she ventured herself into a different city and started a new life relying only on selling her art works.

Lawrence has an eccentric character; one of them was her obsession to religion. She would attend all churches in town, believed in spirits and claimed seen them walking around her house in the late night and she would pray to keep everyone’s safety. Lawrence made beautiful portraits from observing street life in the city. Inspired by her and other aspects of Brazilian culture I did some experimental projects with my colleagues, one of them is Women Cordel (reference: https:// Throughout the history, there were countless women artists to survive, report, protest, contest, question, transform, educate and liberate through making art. I am Carla, I take snapshots, one of my favorite subject are people who made the streets their home, no doubt Cecilia Lawrence is one of my heroines

Street pho

otos, a black and white film series by Carla Mylius Fleck

[ A woman who only appears because of the desire to reflect] from Thunder moon , Sande Robert

sande ROBert usa

Sande Robert lives on Nantucket island off of Cape Cod where the surrounding sea, flora and fauna inspire her paintings and writing. This poem is fresh off the writing pad, and is about many reflections of the female in nature, in the world, taking place under Thunder Moon: the full moon in July.

Thunder Moon Thunder moon was riding the sky around five o’clock this morning Large and transparent A white disk rising ever so slowly in her corner of the dawn A cameo wafer etched into high milky points and shallow clefts where Wedgewood-blue shone through Directly across, in the East, a ghostly new sun, shrouded in rags afraid to show himself in the presence of such a woman A woman who only appears because of the desire to reflect And in this instance able to reflect so much more than is offered Radiance from the inside out Manasa lives in the leafmold aside the back stoop She slithers up bushes, defying gravity, and slides sideways Away from her sunbath on the deck when my shadow falls across her shiny scales I see no mice And the traps are clean,

so accomplished is she in her stealth In her search and destroy missionsno trace of tail or ears left behind Her meaning is prosperity I came across a tarantula mother She was dragging her children behind her in a silk sackI don’t know if she was running away from something Or, running towards something But on the early morning football-field-size space of grasses, it looked like a long, quite determined journey And whether the movement began after a long term of endurance and consideration Or whether it was one laser-light moment of clarity and knowing Or both She was on the move Her whole existence on the move Do or die I admire her: she is not playing a role Nor settling for less No lobster-in-the-pot anesthesia for her-

just the rich and real edge of her life being what matters To her To her children Now they will never settle for less poem and pictures by poet and photographer Sande Robert

ana cveji As a woman artist, Ana is a story teller. “Resident Evil” , a new series of work by Ana Cvejic



“Resident Evil” “Resident Evil” This is a true story about the man; he was emotional with a pronounced sensuality. his only flaw was being a vulnerable man then he transformed into a beast. he was a creature who wanted love, love was a stranger to his childhood when all he knew was suffering and pain, the pain was continued. mischief and misdemeanors led him to the same road, the same path to a suffering love. woman was a subject for him, he could love but he won’t , in most cases when he was disappointed in love, he left and left, again and again in came his evil who haunted him like a shadow. His mind was in a state of insanity, in conflicts, in storms he is a creature whose nature is not to be hurt , a guy who needs love I pray that his soul will find the peace, the evil will not return. would my wish become true? Maybe, or maybe not. -paintings and poem by Ana Cvejic-

ana cvejić



photo in this page : Ebru Varol

portraits of women artists


o barking art invited 18 women artists to share the secrets in artists’ bags. Through these intimate images, they take us on a private journey into their “bag of secrets� These women artists (23~65 year-old) are coming from UK, Europe, US, Australia to Asia and their disciplines widely spread over photography, painting, conceptual art, music, textile design, digital visual art, architecture, illustration to make-up art .

no barking aRt /nəʊ bɑːk-ɪŋ ɑːt/ a not-for-profit organization for independent artists around the world

no barking aRt



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