Stimulus Exhibition E-Exhibition Guide - The Greenhouse, Berlin, Germany.

Page 1


ART.NUMBER 23 Presents


8th Floor

27th MAY – 02nd JUN Admission Free Private view – 27th May 14:00pm until late


STIMULUS 27th MAY – 02nd JUN

The aim of this exhibition is to present some of the various incentives that motivate artists to produce a work of art. These could be, amongst others, filtering and analysing the information we receive; cultural influences and background; building relationships and observing our social environment; what we find aesthetically pleasing; past experiences, traumas; and many more. This resultant selection of artworks is also reflecting on what leads artists to create a type of language, through their concepts and techniques, in order to express their perspectives, their feelings, and their position on subjects of their interest. In addition to the above, it would be interesting to observe how sometimes artists can be triggered by the same or similar impulses, but interpret them in different ways, or choose diverse approaches to portray them.




Art Number 23 is a Londonbased organisation that is curating shows inside the U.K. and overseas. The aim is to encourage and support artists from all over the world to participate in art exhibitions and help them promote their work. Art Number 23 was founded in 2016, by the artist Constantine Anjulatos, and is being supported by several artists with a common mission: to create a global network of artists, curators, galleries and art enthusiasts and organise art-related events where the participants can socialise, practise their skills, share their knowledge and exchange ideas.

Previous art exhibition ‘Alienation’ held in Moscow, Russia, curated by Art. Number23. (2016)

Email: Website:

Previous projects of Art Number 23 include exhibitions in NYC and Philadelphia (USA), Moscow (Russia) and Athens (Greece). If you are a group of artists or an individual, or if you own or know a space where we can set an exhibition, then please do not hesitate to contact us. We will be happy to listen to your proposal.

GREENHOUSE, BERLIN Address: Greenhouse Bern Gottlieb-Dunkel-Str. 43/44 12099 Berlin Phone: +49 30 700 966 72




Image sourced Greenhouse website.

Email: Press Contact Email: Website:

The Greenhouse is a multicultural and multidisciplinary artist house with about 200 artists’ studios. It is a protected environment, which allows growth and development, dedicated to different forms of music, fine arts, design and multimedia. In the Greenhouse artists from all over the world are collaborating and developing various artistic formats. The 8th floor offers an open gallery space, hosting various curatorial projects, concerts, conferences, performances, presentations and workshops. In the first floor you can find the Bonobo, social hub and house lounge where people meet for a coffee, a lunch, a live concert and for jamming.











SINGER BUILDING 1908 / PANIC OF 1907 Singer Building 1908 Year: 2017 Dimensions: w10 x h40 x d10 Media: Zinc coated steel (edition of 30)

“I look for the alchemy of transformation – when the base materials of which cities are made transmute into nostalgia, mythology, and desire.”



CONTACT Email: Website:

A mixed-media artist and creative producer, Amanda Lwin initially studied Architecture at the University of Cambridge before shifting to a contemporary art output. The themes of cities and landscapes continue to feature strongly in Amanda’s work, which brings buildings from their physical location towards their political, psychological and cultural contexts. She has recently been shortlisted for the Open Young Contemporary Artist Award 2017. The artwork included in this exhibition is part of The Skyscraper Index, a series of 12 perforated metal sculptures. The series is based on the theory that an era’s tallest building is erected on the eve of a financial crisis. Recalling Paolozzi’s machine sculptures, the perforated metal alludes to electronic hardware, but also a heritage of esotericism and mystic religion - creating objects that are both familiar and strange, everyday and incomprehensible. “We sometimes think of cities and towers representing the triumph of rationality – the product of many sophisticated systems, like planning, financing, designing and building. But with the Skyscraper Index the masks slips. Decisions are suddenly not as hardheaded as you imagine. In this series, skyscrapers become a metaphor for risky speculation, this quasi-religious faith in a bubble economy.”


UNTITLED SERIES Works: # 1 – A Product of Insomnis # 2 – Life, Death and Everything Inbetween # 3 – Sore Throat Year: 2017 Dimensions: #1 - #2 - 4x4 in #3 - 6x6 in Media: #1 - #3 - Print of mannequin with digital edit #2 - The Print and Print of my fingerprint and ink

“I have a particular interest in issues surrounding mental health, women’s rights and identity, and social and political conditions, and tend to theme my work around these topics.”



I have a particular interest in issues surrounding mental health, women’s rights and identity, and social and political conditions, and tend to theme my work around these topics. My intention is to create pieces that express vulnerability and instability but which also suggest the (oftensubconscious) core strength within, in an attempt to capture the fragility of self. In terms of the materials I use for 3D work, I have an affinity with aluminium but with all materials I take an experimental approach and enjoy responding in unconventional ways and pushing their (and my) boundaries. I have always loved photography and more recently have been using my iPhone to create and digitally edit photo art and this is something I’m very keen to progress. My intentio n with these pieces is to keep the image simple and draw the viewer in; for the subject matter to be almost secondary and conversely more intense.

CONTACT Email: Website:

My work and style is ever evolving and I am on a constant learning curve. I am absolutely delighted to have been recently accepted as a WITP artist (April 2017), particularly as I didn’t start my creative journey until 2014 when I was 43 and, aside from a part - time one year Certificate in Sculpture with The Art Academy , London during 2014/15, I am predominantly self - taught. I am drawn to and inspired by the subjective work and language of artists such as Schiele, Dumas and Emin, as well as a myriad of well known/currently lesser known artists - many of whom I’ve been lucky enough to connect with via social media.


STRAIGHT TO THE PLACE # 1 – A Major Journey # 2 – Straight to the Place Dimensions - 42 cm x 42 cm Medium - acrylic on canvas

“Currently my work is centred on journeys; I find that the journeys, both past and present, are the stimulus for my work. In my paintings I try to convey a sense of physical movement and an emotional description of a particular journey.”



Andy’s work is a reflection of his emotional landscape and as memories surface or events affect him he tries to capture those memories and events in paint. He has a very physical approach to painting. His technique involves using brushes, palette knife, cloths and pouring paint but he also paints with his fingers and the palms of his hands to physically press himself into the work as emotions and events have pressed into him. His work has been exhibited internationally and published in several books.

CONTACT Email: Website:


EMERGENCE Emergence Year: 2017 Dimensions: 67 cm x 15 cm Media:Ink and graphite on paper

“Painting becomes the conduit by which I can unravel this complex mix of biography and art”



I find that the act of painting generates more painting in the sense that it extrudes the subject matter that has lingered longest in my mind and then questions its validity as to whether it should be considered any further. Painting becomes the conduit by which I can unravel this complex mix of biography and art. The way in which I allow the free movement of paint over the surface of the canvas is in itself a challenge. Paint, deliberate, remove, paint, deliberate, recognise. Anything and everything is possible; chance and calculation collide. This is the jerk off moment; an unexpected reality presented before me that resonates with my subconscious like nothing else.

CONTACT Email: Website:


HEART MURMUR Heart murmur Year: 2017 Dimensions: 50cm x 35 cm Media: ink on paper

“The artwork is suggested as a stimulus to an illusory representation treaty that concludes to strong symbolic dimension.”



Christina Tzani was born in 1985 in Athens, Greece. She holds a B.A in Fine Arts (Honors) from the Fine Arts School of University of Western Macedonia, Florina. Her artworks can be found in numerous public and private art collections in Greece and internationally. She has many solo exhibitions such as ‘Forgotten Whispers’ in KH5 Gallery , Zurich, 2016, “Exteroceptive Sensitivity”, in the Archaeological Museum of Igoumenitsa, Greece, 2016 and “Tender Wounds”, at GalleryX, Dublin, Ireland, 2016 as well as many significant group exhibitions: Biennale of Drawing, Osten, Skopje, Fresh’15: Happy Accidents, Action Field Kodra, Thessaloniki, Biennial Castra 2015, Lokarjeva Galerija,Slovenia, Fid Prize 7, in Turkuan France, Esä’s Grande Gallerie and at 7th Biennial of Students of Fine Arts Schools of Greece that took place in Foundation Theocharakis, Athens Greece. She has bed featured and interviewed in a plethora of magazines and Radio/Tv shows such as Zeta Karagianni’s ‘Voice of Greece-Planet Earth’, ERT radio in Athens and at Telma Channel in Skopje, Art Reveal Magazine and Kathimerini newspaper. She is currently works and lives in Greece.

CONTACT Email Website:

According to Jean Baudrillard, the fascination is equivalent to the abolition of the representation, i.e. the distance between the reality of the image. The watercolor as a pretext, bridges the unpredictable fate of the distance between reality and an abandoned uncertain conditions where the effect operates as a challenge. The fascination is always fascination of evil and attends to destroy the order. In this case, the class structure forms creating distortion. In this illustrated figure, seduction is trapped inside the forms diverting their original appearance and multiplying margins in the performance of the frozen time format. The material is denatured and the coincidence with the conscious retains its form in space, which is unbundled from the naturalistic conception of representational art.


SCRAPS Image Titles: # 1 – Scraps 1. # 2 – Scraps 2. Year: 2017 Dimensions: #1 - 86.5cm x 34cm #2 - 93.5cm x 34cm Mixed Media on Paper

“My practice usually revolves around the continuous line and how its simultaneous simplicity and complexity illustrate the paradox of our shared humanity”



CONTACT Email: Twitter: Website:

As an artist, Emily Blackmore explores why people do what they do, visually representing the complexities of the human condition in mixed media and sculpture. Her practice is characterized by vibrant colours, mixed paint and drawing media, and a celebration of diversity. Her continuous line series attempts to highlight the paradox of our shared humanity and our unrepeatable singularity. We all have basic needs; however, the way we experience life, the choices we make, and our individual personalities make us unique. The series began with an abstract mixed media painting and progressed through continuous line portraits into 3D relief paintings and wire sculpture. Emily Blackmore was born in Texas in 1987. She moved to London in 2016 to study at the University of East London’s MA Fine Art course. Emily has a BA in Communication from Southwestern Oklahoma State University and an MLS in Global Studies from Southern Methodist University. Both have informed her work with a sensitivity to message and a conceptual awareness of the human condition. In 2016, Emily began Sirimiri Artistry, her personal studio. Sirimiri (meaning light rain) embodies the life giving voice that Emily tries to bring to various cultural and social issues. Emily was recently shortlisted for the Visual Art Open. Her work has been featured in a number of European exhibitions including: The Many Faces of Barcelona at Jiwar Creation Society, Barcelona; 100% Abstract by Le Dame Gallery, London; 51% Remember Her by Elements Gallery, London; and Element by Trinity Buoy Wharf Residency, London. Emily is looking for opportunities to collaborate with other artists, organizations, or residencies that share her passion for cross cultural exchange.


EVOLVED AND SKIN AND BONE Works: # 1 – Evolved #2 # 2 – Skin and Bone #2 Evolved # 3 – Skin and Bone #3 Evolved # 4 – Skin and Bone #3 Evolved Year: 2017 Dimensions: 29.5 cm x 42 cm Media: Limited edition digital print on paper (1 of 2 edition)

“My work is influenced by scientific diagrams of the human skeleton, medical journals, the drawings of Leonardo da Vinci”



CONTACT Email: Instagram: Website:

Emma Connolly is an artist and Fine Art and Art History teacher based in Wivenhoe, UK. Her work explores the theme of the internal body and the beauty of organic form. Working primarily in oil and watercolour paints, the oils give Connolly a depth of colour and an abstraction of form, whereas the watercolours give a fragility and delicacy to the work. Connolly’s work is influenced by scientific diagrams of the human skeleton, medical journals, the drawings of Leonardo da Vinci and other classical academic drawings and animal carcasses. The intricacies of the internal workings of a body form a jigsaw of shapes which can be manipulated into an abstracted plane. This then builds the compositions for Connolly’s work, creating something strangely familiar but yet unknown in its exact content. Connolly’s 2016/2017 series ‘Skin and Bone’ is a collection of oil paintings and watercolours of varying sizes which focus on skeletal structures and internal mapping of muscular networks . This work has evolved into other series such as ‘Organ Flowers’, looking at organic arrangements that have floral aesthetics and the ‘Evolution’ series, which further abstracts the complex assemblies of form, shape and colour. Connolly works closely with anatomical studies, life drawings and scientific animal dissections that directly inform her work academically as well as giving her visual reference material. Emma Connolly has exhibited internationally in USA, Russia, Greece and on numerous occasions in London, as well as across the UK. Her work as a Fine Art teacher has seen her qualify as a Specialist Leader of Education and is currently working on the Common Projects with the Tate. Connolly also lectures yearly for ISP, International Studies Programme for international art teachers. Emma is also an external advisor for Contemporary British Painting.


STRAWBERRY HILL HOUSE PRINTWORKS Image Titles: # 1 – Strawberry Hill Ceiling Year: 2011 Dimensions: 55.88cm x 55.88cm Media: Photographic Print Mounted and Framed. .

“Hybridity, finding new approaches from the relics, modern technologies and theories. “This world is a comedy to those that think, a tragedy to those that feel,” - Horace Walpole



Gemma Land works in a multidiscilpinary way between art - design and old - new technologies. She works with analogue photography and digital processes in post production and textile printing. Her printworks series also have two forms one as a photographic print and also as a printed textile piece that can function as a fashion garment or wall hanging. These series of works are heavily influenced by the Arts and Crafts movement and William Morris. Her aesthetic lies between the romantic, the gothic, and the psychedelic composing beautiful and sometimes unsettling imagery. Constructing fractals from architecture and landscapes to create impossible structures and hallucinogenic patterns. Strawberry Hill House Printworks was created within an architecturally and culturally important building featuring the details within the house and the facade. The former home of Horace Walpole, an MP, Art collector and one of the first Gothic Novelists. It was one of the first Gothic revival residences and has influenced the design of residential architecture. It was also the inspiration for Walpole’s Gothic novel; The Castle of Otranto that later inspired writers such as Mary Shelley and Edger Allen Poe.

CONTACT Email: Instragram: Website:


FOOD FOR THOUGHTLESS Works: # 1 – Food for Thoughtless # 2 – Define Death Year: 2017 Dimensions: #1 - 42cm X 42cm #2 - 32cm X 32cm Media: Oil on canvas “My paintings are inspired by artists of the Dadaism movement (which later gave birth to the Surrealism movement), painters such as James I am fascinated by the 16th century.”



My paintings are inspired by artists of the Dadaism movement (which later gave birth to the Surrealism movement), painters such as James Ensor. I am fascinated by the 16th century. My dreams have a huge affect on my paintings, often I will paint scenes depicted in my dreams . My music is influenced mostly by great composers, such as Stravinsky, Shostakovich, Eric Satie, and by my great-grandfather whom I always have somehow felt strong connection to, although I never knew him, as he had died in Auschwitz during the Second World War, he was a true piano maestro and an opera composer during his life. My background influences were all musicians. My films are largely motivated by Hitchcock, Chaplin, Pasolini, Hayao Miyazaki, Almodovar. In my work I use mainly oil colour on canvas, I’m trying to use the old masters techniques and make some of my own paints, preparing my own canvases and prim them. I do not use the modern way of painting where by projectors will project images onto canvas as is done by some contemporary artists. I use life, still life or photography. My paintings are portraying my emotions and situations in life. I use the medium of film, piano and painting.

CONTACT Website:


THE MOUNT SERIES The Mount series Year: 2017 Media: Plaster, Acrylic and Oil Colour Size 50cm x 35cm

“Having engaged subjects as disintegration and existentialism my work reproduces familiar visual stimuli such as the temporary nature and distortion of the human image transforming artwork to a memento mori.�



Born in Athens Greece in 1989. Pouliassi’s work is predominantly experimental, with her installations deriving from the principles of painting as well as sculpture. She holds a B.A in Design from Akto College, Athens and in 2016 she received her Bachelor in fine arts (honors) from the University of Western Macedonia, Greece. She exhibits her works internationally having represent Greece in Biennale and International art fairs such as Incubarte international art fair, Spain, Tirana International watercolor biennale, CICA Museum in Gimpo and GIAF in Seoul, Korea . Through her artistic research, she demonstrates the omnipresent lingering of the existential idea that sets the human existence as a vessel one incidentally fell upon, and thus has no conscious awareness of his ballpoint-sized place in the timetable of infinity. She works mostly with organic and industrial material having multidisciplinarity as a crucial aspect of her art practice and an incessant search of an organic link between several disciplines. Taking advantage of the creative and expressive potential of sculpture as well as of painting and drawing incorporating them into scenographic installations, exposing human mind to raw biological functions of nature.

CONTACT Email: Instragram: Website:


WESTERING Westering Year: 2017 Media: Oil on canvas Dimensions: 30 cm x 30 cm

“My work is inspired by colour, the natural world, the materials to hand, a need to create an expressive space.”



After studying at Bretton Hall University of Leeds and a career in teaching Jo Brown’s comparatively late start with Art began with landscape painting. She felt compelled to explore abstraction for the freedom of expression it offered. Years later there is still often a feeling of landscape in her work, influenced by her surroundings in the South Pennines with its dramatic undulations, big skies and lots of weather. She compare this with the gentler landscape and climate of the Kentish Weald where she grew up. Her inspiration may emanate from Nature and landscape (increasingly elements of urban landscape). Ultimately her interest is in the painterly space, the material properties of paint and its tangible elements - line, plane, gesture, spatial configuration, process and surface, layering and juxtaposition. Paint can convey emotional life. The way this slippery stuff drips, pours, spreads, pools, thickens, thins, slides fascinates Jo. Texture too is important to her in her work,: a material property of paint that is the work of the hand and cannot be experienced via a screen. As with the Abstract Expressionists the medium of her painting is colour (which is light) and space. As Robert Motherwell put it: painting is ...the mind realizing itself in colour and space.

CONTACT Email: Twitter Website:

Confronted with the blank canvas or board or paper, Jo Brown uses mostly oil or acrylics, but sometimes also spray paint, powdered pigment with glue, collage, oil bar. The exciting and demanding work, she feels, is to create a personal space , one that others might enter and enjoy and respond to in their own way. A work of art is a world in itself, reflecting senses and emotions of the artist’s world. Hans Hoffman


MERRYTHOUGHT Merrythought Year: 2015 Dimensions: 30 cm x 10 cm x 20 cm Media: furcular, linen, nails

“The stimulus is unearthing forgotten, discarded and casually overlooked histories of the materiality of time and place. The response is to distill the fragility of materiality in time and place.�



CONTACT Email: Website:

JW’s practice is driven by an investigation of materiality, process and scale and her output is primarily 3-dimensional. Her work considers visual markers of time and place, of boundaries and the concept of extinction. The construction of a barrier is a selfdefining, human action and her work often stages the inherent tensions between the placement of things, of re-purposed cultural objects particularly those residing on the edges of our collective peripheral vision. Her work is informed by the convergence of historical research with a critically-engaged practice. JW has exhibited in the UK and Europe and has published writings on art and cultural history both nationally and internationally. Current projects include working with two museums in Denmark; and, research for an exhibition later in 2017 at the Bodleian Library, Oxford on the re-imagining of the mediaeval manuscript. JW (b. Belfast) currently lives and works in N. Ireland and Denmark. She studied Fine Art at Central Saint Martins, London, Classics at the University of Cambridge and has a Ph.D. in Byzantine cultural history from Queens University, Belfast.


THE PARALYSIS OF ANALYSIS Works : The paralysis of analysis Year: 2017 Dimensions: 21 x 15 cm Medium: Oil on Canvas Textured Paper

“The paralysis of analysis” title was taken from Haruki Murakami’s book, the artist see it as another name for anxiety attacks he suffers from”



CONTACT Twitter: Website:

Karol Kochanowski (b.1986), Polish artist lives and works in Manchester, UK. He graduated in 2013 from BA Fine Art at Manchester Metropolitan University, winner of Ken Billany Prize 2013. Karol’s abstract oil paintings been exhibiting internationally including New York, London, Raleigh (North Carolina), Berlin and Manchester. His work is abstract and nonrepresentational in style. Light floating forms hang within an open space, punctuated and anchored by graphic, semigeometric elements. These are poetic depictions of emotional landscapes in which chaos, logic and self-destruction cohabit, in clashing and discordant harmony which describes the fragile and painful yet curiously beautiful way in which a damaged mind makes sense of the world. Kochanowski approaches his painting in an instinctively haphazard way. It is always an intrepid journey without a map and arrival at my final destination is always something of a surprise. In a sense, the genesis, gestation and gentle nurturing of the process interests him more than the end product. “The paralysis of analysis” title was taken from Haruki Murakami’s book, the artist see it as another name for anxiety attacks he suffers from.


THE MAP The Map Year: 2017 Dimensions: 20 cm x 20 cm Media: Acrylic on canvass

““she graduated from The Jan Kochanowski University of Humanities And Sciences in Kielce where she received an MA Degree in Fine Arts Karolina is creating and presenting us a map of an imaginary place.”



Karolina graduated in 2012 from AGH University of Science and Technology in Cracow, where she did her postgraduate studies on Computer Graphics. In 2011 she graduated from The Jan Kochanowski University of Humanities And Sciences in Kielce where she received an MA Degree in Fine Arts. Karolina has worked both in the UK and Poland as a Graphic Designer and Picture Framer, and she currently works as a freelance painter. As part of this exhibition, Karolina is creating and presenting us a map of an imaginary place.



UNTITLED PORTRAITS Works : #1 Untitled portrait - 1 #2 Untitled portrait - 2 Dimensions: 20 cm x 20 cm Media: Oil on Canvas

“Wan’s artworks are all painterly – whether it’s the obsessive exploration in his series of self-portraits, or the ‘decorated’ dollar bills contributing to large-scale major installations.”



Kim Wan (b.1970) is a British artist of MalayChinese and English heritage. Kim Wan’s artworks are all painterly – whether it’s the obsessive exploration in his series of self-portraits, or the ‘decorated’ dollar bills contributing to largescale major installations. Surprisingly graffiti has been a strong thread throughout his art career. In the UK he has worked with museums and institutions such as the National Portrait Gallery, TATE Modern, the Institute of Contemporary Art and the National Gallery. International exhibitions include shows in New York, Miami, Philadelphia, Athens, Berlin, Siena, Beijing, Moscow and at the Louvre, Paris.

CONTACT Website:


OBSERVATION POST 1 Singer Observation Post 1 Year: 2017 Dimensions: h 28cm x w 40cm x d 40cm Media: Sculpture

“Observation Post 1 is from my recent body of work reacting to a former WWII radar bunker. An encrypted communication between open landscape and an intimate architectural space.”



CONTACT Email: Instagram: Website:

Lisa Traxler, Royal Watercolour Society (RWS) & National Acrylic Painters Association (NAPA) is a contemporary visual artist, living and working in Britain. She combines painting and 3D form responding to landscape and architectural spaces. Traxler was born in London and studied at Croydon Art College and Birmingham Polytechnic, graduating with a B.A Hons degree in Fashion & Textiles. Recent selected exhibitions include the Royal Watercolour Society Contemporary at Bankside Gallery, ING Discerning Eye at Mall Galleries, Royal College of Art, Cork Street, the Crypt Gallery, St. Ives, the Bath Society of Artists, the London Design Festival 2016, Palazzo Ca’ Zanardi, Venice, Italy (2016). Awards include ProArte Award (2014), Colart Award (2012) Golden Award (2010) for her paintings at the NAPA National Exhibitions, The Crypt Gallery, St. Ives. Published in Aesthetica Creative Art Award Annual (2012) Traxler’s major exhibition Lives of Spaces West Gallery, Quay Arts (2011) consisted of four largescale (2.5 metre high) steel and vitreous enamel sculptures, part of which toured to the ExCel London and now reside in a sculpture park in the Isle of Wight. Recent public art commissions include a large scale (10 x 10 metre) site specific PAPERSCAPE installation in the entrance atrium of the Affordable Art Fair, Battersea as part of Platform Projects (2017). Previous commissions also include the multi panelled enamel and steel wall mural in the entrance foyer to the Art & Design College, Stourbridge, West Midlands (2011). An enamel and steel triptych situated in the double height space of the entrance foyer of Vestas Technology Centre, IW (2011), and a multi- panelled folding wall at Briddlesford Education Centre, IW (2010). At present the solo exhibition BUILD responding to a World War II Radar Bunker, tours from the Penwith Gallery, St. Ives (26 May - 24 June 2017) to Surface Matter Architectural Gallery, Hackney, London (16 September - 14 October 2017) to the Radar Bunker, St. Lawrence, IW (October 2017) BUILD in conjunction with Surface Matter will be part of the London Design Festival, 16 - 24 September 2017 Traxler was made a full member of the Royal Watercolour Society (RWS) in April 2017


ECHOES Works : # 1 - Echoes # 2 - Head f@#k Year: 2017 Dimensions: #1 - 20 x 30 #2 - 30 x 40 Medium: Mixed media and acrylic

“Being inspired by the things around me, my feelings, and people that I love and then to use that inspiration to create something is truly a privilege.”



As an artist it would be fair to say that my work takes over my life, yet I wouldn’t have it any other way. Intrigued and inspired by my surroundings my work is at times random, and emotional. Bursting with colour and boldness its sculptural and poetic form can take on many a diverse range. From abstract to functional, non-functional to concrete, no form is set in stone and I love dabbling in anything from designing and making jewellery to painting and creative writing. Already a published poet and established designer maker with previous sales, I continue to enjoy the days and nights in the studio surrounded by scraps of metal, odds and ends of fabric and heavy, slightly imposing tools and machinery.

CONTACT Email: Instagram: Lougilmoregeorge_art Website:

My best friend is my blow torch and following closely behind is my sketch book. I tend to play and then document, a process that works well for me.


ALICIA Works : Alicia Year: 2017 Dimensions: various Medium: Mixed media on panel canvas

“I paint what it’s my reality, what I see, and what I see is not realism”



Max Sir is an international award winning artist, originally from Chile and currently based in New York City. Award winning painter, writer, theatre director, actor and photographer, this multifaceted artist has exhibited and trade his artwork in competitive international markets like Russia, England and the US. He is the recipient of ten National First Prize Awards for Painting and First Prize and honorary recognition of the National Painters Association in his native Chile. His solo exhibition “ The Voices of Sor Juana Ines de la Cruz”, was a historical record of visitors and sales this past 2016 at the IDB Gallery in Washington, DC. His writing also has international recognition; his theatre piece “ The Book of Complaints” was awarded at the international program Cimientos for new avant-garde theatre, by IATI Theatre in New York City.

CONTACT Email: Instagram: Website:

His latest theatre piece ALICIA , had it’s world premiere and first season this past February in Teatro Espressivo, the most important private theatre in Central America (Costa Rica). Alicia was conceived, directed, cowritten and designed by Max Sir and it is the first stage of a larger project, PROYECTO ALICIA, consisting of this theatre piece, a series of paintings and the creation and publication of a collection of Art Books. Recently, as an actor, Max played the lead role in the internationally awarded play “Lo que Kurt Cobain se llevó”, for the Hispanic Theatre Festival in New York City. Max is a Licentiate in Fine Arts and Professor of Fine Arts from the University of Playa Ancha (Universidad de Playa Ancha de Ciencias de la Educación, Chile); he holds a diploma in Cultural and Arts Management and complimentary studies in Architecture from the University of Valparaiso (Chile); he holds a Bachelor’s degree in Acting from the Catholic University of Chile (Pontificia Universidad Católica de Chile). Max is currently living and working in the city of Berlin.


SPURENSICHERUNG AND VANISHING POINT Works: # 1 – Vanishing Point # 2 – Spurensicherung Year: 2017 Dimensions: #1 - 18 x 27.5cm #2 - 25x27.5cm Media: #1 - Screen-print on Somerset 300g #2 - Photo-etching on Fabriano 300g

“I use found photographs as a starting point to investigate both the stories they may contain, and the function of the object itself; in terms of identity, evidence and truth.”



CONTACT Email: Website:

Your organisation looks really interesting, it’s so nice when artists are encouraged and supported. I’d love to take part in one of your exhibitions. Here are my details: I work with printmaking and photography, using archives to explore ideas of love, loss, and female identity. Playing detective, I use found photographs as a starting point to investigate both the stories they may contain, and the function of the object itself; in terms of identity, evidence and truth. This work has been made as a result of investigating my family history. Vanishing Point and Spurensicherung are re-workings of an early photograph of my great-grannie. In the 1930’s she was taken to an asylum, suffering from post-natal depression. It was thought that she died there, but 60 years later, we discovered she was alive, recovered, and still living at the asylum. There are no photographs of her during those lost years. The work explores both the value we place on family photographs to provide us with feelings of connection and identity, and the myths that are constructed and accepted within the family’s narrative.


ALL BOTTLED UP All Bottled Up Year: 2017 Dimensions: 8 cm x 3 cm Media: Sculpture, Plaster and Gold Leaf

“I don’t know when it started and I can’t see that it will end, when life’s good I love the sunshine when it’s not the dark’s my friend.”



As an artist my practice has always been a reflection and narrative of my own journey. I’ve used interdisciplinary materials over the past 20 years but I’m primarily a sculptor who has now returned to using plaster, straw and casting found objects. I have also used video, layered text and paint to create work and to help translate my thoughts into visual work. As an artist I’m inspired by life, conversations, relationships, memories and often the written document. I believe my childhood greatly influenced my practice as an artist and continues to fuel my current work. I’ve recently collaborated with a musician exploring the impact on an audience when using a combination of music and sculpture. I’m currently making work again with music that also includes the use of scent. I’m interested in making honest work that can connect emotionally with an audience. I make art in response to all aspects of my own life.

CONTACT Email: Instagram: Website:

“All Bottled Up” is a piece related to her Father’s recent death, it’s taken from a cast of the nail polish he was wearing when he was found. He had suffered from undiagnosed bipolar most of his life and wrote poetry throughout.


AFTER THE ENDING Image Titles: # 1 – Birth. # 2 – London Bombings. Year: 2016 Dimensions: 60.96cm x 50.8cm Media: Photographic Print Mounted. .

“Photography is capturing the absence of images, unlocking the receptive paths to memory. My inspiration comes from memories fractured and forgotten.”



Abstraction is deception, it lures us in translating our own visual senses into something which perhaps is untrue or none existent, it plays with our perceptions and can trigger tranquillity, calmness, fear or any other amalgamation of feelings. After The Ending was created by dropping black and red inks into a container full of water, the container was mounted with speakers that are projecting sound from the 2005 Sky News - London bombings news coverage, these sounds were sampled from YouTube. Once the sounds are played the inks are dropped into the water creating unique patterns, these patterns are the indexical trace of sound which imitate the waveforms played from the speakers, the force of the inks dropped from a distance into the water enables a spread of colour which protrudes through the waves, distorting the waveforms natural rhythms with its own organic presence.

CONTACT Email: Twitter: Website:

This work represents the tension of atrocity using colour to emulate blood which projects the notions of life and death, in contrast darker colours signify the unknown and ending. The first image titled ‘Birth’ is shot in still water with no soundwaves representing calmness, the second image titled ‘London Bombings’ is shot with soundwaves projected through water, a symbol of chaos, distress and atrocity. Using abstraction and beauty I ask the viewer to study the surface of the images, to feel perplexed by them and question the relationships between them. Ultimately it is the process of the calm and manic that prevails, something which is only stressed via the waveform.


SMALL BLACK FIGURE STUDY Small Black Figure Study: Year: 2017 Dimensions: 13” x 3” square Media: Manipulated found objects, wax, wire, metal filings, glue, and soot over welded steel

“Improbable archetypical beings explore an estranged desolate world where reremembered things from my past evoke memories and symbolic associations of loss”



CONTACT Email: Website:

Ronald Gonzalez/Professor of Art | Sculpture/ Department of Art & Design Binghamton University | Binghamton The sculpture of Ronald Gonzalez can be characterized as having a highly personal and mysterious allure. Working over the last four decades Gonzalez’ enigmatic sculptures have functioned as autobiographical metaphors of dread. His obsessive production of angstridden figures, mediated through his distinct use of materials has created an oeuvre of sculpture marked with psychological and spiritual trauma. His recent work has focused on a series of black figures made from schematic steel armatures, assembled together with a wide assortment of objects, antiques and collectibles that are laden with time and place. The work is then further eroded with metal filings, burned wax, glue and black soot creating a dramatic tonal range that both obscure and reveal anthropomorphic objects that suggest the internal workings of their reanimated surrogate heads. Gonzalez’s figures represent an animistic mode of thought appearing as charred fetishistic mementos that posses a visceral quality imbued with primal energy and ruin with apocalyptic overtones. His archaic breeds of figures are confrontational, austere and hermetic, standing on the border between human and doomed phantom. Gonzalez’s improbable archetypical beings explore an estranged desolate world where reremembered things from his past evoke memories and symbolic associations of loss, transformation and psychic pain.


RASCAL Works : # 1 - Pandamonium # 2 - Rascal Year: 2017 Dimensions: #1 - 20 x 30 #2 - 30 x 35 Medium: Mixed media and acrylic

“I do not conceal the imperfections of the figures, instead I deliberately present them as flawed. This approach is mirrored in my artistic practice, where mistakes are embraced rather than concealed.�



My paintings explore the feelings we can experience as a result of being faced with commercial ‘free choice’ and the influences of others, the feeling of being judged, a loss of self-awareness, claustrophobia, a sense of chaos – to question whether the concept really exists. They examine how immediate surroundings can impact upon our choices, and play with the idea that people can seem close to the extent of being pressed up against us as we make them.. The world that my paintings portray is inhabited by animal - faced, anthropomorphic figures who are all different in appearance and are all composite – made up of both animal and human parts. The figures, selfconscious of their appearance, don masks. It is unclear however if the masks conceal or express. Although the figures in the paintings live in their own world, they are aware of the viewers looking in and judging them. They look at the viewer as if to say, ‘What are you looking at? Is this right, or is this wrong?’ It is up to you as a viewer to decide.

CONTACT Website:

The closeness of the figures allows for their imperfections to be seen. I do not conceal the imperfections of the figures, instead I deliberately present them as flawed. This approach is mirrored in my artistic practice, where mistakes are embraced rather than concealed. The deliberate imperfections of the paintings are essential in allowing the figures and the world they inhabit to feel real.


FLIGHT, THE APARTMENT, WHEN A STRANGER CALLS Works: # 1 – Flight # 2 – The Apartment # 3 – When A Stranger Calls Year: 2017 Dimensions: 28.5cm x 20cm Media: Ink on Paper

“I find inspiration and motivation in images and materials that speak to my attraction and emotional connection to the irreal, or unsettling, qualities found within seemingly ordinary objects”



Steve Marriott’s work incorporates scenes and imagery from the cinematic horror genre that have had a profound resonance in his consciousness, appropriating periphery details and establishing shots as well as more melodramatic imagery, rendering them detached from their original context while retaining the mood and atmosphere of the source. The visual language inherent within the genre symbolizes underlying themes and emotional content, such as loneliness, alienation and fear of the unknown, acting as a stimulus for the artist to explore these themes and their relatable importance within his personal framework. The artist mostly works in oils and mixed media on canvas, with drawings on paper, using ink and watercolours, taking on an increasing importance within his practice, allowing him a more immediate expression of his response to the chosen source material. He holds a BA (First Class Honours) from The University of East London and has exhibited in London, New York, Philadelphia, Moscow and Athens.

CONTACT Email: Twitter: Website:


NATURAL CAUSES Etchings: # 1 – Harvest # 2 – Natural Causes # 3 – Overseas Year: 2017 Dimensions: 30cm x 20cm 4/20 Limited Edition Media: Etching and Aquatint 300 gram cotton paper

“My images reflect a desire for a place I would like to flee from; weaving awe and wonder into psychic landscapes”



The work of Tamir David departs from a place of palpable unease with the world. While lavish in their painterly content and tending toward formal elegance, the overall effect of his paintings, especially, is one of disaffection, alienation, and even dismemberment. Subjects are usually people and beasts, splayed before us through various painterly treatments in order to reveal their souls, souls that are often rather sick indeed. Such narrative concerns are expressed through expanses of subdued color and tiny suggestions of landscape or scene within a largely psychic space. David currently lives and works in Tel Aviv. Without formal training he has established himself internationally as a unique painterly voice.

CONTACT Email: Instagram: Website:


WAITING FOR ANXIETY Works : Waiting for anxiety Year: 2017 Dimensions: 24 x 30 cm Medium: Oil and spry paint over

“In this artwork, Vito reflected the concept of Stimulus by the representation of a woman in a abstract environment, where she is under differents paths and waiting for the next move.”



Vito’s work is all about colour and illusion. His style has developed as a result of his life experiences which are reflected in the subtleties of the pieces he create. He is fascinated by how different materials can work together to constantly attract and mislead our perception.

CONTACT Email: Instagram: Website:

He start with something both accidental and familiar, a few colors, a few shapes or smears. These initial colors and shapes start a process of discovering unintended proximities and relationships; a process of finding logic and meaning in the unique situation that emerges and creating enjoyment from the complexity of the art unravelling.


BERLIN MASKS Works : Berlin Masks Year: 2017 Dimensions: 10 x 15cm Medium: 35mm Photograph printed and hand coloured using paint based pens.

“Photography can only show you what the eye sees but by physically altering the image you have a deeper visual communication of what the mind sees too.”



I am a mix media artist using black and white photography as the foundation then working paint and pen directly over the top, as I believe this creates a more honest image. Photography can only show you what the eye sees but by physically altering the image you have a deeper visual communication of what the mind sees too.

CONTACT Email: Website:

The work I produce is based around social problems, capitalism, contemporary culture and our misfortune; how we are mislead into information and how today propaganda is on every street, on every screen and totally unavoidable because of the desensitised nation(s) I work with a satirical thought pattern, bringing humour into an unhumorous reality, which makes us double take what the true intentions are and highlight the issues I find apparent.





MEMORY LANE Works : Memory Lane Year: 2016 Length: 4 minutes 04 seconds Works : Nido the huérfanos (Remix&Repent) Year: 2016 Length: 3 minutes 16 seconds Works : Stagnant Water Year: 2016 Length: 2 minutes 55 seconds

“The movie talks about the importance of water in our life. When it flows it makes our world moves. It gives life. When it stops (the moon controls its flow), everything stops. “



Memory Lane: From the future, a memory in the form of a poem evokes a happy childhood before a turbulent war. This memory comes in the shape of a space trip that links the present (words) and the past (still photos) through the war (moving image), creating an audiovisual experience that binds the viewer to a mysterious place where adulthood (consciousness), adolescence (cinema) and childhood (photo and music) live together in a permanent tension. Nido the huĂŠrfanos (Remix&Repent): The rest of an old footage has been recovered. It is the story of a murderer inside a normal guy. Also the story of some ghosts lost in time: presences and non- presences that remain attached to a space and a moment that vanish in memory.


Stagnant Water: The movie talks about the importance of water in our life. When it flows it makes our world moves. It gives life. When it stops (the moon controls its flow), everything stops. The stagnant water means death. Water and Moon are related to the Mother as the future of everything.


MOVABLE ARTICLES Works :Movable Articles Year: 2017 Length: 4 minutes 30 seconds

“Movable Articles references ideas that exist/lack in attempt to create or alter physical space within homes, while also acknowledging the movements and potential collapse of current/past ‘technologies’.



Andrew McSweeney (b. 1992) is from Co. Cork, Ireland. McSweeney completed his BA in Fine Art at CIT Crawford College of Art & Design, in 2015, receiving a First Class Honours. He was the recipient of the TACTIC & Sample-Studio Graduate Residency Award 2015, which offered me a 4-month studio space, culminating in his first solo exhibition ‘Sincerely, COLGATE’, TACTIC gallery (March 2016). McSweeney was recently part of the group exhibition ‘Time & Space’, CICA Museum, South Korea (February 2017) along with ‘The Whole Worl is in a Terrible State o’Chassis’ Platform Arts, Belfast (April 2017).

CONTACT Email: Twitter: Website: www.andrewmcsweeney8.wixsite. com/artpractice

Core to his practice is the investigation of minor forms of painting, 3D animation and audio work. McSweeney is currently based in Hanoi, Vietnam. He is also an active and continuing member of Sample-Studios, Cork, Ireland. McSweeney is a part of the Irish artist collective & union.


FRESH DOUBLE SCOUSE ACCONCI Works : FRESH DOUBLE SCOUSE ACCONCI Year: 2017 Length: 2 minutes 40 seconds

“The history of the female body in media and the reception to this are of a great interest, I like to consider if our views towards the expectations of women and self have changed at all.”



CONTACT Instagram: Vimeo: Website:

This video work is a reperformance of a reperformance. Based on Vito Acconci’s work ‘Theme Song’, artists Paul McCarthy and Mike Kelley created ‘Fresh Acconci’ and completely changed the performer acting in the videos. This is my response to both of the works. It was created whilst considering voice and accent but also bringing the content of the work to a more relatable present day look and feel. The dual screens mean that it raises questions in regard to authenticity, intimacy and everyday performances that we take part in. I’m also interested in how my body changes the reading and context of the actions (which are lifted from the previous pieces) and how in or out of control I am of this and the connection to the viewer. The impulses that drive me to create work are mainly of anxiety, in relation to how people view me and how I view myself and the gap between these two. The history of the female body in media and the reception to this are of a great interest, I like to consider if our views towards the expectations of women and self have changed at all.


WORK NO. 4 (RUNNING/RESTRAINT) Works : Work no. 4 (Running/Restraint) Back Hill, Farringdon London. Year: 2013 Length: 8 minutes 12 seconds

“Interested in the use of physical energy and the meaning of experience for transformational change: in recent works, I consider ‘running as drawing’ and test the boundaries of what it means to be a female/artist and athlete. “



Bounded by the latex band the aim was to run from the bollard to the edge of the frame of the camera – extending outside the image when the stretch of the material allows. My aim as the performer to the camera (in this public space) was to achieve the maximum resistance in each sprint; stretching and exhausting the material until it broke. The material’s elastic quality restrained both the rate of speed and the effort of running: not knowing exactly the extent of the latex band’s elasticity and its limited durability (it could break at any time) produced a vulnerability that challenged my drive to run.

CONTACT Email: Website:

Interested in the use of physical energy and the meaning of experience for transformational change: in recent works, I consider ‘running as drawing’ and test the boundaries of what it means to be a female/ artist and athlete. This video is made to create a work that resolves a desire to be physical but also conjure a sense of humour and emancipation.


ALONE NOT LONELY Works : alone not lonely Year: 2017 Length: 4 minutes 53 seconds

‘I am primarily interested in ideas of a psychological landscape, narrative and language. I work with the anonymous stories of others, returning to the scene of the memory and placing myself in the mindset of another. The resultant work is a melding of myself and anthers emotional stimuli, an artistic reaction to a past reaction.’



This particular body of work is concerned with the invisible psychological landscape of memory which exists in the minds of all of us who have lived or passed through the streets of Belfast. Catherine investigates the effect which a particular landscape and the cultural heritage we exist within can literally become a moulding force which we are unable to escape. The passage of life we experience in our own individual spheres often cross over those of others around us in fantastically meaningful ways, without us ever being aware of our place in their narrative. Catherine has been working on a body of work which considers the memories of others as sacred relics, of moments in time which have been absorbed into the streets around us, creating a network of thought which exudes its own power over our psyche as we physically travel across sites which are of emotional significance to those around us.

CONTACT Email: Instagram: mclaughlin.1 Website:

Catherine has created a short google forms survey which gathers anonymous responses that explore how people form connections and bonds to the places in which they live.The questions elicit short but intimate answers such as ‘Do you have a strong memory of a particular place in Belfast that you would like to share?’ or ‘Can you describe a place in and around Belfast where you have ever felt afraid or threatened? Why did you feel this way?’. Catherine recreates some of these memories shared by anonymous strangers online, retracing their steps and writing concrete poetry works as a reaction to their impressions and stories. These ideas and impressions are layered over video footage made at the and location of the original memory and allow her to attempt to exist as another in brief interludes. This body of work simultaneously investigates the act of storytelling and the embroidering of an event while playing homage to the event itself, transforming it from the simple experience of an individual into a shared experience by both artist, audience and the anonymous original contributor. The language work reflects the voice of an individual, with the collection of works forming a cacophony of voices and intimate narratives amidst the landscape of Belfast. Catherine has previously exhibited in QSS Gallery and studios, PS2 Gallery Belfast and in virtual reality with the Cultivate Collective in the online exhibition ‘Something Black’, among others. She is currently a Go Girl Committee member and has recently completed an online residency with the i o u a e cooperative in Newcastle.


DOG Works : DOG Year: 2017 Length: 4 minutes 37 seconds

“he makes artworks to investigate the subject of his study, linking practical outcomes in a virtuous circle. “



Gregory Hayman is an artist member of Studio 1.1 Gallery in London and has a hybrid practice examining the themes of looking and memory often through the prism of Art History. He has exhibited widely in the UK and overseas. Hayman’s practice is underpinned by extensive research and he produces a range of ‘epistemic objects’ or ‘research artworks’. In other words, he makes artworks to investigate the subject of his study, linking practical outcomes in a virtuous circle. This spring, Hayman has exhibited work at Fountain17, a Hull City of Culture exhibition, alongside artists including Assemble, the Turner Prize Winners from 2015. ( collaborators/artists/ )

CONTACT Vimeo: Website:

Public Collections : The Castle Museum, Norwich NUA Norwich University of the Arts Rhodes University South Africa University of Dundee OsakaCollege of Art and Design Kyoto


COMFORT Works : Comfort Year: 2015 Length: 3 minutes 16 seconds

“The film ‘Comfort’ is part of an on-going project about our emotional responses to ideas of luxury and externally constructed reassurances. ... distort the assumptions imposed on us about eating, cooking, food and the illusion of comfort that these things provide.”



The film ‘Comfort’ is part of an on-going project about our emotional responses to ideas of luxury and externally constructed reassurances. This particular film is my personal response and invites the viewer to experience 3 minutes of images that distort the assumptions imposed on us about eating, cooking, food and the illusion of comfort that these things provide. My work generally uses psychoanalytic themes as a springboard for exploring visual representation. I use a variety of media, mostly printmaking and stitch.

CONTACT Email: Website:


BIGFOOT ISLAND Works :Bigfoot Island Year: 2017 Length: 9 minutes 43 seconds

“Bigfoot Island, suggests a children’s television show that might have existed between the channels, a reconstructed diary of channel surfing from my childhood. These still and moving images, created with a blend of analog and digital processes, function both as dioramas to be observed and as a secret distant world you might explore in person, “



Michael Lewy is an artist who works in a variety of media including photography, video and computer graphics. He received his MFA from Massachusetts College of Art in 1996; He has been working at MIT as an office adminsitrator since 2000 and also works as an illustrator for such clients as the New York Times book review and HiLow books. He is the author of Chart Sensation, a book of power point charts and has shown at the deCordova Sculpture Park and Museum, the Pacific Film Archives and Carroll and Sons Gallery in Boston. He currently lives in Jamaica Plain, MA with his wife and daughter.

CONTACT Email: Instagram: Website:

This series, Bigfoot Island, suggests a children’s television show that might have existed between the channels, a reconstructed diary of channel surfing from my childhood. These still and moving images, created with a blend of analog and digital processes, function both as dioramas to be observed and as a secret distant world you might explore in person, if only you could find your way there.


WHAT A BRIGHT DAY Works : What a bright day. Year: 2016 Length: 2 minutes 04 seconds

“My artwork based on a digital found material from different landscapes and times. ... The diverse fractals consolidate to an idea offering an emotional associative surrealist plot an aperture for the subconscious, a place for exploration.�



My artwork based on a digital found material from different landscapes and times. I pick them as they are when I bump into their natural habitat. It can take a few years before I have all the modules to edit the video art. The diverse fractals consolidate to an idea offering an emotional associative surrealist plot an aperture for the subconscious, a place for exploration. Digital Camera and sometimes even the smartphone camera, offer me to engage my love for outdoor sport and art, to develop my unique experimental artistic language. Outdoor, Nature, landscape, are my source of inspiration and my video characters. From a collage of places and time, I weave a unique plot, an experience for the viewer to dive into. Parallel to my artistic practice, I am a brain researcher investigating the impact of association and emotions on memory, I find it thought-provoking to deal with intellectual ideas while arising association and emotions. In this path, I am using visual analogs: similes, metaphors, offering the viewer a platform to challenge diverse emotions as pleasure, grief, hope, power, peace and more.

CONTACT Email: Website:

“What a Bright Day” was taken in Venice Italy at Burano Island. I was invited by the GAAF to participate at 2015 Venice Art Biennale. One of the days I was visiting Burano Island. Immediately on landing, I was captive by the island colorful strong colors. It was a cloudy rainy day. Suddenly I have heard a Japanese lady said to her friend “What a bright Day”...From my sunny land, it was  sound peculiar... it made me think that all is in our eyes, association, brain; we see the world the way we choose to see it. So I choose the bright perception day ...Thank you, Japanese lady...and thank you free creative music for your wonderful music.


SPACE Works :space Year: 2017 Length: 4 minutes 19 seconds

“I try to create as intimate a world as possible with my work, to make people de thaw on the inside, if you like. The photographs and video footage is of actors and poets in Paris which I shot last year. The music is by myself, singing and lyrics with Kit Downes on cello and producing the track, from an album called Without you I’m nothing, out on Babel in the autumn. “



PH21 gallery Budapest,2016 LOOSEN ART EXHIBITION 2016 Brighton Fringe Group Show Summer 2016 F STOP MAGAZINE, BODY AND HAPPY ACCIDENTS 2016 DARKROOM GALLERY ,HAUNTED 2016 PH21 Gallery, Budapest, Hungary .Solo Exhibition competition, December 2016 . Honorable mention-Heart Off The Hook  Month of Photography Los Angeles Group Show ,Lucie Foundation 2017 OXYGEN | Bogotá 2017 International Experimental Video and Performance Art Festival January PH21 Gallery, Budapest, Hungary.Feminine / Masculine Exhibition, Honourable Mention, Jan-Feb 2017 Group Show Portraits, Blank Wall Space , Athens.4 Feb-17 2017 Beyond the Selfie , SE Centre of Photography. Feb 2017 NYC4PA group show at Jadite Galley April 2017 PHOTOPLACE GALLERY ,Alternative processes exhibition ,DAn BUrkholder juror,April 2017 PH21 GAllery group show SCapes, April 2017 Float zine group show HOME April 2017 Patagonia PHoto festival April 13-17 2017 Viewpoint gallery,Halifax, Nova Scotia, image Hope shown, August 2017

CONTACT Email: Website:

AWARDS Best eleven self-portrait series, “You and Your Selfies”, Lensculture, 2014 Honorary award, Moscow Foto Awards, “Destination Love”, 2014 Honorary award, Julia Margaret Cameron prize for Children,Portrait and Fine Art category Honorary award,LA curator Secrets and Mysteries,2016 Melbourne Photo Award finalist, “Late Husband”, 2016 nominated by Rogar Ballen Black and White Spider Award ,Fine Art Category 2016 Honorary mention. 2016/2 SOLO competition at PH21 GalleryHonourable mention Photoplace juried exhibition Composed, juror Sam Abell NYC4PA jurors selection chosen by Mark Sink ,Black and White 2017 Winner of LA Curator, What Remains competition, with Late Dad. 2017 Photo place, Vermont Alternative Process exhibition,juror Dan Burkholder. One of the 12 winner of the Viewpoint International Photo Competition, with HOPE. Fotofilmic17 spring shortlist winner.

UPCOMING EXHIBITIONS! STIMULUS JUN 26th - JUN 30th The Municipal Art Gallery of Piraeus, Address: 29 Filonos St Iroon Politechniou 91, Pireas Greece 185 36 Phone: +30 210 4101402




Stimulus is a touring exhibition hosted by Art.Number23 and will be held at The Municipal Art Gallery of Piraeus from the 26th of June – 30th of June, we hope to see you there, here is a little about the venue. It is housed in the newly renovated post office of Piraeus, an elegant neoclassical building of the early 20th century. It started operating in 1957, initially as part of the Municipal Library and since 1985 as an independent department. Its rich collection includes 837 works of famous modern Greek painters and many younger

Image sourced The Municipal Art Gallery of Piraeus website.

artists. The Municipal Gallery also owns a collection of 80 sculptures of George Kastriotis, the collection of 156 works of the folk artist Stamatis Lazarou and the donation of personal belongings of the famous Greek actor Manos Katrakis. The gallery hosts periodic art

Email: Instagram:: Website:

exhibitions, lectures and other cultural events.

This is an E-Exhibition Guide created to save the trees, this guide is hyperlinked to artist pages, click a name and go to their websites and don’t forget save our trees!

© All Images Are Copyright of Exhibiting Artists, 2017. © All Images Sourced Copyright of Businesses and Galleries, 2017. © Design Copyright of Gemma Land and Ravinder Surah, 2017.

Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.