Discerning The World of Arts
“The Rainforest” by Lara Julian
Abstract | Cubism | Expressionism | Figurative | Fine Art | Modern
Editorâ€™s Letter Dear Readers, I hope that you are all well and that you have enjoyed the summer greatly. Once again, I am delighted to have the immense privilege to present a selection of extraordinarily talented contemporary artists. They all paint in a unique way, but they are all formidable! I believe that variety is important in an art publication as each art lover has a different taste. If you are a new reader of The Discerner, you will see that each artwork is supported by a small trolley that links to our online art gallery where you can browse through a large variety of artworks. You can purchase artworks directly from the gallery but you can also contact the artists if you wish to discuss further about their works. And congratulate them too! I know all of them personally and I can assure you that they are all wonderful men and women. I truly hope that you will enjoy our September issue and that you will find an artwork that could enhance your interior tremendously!
Kindest regards Celine Gaurier-Joubert
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Sarah Jane Brown
Lara Julian Lara Julian is a contemporary painter from Siberia who lives and works in London. Since leaving a successful career in banking in 2013, Lara has devoted her life to art. She has studied at the Slade School of Fine Art in London and the New York Academy of Art and has exhibited widely in both group and solo shows in London, Venice and New York. Working with a vivid layered palette, Lara creates paintings that are delicate, strong, poetic and transformative. Her visually arresting work externalises transitional periods of the artist’s life, with a style that combines both elements of figuration and abstraction. Each painting is an interior landscape made up of a highly textured surface that explores the breadth of human emotions. Inspired by nature, poetry and the cycles of life, Lara’s richly coloured and meditative paintings invite the viewer to reflect on what it means to be alive.
My work is an exploration of the complex human condition. Employing a diverse range of media, I seek to visualise the journey of life through a delicate balance of abstract and figurative elements. There is a fragility and strength inscribed in each canvas, with gestural brush strokes epitomising the energy and duality of existence. My work is confessional and intimate, with the process of creation instinctive and cathartic. I want theviewer to go on this journey with me, to connect with the emotional states evoked in each work and to discover truths about themselves.
EXHIBITIONS • The Expanded Field of Drawing, recent works, The Slade School of Fine Art, August 2018 • City of Darkness and Light, The Art Gallery Gallery 508, Kings Road, London, November 2017 • Amsterdam International Art Fair, Amsterdam, 24-26 August 2017 • Unity in Variety VII, The Nehru Centre, Mayfair, 10th July • Language, Framers Gallery, Fitzrovia, 26 June – 2 July • Viva Arte Viva, Venice Art House Gallery, Venice Italy, 1-22 June 2017 during the 57th ART FAIRS • “Expressions” Solo Private Viewing, Mayfair Apartments, London, 26 April 2017 • ArtExpoNew York 2017, New York, 21-24 April 2017 • Bath Art Fair, Bath UK, 7-9 April 2017 • Oxford International Art Fair, 24-26 February 2017 • Royal Art Prize Exhibition, Royal Opera Arcade Gallery, London, 21 April – 5 May 2016 • Autumn Group Show, La Galleria Pall Mall, London, 3 – 10 October 2015 MEDIA • The British Vogue, November 2017 • The Quintessentially Magazine, October 2017 • The Resident Magazine, April 2017 • The Discerner Magazine, April 2017 • Global Art Agency Interview, February 2017
“Surface of Mars” Acrylic on canvas 100 cm x 100 cm
“The Rings of Saturn” Acrylic on canvas 100 cm x 100 cm
“The Light of Mercury” Acrylic on canvas 100 cm x 100 cm
“Venus” Acrylic on canvas 100 cm x 100 cm
These exquisitely electric paintings reflect the infiniteness of the universe and the emotional states that compromise our own internal universe. The acrylic on canvas series seek to visualise that which was not witnessed by the human eye; a mysterious phenomenon that catalysed the start of time. All paintings have an autobiographical aspect that reflects the inferiority of one’s self.
Interview with Lara Julian What is the main inspiration for your work? I take great inspiration from people in history that I admire, such as Alexander the Great and Peter the Great, both rulers of great empires. I particularly admire Raphael’s shapes and the process of his art, and the way in which his work can be understood simply by observing, so for me it is very important to come back and look at his work, not just for inspiration but for relaxation. Damien Hirst is also an inspiration to me, I love his work and his ability to apply business to art. Moreover, the British artist Cecily Brown is an inspiration to me as I often find myself relating to her. She now lives and works in New York, which is something that I hope do in the future. I had originally moved to New York six years ago, however I found it a very challenging city and moved to London, with it’s less tall architecture I feel it is a much easier city to navigate yet so full of amazing art. What made you change from your career in finance to become an emerging artist? When I studied my first degree in Russia it was in International Relations that focused on Europe. Already I had a feeling connecting me to Europe which I didn’t understand at the time. My family are all very artistic people, my father is a figurative painter, my mother is an art historian and in 2000 my family left Russia and moved to Spain. However, it wasn’t until I travelled to Italy in 2009 that I became inspired by Florence, Rome and Venice that I came back to painting. I had become passionate and hungry to see more art and artists around me, so when I returned to Russia, I divorced my husband and moved to New York to pursue my career as an artist. I believed I could achieve the American dream and become a successful living artist. I studied at the New York Academy of Art, and eventually moved to London to further my artistic studies at the Slade School of Fine Art. How has your creative upbringing shaped your career/work as an artist? Since my father was a figurative painter, my mother an art historian and my grandmother a poet, it seemed natural for me to also pursue an artistic career. Growing up in Russia there was a lot of classical art, such as Shishkin and Kandinsky and I visited the Hermitage in St. Petersburg a few times prior to becoming an artist, which is truly one of the great art collections. I also spent my childhood reading art historical books, my favourite being a biography of Vincent Van Gogh, and despite my young age, I appreciated his story of love and suffering that he translated into his abstract colourful works. Although I was financially successful in my banking career, I didn’t feel the same passion as I did towards art, and given my family’s background it was very natural for me to come back to art after abandoning it as a young child. What is your most proud achievement since becoming an artist? I was fortunate enough to show my art at the 57th Venice Biennale. I had an amazing space in which I displayed five large scale works and it was a great experience for me as an artist. I’m also very grateful to the followers I have on Instagram and Facebook who appreciate my work, it’s a great that I can use technology as a way of introducing my work to people all over the world. I would also say my earlier work was also a great achievement for me at the time because I was able to explore the different transitional periods of my life and translate that into art. How long does it take to create one of your paintings? I produce my work in series and each series is made up of six paintings. I believe six paintings together as part of a series allows me to tell a story and experiment with many bold colours that I couldn’t necessarily use together on just one canvas. Each painting is very layered and textured, therefore the process of producing my work can take a while some time to complete. When building the layers of paint, I tend to opt for acrylic as it is a flexible material thus allowing me to work immediately onto the canvas from a pre-visioned image in my mind. This process also allows me to think big, as I consider each canvas as a way for me to express my universe. I am currently working on a new series that I’m very excited about, it consists of four large scale works (210cm x 185cm), five slightly smaller pieces (2 x 1.8m) and twelve smaller pieces (of 1x1m). It can take me up to a month to complete one of my larger pieces and a few weeks for a slightly smaller painting. It is also important to note that my studio space is within my living space, therefore I always come back to my paintings and noticing them in different ways. This leaves room for constant improvements and adjustments, however as Andy Warhol had once said, “the painting is finished when it is sold”.
“The Rainforest” Acrylic on canvas 200 cm x 180 cm
Alice Rich Alice Rich has studios in both Vancouver and on Gabriola Island, BC. She graduated from the University of British Columbia and the Emily Carr University of Art & Design. Alice exhibits her artwork in British Columbia and her pieces are included in numerous private and public collections, in Canada, USA, Europe and China. She is the owner and resident artist of Studio 13 Fine Art, a working studio/ gallery located on Granville Island, Vancouver, BC. Her large, semi-abstract paintings explore themes of impressions of place and interconnectivity through interrupted landscapes, while capturing the colour and energy of her pacific coastal environment. Alice is a member of several arts organizations and has been involved in the local arts community in the capacity of gallery administrator, publisher, and educator.
In my Interrupted Landscape series, I explore the interaction between humans and their natural environment. Living in Vancouver, BCâ€”a city of spectacular mountain and ocean vistas punctuated by glass and steel linear structuresâ€”one is constantly confronted by the proximity of nature and the gradual reshaping of our urban ground, sea platform and skyline as a result of human expansion and its accompanying infrastructure. In Interrupted Landscapes, I look at paths cut through the landscape for densification and development as well as the shifting chemistry of our oceans and atmosphere and I attempt to find a sublime beauty and visual order in these economically compromised vistas while also contemplating the difficult environmental questions they pose. This is a vision of landscape painting that articulates the conflicting beauty of our altered environment. Clean, precise lines and rectilinear forms cut through loose, emotive colors and brushwork, segmenting the natural world into bands of sea, earth and sky; exploring the tensions that exist between order and chaos, the natural and man-made. An intellectual engagement with my medium is reflected in compositional choices: structural divisions and the arrangement of flat or defined bands and boxes of color. The segments, the linear dynamic and horizontal planes, create barriers and boundaries as they divide our spaces. With these elements, I address the tradition of abstraction and attempt to guide and impose order upon my intuitive impulses and emotional responses to place. These elements also provide navigational frameworks for the viewer with which to read and understand the work. However, undulating within the segmented spaces, my loose, organic brushwork prevails; an authentic expression of the energy and freedom of creativity.
“Land Bridge” Acrylic on canvas 61 cm x 122 cm This landscape is punctuated with the soft flowing element reminiscent of roadway while it intercepts and gives conditions of passage. There are a few entry areas to transition into the background.
“Across” Acrylic on canvas 46 cm x 183 cm The piece is gently infused with geometric elements, which are symbolic of man-made forms and borders of lots and plots within the natural world.
Barbara Krupp I was born in Elyria, Ohio, a small town in northeast Ohio. After graduating from high school I trained as an x-ray technician. As a self-taught artist, I place the beginning of my profession career in 1976, when I both gained my first gallery representation in Rockport, MA. and had a painting accepted into the permanent collection of the Massilion (Ohio) Art Museum. Through the venues in which I chose to exhibit, my paintings to date found their way into dozens of private and public collections throughout the world. As I eventually broadened my personal outlook through travel, my artistic horizon widened, as well. I have studied with many well known artists including Graham Nickson, a painter educated at the Royal College of Art in London.
A recipient of the Prix de Rome and Harkness Fellowship at Yale University, Nickson is celebrated for his monumental canvases with figural abstractions. Since then my large paintings in acrylic on canvas have has become more minimal and my color more sensuous. My current work is a culmination of all I have learned to date, after decades of commitment to the practice of my art. For me they are also an exciting new beginning in my search for a totally abstract form of expression.
I just start working with colors because I’m really a colorist. I know what goes with what, I have my feelings and I just want to get everything flowing, and the color working great. I trained to be an x-ray technician. From that time on, as T.S. Eliot wrote in his “Whispers of Immortality,” I have seen “the skull beneath the skin.” The structure of the painting is very important to me, and in my most recent series I have, in a manner of speaking, allowed the bones of the painting—both compositionally and metaphorically, become the painting’s’ subject matter. Georgia O’Keeffe, whose early 1940s series of pelvic bones enclosed spaces that later in the decade became forms themselves, I found the areas of interest in my own landscape and floral abstractions to be the atmospheric spaces between forms. I came to realize that the significance in my paintings was not in the forms, but in the spaces in between them. In my “Abstract Stories” series, those atmospheric spaces became increasing bounded by spontaneously drawn shapes. Painted in shades of ochre-tinted white –the color of bone-- the enclosed spaces began to take on shapes that suggested something as intimate and normally hidden as bone; organic shapes that suggest body parts unveiled here and there as though to tease a lover. T.S. Eliot ends his poem with, ”Our lot crawls between dry bones to keep our metaphysics warm.” I explore the interface between passion and the intellect, pulsing tissue and desiccated bone. Our lot may be to crawl through our mortal span but, like the poet, we also sing.
“Stoney Marsh” Acrylic painting on stretched canvas 76.2 cm x 101.6 cm x 3.81 cm “Skip over the stones and join the fantasy life of a nymph with winged sandals”
“Gardening At Midnight” Acrylic painting on stretched canvas 76.2 cm x 101.6 cm x 3.81 cm It would be fun, gardening under the moon with the frogs and crickets
Caia Matheson Caia Matheson is an award-winning contemporary oil painter based in Brighton, UK. She was born in Johannesburg and educated in Tokyo and London. Matheson has exhibited widely in the UK, and has been shortlisted for numerous awards, including winning Brighton Artist of the Year in 2004. Matheson painted Europe’s first Rainbow Pedestrian Crossing Brighton in 2014, and in 2013 her work was selected by author Neil Gaiman for the book A Calendar of Tales. Matheson is inspired by wabi sabi, or the beauty of imperfection.
For Matheson, painting is a very physical process. She loves to mix paint mediums and experiment with the effects. This, for her, can be the most exciting part of the creative process. Her mediums are oils – tubes of oil paint, oil bars, oil pastels and mixtures of oil paints and dyes. She enjoys the texture consistency and smell of them. Matheson paints with her hands and washing-up sponges onto canvases laid flat on the floor, building and scratching off layers of oil paint to create a world within worlds. The layers are designed in a way to expose different subjects of the composition. These subjects are buried in the dark and light spaces and come out and disappear as the light changes presenting different aspects depending on shifting light conditions and mood. My work is about words and verse from all sources such as radio plays audio books stories song lyrics and poetry. I get such great pictures from words and translate them into my work as a visual narrative. I begin painting with a specific colour that I have in my mind’s eye. I then introduce other colours and begin to build layers on the canvas. These layers are then scratched off and layered over again like a palimpsest literally meaning ‘scraped clean and used again’. I love the idea of previous markings that are not visible but are still an inherent part of the composition. I consider each successive layer a generation to populate or depopulate the canvas as needed and create my own world as I go. I like to create a world within worlds. As a kid I used to be fascinated by the Lowly worm in the Richard Scarry books. I loved scouring each page to seek out that worm and when I found it I would feel most content like I had discovered a piece of secret truth that would uncover all the answers to my questions about the universe. There are some Lowly worms in my abstracts albeit in symbolic form.
“Jubilation” Oil and dyes on hand stretched canvas H 150 cm x W 153 cm x D 5 cm
“A bird cried jubilation. In that moment they lived long. All minor motions were stilled and only the great ones were perceived. Beneath them the earth turned, singing.” Sheri S. Tepper, The Revenenants
My work is about words and verse from all sources such as radio plays audio books stories song lyrics and poetry. I get such great pictures from words and translate them into my work as a visual narrative. I begin painting with a specific colour that I have in my mind’s eye. I then introduce other colours and begin to build layers on the canvas. These layers are then scratched off and layered over again like a palimpsest literally meaning ‘scraped clean and used again’. I love the idea of previous markings that are not visible but are still an inherent part of the composition.
David Henty With more than twenty-five years experience replicating great works of art, David Henty is nowconsidered the world’s best art forger/copyist. He has considerable expertise in convincing the viewer and art experts, having mastered the techniques and idiosyncrasies of some of the most iconic artists, from Michelangelo and Caravaggio through to Pablo Picasso. Each piece involves rigorous preparation through David’s immersive research process, studying the original painting, developing an understanding of how the artist worked, and sourcing materials true to the period.
David Henty’s history as a copyist/art forger starts, appropriately enough, with a conviction for forgery, more than twenty-five years ago. It was while serving the resulting prison sentence that David’s passion for art was rekindled. Quickly seduced by the technicality of copying, he has honed his craft to perfection, establishing a thriving legitimate business. David explains that his is a very different discipline to producing the original artwork, and that copying is notoriously difficult. Mastering an artist’s unique style, however, is a challenge he embraces. It is only once he’s developed an affinity with the artist, that he’s connected with him or her that he will attempt to emulate their style. This means that David’s preparation for a painting begins even before his brush touches the canvas! Prior to starting work on a piece, David will delve into the artist’s life and thoughts in order to get beneath the skin of that person. He derives huge satisfaction from deconstructing a work and analysing how to lay down each stroke, as well as mixing the perfect palette. There is the upmost importance of copy artists in the art world, to produce works of the greatest artists that have every lived. Once this art form has gone it will be lost forever. David Henty produces his highly collectable paintings for enthusiasts and private collections around the globe. Each original piece is presented in its own bespoke, handmade frame and signed on the reverse by David to certify authenticity. A star in his own right, David’s copies have come to the attention of high profile media channels such as The Sunday Telegraph, the BBC, and Radio 4, who’ve all run articles on him, as well as an appearance on the Sky Art channel, Sky News and many more. David also speaks on his specialised field of art forgery. There is also a book in process and a film about David’s life. Hereford Films is in the early stages of producing the film based on the life and crimes of David Henty. The working title is “Picasso Before Breakfast”. The script is being written by the one and only Nick Moran, the actor and producer, known for Lock, Stock and Two Smoking Barrels, Harry Potter and The Deathly Hallows and The Musketeers to name but a few! “Arguably the worlds most celebrated copyist” - Stratford words and music festival.
Pablo Picasso: Good artists copy, great artists steal. DAVID HENTY does both!
“Rembrandt van Rijn” Oil on canvas 83.5 cm x 66 cm From contemporary to historical masterpieces, David showcases his diversity with one of the greatest – if not the greatest portraitists who ever lived. Rembrandt van Rijn.
Emma Davis Emma Davis lives and works in London. She holds an MA degree in Literature and in Fine Art from studies at the Slade School of Fine Art, Chelsea College of Art and the University of York. This year, she returned to India and Antibes as Artist in Residence. She was recently selected for the London Creative Network, the London Intensive (run by the Slade School of Fine Art and Camden Arts Centre), and was shortlisted the ArtSlant International Prize, National Art Prize and the Royal Academy Summer Exhibition.
Emma Davis is a writer and a visual artist. Led into abstraction, she is greatly influenced by Howard Hodgkin, as well as by Japanese block prints and Chinese pottery. She works across a variety of media, including oils, watercolour, etchings, monoprints and pencil on paper, but all of her work really relates to drawing, an activity she finds somehow intimate. An avid traveller herself, she draws a lot on public transport, or at galleries and concerts, where people are lost in their own thoughts, their private worlds on public display, absorbed and unselfconscious. Etching makes the drawings easier to read, more permanent, more finished. Davis often adds text to her works, making reference to what is in her head, what an image suggests to her, or what sensation is conjured. The act of drawing slows her down, allowing her to access her thoughts more directly. Similarly, her watercolours are mainly about the effect and meaning of line â€“ an abstract quality but one that refers back to pictographic languages and calligraphy. Her palettes are intense, reflecting heat, a jangle of colours reacting to one another. â€“ Anna McNay.
â€œBlue Boyâ€? Oil on paper 29 cm x 21 cm
This portrait expresses a moment of loss and nostalgia. My work has been featured in an article in White Noise magazine: http://whitenoise.city/articles/artist-profile-artwests-emma-davis-on-rejecting-a-standardised-life
Frederic Paul Frederic Paul is a half German, half Filipino contemporary artist. Born 1993 in Munich. He lives and works in Munich and Landsberg am Lech. In the sensitive and poetic artworks of the young painter Frederic Paul, one recognizes his Asian roots as well as the great talent to bring his feelings into his works. Profound, expressive, with elaborate mixing techniques and a coherent overall composition. He is inspired by the bold colours, spices, floral diversity and intensity of Asian cities. Using a range of media, such as bits of canvas, rice paper, acrylics and oil colour, Paul brings his painting to life with a three dimensionality and depth. After his first appearances and his first exhibitions he will devote himself to his art and consistently continue his series “Faces” and “Asia”. He has exhibitions in Germany, London, Belgium, Portugal and soon in the USA.
I want my art to set people’s feelings free, to create a true communication between my art and its beholder.
“Balian Reef ” 2018 Oil,Pigment,China-Ricepaper on stretched canvas 160 cm x120 cm At the moment not for sale
“Plumeria Fields” 2018 Oil,Pigment,China-Ricepaper on stretched canvas 160 cm x120 cm At the moment not for sale
Georganna Lenssen Georganna Lenssenâ€™s paintings are evocative and mysterious in natureâ€”they merge instinct, memory and sensation, creating a visual language of mark-making, color interaction and ultimately a landscape of painted surface. Gallery representation includes South Street Art Gallery in Easton MD, J.Cacciola gallery in Bernardsville NJ, and Red Raven Art Company in Lancaster PA. She exhibits regularly and also competes in plein air events including the prestigious Plein Air Easton and Paint Annapolis. She will be competing in Cape Ann Plein Air in October. Originally from Seoul, Korea, Georganna studied at the Pennsylvania Academy of Fine Arts and Villanova University.
The work of contemporary artist Georganna Lenssen draws inspiration from the natural world, then steps into a realm so unique and individual it cannot be bound by the representational. While constantly referencing nature, she creates images which are ambiguous, sensual and evocative. My work presents the culmination of response, absorption and interpretation of place or content. From exquisitely patterned African wild dogs to densely sensual, frosted cakes to the evocative nature of abandoned structures and the secrets they house within â€“ a thread of commonality exists - the multi-faceted richness of imagery. Opacities, transparencies and iridescences offer a myriad of painterly opportunities. Here is where instinct, memory and sensation merge for me, creating a visual language of mark making, color interaction and finally the landscape of the painted surface. My process is phenomenological - with no planned goal in mind, I relinquish power to my materials, intuition and emerging imagery. I continually push my boundaries to seek out the unfamiliar. I may work on a painting for weeks, only to turn it 180 degrees to finish it. Painting is an interactive process for me - a sort of dialogue between myself and the work . The abstract qualities of my paintings are always anchored by references to the representational, however if my subject becomes too articulated, I will deconstruct it. I will create chaos so that I can reconstruct a different kind of organization. Scraping down entire paintings or working over previous pieces increases the depth and complexity of the image and its narrative.
Painting is my life and my passion - it is through paint that I process my world.
“Still Life with Mandarins” Oil on canvas 76.2 cm x 76.2 cm Lush landscape of color, shapes, textures and patterns, with Mandarin Oranges, my favorite fruit
“Washed in Light” Oil on board 162.56 cm x 162.56 cm Stopped to paint along this exit ramp on my first drive to Tennessee
“Reflecting Light” Oil on canvas 91.44 cm x 182.88 cm A moment of light floats in a landscape richly layered with marks, textures and colors
Lou Hamilton Lou sells to collectors worldwide privately & through the online gallery Saatchi art. Her work has been commissioned for site-specific projects, won prizes and exhibited in both group and one-woman shows. She studied at Byam Shaw School of Art and Chelsea College of Art, graduating from both with Distinction. Her conceptual work was followed by welding scrap steel and wielding an early video camera, and the TV/film industry seduced her while she raised her kids until she finally returned to painting and drawing. Her book of drawings “Brave New Girl” was published in 2016 and her new illustrated self-help book Fear Less is out in April 2018. Lou’s exhibition The O Show was included in The Other Art Fair March 2018. She is a life Member of the Chelsea Arts Club.
Lou Hamilton’s new series of abstract landscapes are painted in inks & acrylic on textile & stitched with her character Brave New Girl (from her book). These diaphanous, ghostly pieces hang as flags & prayer-flags unframed away from the wall to allow light & breeze behind the paintings. But the ephemeral quality of the work belies its serious nature. Lou explores, with paint and a trail of stitches from the steps of Brave New Girl, the balance between War & Peace, the landscape past & present. The centre-piece is a 9ft high triptych “Tricolour- Helmets, Headstones & Poppies” influenced by Lou’s recent filming trip to the battlefields of the Somme. The left panel is mainly blue and consists of sky, a field of soldiers’ green helmets from the First World War, over a path with fresh green grass where new beginnings grow. The middle panel is predominantly whites with a pale sky over a cemetery of white headstones for the unknown and known soldiers who died and at the bottom a white space for us to write our own future. The third panel is painted in strong reds, with a burning sky above and blackened and bloodied earth below and in between bright red poppies of hope, freedom and peace. As a whole it represents the French flag in commemoration of those who died on French soil. Smaller abstract landscape paintings on fabric are hung close together and resemble prayer flags. Painted mainly from imagination they flow from the horror of war-scarred landscapes to the more peaceful abstract landscapes of modern France. She paints on fabric with acrylic and inks and then when it is dry she sews a trail of stitches to symbolize the interaction of humans on the earth. All her works are signed off with an embroidered Brave New Girl. Included in the exhibition is a series of framed abstract watercolours either of the past battle torn land, or the landscape as it is today. Lou paints a watercolour every day as part of her creative practice. Sometimes she works from life and at other times from her imagination. She works with oil pastel first then paint, often allowing the water to bleed the colours and let them drift across the paper. Lou continues to paint oil on canvas but explores a way of creating more sculptural pieces using other materials in these works, whether it be bits of plastic, cardboard, plaster or twine. Across the three panels she draws a hesitant line showing human traces across the land. Her triptych Fragile is a reference to the fragility of the earth on which we depend and yet we treat it so badly. Although oil on canvas has more solidity to it, Lou tries to create an ephemeral ghostly feel to this piece; a sense that what we take for granted could all too easily be taken from us.
I hung the exhibition Shooting the Breeze; War & Peace, last night. It will be on from 27th September ‘18 to January ‘19 at The Farm HQ 8 Marshall Street, Soho London W1 This triptych is called “Tricolour: Helmets, Headstones & Poppies” to commemorate 100 years since the end of the Battle of the Somme. Painted with inks & acrylic on Muslin & stitched with a trail from the steps of Brave New Girl.
Triptych “Fragile” Oil, cardboard and acrylic 51 cm x 51 cm each
Life is fragile as you journey through it but if you’re Brave New Girl you tackle the hurdles & keep going
Martin Plumb My name is Martin plumb. I am 67 years old and have been painting since I left school mainly traditional landscapes and seascapes until about 5years ago when my daughter took me to the Tate modern. She opened my eyes to the world of modern/contemporary art with all of its colours, textures and shapes particularly Gerhard Richter and Kandinsky so much so that I now only paint in a contemporary style. My output has increased dramatically painting most days. I am so grateful to Celine and her magazine to allow me to show you my work, such a great concept. I hope you enjoy what you see.
As a contemporary artist one of the phrases I hear quite often when showing people my work is “ I like it but I don’t get it”. I find this interesting because if they like it they are getting something from it, so, is it the painting they don’t get or is it my description of it? So I ask them to forget my description and try to come up with their own which quite often aligns with mine, now the’re getting it. I also think visual art is like music. You hear a tune for the first time and you don’t think much of it. Hear it another half dozen times and it’s in your head and you love it. Same with paintings. How often do you look round an exhibition and keep going back to the same artworks multiple times until the’re in your head and you have to own one.
“Black door” Acrylic on board 76 cm x 64 cm
“Blue striped door” Acrylic on board 74 cm x 58 cm
From a series of 10 paintings through the door to a world of texture and colour
Through the door to a world of colour and texture
“Blue door” Acrylic on board 84 cm x 59 cm
“Yellow door” Acrylic on board 89 cm x 64 cm
Through the door to a world of colour and texture
Through the door to a world of colour and texture
Melanie Wright Melanie lives in the Cotswolds, where her deep affinity with horses and the landscape inform and inspire her paintings. She is well known for her equestrian sporting images in the fields of Racing, Dressage and Polo. Melanie trained as a portrait painter at Heatherleys School of Fine Art in London and carries both her formal portrait painting skills and her endless fascination with depicting movement, spirit and the atmosphere of place, into her artwork. Working in oils, watercolour and drawn media, Melanie’s paintings have been exhibited in London and Oxfordshire and feature in private collections in the USA, Europe and Scandinavia.
For as long as I can remember I have been making art, in the form of drawing and painting. I was born into a family in North Yorkshire, that shared a passion for the countryside, horses and art. Both my grandmothers were art school trained practicing artists. My paternal Grandmother was a gifted watercolour painter, notably of winter landscapes, and my maternal Grandmother was for a time, an illustrator, in London. My Grandfathers were keen riders, and racing enthusiasts, with hunting and polo (in Burma and India) playing a key part in their lives. This background has been an influence on my own creative path, as has the dynamic of enjoying life outdoors, equestrian pursuits and handling horses, balanced with reflective, concentrated periods of study and painting from nature, learning to look and to explore the beauty of the landscape. Following those formative early years, I went to Art School in London. Training firstly as a textile designer and then later as a Fine Art portrait and life painter at Heatherleys School of Art, followed by a History of Art Course at Christies Education. I was particularly drawn to and inspired by artists from the Modern British Period, such as Ivon Hitchens, Paul Nash, John Skeaping and Alfred Munnings. For a number of years I ran a portrait studio and teaching practice in London. After moving away from the city, to North Oxfordshire, in 2008, I reconnected in some ways, through my painting to those early influences and have focused on equestrian painting and landscape subjects ever since. The Cotswolds provide an endlessly rich source of inspiration, offering such a fantastic variety of equestrian sports, and of course the stunning landscapes. Working in oils, watercolour and drawn media (occasionally mixed media), my approach is unashamedly old school. I like to work directly from the subject, wherever and whenever possible, filling sketchbooks with observations, studies and ideas. This approach proved particularly rewarding when ‘Artist in Residence’ at specific locations, such as a racing stables, racetrack, or national park. I relish the opportunity to build a connection over a period of time with both ‘place’ and ‘people’, observing the day to day activities and variety of subject matter, that residencies present. Occasionally, alongside painting for exhibitions, I work to private commission, notably for equine portraiture. My two main category subjects, while being on the face of it, rather different, work both independently and combined in a painting. Much of my landscape painting is carried out spontaneously, on the spot, on a small and intimate scale, through multiple studies. Larger landscape pieces are developed further later on in the studio, away from the subject, with a focus on memory and surface interest. Both ‘equestrian’ and ‘landscape’ provide me with the inner connection and outer movement I am searching for. My aim is to capture the fleeting moment, be it dramatic or meditative in nature. This could be the charge of horses across a polo ground, or around a racetrack, or the shadows of overhead clouds scudding across a valley bringing a rapid change of light and atmosphere. I look for the palpable energy and my own emotional response. And ultimately, this is what I feel compelled to engage with, to continually explore and to create through my art.
“Summer Grazing” Original Watercolour 10 cm x 26 cm image size image size 32.5 cm x 47 cm, including a deep bevelled white mount and plain limed oak frame Also available as an unframed high quality limited edition print (edition of 25), on watercolour paper, hand signed by the artist
“Grazing Greys” Original Watercolour 10 cm x 26 cm image size image size 32.5 cm x 47 cm, including a deep bevelled white mount and plain limed oak frame Also available as an unframed high quality limited edition print (edition of 25), on watercolour paper, hand signed by the artist
These two small scale watercolours are inspired by many days of painting out in fields, with groups of horses grazing all around me, during the summer months, while they are turned out to grass. There is an intimacy created in being among them, quietly observing, over a prolonged period. They accept my presence and are occasionally curious and come up to rootle through my painting bag and nibble at the brim of my hat, looming large over me as i paint. At other times they are away into the distance, becoming very much a part of the landscape. I love to observe and capture the dynamic of the horses movements and interaction as a group, as they mooch and graze around the paddocks. These paintings represent a peaceful interlude, with the horses off duty , relaxing in the summer sunshine. It is the shapes, relationships and rhythm of movement and composition that fascinate me, as i search for an image that breathes life and energy, while departing from a strictly representational approach and taking the subject into a lyrical and imaginative space.
Michael Boffey Michael Boffey was born in Liverpool in 1971. He trained in Fine Art Painting at Loughborough College of Art and Design (1991-1994), and received an MA with Distinction in Fine Art from De Montfort University, Leicester (1995-1997). He has participated in the touring shows Flora, (with artists Emma Bennett, Anya Gallaccio, Ori Ghersht, Owen Griffiths, Ann-Mie-Melis, Jacques Nimki, Yoshihiro Suda, and Clare Twomey) and Fleursdumal in London. His work has been exhibited in many group shows including Saatchiâ€™s New Sensations/The Future Can Wait, at Victoria House, Bloomsbury Square, London, and The National Open Art, London. Michael currently lives and has a studio in East London.
According to psychopathologists peopleâ€™s abiding tendency is to avoid confronting loss. Instead, they cherish it by refusing change and subject the relics that remain to endless emotional ransacking as a continuation of their own withdrawal. Imaged in these photographic works of Michael Boffey, these remnants, here in the form of cut flowers and other domestic and ornamental paraphernalia are not superfluities then. These faded fancies have been transformed through various nominal and procedural processes, both gentle and violent, to allow a meditation on reminiscence. The playing fields of memory contain a superabundance of richly complex accounts, sometimes embellished and sometimes faded. Apparently nostalgia is a very bad thing, but despite benign advice about not to looking back, we have little idea of what our world will be like in the future. It seems that coping with the fears and pleasures of now and with those of tomorrow does necessitate acknowledgement of a past. Jean Taylor
“Ghost” Mixed media on wallpaper on board 79 cm x 118 cm
This work is part of series of wall pieces which a feature a patterned textured wallpaper ground. This base texture is coated in photographic emulsion which effectively transforms the wallpapered surface into a light sensitive photographic paper. This surface is then ‘exposed’ to produce the featured image on the textured wallpaper surface. The piece is then further worked/ painted to achieve the subtle faded image.
Michelle Hold Michelle Hold is a German-born artist based in Italy who paints vibrant abstract works inspired by emotion and energy. Her canvases are loud and layered, enticing the viewer to look further and further into their depths. We just love the expressive force of Michelle’s canvases, and we’d recommend them for any interior in need of some punch. The artist, who grew up in Austria, had begun to study architecture when she fell into modelling. On her travels, she took various art and textile design classes. She then worked as a textile designer in Milan before later throwing herself full time into painting. Michelle has held solo exhibitions throughout Italy and in London, and she has participated in international art fairs in Miami, Athens, Milan and Berlin. Her works have featured in group exhibitions across the globe. She has been shortlisted for the RiseArt Prize in 2018.
Art is my life and passion. My work is based on capturing the essence of feelings, emotions and the invisible, eternal energy that pervades in the universe, focusing on beauty and it’s scarcity in current time. I am inspired by nature and new science that meets spirituality. Creating from a place of no time , no space no body in my studio in Italy. Like an architect I love to construct the images with multiple layering, but at the same time leaving space for surprise, for something unexpected to happen, where my dance like gestures encounter the vibrations of color. Color is vital to convey my message of harmony and wellbeing and I am interested in the perception of space and emotion through the equilibrated use of color, which I have trained while working in textile design. Currently I am working on paintings for my solo exhibition for 2018 ‘Color is calling’ where I will elaborate the deeper, silent message color brings and the healing influence it has on us. Color isn’t just color, specially in my paintings it shows a state of mind, feelings and emotions. I aim to offer the spectator a view into special moments of time where all is possible and like my creations to enchant, add to wellbeing and open the mind.
These painting are part of my garden cycle. The colors, shapes and depths in nature are always an inspiration. I love to observe my garden in the different seasons, it’s a wild garden of flower explosions in spring and summer. In Michelle’s paintings color is a living and pulsating entity that offers an agreement between who is painting and who is looking at the canvas, resulting in a profound connection between the inner world of who is looking and the desire of the artist to convey, all searching between the infinite relationship that is inside everybody.
“Never give up” 2018 Acrylics, pigments on canvas 120 cm x 80 cm ‘Never give up’ holds all our wishes and dreams like a vessel. By focussing on the picture of what our future should be we actually create it. Like in a garden, there is no doubt that the flower will bloom.
“Seekers of Joy” 2018 Acrylics, pigments on canvas 120 cm x 80 cm All men seek happiness. This is without exception. Whatever different means they employ. This painting talks about the importance of light, in painting , in life in general. Reminding the viewer to expand their awareness, to take time for spiritual reflection and connect to nature.
Philip Maltman Born in Ayrshire, Philip Maltman trained at Hornsey and Ravensbourne Colleges of Art and ran two successful Art Departments until the end of the nineties combining this with a busy exhibition programme. His work, initially experimental and heavy with text and inspired by meetings with Don Van Vliet, Alan Davie, Richard Demarco and Joseph Beuys, became concerned with figure and landscape through the seventies. A mutual interest in James Joyce led to correspondence with, and a lecture on, Robert Motherwell, in the eighties, culminating in purely abstract works at the beginning of the nineties. After that a return to his childhood home led to work based on the shoreline, natural and man made, which has endured. Currently work based on Aelbert Cuyp and Monet has led to a freeing up of paint and a re-introduction of text.
Philip Maltman was one of 26 finalists from 16,000 submissions worldwide for the Rise Art Prize 2018 Rise Art Prize Judge Stephen Beddoe says: “Philip Maltman’s painting are incredibly accomplished, both technically and through their subject matter and composition. Also great use of paint in itself, the artist is clearly influenced by the history of British culture, in particular English pastoral landscape painting of the Romantic period, through to myth and modernism. The gestural strokes, use of iconography and text also tip a wink to the master, Cy Twombly, and are no less good for that.” Edinburgh Gallery Review’s Vivien Devlin writes: There is enormous energy in these works, (painted over the past decade), where oils literally seem to be dripping with a fluidity of movement. Abstract marks dance over the canvases with a jazzy yet harmonic rhythm. The lack of clarity in each scene excites the eye by having to focus on scattered shapes and thick painterly patterns. Maltman offers a fresh approach to depict the natural world, distilling the original vision down to a fragment of reality. It is for the viewer to assimilate a sense of place and artistic meaning in these imaginatively creative paintings.
I extend my experience and enjoyment of the world by making artworks. This invariably results in chaos and sometimes in an acceptable order, which can be called painting, drawing, printmaking, collage, or photography; generically speaking, an artwork. Artworks for me are about mark making, drawn, painted, scratched, gouged, flooded, scrubbed, stuck, dried or dusted. The mark is paramount whether accidental or deliberate and is recognised as primarily an attempt to convey the accident of passion before the secondary concerns of deliberate representation or composition. Drawing comes first, but photography is often the most immediate form of mark making being instant and comprehensive in trapping the ephemeral for subsequent exploration. I make work, which is about objects or marks on surfaces; my main area of interest is in the aftermath of human intervention in nature. This can be as direct as looking at a beach at low tide or as indirect as using astronaut’s photographs of the earth from space. It can be as indirect as the residue of history or the discoveries of science. “External and internal scanning of the world”, as Robert Motherwell said, “in which, finally, the subject is not the world but the artwork itself ”, which may in turn extend the viewers experience and enjoyment of the world.
Diptych “Rouen, Rose Window IV” Oil on two canvases 100 cm x 75 cm each Largest in a series of works based on Monet’s Rouen Cathedral series
“Lady and Gentleman on Horseback after Aelbert Cuyp” Oil on board 32 cm x 45 cm Part of a series of works based on 17th Century paintings by Aelbert Cuyp
Robert Noreika Bob is a graduate of Paier School of Art and has been a professional artist for forty years. A prominent national award winning artist and illustrator, his paintings hang in both corporate and private collections throughout the United States, Europe, and Japan. In November 2009, the New Britain Museum of American Art acquired for their permanent collection a piece from his “Turtle-esque” series, “Catfish with Turtle”. Bob’s work is also featured in “100 Artists of New England” by Schiffer Publishing. He is represented in numerous galleries and teaches and lectures throughout New England. He has illustrated several children’s books and magazine editorials.
In 2015, Bob became a Signature Member at the American Watercolor Society. Bob is an elected member of the National Society of Painters in Casein and Acrylic, the Salmagundi Club, the Lyme Art Association, the Connecticut Watercolor Society, the Connecticut Plein Air Painters Society, the Connecticut Academy of Fine Arts and he is a signature member of the New England Watercolor Society. Twice, Bob’s work has received awards and selected for the AWS traveling exhibition that toured the country in 2011 and 2013. Bob’s passion for art is matched by a natural talent to paint a wide variety of subjects, highlighted by expressive coastal scenes, intimate woodland pictorials and street scenes. Over the past decade, Bob works passionately on large formatted works on both canvas and paper. These studio pieces incorporate his years of observation, rendering and careful studies of aquatic life. This ongoing series is called “Turtle- esque” expressing gestural fluidity in a semi-abstract setting.
“Turtle-esque” A Series of Aquatic Expression Fluid Acrylics and Beyond “Endless curiosity is what drives Bob’s vision in this quest to capture the stillness above and the symphony below” The Back Story: what grew from a children’s book illustration project to a series that has captivated Bob’s passion for the past decade are his “Turtle-esque” works of art. Bob’s work encompasses the widest variety of technique and texture - pushing the limits to find one totally submersed in his latest works. Bob’s colleagues and collectors have been calling this body of work. “Brilliant! a catch worth pondering and gazing!:” “Marked by a thirst for exploration this series flows from a brush held in the hands of a modern day master” Fishing or canoeing Bob enjoys the opportunity to make micro observations below the water surface. There’s a total aquatic underworld to discover and explore. “Turtle-Esque” begins with this premise, at first in a very non-descript way and then the magic begins. Bob starts to articulate shapes, color, form and various textures which morph into aquatic plants, turtles fish, and frogs.. By suggestions of loose brushstroke Bob strives to emulate the energetic waters and undercurrent - with rhythm and gestural movement. In Bob’s words: “Blue Ascension” is a pinnacle piece in this series. Through a culmination of imagination and masterful techniques fostered over the past forty years Bob continues his artistic quest. As an outdoor enthusiast you ‘ll find Bob freshwater fishing from Maine to the Florida Coast. From the infamous west branch of the Farmington River where you’ll find trophy-sized trout in abundance, to salt water marshes to local ponds filled with turtles and frogs in their natural habitat. Bob’s intimate knowledge of these subjects plays a significant role in heightening awareness of our natural surroundings. One maybe captured first by the vivid display of color but it’s the subtle nuances of activity below that continuously searching for more.
“Kaneohe Bay Dusk” Acrylic on canvas 91.44 cm x 121.92 cm
While visiting Oahu,Hawaii I painted watercolors of this tropical paradise. I was inspired by the “fireflies” of lights that danced throughout the tropical forest come nightfall, and the twinkle of lights in the distance. This visual allowed me to paint Kaneohe Bay Dusk.
Sarah Jane Brown Sarah Jane Brown lives on the rugged Welsh coast, where her environment, and previous maritime career, have instilled a deep affinity with the sea. She studied ‘Fine Art - Painting’ at the West Wales School of the Arts, graduating with a first class honours degree. Brown’s career as a full time professional artist has steadily gained momentum and recognition and her work now attracts international collectors. She has exhibited widely in the UK, has had many successful solo shows. The artist also recently exhibited with the Royal Society of Marine Artists at the Mall Galleries in London and The Royal Cambrian Academy in North Wales. Sarah combines her knowledge of ‘old master’ techniques with contemporary working practice. Conceptually her paintings are an outpouring of personal feeling and a strong sense of place; using the landscape metaphorically to describe thoughts and emotions.
“Our surroundings form a part of us, they shape our perception and colour our thoughts and ideals. For me they are a vehicle to describe more internal aspects of our physical, emotional and spiritual selves. There is something about being immersed in the vastness of the landscape that gives clarity and focus to the space within. My approach to landscape is therefore introspective and intimate. I enjoy the versatility of oil paint, and find it the best medium to convey the varied sensations of being in the landscape; sometimes calm, restorative, or spiritually uplifting and at other times wild, dynamic, rejuvenating and mentally energising. Oil paint is also equally responsive to my internal thoughts and feelings. I walk the coast path or the beach near my home in Pembrokeshire and absorb; meditative space and light, magical junctures of land, sea and sky, endlessly changing colours, reflections and atmospheric conditions. I know it so well, after years of collecting observations it is ingrained. I photograph, make sketches and painted studies to get the landscape ‘under my skin’. In the studio these observations are transformed, becoming more expressive as I engage with the physicality of painting, sometimes veering towards abstraction. My style is expressive and combines a variety of methods; staining, glazing and blending in many layers, gradually building up thickness and texture. Paint is applied with brushes, knives, rags and sometimes fingers. It is painted, scraped, flicked, spattered and poured on, and sometimes off again, until the finished painting emerges. Titles are deliberately ambiguous. They emerge from phrases that cross my mind whilst I am in the studio or out in the landscape, sometimes they are excerpts from poetry, or are often just snippets of my own windswept thoughts.”
“Through thorny haze, sweet pain...” Oil and acrylic on canvas Framed: 115 cm x 115 cm x 4.5 cm
Stephen Schubert LA-based contemporary, abstract artist, Stephen Schubert, is once again coming to the Vail valley with exciting work to show at the all new contemporary 166 Gallery. “I have some amazing, works that explores my reaction to the subtle and massive transitions in life”. Exposed to Japanese garden design at a young age, Stephen has incorporated many of the principals of that culture in his utilization of balance, scale and color. “I was always struck by the phrase,” Kohani Shitagau,” which means,” follow the request.” It is the basis for determining how to begin the design process when creating a garden. I thought, what a great way to create and in fact, live a life.”
Have you ever sat around a table of great, simple food and wine and felt transported? Or gotten lost in a soft focus dream? This is what Stephen likes to explore in his work; finding out where we find ourselves. His process is mostly unconscious. Captivated by themes of transitions and transformations, his abstracts are created on elevated birch panels with a technique that includes placing up to 15 layers of paint. His approach includes dragging a spackle knife, board or other found object over the wood surface, then applying a topcoat of resin. But it doesn’t end there; Stephen then begins the process all over again. The result of this labor intensive process? A phenomenal vibrancy, great depth of color and surprising imagery. Stephen has a love of foreign cinema. He’s been fortunate to attend film festivals around the world, which provide him with stimulation and inspiration from watching different perspectives on screen as well as from the cities and towns in which the festivals take place. No stranger to television and film sets, his work was prominently featured in the Steve Carrell film, “Dinner for Schmucks.” Prior to becoming an artist, Stephen began his career acting and was the spokesman for Lincoln Mercury, Macy’s and guest anchored on the E! Channel. He was also seen on a classic Seinfeld episode. Specializing in custom work, Stephen loves collaborating with designers and on projects for high-end residential, hospitality and health care design.
“A Shift in Meaning” Acrylic on birch with a resin topcoat 121.92 cm x 121.92 cm
“Blue Shower” Acrylic on birch with a resin topcoat 91.44 cm x 91.44 cm
“Moonwashed” Acrylic on birch with resin topcoat 121.92 cm x 203.2 cm
Investment Styles An Introduction To Different Ways To Invest
There are two major investment styles which take completely different approaches. They are value investing and momentum investing. The former, also known as contrarianism, seeks to find cheap assets to buy. It is called contrarianism because often it involves looking for assets which are cheap because no one likes them. Momentum investing is simpler. This simply observes that often, assets that have been performing well continue to do so. So investors adopting this style just look for assets which have gone up and hope that they will continue to do so. I favour value investing. One reason for this is because the problem with momentum investing is that assets which have done well continue to so until they don’t. There is no way to tell when something which has gone up will stop doing so. And we definitely know that nothing will appreciate forever! The difficulty with value investing is knowing when an asset is cheap. In the early days of investing, the concept of book value was very useful. This is simply the accounting value. If a company owns a factory and some machinery, the book value will be close to the value for which the factory and the machines could be sold. If you can buy a share, or a slice of the company, for less than the book value per share, you should. Book value is still very useful on many occasions. But modern companies are very complicated, and often much of what they do cannot be valued simply. A lot of their worth might be tied up in software, for example, which is harder to value than a building. Or they might own a lot of IPR — intellectual property which again, is intangible and hard to value. But the effort is worth it. Finding a cheap company to buy is one of the best ways to trade successfully. I have written a lot about the importance of psychological factors in investing. It is absolutely crucial that you understand these, for two reasons. Knowing about your own psychology will help you understand and improve your decision-making processes. It will be especially valuable to know when cognitive biases are likely to cause you to make errors in evaluating investments. But just as important is knowing how other investors will think — after all, they have the same psychology as you do! And knowing what other investors are likely to think of an asset is the key. Because you want to find an asset which is not just cheap — but unjustifiably so. Then you can expect it to go up sustainably. For more on the importance of psychological factors in investing, you can take a look at my book, called The Psychology of Successful Trading. Learn more at the website shown opposite.
This book is the first to demonstrate the practical implications of an important, yet under-considered area of psychology in helping traders and investors understand the biases and attribution errors that drive unpredictable behaviour on the trading floor. Readers will improve their chances of trading successfully by learning where cognitive biases lead to errors in stock analysis and how these biases can be used to predict behaviour in market participants.
Discover the works of fantastic contemporary artists in our September issue: Lara Julian, Alice Rich, Barbara Krupp, Caia Matheson, David He...
Published on Sep 24, 2018
Discover the works of fantastic contemporary artists in our September issue: Lara Julian, Alice Rich, Barbara Krupp, Caia Matheson, David He...