The New Collectors Book 2015

Page 1

The New Collectors

Book Fourth Edition

New Collectors Book



New Collectors


The New Collectors Book Fourth Edition, 2015 Publisher: Basak Malone LLC Editor in Chief: Tchera Niyego Contributing Editors: Gaby Miller, Gaye Arslanbas, Alvin Kuhar, Katherine Mae Art Direction & Design: Elizabeth Taurisani Research: Joshua Loren

Cover images courtesy of Jenn Shifflet. Outer cover image: Breaking Through, 2014. Oil on panel, 36 in by 48 in. Inside cover image: Always in Flux, 2014, Oil on panel, 36 in by 36 in.

All rights reserved. No part of this work maybe reproduced or used in any form or by all means -graphic, electronic, or mechanical, including photocopying or information storage without the permission from the publisher. The scanning, uploading, and distribution of this book or any part thereof via the internet or any other means without the permission of the publisher is illegal and punishable by law. Please purchase only authorized editions and do not participate in or encourage the piracy or copyrighted materials. Printed in the United States of America. This book may be purchased from the publisher. ISBN: 978-0-9847413-5-9 Library of Congress has cataloged the previous editions of The New Collectors Book as follows: The New Collectors Book: First Edition ISBN: 978-0-9847413-1-1 The New Collectors Book: Second Edition ISBN: 978-0-9847413-4-2 The New Collectors Book: Third Edition ISBN: 978-0-9847413-5-9

basak malone llc.

Copyright © 2015 Basak Malone LLC

The New Collectors Book aims to become an art archive to be treasured as a reference book. We believe that contemporary art has an essential value in people’s lives, offering multiple reflections on how we live and how our futures might be constructed. Furthermore we are inspired to awaken into becoming loving and kind human beings. The New Collectors Book operates as a showcase publication, dedicated to presenting a wide range of fine arts and providing an opportunity to appreciate select artworks for art world professionals as well as those who simply wish to enjoy and acknowledge art. We are happy in being able to feature emerging and outsider art along side well-established artists.

Jenn Shifflet. Crimson Light, 2012. Oil on panel, 60 in by 36 in. Detail. 6

Jenn Shifflet. Miracle, 2012. Oil on panel, 36 in by 24 in. Detail. 7

Jenn Shifflet

Dakini Dazzling, 2007. Oil on panel, 12 in by 12 in. 8

My work is an exploration into the inner dream like experience of time, fleeting moments of perception, and reflections of the natural world. Ethereal and organic in nature, my paintings rest in the pause between movement and stillness, emergence and dissolution. Time may unfold slowly through subtle interplays of color and shifting light. I am interested in a visual language that speaks to how the ineffable beauty of life is held within a profound fragility of impermanence. While embodying a symbolic relationship to the natural world, my paintings intend to remain ambivalent in their reference to a particular time or place allowing them to encourage the contemplative experience of personal resonance, recollection, or familiarity.


Jenn Shifflet is a Pollock Krasner Grant Awardee. Her work is in several prominent private and public collections in the U.S., Asia and the Middle East. She was an affiliate artist at the Headlands Center for the Arts between 2004–2007. Recent solo shows include an exhibit at the SFMOMA Artist Gallery as well as the Chandra Cerrito Gallery, in Oakland CA. She has been included in exhibitions at the Smithsonian Museum, The Corcoran Gallery, and The Walters Museum in Baltimore. Her awards include the Smithsonian Museum’s Resident Associate Honors Award, an honorable mention from the National Foundation for Advancement in the Arts, and Affiliate Artist Award from the Headlands Center for the Arts.


Jenn Shifflet. One Pointed, 2014. Oil on panel, 20 in by 16 in. Detail. 11

Jenn Shifflet. Jasmine Kisses, 2012. Oil on panel, 24 in by 24 in. 12


Jenn Shifflet. Seeing Through to the Light, 2014. Oil on panel, 60 in by 72 in. 14


Nancy Friedemann Sรกnchez

El Damnificado, 2014. Enamel and car paint on dibond, 4 ft by 6 ft.


I am currently creating a visual novel comprised of paintings, sculptures, objects and mixed media that together and in different voices weave a synchronicity of dialogues, passages, punctuations, silences about hybridity and cultural ownership. It is a multi-narrative novel about cultural memory, migration and the pursuit of the American dream. Formally, these images are anchored in Minimalism as a dominant ideological umbrella. They are then intertwined, intersected, to make narratives that describe lives of spiritual and physical transit. Anchored in feminism, my art is infused by American and Colombian cultural forms that are dominant or subordinate. My formal and theoretical sources include: The ColomboColonial botanical illustrations by Jose Celestino Mutis, painted in the XVIII century and Spanish Colonial painting; the prints of Audubon and Mark Catesby; the lace and crochet, real or taken from Spanish Colonial paintings but also from the Pattern and Decoration Movement, and Minimalism as the patriarchal and dominant landscape where my visual novel unfolds.


Nancy Friedemann Sรกnchez. El Damnificado, 2014. Enamel and car paint on dibond, 4 ft by 6 ft. Details.

El Damnificado is a survivor of a disaster. In this case the viewer is invited to question who is the survivor: the hawk, the rat, the drowning person in the car or the viewer itself. 18

Nancy Friedemann Sรกnchez. She Muttered... Again, 2003. Enamel and mylar, 130 in by 42 in. 19

Christine Senger Christine Senger lives and works in Switzerland. She loves to experiment and to take the step into the unforeseen with audacity. For her paintings she uses friendly, warm and intensive colors. “I fully submit myself to the moment. I don’t have a picture of the final work, but instead, I allow myself to be guided by my emotions and intuition in the artistic process. It is spontaneity that influences my work” she articulates. To be engaged with creativity and to dive into it — what a great addiction. To inspire people with art fills me with big gratitude.

Ruhe (Silence). Acyrlic on canvas, 100 cm by 100 cm.

Jelena Popadic

Siem &Friends, 2006. Free blown studio glass color overlay cut and polished, 23 cm by 11 cm by 2 cm. Photo by Maartin Pietersen.


Jelena Popadic (b. 1964) studied Civil Engineering in her native Yugoslavia and then graduated with a BA in Glass as a medium in Art & Design from the Rietveld Academy in Amsterdam. She works as a teacher and independent artist in the fields of visual and performing arts, participating with her work in various film, dance, theater and opera productions. Her work stands for innovation, experimenting, collaborating with other artists. “My inspiration is from mother nature, and ancient teachings about secret geometry, esoteric, epics of creation. I am always fascinated by the translucency, visual effects and optical illusions of glass. When I am creating it feels like being pluged in to another dimension where energy and sounds are appearing in front of me creating indescribable shapes, sounds and songs. Thus shapes became a glass body and sounds and songs are coded in the service texture. I feel that glass as a material has a great memory. My pieces are containers with energy and I am just an extension cord, serving the force of creativity.”

Ho Yoon Shin

Red Guan In Boddhisattva, 2014.

Paper, to me, is the optimal material to explain the social structure. First, I firmly believe that the paper which has properties called historicity, a feature that records pass through the role of knowledge on it for future generations had brought the development of the human race. In addition, both sides of the paper castle showing the structure of society dichotomy is also a very good medium. This paper serves as the current range of next-generation communication media is giving to. It is the flow of time. Generation has shown that changes are highly visible. Commonalities can be viewed in the paper and modern society as diverse approaches make me keep on the paper as the medium. I should grave on the paper — having properties like this — this schedule to show that the community is an act of self-inflicted act. Society is to progress through this act of self-infliction. Do we look like that is more plausible? It is the injured section of society.


Shivani Aggarwal

How Do I Knit?, 2013. Fiberglass and cotton thread, knitting needles: 5 ft by 2.5 inch, cotton thread knitting: 4 ft by 3 ft, overall size of the installation is variable.

My art practice has been evolving into an exploration of issues of gender and the human condition. The ‘thread’ sometimes symbolizes the social fiber and at other times, draws reference to the blood vessels or the umbilical chord. The threads, create intricate, swirling patterns, which are both shocking and compelling. They twist and turn infinitely into a cycle of decay and repair, I question while expressing the unending repetitive feminine tasks of adornment, of providing love and warmth, of repeatedly repairing objects and relations, of innocent acts of silent violence towards one’s own self and others, while confirming to the culturally defined roles and the emptiness that comes with it. The helpless inability to lead to change and the silent inherent violence are my areas of challenge and inquiry.


Semâ Bekirovic

Flying Carpet, 2005. Photograph, variable dimensions.

Sema Bekirovic’s work could be described as playful conceptualism mainly utilizing video, photography and installations. The work is often inspired by scientific ideas, and deals with the supposed difference between culture and nature, and the obtaining of (and letting go of) control. The artist sometimes deploys animals in her work, though not really as subject (or object), but in a more collaboratory fashion. Bekirovic studied at the Rietveld Academie and the Rijksakademie in Amsterdam. Her work has been exhibited at De Appel (Amsterdam), Stedelijk Museum (Amsterdam), Hayward Gallery Project Space (London), Dutch Culture Institute (Shanghai) and in Times Square (NYC).


Stéphanie Saadé

Artificial Nostalgia.

Stéphanie Saadé’s (b.1983, Lebanon) works take as a departure point the moment when one becomes estranged from his surroundings. The artist explores the shape, or the shapes of distance, and makes them visible, as well as the changes in shape of the individual that goes through this estrangement. Strange locations, familiar to the artist, are assembled. The nature of links is questioned, their persistence or their ephemerality. Saadé’s work has been exhibited at MARRES (NL), Akinci Gallery (NL), MuHKA (BE), LA CONSERVERA (ES), Anne Barrault Gallery (FR), The Beirut Art Center (LB), Grey Noise Gallery (U.A.E.), Qalandyia International Biennial (PS).

Liu Boamin What Liu Baomin portrays is neither his inner self nor the objects themselves; instead what he depicts is an intermediate layer between self and object, an element similar to the visual iconic medium of frosted glass. Baomin is concerned with the existence of the images themselves; letting forms peel off from the objects, signifying the existence of the images themselves. What the images by Liu Baomin portray is not the appearance of images themselves; on the contrary, the artist tries to let the pictorial nature become a symbol for the personal experience. In other words through the use of images he portrays the experience of alienation of our epoch.


Seeing Magic — Red Illusion, 2008. Oil on canvas, 200 cm by 300 cm.

J책rg Geismar

Homeless, 2015. Collected keys, clothes line, steal sheets. Courtesy of TZR Galerie Kai Br체ckner, D체sseldorf.

J책rg Geismar is a German artist creating objects and images, as well as ephemeral installations and temporary interventions, which cannot be pigeonholed and are not made first and foremost for the market. His highly individual position occupies a very personal space, while at the same time adressing issues with universal message. Transparency and ambiguity, tension and balance, lights, and projectors, photographs and videos, drawings on carbon paper and cellophane, as well as actions and interventions involving cuisine and fashion, have all become trademarks of sorts. 25

Carol Milne

Wild Fire. Kiln cast lead crystal, 11.5 in by 17 in by 6 in.

“Women are often defined by their accessories. And what does it say about us that our most ‘fashionable’ shoes are torture devices? I began making shoes out of frustration with the fashion industry. But one shoe lead to another. I became acutely aware of the prominent status of shoes in our culture. They permeate our fairy tales and myths. They are icons of sexuality, power, wealth, dependence & salvation. They’re great fodder for social commentary.” Carol Milne is a sculptor working primarily in cast glass. She lives in Seattle, WA.


Isabelle Hayeur

Emulsion, Underworlds series, 2014. Inkjet on photo paper, 34 in by 28 in.

In her series Underworlds, Isabelle Hayeur makes use of digital technology to reveal the existing tensions between aquatic ecosystems and the environments above. With her seamlessly photoshopped images, she subverts the tradition of landscape photography, exploring underwater environments across North America and examining the effects of pollution on our waterways. Using a camera encased in a watertight housing, she tracks our impact on rivers, lakes, and oceans, plunging us into the fragile ecosystems on which we depend. These views from the inside create a relation of closeness between the onlooker and the site being documented. They take us closer to these environments by plunging us in their midst, as it were. 27

Kelly Zelen

If she waited any longer... Mortar, pastel, bronze wool, 7 in high.

“...The appreciation of asymmetry is the key that allows us as the viewer to marvel at Zelen’s work which the Colo Colo Gallery owner and curator Luis Villanueva reads as having a brutal quality... The heavy female figure with thinning red hair is appalled and as an image of anguish “If she waited any longer...,” it seems she could explode, already screaming her lungs out. The male figure on the top of that cliff about to jump off, squats now taking strength from the earth with his very large hands to lift himself up in “Rising above”... This body of work is an outcry; ‘Despair is ruled out!’” – excerpt from Tindersticks; The Music in Kelly Zelen’s Figures by Tchera Niyego. 28

Carol Rowling

Earth Mother, 2014. Acrylic and carved wood, 70 cm by 45 cm.

I live in Perth Western Australia and my work is based on aerial landscape. My inspiration evolves from marks and contours made over the centuries by the elements. My abstract approach to the exploration of texture and paint has developed into a unique form of painting which I call breaking colour. By layering a number of canvases together and each layer having it’s own colour I then carve into the canvas with a power tool creating a new level of expression that moves color and texture into literally other dimensions. 29

Jost Münster

Mainland Speculation, 2011. 35 in by 30 in.

Jost Münster was born in Ulm, Germany, lives and works in London. He studied Fine Art at Stuttgart Fine Art Academy and Goldsmiths University, London. Recent selected shows include: Together For Now, Tintype Gallery, London, 2013; Limber – spatial painting practices, co-curated by Jost Münster & Cherry Smyth, Herbert Read Gallery, Canterbury & Grandes Galleries de L’ESADHaR, Rouen, France, 2013; Dopellegänger, Victory Gallery, Portland, US; Crazee Golf, Tintype, London, 2012: Summer Exhibition, Royal Academy, London, 2012; A Sort of Night to the Mind, Artary Gallery, Stuttgart, Germany, 2011; Mostyn Open 2011, Oriel Mostyn Gallery, Llandudno, Wales; MARGINI – Arte Contemporanea, Massa, Italy, 2011; Polemically Small, Charlie Smith Gallery, London, 2011; Polemically Small (The Future can wait), The Torrance Art Museum, Los Angeles, US 2011; Polemically Small, Garboushian Gallery, Los Angeles, US, 2011; Ground Control, Museum 52, London 2010; Hulahoop, 401contemporary/ London projects, London, 2010; John Moores 26, Liverpool Biennial, Walker Art Gallery, Liverpool, 2010; Das vertraute Unvertraute, Wuerttembergischer Kunstverein Stuttgart, Germany, 2010; Urban Origami, PM Gallery and House, London, 2010; Mexican Blanket, Museum 52, London, 2010; Refuge, Kunstverein Friedrichshafen, Germany, 2009. 30

Javier Serna


Born in Madrid, Spain, Javier Serna is a self-taught artist specialising in Collage and Illustration. Serna works with mixed media such as vintage postcards, photographs and items of antiquity with a strong pinch of the curious, such as Japanese drawings, medical sketchings, French lithographies and 19th century engravings, worn floor tiles, metal sheets and so on.Serna boils the lot with his truly unique style to bring the onlooker a feast of new life, reinvention, fantasy, humour and surrealism. He has contributed to numerous exhibitions, most recently including VernĂŠs Cabinet in The Romantic Museum of Madrid (2014), Los Viajes Del MarquĂŠs, Cerralbo Museum, Madrid (2014), Los Modlin, La Eriza, Madrid (2013), Room Art Fair, Madrid (2013), Sala MAC, Tenerife (2013), Era di Maggio, Fornacce Pasquinucci, Capraia Fiorentina, Italy (2013).


Koon Wai Bong

In the Breeze, 2013. Colour on paper fan with a machine, a set of 15 fans, 50 cm by 450 cm by 45 cm. Image © Koon Wai Bong.

Koon Wai Bong obtained his MFA and DFA from Chinese University of Hong Kong and RMIT University in 2002 and 2012 respectively. He took part in the Shenzhen International Ink Painting Biennial in 2010 and Taipei International Modern Ink Painting Biennial in 2012, and held a solo show at Museum of East Asian Art, UK in 2013. Koon has also been displaying works at Sotheby’s and Christie’s exhibitions since 2013. In this artwork, In the Breeze, the paper fans, through the languid movement of the backward-andforward movement, are intended to release the brisk energy of the gentle breeze from a bamboo grove.

Heidi Heiser I am a painter — nothing more and nothing less. I started with painting on porcelain in the Meißner Porcelain Manufactory and later worked in the Fürstenberg Porcelain Manufactory. But at some point this was not enough for me — so I decided to study painting and received a degree. My pictures are coined by my love and my longing for sound nature. I often use characteristics and vices of human beings and project it into my pictures. This way, often surreal landscapes with society-critical allusions develop. Forrest Settlement, 2013. 120 cm by 160 cm.


Dejan Kaludjerović

Alphabet Cubes / from the series: Conversations: Hula Hoops, Elastics, Marbles and Sand, 2014 | 2014 – 2015.

Dejan Kaludjerović was born in Belgrade, ex-Yugoslavia and has been granted honorary Austrian citizenship for his achievements in the visual arts. He studied in the class of Erwin Wurm at the Academy of Applied Arts in Vienna, and received an MA in Visual Arts at the Academy of Fine Arts in Belgrade in 2004. Since the beginning of his career in Belgrade in the mid-1990s, Dejan has been exploring the relationship between consumerism and childhood, and analyzing identity formation and the stability of representational forms. Most of his paintings, drawings, objects, videos and installations employ the processes of recycling, copying and reenacting, thus creating patterns that simulate mechanical reproduction, and criticize the homogeneity embedded in popular culture. Kaludjerović’s work is part of many private and public collections, including the MUSA, Kontakt and STRABAG collections as well as those of the Artothek des Bundes in Vienna, the Salzburg Museum der Moderne, the October Salon Collection, City Museum Belgrade and APT Berlin. The artist lives and works in Vienna and Belgrade.


Geoff Dunlop Much of my work as an artist is a response to the flowing narratives of nature. The wealth of languages that nature has developed enable us to make sense of these stories... if we are prepared give them our time and attention. Through a close scrutiny of surface I seek to evoke and imply what lies beneath, in the deep structure of matter. Intentionally, my images slip and slide between the descriptive and the abstract, as I seek to provoke thoughts and feelings in the viewer. My artwork -for exhibition, publication and projection- is built on the foundation of many years as a filmmaker, working in some 80 countries. SH Cold 34 (Edition of twenty-five). Digital photographic print, 100 cm by 100 cm.

Maria Meriggio. Atrรกpala. 34

Maria Meriggio


“The visible part of my work will be its appearance; the invisible part will be its image, its interior�. The landscape becomes the scene for a complex universe, at times host, at times guest, of an environment which seeks to reveal that which we cannot see. What is hidden, the feelings and emotions, appear hinted by that nature we observe as a representation of our own inner self. By means of a process which implies the careful observation of my surroundings, ideas generally result from imaginary thoughts, photographs that will later be channelled through drawings, inks and even prints in different graffic media. I am not interested in showing a scene or landscape but in invoking its substance.


Joe Hengst Joe Hengst (b.1991) is an artist living in San Francisco, CA. He received his BFA from the San Francisco Art Institute in 2013. We need nature to survive but more and more we have started to rely on our fabricated society, and in our gradual incline of artificiality we have almost forgotten it. Even though we coexist with nature we try to control it, synthesize it. Most of us hold nature as an ideal place we can visit, or come and go as we please but humans and nature are all part of the singularity that is the universe.

Eschscholzia Californica, 2013. Acrylic on wood panel, 6 in by 6 in.

Christopher Knights Christopher Knights’ paintings are intuitive, and relate to the body as visualizations or landscapes from within. Knights’ paintings actually are part of a flow process from inner body to mind that reflects states of being, visualizations of an inner world. “My process is an ebb and flow of spontaneous and precise mark-making inspired by my intimate relationship with nature and the body. The imagery comes from some hidden place within and, as I paint, I slow my brain, creating intuitively — painting what turns me on or what just feels right.”

Building America #2, 2014. Oil on panel. 36

Joe Hengst. No One’s Going To Fix It For Us. Detail. 37

Seth Michael Forman. House Dream Tumble, 2008. Oil on panel, 48 in by 36 in. Collection of the Artist Pension Trust of New York.


Rashad Alakbarov

Fly to Baku. Courtesy of Yay Gallery.

Rashad Alakbarov (b. 1979, Baku) graduated from the Faculty of Decorative Arts at Azerbaijan State Academy of Fine Art in Baku in 2001. He works with different media, including painting, sculpture, theatre decorations, video art and architec­tural design. The use of shadows in his installations became the main direction in the artist’s conceptual work. The first public showing of this type of work was at the Wings of Time exhibition in Baku in 2000. The artist’s work is held in private collections in Azerbaijan, Italy, Turkey and Russia. Alakbarov’s works comprise massive installations, but not the typical kind which are geared for direct sensory perception — they contain a secret. Objects, either diverse or homogenous, are arranged in such a manner that shadows cast on the wall under proper lighting have little to do with the image of the initial installation. In this duality lies the magic of Alakbarov’s works. 39

Sara Arianpour

Nobody, 2008. ID:N.AS/008/4. Acrylic on canvas 90 cm by 60 cm.

Sara Arianpour (b. 1980) in Tehran, Iran, graduated from Soureh University in 2007 majoring in the Arts. Arianpour has participated in various solo and group around the world and her work was printed in various publications including: Different Sames: New Perspectives in Contemporary Art, 2009, London, and received many great awards for her work in defense of human and women’s rights including by the Art and Integration Organization in Italy.


Shinji Ohmaki Shinji Ohmaki is working with various media, from paintings to large scale installations, sometimes incorporating the whole room and environment as an initial part of the work. In his Echoes – Crystallization series, he depicts endangered flowers using correction fluid which we have invented to erase our misdescriptions. With the effect of light, crystal powder combined in the fluid shines to make the fleeting flowers explicit in our eyes. Not merely an object which may be interesting or beautiful, his work is a device to give viewers a sense of the meaning of existence and disappearance. Seeking a possibility of his expressions, works by Ohmaki takes various forms. Sometimes it would be a slowly moving fabric fluttering in darkness. Echoes Crystallization, 2013. Correction fluid and crystal powder on paper, 1500 mm by 150 mm.

Ronny Broeckx Ronny Broeckx (b. 1960, Belgium) lives and works in Antwerp, Beerse. In his paintings he creates a world balancing between the abstract and the figurative, between the formless and the recognizable based on his recollections of daily live. Fleeting images, quickly disappearing, fading in and fading out, exploring borders to reshape a new reality. It is not always clear what to see. The images are directed from interactions between eye and brush and leaving an open space in which the spectator can write his own story. Many interpretations are possible and no plot twist is impossible. Broeckx becomes part of his own work while at the same time creating a distance from it. This results in an objective and universal character fed by his own scanning eye.

White Screen, 2014. Acrylic on canvas, 70 cm by 50 cm. 41

Igor Marsenić As a samurai who before a battle enters the state of mushin — state of no mind and no ego Igor Marsenić “battles” with the challenge of the white canvas during his painting process and thus separates his mind from any kind of thought allowing the hand to freely draw the im/ perfect circular forms. Thus, Marsenić’s circles evoke yet another Zen Buddhist tradition: enso a Japanese calligraphic form, which is drawn in a moment symbolizing the Absolute, the Universe, and the Divine Emptiness, as well as being a creative expression of the moment when the mind allows the body to express itself in a way that simultaneously reflects both aspiration and reluctance to ideal of perfectness. –Ljiljana Tadić, Gallery Zvono

New Reality Exhibition.

Jean-Luc Almond My obsession with the materiality of paint makes the paintings feel like a dialogue between matter and representation, in which matter usually distorts and takes precedence over representation. Figural things start to emerge when marks sit on the surface that don’t describe the face but give a sense of something. This feels like a more true human experience, disjointed and moving, indescribable. The substance and quality of paint becomes a painterly skin, almost masking identity and along with glazes of colour, trap, smother or preserve the faces to different degrees.

March. Oil on wood, 40 cm by 30 cm. 42

Kae Seak

Beyond Peak, 2014. Sumi ink and watercolor on paper, 45 cm by 55 cm.

Kae Seak was born in Nagano, Japan, and grew up in a family that loved art. One of her greatest artistic influences was the sumi ink painting taught by her grandfather when she was an infant. Seak pursues abstract expression of introspective thoughts and visions and has defined her basis and source of every creative activity as an exhaust of introspective perspectives. She has collaborated with photographers from around the globe and her art, recognized as a supernova, has earned attention from music industry, the artist’s deep love of music developing into making cover art for some record labels in UK, South Africa, Italy, Germany, and more.


Honoré Didden Honoré Didden creates figurative, realistic images in a sophisticated, playful, at times almost classical style. His inspiration are universal human themes such as love and absence of loves, death and fear of death, fear of living, passions, sexuality and intimacy. Myths, Biblical stories and fairy tales help him to add an extra dimension to the image. Images sprout from association and dreams, basically from the void. The title emerges during the creative process. His titles are clues, hinting at the content of the image. The title of the work creates tension between image and content, inviting free association.

Departed, 2013. 23 cm by 40 cm by 29 cm.

Paul de Reus Paul de Reus (b. 1963, Den Haag) is concerned with the fallible human. His sculptures are rugged and defective, but assume the presence of a living human being. He decomposes over and over again the most basal human interaction, like the handshake, the kiss and the act of love. Very precise and dedicatedly he explores the simple proceedings, whereby we try to approach one another. The painfull efforts of attracting and repeling, unraveled by De Reus, are easily recognized and felt intensely in one’s bones. –Marjoca de Greef


Wolkendrager, 2012. 260 cm by 230 cm by 120 cm.

Leandro Erlich

Single Cloud Collection: Jerusalem, 2012. Photo © Ignacio Iasparra. Courtesy Galería Ruth Benzacar, Buenos Aires, Argentina.

Leandro Erlich (b. 1973) lives and works in Buenos Aires and Montevideo. Participations in collective exhibitions and art bienniale include; la Nuit Blanche de Paris (2004), the 51st Venice Biennale (2005), Centre Georges Pompidou, Paris (2011), MOT, Tokyo (2013). He made individual exhibitions in P.S.1 MoMA, NY (1999), Galleria Continua, San Gimignano, Italy (2008), Galería Luciana Brito, Sao Paulo (2009), MOLAA, Long Beach (2010), Sean Kelly Gallery, NY (2011), Galería Ruth Benzacar, Buenos Aires (2007, 2012), Galería Nogueras-Blanchard (2013), Barbican Center, London (2013), 21st Century Museum of Contemporary Art, Kanazawa, Japan (2014), MMCA, Seoul, Korea (2014). The artist’s works are in private and public collections around the world.

Gordon Holden Gordon Holden (b. 1985, US) soon discovered that the only way to live in a world that strives for perfection is to do just the opposite. His work captures visual and tactile expression through the backwards mishmash of an osmosis of pop culture and personally-derived abstract apprehension. This complex marriage of playful curiosity and cynical observation produces works that are both whimsical and thought-provoking. He describes his creations as a collection of things to like and things to dislike.

US Post Modern. Archival inkjet print.


Max Pejac From pieces on paper to different interventions involving various concepts and techniques, this skilled artist is able to show and tell so much by painting minimally, bringing new meaning to the term “site specific�. His works often use their surroundings as part of the entire image, and with subtle intervention, achieves fantastic effects. Playing with the perspective, repetitiveness, dimension, reusing textures and intervening his objects, characters and elements, are some of signature methods of getting to the point. Hugely minimalist, he often just shows silhouettes of characters or objects, and rarely uses color. His works carry deep and meaningful messages. Recent street work in his hometown of Santander in Spain are perfect examples of that – by using a peeled off part of the wall, he creates this fantastic 3D effect of a paper plane crashing a brick wall. With a minimal color palette and effortless use of perspective, this superbly executed work tells a baffling yet simple story.

Tribute to Philippe Petit, Windows Series, 2014. Acrylic on window. Photo by Silvia Guinovart.

J.M. Culver J.M. Culver is a contemporary figurative artist creating psychological narratives with universal themes. She explores figuration and abstraction through a combination of painting and drawing. Prominent themes in her work are the transitory nature of memory, social dynamics, and personal allegories that give an intimate and tangible glimpse into the human psyche. Culver attended Syracuse University in NY for graduate studies and holds a BFA in painting from the Minneapolis College of Art and Design. She is a former gallery director and curator. She actively exhibits her work, which is held in private collections internationally. Culver lives and works in Minneapolis, MN. Attachment. Oil, charcoal and acrylic on paper, 91 in by 54 in. 46

Rossana Taormina

Untitled, 2015. Thread on old photo, 9 cm by 14 cm.

Rossana Taormina is an artist who works mainly with old and found materials such as photos, maps, broken objects, magazines… Her works narrate lost identities and memories, inventing imaginary places... She lives in Palermo. Taomina is represented by Quam (Quadrerie Del Monastero) Contemporary Art Gallery in eastern Scicli and by Galleria Nuvole in Palermo.

Jani Ruscica

Evolutions, 2008. S16mm film transferred to digital beta and HD stereo sound, 18 ft 20 in loop.

Jani Ruscica (b.1978) is an artist working with video, photography, sculpture and other media. In Ruscica’s practice, temporal layers reflect on the contemporary zeitgeist, creating new meaning relationships. Taking a collaborative approach to filmmaking, Ruscica has worked with scientists, theatre makers and street performers. Recent exhibitions include Found in Translation — Chapter L Casino Luxembourg, 5th Momentum Biennial, Moss, Norway and Life Forms Bonniers Konsthall, Stockholm, as well as screenings in institutions such as Centre Pompidou, Paris, TATE Modern, London and MoMA, New York. Ruscica is based in Helsinki and was educated at Chelsea College of Art and Design in London and at the Academy of Fine Art in Helsinki.


Federico Pisciotta

The Game Exhibition, 2014. Mixed media and oil on shaped wood, plexiglass and ultra white LED lamps, 167 cm by 98 cm by 6 cm.

Federico Pisciotta (b. 1975, Rome) graduated at the Academy of Fine Arts of Rome in 1997. After teaching for several years, he devoted himself exclusively to painting and contemporary art research. Since 2013 he’s been working at his new studio 700Artecontemporanea in Fara in Sabina. This work is part of one of the most complex projects of the roman artist and was introduced in Germany in 2014. It employs a personal review process of painting, starring some of the latest video games, supported by multimedia interactions that recall the haunting presence of the computing iconography. 48

Ella Prakash

Old Heritage, ID no. 3125. Acrylic on canvas, 28 in by 22 in.

With her current abstract series, Ella (b. 1962) Prakash challenges herself to unlearn the pattern of control she seeks in representation; thus, reinventing the language of anatomy, chiaroscuro, and storytelling. The paintings are distinctive for their bold brush strokes and vibrant colors. They are immediate, expressive and at the same time calculated, creating unique dreamscapes, which reflect the artist’s personal dynamism. Prakash creates our own past from fragments of reality in a process that combines the willful aspects of remembering and forgetting with the coincidental and unconscious.

Hank Spirek In 1969 I received a Bachelor of Arts from Northern Illinois University. Through the 1970’s I exhibited in Scottsdale Arizona and across South-Western USA. In the 1980’s I moved to Australia, and have been exhibiting in and around Sydney ever since. It is enough to say my work is a search for the sublime. My next exhibition, Feathers and All will be at the Milk Factory Gallery, Bowral, NSW, Australia through June 2015. Small Wren. Mixed media on paper, 22 cm by 30 cm.


Ana Marković

Railway Station. Oil on canvas, 17.7 in by 19.7 in by 2in.

Ana Markovic (b. 1984, Serbia) received her Master Degree in Painting at the Faculty of Fine Arts in Belgrade in 2014. She was an Erasmus student at the University of Applied Arts in Vienna during 2012 and 2013. Markovic had four solo shows in Serbia and participated in various group exhibitions and workshops in Serbia, Austria and in Switzerland. She currently lives and works in Belgrade.


Chris Maynard

Dance-turaco. Mixed media.

Chris Maynard combines scientific knowledge, artistic sense, and a love of feathers and life in a new art form. He shows feathers in new ways, resurrecting naturally shed feathers by cutting and arranging them in their three dimensional forms. Each feather, though dead and discarded, keeps something of the bird’s essence. The qualities of the birds inspires his work. Although feathers by themselves form perfect works of art, he adds meaning through his artistic manipulations. Maynard’s new book, Feathers Form and Function is a feast of art and writing about what feathers are, what they do, and why we find them alluring. 51

Franziska Schmalzl

My little Oceania. Mixed media on canvas.

Franziska Schmalzl’s works communicate the joy of existence spontaneously and show a refreshing playfulness. The heroes depicted are colourful plants as well as insects and birds, which are frequently given their own voices. Again and again, objects of daily life come alive. Here the artist’s sense of humour becomes obvious: by including texts and inventing playful titles she creates stories in the viewer’s mind. Moreover, she entices the observer into entering a colourful magical world. Despite all the lightness in her pictures there is always a notion of deep respect even for the least of creatures (to her, insects are also only just “human”). Conscious living and respectful treatment of our natural resources have always been an important issue for her.


Erin Armstrong

By the Tamgo River. Acrylic on canvas, 77 in by 72 in by 3 in.

Erin Armstrong is an expressionist artist who lives and works in Toronto, Canada. Using quick and decisive gestural markings over acrylic based images her goal is to create people in everyday situations in an expressive and dream like world. Her concern is not to recreate reality as it exists but rather to evoke a feeling and an atmosphere that transports the viewer into a world of personal interpretation. Her work has been exhibited and acquired in both private and public collections in Canada, the US, UK and Switzerland. She is currently represented and exhibiting in galleries in Toronto and New York City.


Erik Tollas. My Sherpa, 2014. Oil on canvas, 97 cm by 150 cm. Detail. 54

Margarita van der Velden “From an early age, I have been curious as why things are the way they are. My quest for answers has led me down a path of spirituality. Along the way, it became clear to me that my view of the world is influenced by events from the past and convictions acquired along the way. By letting go of the past and these convictions, the realization dawned upon me that my view of the world is a reflection of my ownmost inner reality.� Margarita van der Velden (b. Buenos Aires, 1956) lives and works in the The Netherlands. Having completed her education at the Royal Academy of Art in The Hague (1980-1984) she founded her own graphic design studio under the name of VeldWerk in 1985. In the year 2007 the artist ended her career as a graphic designer and became a full-time sculptor. The Ohm (or Aum) Earthenware, 2015. 21 cm by 23 cm.

Erik Tollas. Allegory Medicine, 2014. Oil on canvas, 90 cm by 120 cm. 55

Erik Tollas. Golden, 2014. Oil on canvas, 45 cm by 45 cm. Detail.

Sheri DeBow Every piece I sculpt is a one of a kind, no two are the same. I make the wire armature and sculpt, paint and clothe every last detail myself. I never use molds of any kind. I sculpt primarily in a German polymer clay made by Staedtler. Being a full time artist is a labor of love and at times, it is hard to let the pieces go. I am a doll maker for a new generation of collectors. Whether it is joy, laughter, tears, spirituality, anger, struggle, sex, frustration, peace or whimsy, I hope it evokes something true for you.!

Untitled. 56

Erik Tollas. God Bless You, 2013. Oil on canvas, 90 cm by 120 cm. Detail. 57

Erik Tollas

Erik Tollas. Good Luck, 2013. Oil on canvas, 90 cm by 120 cm.

My pictures have been mostly of figurative nature in the past years, placing the main characters in a surreal world, hence depriving them of their original meaning, with the issues of extinction and encouragement coming to the front. Over the past year, however, my work has become more meditative in character. In the core of my interest stands the skin, and its diverse structures, cellular built, stratified textures, once shown in plane sections, or else set out of the space or recessed in it. The central theme -the skin and skin injuries in particular- incorporates various painting issues that can be both direct and indirect, such as vitiligo, albino skin, tattoos, abrasion, moult, scale, burns, stitches, scars, all of which are presented in an abstract form. Furthermore, I am concerned with the aesthetic issues of bruise, crushing and skin injuries, as well. 58

Kiichiro Adachi Everything in this world could have the possibility of being a toy. Kiichiro Adachi attempts to understand the society by looking at its “structure” and “contrivance” with the same enthusiasm as when he disassembled toys as a child. Through his discoveries from researching, he expresses his findings by using the “device” he will create. Facile Rainbow is a device to arise a rainbow-colored wind. It may be associated with a certain social movement. He tries to sublimate the implications by dealing with the social problems as a toy.

Facile Rainbow, 2013. Ceiling fan, acrylic board, chain, mixed media, 3 ft 6 in by 3 ft 6 in by 3 ft 10 in.

Stacie Uhinck Rose As a painter, Stacie’s focus has continually been on time, space and memory. Extensive travel has influenced her work, prompting an exploration of our universal sameness. Her paintings contain shifting planar shapes and repetitive imagery that illustrates how malleable perception can be. The abstractions recall otherworldly landscapes and familiar structures, but are not representative of a time or place. A mixture of gestural brushstrokes and hard geometric lines form a dichotomy between the immutable and the ethereal, creating a visual history within the layers of paint. Stacie currently lives and works in Atlanta, GA. Chevron Stack.


Shingo Yoshida

Voyage au Centre de la Terre #1, Iceland series, 2014. C-Print.

Shingo Yoshida (b. Tokyo, 1974) considers the world his studio and therefore a place of constant creation. Travelling around the globe, he finds myths, legends, people and places which are easily overlooked and matches them to his creative micro world. With an aesthetic gaze and the most fanciful understanding of life Yoshida enacts as if he was playing Hide and Seek in the world alone: while hiding himself he seeks the hidden.


Beril Gulcan

Valentina and Mom.

“Between You & Me series is an inquiry out of the predicament of conflict. Gulcan lays bare the qualities we seem to have accepted as the inevitable ways of being human, such as the suppressed / overflowing sexuality in Klara and Her Daughter; or the underlying motto Ease of War in Ily’s Daughter, posing the very important question Can we ever be completely free of every kind of conflict?… In her self-portrait with her mother the artist moves forward and almost out of the picture as if she might pass right through us, only while her left hand is left behind assuring her mother it’s all right. The mother seems somewhat pleasantly surprised, a bit skeptical, and august. Is it possible at all to be completely free of self-images projected by thought and to never again create them? What would our relationships be made of then?” – from The In-Between of Relationship by Tchera Niyego


Ilham Laraki Omari

Epicentre, 2013. Oil painting on canvas, 100 cm by 100 cm.

Ilham Laraki Omari is a Moroccan painter born in Casablanca. After a figurative period followed by a semifigurative period, Ilham is released today in her own abstraction. She exposed first in her country and traveled with her art in Europe, the Middle East and the United States. She won the first honorable mention in 2012 at an international exhibition in Istanbul and participated in the Salon d’Automne in Paris in 2013. In 2014, Ilham exposed in Luxembourg, Barcelona, Austria and Miami. She participated in the Salon d’Automne 2014, Montmartre and Carrousel du Louvre in Paris. She is officially awarded the Artist Card by the Ministry of Culture in the Kingdom of Morocco.


Flรกvia Fernandes

Pieces of Sea, 2000-2005. Mezzotint and acquaforte, 21.5 cm by 14 cm.

I made the Pieces of Sea etchings while I was doing the interferences in the natural landscape and they are a part of the work, that is composed of some photographs, videos of the interference and these etchings. I call them pieces of sea because I made them thinking on the qualities of deepness, dip, surface, brightness, movement, sensations that the sea brings us and used mezzotint and acquaforte for constructing them. Flรกvia Fernandes (b. 1956, Sรฃo Paulo) lives and works in Florianopolis, Brasil where the artist turned to painting, printmaking, installations, interventions on natural and urban spaces and videos.


Pierantonio Masotti

Solve et Coagula. Mixed technique, 56 cm by 40 cm for each of the four panels.

Pierantonio Masotti (b. 1954) lives and works in Villafranca Piemonte. The self-taught artist approaches art at the age of 18 when he starts painting landscapes, people and things. After an initial figurative phase he begins a new artistic research. The research on the cohabitation and marriage between philosophy and visual expressions take form in the artist’s recent installations with bones and dolls. In one of his latest exhibitions titled Ecco l’Uomo Masotti disassembles the presumption of the omnipotence of man up to reduce it to a pile of bones in a corner.


James Linkous My work, whether conceptual or academic, is firmly held together by the thread of material exploration. The historical application of charcoal on paper and the use of wax on plexiglass, a more experimental media, share the goals of understanding material, methods of application, and variety of mark-making. Instead of relying on a symphony of colors, such as polychromatic artwork, I endeavor to create an equally moving score yet with a single instrument. This pursuit is meant to not only expand the language of drawing, but also to desegregate the arts from other fields of study, such as the sciences and mathematics.

Diffusion Self-Portrait 5, 2010. Charcoal on paper, 72 in by 42 in.

Robert Longyear

Insular Eights #03 Longyear, #02 of 05, 2011. Archival Pigment Print on Face Mounted Plexiglas, 30 in by 40 in.

This image is a reconciliation; a format to talk about the way in which our working class (in the USA) has not only declined, it has transformed. Everything is where something used to be; typically, the poor round up, the middle classes round down, and everyone, in the American spirit of self-selection, meets in that broad spectrum of society that, by the sweat of it’s brow, somehow scrapes by. Robert Longyear is an artist, designer, and social engineer living and working in Saint Louis, M.O., USA.


Dion Salvador Lloyd Lloyds studio is energized by its content. He surrounds himself with sensory inspiration, bleached animal skulls, found/collected objects, constant music, in an attempt to find the state of mind and the creative space within where his painting can flow. Driven by intuition, each painting an unplanned journey, an exploration of horizon and the interplay between earth and sky but moreso a celebration of the physicality of painted surface. The surface of these oil paintings are untamed, highly worked and layered, difficult to look away from, magnetic in tone and colour and leading into mysterious yet beautiful microworlds and solid air.

Hibernia. 120 cm by 150 cm.

Victoria Dutu Victorita Dutu majored in Philosophy and Mathematics. Exhibits and awards include: Brick Lane Gallery – London‎ ART IN MIND, 2014; Time Gallery, Vienna, 2014; Artec Salon France, The Matra Museum, Chouzy/Cisse, France, 2013; Galerie La Bombonniere, The Sanremo Festival, Italy, 2013. The International prize of Poetry, NAJI NAAMAN, 2009 Liban.

Untitled, 2013. 66

Elvia Perrin My approach is pragmatic and often monotonous relating back to need to find balance and control. I often create finished prints or drawings that I then I cut up, reassemble, reorganize and print on top of the original image to find a new order. My process develops through a dialogue between an idea and making through editing, overlapping, stacking and layering of ink and images. I use grids, sewing templates, office labels and other everyday organizational materials. The grids create a controlled system to draw my squares and shapes by hand. There is an evidence of time in my mark making. I explore the repetitiveness of multiplicity of the image, the organization patterns and surfaces through overlaying ink and the contradictions of formalism with sectioning and shape. Through printmaking I can exploit the redundancy of the matrix and use my plates as a visual language, layering and reusing plates to create various monoprints.


Maria Isabel Brandis In the early days of my childhood I was constantly aware of a growing passion for creativity. My mind was bursting with ideas and I visualized the results as they took on format. I felt the urge to capture the many breathtaking moments of beauty of life on canvas. During the autodidactic beginnings of my youth I was fortunate enough to have Alexandre Ignatkov from Russia and Lilo M端ller from Germany as mentors. They influenced my style expressing the basic foundations of art and were of great inspiration for me. I often work with strong vivid colours depending greatly on my mood or situation. I observe my surroundings closely after which I bring to life a bold or bashful setting such as on the haze over the Baltic sea where I live or in the warm and mild climate of my home in Spain. I work as a freelance arts activist with numerous exhibitions at home and abroad. In Der Schwebe Von Maria Isabel Brandis, 2014. 80 cm by 100 cm. 67

Quirarte + Ornelas

Estructura Modular X, 2014. Acrylic on canvas, 120 x 120 cm.

Anabel Quirarte (b. 1980, Mexico City) and Jorge Ornelas (b. 1979, Mexico City), live and work in Mexico City. Quirarte + Ornelas explore the materiality of objects through their work, approaching them through a variety of possibilities apart from their ordinary function. Bringing together several media into the conception of their pieces, they develop an investigation that takes the object to its materic state, reconstructing it into new structures in which form transcends function, a cycle which refers to the sculptoric process, bringing it all together through painting, drawing, objects and installation. Their objects are reinterpretations of daily items and abstract evocations of the artistic exercise, and painting becomes the register of these objects, turning into a means of knowledge.


Pablo Fernandez Marquez The Image of a world created as a passage; a connection between fiction and the real, art and life, time and space, gateways to the universal. How appearance can be transformed into a new world of passages. Exhibiting is a fine experience, the transformation and activation of the space, without constraints, seduction of total freedom, leading people into reflection, an act of pure perception in connection with self. Not reality nor fiction but a connection between these two. Free from a world that constantly fights to control people... Awareness is only the power of the art work that conceals layers that are behind the result.

Sky II, 2011. Archival pigment print, 63 in by 43 in. Š 2014 Pablo Mårquez.

Bernadette Bluemel Bernadette Bluemel, born and raised in Innsbruck, has only been showcasing her artwork to the public since 2010. Before that, she actually learned how to draw in secondary school for graphic design. She is passionate about graphic design and is constantly on the lookout for ways to challenge her self within this medium. Most of her works are done with an ink pen (black and red) on paper. Her works are greatly influenced by humans and nature. One of her favorite subjects to take inspiration from is the human heart because she believes it awakens deep thought. Your sources of inspiration allow Bluemel the opportunity to express her true feelings through her work.



Allard van Hoorn

Matchmaker, Edition of 3 + 1AP , 2008. Framed C-print, 90 cm by 67.5 cm.

Allard van Hoorn is a Dutch performance, sound, and installation artist who creates work that examines our relationship with urban landscapes and our systems of classification. He visually and acoustically translates the built environment and nature to call to question our preconceived notions and perceptions of the spaces we inhabit. –Newlin Tillotson His work was presented at biennales of Istanbul (Art – 2013), Gwangju (Design – 2011), Shenzhen (Urbanism and Architecture – 2013), Rosenthal CAC – Cincinnati, Stedelijk Museum & de Appel arts centre – Amsterdam, Pinakothek der Moderne – Munich, Open/Invited EV+A –Limerick, Storefront – New York, The Moore Space – Miami & the Zendai MoMA – Shanghai.


Cristina Bahiense

Homenagem a Mondrian.

Cristina Bahiense was born in Rio de Janeiro, where she lives and works. She holds a degree in psychology from the Universidade Federal do Rio de Janeiro (UFRJ). She studied art history at PUC (RJ-2000). In the 1980s, she enrolled at the Escola de Arte Visuais do Parque Lage (RJ), where she attended several courses in the institution’s ongoing art workshop; she returned to the EAV (Escola de Arte Visuais do Parque Lage RJ) in 2000, having studied under Fernando Cocchiarale, Guilherme Bueno, Franz Manata, Luis Ernesto, Manoel Fernandes, Pedro França and Reynaldo Roels Jr.; she also took Paulo Sérgio Duarte’s course in contemporary art at POP (Polo de Pensamento Contemporâneo). She currently attends the group of study in art and philosophy with Paulo Sérgio Duarte. 71

Luis Alfonso Villalobos

Dessau Eucalyptus, 2014. Acrylic on camvas, 80 cm by 120 cm.

Luis Alfonso Villalobos’ work denounces the vulnerability of collective memory through pictures that sit between documentary records and prophetic predictions. Beyond illustrating a state of devastation, the artist deconstructs both the iconography that permeates the tradition of art and architecture. Reviewing history versions told by the elements that materialize the model of civilization in order to appropriate the symbolism established over time and pour them over scenes of decay and destruction. Reducing the majesty of historical monuments into a dialogue between stones, facts and context, which also is related to his concern about the relationship with the environment and nature. 72

Erin Armstrong. Final Drop.


Erin Armstrong. Plunge.


Aysel Gozubuyuk

Epigram1, 2013. Oil on canvas, 100 cm by 70 cm.

Focusing on the transformation of social contradictions posed by the works of decomposition. Grotesque images often used in my works act as a metaphor for social change. Grotesque alienate the world, with an area of fun; imaginative, unusual features redesigned assets that appear not to belong to the world are put into a case of art. Of human cases, a combination of plots contrary to the often contradictory and absurd. This may be a metaphor for the sense of social life. 75

Roswitha Klotz

Shapes of Love. 120 cm by 180 cm by 2 cm.

Roswitha Klotz is a musician and painter. As a successful pianist and harpsichordist Klotz has also always produced in visual arts. Periods of working with watercolors alternated with periods of oil chalk colors, oil on paper, wood or canvas. She took part in several exhibitions through big cities in Germany where the artist is originally from. While studying at the University of Music and Performing Arts Munich she also continued her fine arts studies in several workshops and as guest student at the Academy of Fine Arts Munich. Nowadays her paintings display a positive perception of the world. The wonderful aspects of nature, the play of colors and especially the colors of music she converts in artistic expression. Koltz has been long resolved in abstract painting to uncover what is under the surface.


Mademoiselle Maurice Born and raised in the high mountains of Savoy, Mademoiselle Maurice is a French artist of 29 years. Having originally studied Architecture in Lyon, she worked in Geneva and Marseille before moving to Japan. Following the tragic events of March 2011 (earthquakes, tsunami and nuclear power plant explosion of Fukushima) while living in Tokyo, she decided to start composing artistic and urban works in connection with these facts, based on the legend of 1,000 cranes and Sadako’s story, a little girl who lived the tragedy of Hiroshima. Now based in Paris, Mademoiselle Maurice develops and creates countless colorful works via origami or other mixed media. Light in appearance, the work of Mademoiselle Maurice propose and raise questions about human nature and the interactions that sustain people and the environment.

White Night (Slovakia). Urban Installation. Artwork and photography by Mademoiselle Maurice. Detail.

Jemima Wyman Jemima Wyman is a contemporary artist who lives and works between Los Angeles and Brisbane, Australia. Wyman’s individual practice spans various mediums and focuses on visual resistance and the politics of fabric. She has exhibited at the 21st Century Museum of Contemporary Art (Japan), the Australian Centre for the Moving Image (Melbourne), Museum of Contemporary Art (Sydney), Museum of Contemporary Art (Los Angeles) and her work was included in the 2010 Sydney Biennale. In 2012 for The Unexpected Guest: Liverpool Biennial, Wyman was commissioned by FACT to make a large-scale public engagement project. Her most recent solo exhibitions include Effacing Power at Steve Turner Contemporary in Los Angeles and Pattern Bandits at the Gallery of Modern Art in Australia. For the past nine years she has also collaborated with Anna Mayer as CamLab. RIOT, 2013. Poured paint and faux finishes on canvas, 84 in by 66 in. 77

Virginie Gallois

Sous Les Grands Arbres #19, 2014. Acrylic and ink on wood, 50 cm by 50 cm by 5 cm.

My practice relies on the use of ink and paint which I include in installations that are also liable to incorporate photography and video. My pictorial work calls up and discloses places which, albeit imaginary, are directly linked to the landscape. What is at stake in my approach is the suggesting and questioning of issues that impact man, his nature and Nature itself. Poetry, humor and suggestion crisscross in a universe where color remains vocal. I hold the DNSEP degree, awarded by the School of Fine Arts in 2008. I stage regular exhibitions of my work in France and abroad.


Miquel Wert. The Offering, 2014. Charcoal and acrylic on canvas, 100 cm by 81 cm. Private Collection (France).


Miquel Wert Facing the gloomy nostalgia of photography, painting traditionally offered a more physical view of people and their lives. Since Warhol and thereafter with Gerhard Richter, the presence of painting has been blended with the spectrality of photography, gathered in the high value of iconography in contemporary culture, the work of Miquel Wert sets out this issue. Something fades away and something remains at the same time in these images made by intermingled strokes of charcoal. The accuracy of the moment, the arbitrariness of the story makes us feel as being in front of a determinate instant, a time loaded with existence. But the white light at the background pollutes and dazzles us with an ethereal quality, a haunting fragility. The image becomes fascinating and impossible, permanent and incomplete, like the remains not from the past but from the future. – Alex Mitrani | Art historian and curator

Feeding the Future, 2013. Charcoal and acrylic on canvas, 114 cm by 162 cm. Private Collection (France).




Miquel Wert. El Pilar, 2014. Charcoal and acrylic on canvas, 100 cm by 81 cm. Courtesy of Private Collection (France). Detail.

Leandro Erlich, El Avión, 2011. Metal structure, fiberglass resin, plasma screen, 110 cm by 100 cm by 14 cm. © courtesy of Galería NoguerasBlanchard. 83

Aris Katsilakis In 1998 he enrolled at the Faculty of Fine Arts of Tinos. He graduated in 2001 with a scholarship to continue his studies at the Athens Faculty of Fine Arts. Katsilaki has presented his work in two solo exhibitions and in numerous group exhibitions. From 2007 to 2011 he taught sculpture as Lecturer (407/80) in the Department of Sculpture of the Department of Fine and Applied Arts, University of Western Macedonia and since 2011 teaches Plastic and Pottery in the Department of Interior Architecture, Interior Design and Drawing Objects in TEI Serres.

Mutation. White clay.

Sven Bergholz

Praying Dog. 65 cm.

Mr. Bergholz has been an integral part of Berlin’s millenial sculptural movement and represents a perspective that deconstructs traditional metaphors and assembles them into the modern. His unique perspectives combined with his meticulous eye and craftsmanship lead to delightful reflections of form and movement. He expresses his perspectives through abstract as well as archetypical channels. Mr. Bergholz is an avid Sartrian and is frequently quoted by art historians as a nouveau-existentialist. He is constantly battling with time and believes that carrying history — the “forgotten“ — into the future will drive innovation and crystallize elegant physical — fauna and flora-related movements. In parallel, he is passionate about the contrasts between that which exists and its absence fundamentally and he obsesses with the sensation of simplicity. – P. Uwe Peters


Jane Fine

Fatty was an Angel, 2012. Acrylic on canvas, 32 in by 26 in.

I think of my paintings and drawings as battlefields, situated on the border between figuration and abstraction, where joy and anxiety are locked in combat. Each painting is a perfect storm, slowly developed, with no preexisting plan and impossible to recreate. The painted structures are unstable; figures dissolve into ground while forms resembling patches, tape, bricks and planks attempt to stave off collapse. Although the paintings suggest damaged landscapes, within each one is a creative battle where painterly invention is a sign for optimism.


Judit Stowe

Dragon Robe.

Originally Hungarian (née Kovács), Judit Stowe has lived in different countries of the world (USA, India, China, Europe, etc...) She is married to a British man (Ian) and has finally settled in France. Her photographs entice spectators to encounter different cultures trough portraits of people, objects, and situations. Numerous exhibitions in the United States, in Asia and in France punctuated an artistic career that includes multiple prizes and awards in prestigious international competitions (most recently in December 2014: Italia in Arte – Price Raffaello Sanzio and Special Award Nelson Mandela). Seven of her photographs are in the collection of the Museum of Fine Arts in Houston, and many of her works are in private collections around the world. 86

Marisa Tesauro

Via Roma 2, 2012. Netting used in the olive harvest, thread, site specific installation, size variable. Photo by Marisa Tesauro.

Marisa Tesauro uses sculpture, installation and architectural intervention to examine contemporary societies and the built environment through an archeological lens. Solo exhibitions include Miti Oggi Ruderi Domani (2014), La Specola, Florence, Italy and Via Roma 2, Calabria, Italy (2012). Group exhibitions include ARTECHO, NY, NY (2014), Bronx Calling: The Second AIM Biennial (2013), This Side of Paradise, No Longer Empty (2012), Bronx, NY. Awards include The Foundation for Contemporary Arts Emergency Grant (2014), AIM Program, Bronx Museum (2012). Tesauro is represented by the Artist Pension Trust.


Angelo Bellobono

Transitory border. Acrylic, mineral and glue on recycled PVC, 50 cm by 60 cm.

Angelo Bellobono is based in Rome and New York. His works explore the constant efforts humans make to seek out an identity and a place in which to belong and how social and geopolitical changes have effected people. Having spent two decades as a ski coach, the elements of ice and mountains are frequent metaphorical elements in his work; ice representing the planet’s archival memory, and mountains depicted as hinges and not barriers, connecting cultures. He created Atla(s)now project in the Atlas Mountains of Morocco, a community platform where art and skiing are used as a means of social development. Bellobono’s works have been extensively exhibited, including the Marrakech Biennal; Macro Museum in Rome; Museum of Modern Art of New Delhi and Cairo City; XV Quadriennale of Rome, Volume foundation and many galleries.

Daniel St Amant I​n an era of mass consumption, poverty, pollution and war, it’s difficult to avoid being alarmed by the abundance of negativity and hopelessness that surrounds us. My work explores some of these issues, specifically our destruction and exploitation of the natural environment. As our population grows, so does our consumption as a species with increasing pressure to meet quotas and profits. Humans are driving deeper and deeper into the wilderness. Latest paintings discuss this pressure we put on the natural environment and the adaptation that the animal kingdom is forced to undergo. Using modern surfaces such as major roads to emphasize our global footprint, I have managed to capture the density within our city life. Laying my canvas on the road I capture physical traces of climate affecting technologies, “tire tracks” to which I use as a landscape for my animal compositions. 88

Alfred J. Kwak, 2015. 30 in by 40 in.

Seth Michael Forman

Meeting on Big Bear Hill, 2013. Oil on panel, 25 in by 31 in. Collection of the Artist Pension Trust of New York.

Seth Michael Forman’s panels are a dreamlike stage where his cast of characters explore autobiographical themes. Drawing from his imagination and mingling fact with fiction, Forman creates protagonists who are caught frozen in time and memory. Using multiple layers of oil pigment and resinous glaze over sustained periods of time, he builds physical, temporal, and illusory depth where a personal mythology is played out. Forman’s images are not meant to be easy windows into his imaginary world. Instead he challenges viewers to question and participate in unfolding narratives, and create their own meaning.


Aga Piotrowska

Dry Leaves, 2014. Interaction.

My work is focused on the addressee from whom I collect reactions. I examine the processes taking place in our daily lives, which is a representation of relations between the external and an internal world of an individual, as well as a way of their rooting in our minds. I collect information about the internal products of a human psyche from the imprinted contents of experience, which activate the conscious and unconscious content and schemes of a human functioning. Disease and its metaphors preoccupy the most part of my considerations. I analyze the level of health illiteracy, paying attention to its social causes and consequences. I’ve consumed a significant amount of drugs during the disease, and underwent two experimental therapies, constantly receiving wrong diagnosis. I like to touch viewers with my works, the most recent realizations lays on the ground, and are described with legend in the form of neon. I obtain the dyes used in these works from drugs and chemical reagents used in medical laboratories.


Wesley Wright

Autonomous, 2012. Stoneware, glass, dirt, turf, steel, aluminum, 45 in by 40 in by 38 in.

Wesley T. Wright is a Northern California based sculptor and mixed media artist known for his highly detailed and eccentric imagery. His work addresses environmental and existential issues with humor, grit, and imagination. Through his sculptures Wright suggests a mythology that is informed by our past but is in keeping with our modern circumstances. After growing up in Berkeley, California, Wright attended Humboldt State University where he became involved in ceramics and circus arts. He then went on to receive a Master of Fine Arts degree from San Jose State University. Wright currently teaches Sculpture at San Joaquin Delta College.


Robert Kraiza

Beatrice, 2013. Watercolor, 5 in by 7 in.

When I paint I escape to whimsical worlds where the rules of nature can be bent. I like to explore worlds that are extraodinary in nature but have roots in our own. The curious worlds I am unveiling are places of castles and leaning cottages, of miniature children who ride mice, cats, and birds as loyal steeds, of witches meeting and fabricating enchantments in deepening forests and it is my joy to explore them. Watercolor best allows me to achieve techniques ranging from soft ethereal washes to precise miniature details I include in all of my works. 92

Mary Riley

Ed Standing, 2014. Oil on linen, 14 in by 11 in.

My approach to painting is fairly primitive. The goal is to capture some of the essence and beauty of the animal and capturing its form allows me to become, in some sense, one with the creature. It is a type of possession. Technically, I am interested in texture, in layering the paint, and then removing it. The process continually evolves and the outcome is unknowable. I have succeeded when the viewer is at least partially captivated by the image as I am by the subject.


Nancy Friedemann Sรกnchez. And Of Course I Did It For Pleasure, 2003. 120 in by 180 in. Galeria Diners, Bogo.



Sophie Ouellet Sophie Ouellet (b. 1978) got her multidisciplinary bachelor’s degree from the Université Laval in 2005 in order to run creative workshops. Ouellet’s medium of choice is acrylic paint and her approach is intuitive. She lets material come to life under her hands. Shapes appear through a touch of randomness, as feelings come and go. The power of creation in one’s personal journey, as an introspection and expression tool, as a way to express one’s life experiences and to transform one’s wounds, and as an empowerment tool is what this artist’s calling is all about.

L’écho De Mon Souffle, 2014. Acrylic on canvas, 30 in by 30 in.

Sylva Kanderal I was born in the Czech Republic and live in Zürich, Switzerland. My path led me through the studio of my friend in the Aimé Venel art school in Zürich. This is where I got the graphical basis which followed by studies with well-known artists at home and abroad. The abstract painting is the heart of my work. I like to improvise and let my imagination run free. I quickly edit unimportant areas of an image and slow down into the more concentrated parts that need more attention. Delicate, transparent oil colors are my favorites but I also often utilize acrylics, collage and other materials and techniques. Especially the combination of various techniques makes each work exciting and a joy. My goal is to harmonize through colors, shapes and various techniques. Abstract.


Nancy Friedmann Sánchez. Byzantine Grid, 2003. 90 in by 180. Detail.

Jack Staller Jack Staller, a painter and storyteller, has managed to find his passion between the two realms. The artist’s greatest inspiration is the Bible and especially the stories about women within the Bible. Continuing a centuries old tradition, the technique he uses to intertwine his storytelling and painting is by using realism as his way of expression. Staller has currently completed a series of 20 paintings on the subject.

Salome’s Dance. Oil on Canvas, 31.5 in by 39.5 in.


Danwen Xing

Scroll, image A2 from the series. Edition 15. C-print, 284 cm by 24 cm.

Scroll A2, Detail 1.

Scroll A2, Detail 2.


Xing Danwen mainly works with photography, video and multi-media installation. Currently she lives and works in Beijing. She exhibits domestically and internationally, including Whitney Museum of American Art, J. Paul Getty Museum, Metropolitan Museum of Art, Pompidou Center, International Center for Photography, Victoria and Albert Museum, Yokohama Triennale and Sydney Biennale, etc. As well her works are collected widely by these museums and privates. Her artistic practice is both rich and varied and her subjects include: Dislocation between cultural status, conflicts between globalization and traditions, problematic environmental issues created by the development, the urban drama between the desire and reality. Fiction, truth and illusion often play an important role in her works.

Wall House, 2007. Edition of 8. Installation with four photographs, single channel animation video, 120 cm by 160 cm, 80 cm by 100 cm, 120 cm by 90 cm, 100 cm by 130 cm, 1 min. 99

Anders Grønlien I draw inspiration from observations in nature as well from historical art and culturally referential material. I seek to construct a type of crypto-narrative visual by intersecting elements gathered from inspirational sources such as natural reserves, cinema, visual streams in connection to specific musical genres, mythology, archaeology, folklore, science-fiction, conspiracy theories and the occult. I see these elements as indicators of a collective consiousness in which philosophy and fiction are merged. Through this i search for a specific aesthetic form loaded with allegorical and symbolic representations for different aspects of the human condition. My work manifests itself in a variety of mediums such as painting, drawing, sculpture, found or altered objects and installations.


Crater, 2013. Acrylic on canvas, 97 cm by 130 cm.

Threat From Nature, 2011. Carved found wood, 120 cm by 20 cm by 20 cm. 101

Mara Light

Indefinite. Oil on linen with panel, 26 in by 26 in.

My current series of paintings is called Beneath the Surface. The subjects of my paintings and all people, including nature itself, have many layers. We have our dark sides, and light, parts of ourselves that we show, and others we hide within. Together, this combination creates the beauty of who we are. My hope is that the viewer sees and interprets the paintings, or parts of the paintings, in a different way, each time it is experienced. This is how I believe we view people, nature, and life, always seeing and realizing new things, each time we look, as well as always being impacted by what came before. I generate the ideas and concepts, with the painting process itself. The unpredictable nature of the layering of materials that I use between the paint, covers, and at the same time, emphasizes areas, and concepts or metaphors, as I go. Each step is a reaction to the one before. It is a constant building up of an image and tearing it down. For me, the more layers I paint, the more interesting and thought provoking the surface becomes. This is a metaphor for humans and how we are shaped by what we have experienced in some form or another. I use transparent materials between the layers of paint so that the paint stages, or traces underneath, show through, always seeing the steps before. My intention is to arrive at a balance between the order and the chaos, light and dark, and tradition and expression, always searching for the balance, as I do in life. The paintings begin to have a life of their own that is not really in my control. Looking back on my paintings before this series, I was focused solely on learning technique, and less about personal expression, as I am now. 102

Erzsebet Nagy Saar

ANNA, 2014. Decollage on canvas, 170 cm by 100 cm.

In a world controled by advertisement and marketing near the Hungarian-Romanian border in Hungary, where I was born in 1974, I developed an unconstrained perception of my environment and thought. Like many of my generation “Wendekinder�, I am also blinded by all the pleasures and temptations of our irritant-afloat world. Neuralgic points become visible and reachable. Budapest, Bangkok, New York, Madrid, Vancouver, London and Vienna are the venues. No gentle one grows, no accompanying hand leads me; the pure market mechanisms were unmitigated and unfiltered. Saar lives and works in Vienna. 103

Fu Wenjun

Among the Clouds, 2015. Conceptual photography, 80 cm by 200 cm.

Fu Wenjun (b. 1955, China in 1955) graduated from Sichuan Fine Arts Institute. The artist is currently is a member of the China Photographer Association, and of the Professional Photographer of America (PPA) and has repeatedly been selected a member of the evaluation committee in several art competitions. His exhibitions include: Grand Palais des Champs-Elyses in Paris, Jacob K. Javits Convention Center in NY, Tokyo Metropolitan Art Museum, Yokohama Art Museum, Hong Kong City Hall, Dubai Community Theatre and Arts Center, Bangkok Art and Culture Center, China Military Museum, Today Art Museum in Beijing, Old Summer Palace, Guangdong Museum of Art, Yunnan Provincial Museum, Chongqing Art Gallery, Shanghai Library, Sanxia Museum and Chongqing Library among others. Wenjun participated at the collateral exhibition Voice of the Unseen Chinese Independent Art 1979/Today at the 55th Venice Art Biennale in 2013 and received the first prize of digital art at the 2nd International Biennial of Contemporary Art in Argentina among other awards. 104

Robert Kraiza. Alphonse, 2013. Ink and watercolor. 105

John C Hundt A core concept underlying my work might perhaps be thought of as morphology, and that may offer a good way for others to approach it. In biology, morphology is concerned with the form of living organisms. In collage, I have found I can discover and explore the structural relationships inherent in the imagery of human invention. I especially gravitate towards functional forms produced in the practice of those fields that inspire my own thinking. Scientific endeavor figures prominently- explanatory diagrams, mathematical formulas, and representational vignettes encapsulated from particular historical eras. I contrast influences such as evolutionary theory with images images drawn from areas of human experience and belief that can provoke more uneasy trains of thought.

Portrait Of A Biologist, 2014. Collage, 11 in by 7.5 in.

Robert Szittay Robert Szittay (b 1972 , Slovakia) studied at the Academy of Fine Arts in Bratislava and Academy of Fine Arts in Prague. Artist in Residence at CitĂŠ Internationale des Arts in Paris. He is a member of arts associations in Slovakia and Germany. The artist lives in Bratislava and makes sculptures depicting the human form. His works have been shown at exhibitions at home and abroad: Austria, France, Germany, Italy, Japan, Latvia, Lithuania, Serbia and United Kingdom. His exclusive concern with the human figure makes him an extraordinary representative of his generation. He uses plaster, epoxide, fibreglass and also bronze. His art focuses on figural representations in sculpture, ranging from portrait to self-portrait, through expressive and anatomical studies of the human body to elaborate groups of figures.

Sticking Model, 2009. Plaster, 13 in. 106

Iryna Lialko

Metaphysics of Love, 1998. Paper and inks, 42 cm by 50 cm.

I create because I don’t know any other way to live. Mixing human love and experience, and earthly beauty with other-worldly sparks, I create art. I have a vision of worlds where space is perceived differently. I become obsessed with this vision. I cannot sleep or eat and I decipher it in images that allow to gradually discover itself through its unique aesthetic beauty. I also create an elusive but very alive and trembling spirit or soul which produces associations intending the images from my paintings to penetrate softly into the viewer below the levels of conscious understanding. I hope that my art will bring love, joy, sincerity and compassion. To paint this kind of art and music helps. In fact, I am a genuine music lover. Above all, I encourage people to express themselves through art and beauty.


Chiara Samugheo

From the series: Titolo Opera.

Chiara Samugheo was the first Italian, female photographer in the 1950s. Primarily engaged in photojournalism, she witnessed and captured Italian life after Mussolini’s dictatorship. Her first reports denouncing the negative and disturbing faces of Italy: barracks on the outskirts of Naples (“The baraccate di Napoli”, “Gli scugnizzi napoletani”), the prison (“The regina delle zingare in carcere”) or the disturbing phenomena Apulia (“The invasate”). Later in her career she captured some of the world’s most famous movie stars including Sophia Loren, Brigitte Bardot, Jeanne Moreau, Elizabeth Taylor, Claudia Cardinal, Jane Fonda and all the greats of the era such as Alfred Hitchcock, Orson Welles, Charlie Chaplin and Omar Sharif to name a few.


Petra Feriancova Petra Feriancova (b. 1977, Bratislava; former Czechoslovakia) works in the intentions of postproduction. The key moment of her work is the conceptualization of her own emotional reactions to the processes of perception and memory as well as an examination of the circumstances under which they are shared. She works mostly with already existing images and texts, which she interprets and methodically interchanges. The main aim of this form of manipulation with a pictorial or discursive reference is to provide the spectator with the original affective reaction.

Things That Happen, Things That Are Done.

Kevin McCabe I was born in England and came to Australia with my parents at the age of 4. I attended Curtin University, studying creative writing and journalism. I spent a lot of time traveling after university, working mainly in administrative jobs in-between trips. I spent most of my time away in Britain, getting to know my birthplace, with the odd trip into Europe, the Soviet Union and China. I was always inspired by the visual arts but was a late starter, beginning to draw in my twenties and exhibiting for the first time at 32. I spent many years evolving and developing my work, which often has an emotional edge. I have had numerous solo and group exhibitions in Perth. I am currently working full time on my art and studying Mandarin. I live in Yokine WA with my wife and son. Tree of Light, 2014. Giclee Print 1/5, 10 in by 10 in. 109

Marika Markstrรถm

Unconscious Production Of Suffering.

Marika Markstrรถm is a visual artist whose main interests range from psychic mechanisms within individual and collective entities to socio-economical, political, environmental and existential issues. Although the concepts play the central role, the aesthetics expressing them is of greatest importance. Her works usually consist of audiovisual compositions, often in relation to sculptural elements. Light, darkness, sound, color and materiality are always essential in these spatial installations. Performance, painting and drawing occasionally coexist with the other forms of expression. Marika took her MFA (Master of Fine Arts) at Malmรถ Art Academy in Malmรถ 2014 and her BFA (Bachelor of Fine Arts) at the Finnish Academy of Fine Arts in Helsinki 2012. 110

Silvia Marchesini Silvia Marchesini (b. 1977) received a degree in graphics for publishing and later graduated with honors in painting in Italia. She performed restoration activities of frescoes and mural paintings. Marchesini always had a passion for artistic reaserch in which the painting is mostly momochrome as it becomes a matter of urgency and necessity of expression. While also being a teacher, she has exhibited in art fairs and collaborated with national galleries. ‘’My subjects aspire to be solid, immutable and eternal, unlike men who instead have a form that is always partial and provisional. The protagonists of my art, subtly ironic and exaggerated in the 40’s black and white glamour style of films and comics; are pleased to exist in an eternal tale of fiction and weave the story of a lost beauty. In the name of a perfection that cannot exist... except in the poetic fiction, painting.’’ Chanel, 2011. Oil painting, 172 cm by 120 cm.

Marilina Marchica Marilina Marchica (b. 1984, Agrigento) graduated at the Academy of Fine Arts in Bologna. She participated in several exhibitions in Italy and abroad. The urban architecture is the center of her painting. Segmentations of individual parts, landscapes and places that if decontextualized become other than itself. The work is devoid of any formal value, giving space to the subject of the work it self which becomes the protagonist, which takes on new forms and different meanings in the eyes of the beholder. Marchica lives and works at Agrigento.

Linear Landscape, 2014. Mixed media on juta canvas, 100 cm by 120 cm. 111

Paul Kaptein

And In The Endless Pauses There Came A Sound. Laminated, hand carved wood, 1860 cm by 600 cm by 460 cm.

Paul Kaptein’s works are deliberations on time. This work considers two strategies for disrupting the flow of temporal perception. The first can be seen as a mental process, as a way of sitting outside time, while the second refers to the kind of glitches encountered when pausing or stretching tape based media, as a method of controlling time. By sampling from various cultural and temporal trajectories, Kaptein opens up new ways to consider the present.


Anna VanMatre

Sandlines, 2012-2014. Acrylic, acrylic ink, and LED lights.

“…Camille Paglia comes to mind with her title Sexual Personae, inspired by Ingmar Bergman’s film Persona. Mother, Sister and Lover Nature sustaining Herself through the devouring of its beginningless/ endless tail- phenomenon... The Earth, Water, Fire, Air and Space is magnified under Anna VanMatre’s looking-glass, interacting in various degrees and combinations, bringing the five wisdom elements “home” with each image, where we can practice the five functions that constitute the sentient being; form, feeling, perception, impulse and consciousness, to find equilibrium. In this “House” nothing is “I” or “mine” and the doors are wide open…” – excerpt from Come to Mama by Tchera Niyego.


Johannes Vogl

Dampfsäule / Column of Steam, 2011. Water, gas, ceramics, copper, steel, plastic, aluminium, 100 cm by 40 cm by 300 cm. Courtesy Belvedere Museum, Vienna.

“It seems that art, for Johannes Vogl, is a miraculous means to deal with a surrounding reality in a constant exceptional state of a raised intensity where senses are sharpened and perception becomes activated. As a careful observer of the everyday, Vogl is in a condition of a permanent alert with a volcanic (creative) energy and vigilance, bursting out at each step and reaction. Here, artistic field is an open and unlimited area of genuine possibilities and potentialities where endless solutions are being applied and new unexpected constructions are being staged on the crossway of inspiring reality and seductive fiction. Vogl is such a constructor and a passionate inventor of objects on the edge of functionality and fairy-tale like surreal application, beyond reason, within the realm of almighty imagination. The artist is an author of self-sufficient structures, appearing as almost parasitic mechanisms that confuse the usual object. Vogl’s is extremely sensitive poetics of the everyday gesture, non-pretentious, authentic supplement to a reality, turned for a moment into a playground where a moderate dose of irony and a good sense of humour balance the precariousness and insufficiency of today’s (imperfect) world.” – Adam Budak


Zemer Peled Zemer Peled’s work examines the beauty and brutality of the natural world. Her sculptural language is formed by her surrounding landscapes and nature, engaging with themes of nature and memories, identity and place. Her works are formed of ceramic shards, constructed into large and small-scale sculptures and installations. Peled was born and raised in a Kibbutz in the northern part of Israel. She graduated with an MA (Hons) from the Royal College of Art, London. In recent years her work has been featured nationally and internationally in museums and galleries including Sotheby’s and Saatchi Gallery-London, Eretz Israel Museum-Tel Aviv among others.

Shards flower, 2, 2014. Porcelain shards, fired clay, 3 in by 8 in by 8 in.

Tomoya Matsuura

Withered Plant.

Withered Plant is a collection of images taken with a Scanning Electron Microscope that depict the cycle of life in nature. There lies an even deeper natural world in each and every small plant that we see every day in nature. These plants repeat the cycle of birth and death in perpetuity. Though unseen by the naked eye, this cycle is host to a range of expressions, rich activity, and a sense of motion. The Scanning Electron Microscope used to produce the images has a higher resolution than traditional optical microscopes, showing the structure of plants in extremely fine detail. In the near future, these works will be exhibited outdoors, on the faces of buildings. By exhibiting images of the flora growing near those installation sites and turning that subject matter into large murals, I hope to bring the everyday, yet majestic, natural world into the forefront and invite viewers to see how plants are another living being with which we coexist. 115

Matthieu Bourel

Mata Hari.

Data-ism. Power of images and their combinations. Therefore all kinds of diversions. As well in music, sounds or films. Playing with elements, to make it mine. In Collage, I like to watch every picture as the point of departure for a story. Various durations, gathered in one. To evoke a fake history or inspire nostalgia for a period in time that never truly existed. Sometimes further to a decision. Mostly random. The obsession of collecting disparate images from books, old magazines and other found material becomes as much a part of the emerging image as the mark-making. A piece often becomes about the search and desire to combine those emergent narrative symbols that seem charged with a familiar yet distant emotion. When successful, all the elements fall together with irony and tension while all other realities are obliterated, leaving the viewer as participant inside the picture, with his own codes and connections. The image then carries the weight of a personal reality. Most important, the final image actually gains a significant evocative quality I could not have expressed in any other way. 116

Margaret L. Burdick

Cognition, 2014. Mixed media on paper.

The goal is to paint and to allow whatever wants to come forth to appear. Often I do not know what a painting is of until sometime later. For me, the real value in art, in anything creative, is the reaction and the response of the viewer. It is more important than any intellectual over lay. That being said, “Cognition� is one of a series done on states of mind. Thoughts are compartmentalized, with different textures and hues spilling into each other.


Hilda Boer Welcome to the happy world of jumping frogs, creeping gecko’s, dedicated musicians, flowering tulips, happiness and love between people, ethnic motives! Cheerful themes related to my own life vision: alegría! I always use bright colours with accents of dark lines. Specialized in making idiosyncratic, multicoloured lino cuttings in just a small amount of copies, often in series with the same theme. I have had exhibits in my own country (The Netherlands) and abroad. Works are sold to private as well as to company collections. Next to print works I also make bronze statues, oil paintings on canvas and ink drawings.

The Washboard Player. Linocut,100 cm by 70 cm.

Pilvi Takala Pilvi Takala’s artistic practice is practice in its most direct sense. Takala carries out interventions in everyday life, using her body as artistic material, placing it in humorous predicaments. Her own feelings evolving in the course of an intervention, often-nuanced shades of embarrassment, reveal the contours of society’s expectations. Her works clearly show that it is often possible to learn of the implicit rules of a social situation only by its disruption. Takala mixes the reality of documented actions with staged portraiture. She quotes and stretches the limits of different genres such as performance, fiction and documentary.


Players, 2010. Video, 7:50 min. Courtesy of Galerie Diana Stigter and Carlos/Ishikawa.

Jacqueline Mac Mootry-Everaert Painting allows me to create my own alternative reality. An escape from the everyday humdrum, the crazy times we live in. In my inner world everything is light and transparent, magical and colorful, clear and radiant. And painting allows me to feel connected with the inner calm and stillness of my soul.

Marbles. Oil on canvas, 24 cm by 30 cm.

I’m mostly inspired by the Old Dutch Masters and I roam the Rijksmuseum often. I’m also hugely inspired by nature, travel and life changing experiences. Whenever others are touched by my work I feel a meaningful connection and this is a great inspiration in itself.

Luciano De Liberato Luciano de Liberato, began working in the arts in 1975. He was considered a young master and one of the great Italian colourists among Italian art critics and historians. De Liberato presented his work in over 40 solo exhibitions, including in the Art Basel in 1983 and 1984. In 1990 the artist retired to his studio in Italy and uses a very personal unique language since 1994 that is far from fads and mannerist trends. In 2011 de Liberato was invited to the Italian Pavilion (Abruzzo) of the Venice Biennale and in 2012 one of his works, RED, was selected as an image of the Lincoln Center Festival in New York.

HIDDEN, 2014. Acrylic on canvas, 100 cm by 80 cm.


Jeremy Chance Jeremy Chance’s work reflects the psychic conditions of 21st century life. Influenced by science fiction, electronic music, and design, and leveraging a computer-driven sense of mark-making and process, his work elides painterly formats by moving freely between graphic abstractions, collaged and composited imagery, and pseudo-portraiture. Chance (b. 1983, GA) he lives and works in Brooklyn, NY. His work has been exhibited internationally, including Maison Particulière and Office Baroque in Belgium, and Angel Gallery in Toronto.

Aberration, 2014. Acrylic on canvas, 69 in by 53 in.

Amy Michelle Asher I rely heavily on process to produce my artwork. I begin with layers of colors, whites, and clear coats. Then I scrape and sand back to reveal color, line work, and texture. By using materials that react against each other such as oil-based and waterbased paint, I am able to create areas of tension and texture. I embrace the unpredictability of these processes and use them to guide my movements throughout the creation of the artwork. The body of work that I showcased in the fall of 2014, at the Fine Arts Gallery on the campus of the University of Missouri-Kansas City, is based around a cancer diagnosis and the journey through treatment and reconstruction. The work is abstract, tied together by size, color, texture and line work. I work with imagery of birds and constellations with the hope of an internal map to lead me through and to the other side of my disease. 120

Amputate, 2014. 66 in by 60 in.

Brett Polonsky

Little Savage. Acrylic painting, 30 in by 40 in by 1.5 in.

Brett is an abstract mixed media painter mainly working with acrylics on canvas. The artist often uses toilet paper, surgical gauze and concrete paste in multiple layers to create deep textures and allow lower layers to show through. His work comes from a creative passion to tell stories on canvas. These stories start with a basic idea of colors, textures and shapes, and slowly evolve creating deeper characters and more complex interactions. Looking for small perfect moments in the work, and continuing until the story of the painting feels complete‌ trying not to tell too much of the story, leaving much of that to the individual viewer. Brett currently lives and works near Seattle.

Dominique Bordenave Like a blind man, led by the sense of touch, I bend the measures of space, feeling my way through the logic of folds. Through a holographic expression in which each inflexion, each topological event resonates across an entire surface, I explore the secretly folded nature of life. Parodying embryogenesis through which one single and same membrane invaginates and differentiates to produce a functional being, I create each shape from one single and same surface. Conceived in the darkness of the internal eye, the initially flat polygon is like a seed or an embryo, the enfolded stage of an idea, which contains implicitly in the immateriality of its structure the entirety of what is eventually viewed: The illusion that steel stretches freely to encompass an absent form, when all that there is, is extreme compromise between a vision, the vector of my interpreting hands, and the implacable algorithm which the medium represents.

Untitled (sitting girl). Stainless steel, 67 cm by 27 cm by 18 cm. 121

Lucie Boswell

Gateway Chinatown, 2013. Digital print, 9 in by 12 in.

My art is a range of mediums from abstract painting, assignment photography that I also experiment with in digital experimental dimensions, and decorative mixed media art. Working in these multiple mediums allows me to explore each medium with a desire to experiment and invent new ways of creating art and subject matter. My main focus as an artist is to allow the viewer to define the art for themselves as there is no definite exact meaning but rather a feeling of intensity and intrigue that can be discovered in my work. From use of color to abstract design, I wish to intrigue my audience and draw them into my subject matter using experimental and alternative technique as to evoke mystery and ambiguity in subject matter and definition. I am also active in the Los Angeles art scene from museums to artist organizations giving back to the artworld. It is my ongoing desire to continue to evolve and reinvent myself as an artist.


Natalie Robbins The subject of my work primarily focuses on the human form. I like to take realistic elements of the human body and give an abstract effect to depict certain ideas while creating my pieces. In addition to these special effects, predominately depicted by use of color, I like to give a minimal feel to my pieces to accentuate the certain aspects of the human body I am illustrating without including irrelevant details.

Expression, 2014. Color pencils, watercolor and paper, 12 in by 15 in.

Karel Witt A Portrait of an artist… in pursuit of waywardness: Karel Witt (b. 1947), Ostrava (Moravia) is a notorious moonshiner & retrorunner thru time. Unbuttoning the past with offbeat methods, he distilles history’s indigestible events , thus laying down an all-time valid guidance on how to stay out of reach & keep out of range. So obviously… (NeO) DaDa or rather DEONADA is still alive! Karel lives and works in Bern (Switzerland). Image gallery & all about Witt’s alter ego Silberstein can be retrieved from Karel’s website. Anthropoid, 2014. Acrylic on canvas 80 cm by 80 cm.



Natalie Robbins. Illuminate, 2014. Color pencil, chalk pastel, 18.5 in by 12.5 in. Detail.


Robert Kraiza. Death’s Messengers. 126

Sangchen Tsomo. Sage Comes Down. 20 in by 30 in. Detail. 127

Index A


Adachi, Kiichiro


Chance, Jeremy

Aggarwal, Shivani


Culver, J.M.

Alakbarov, Rashad


Alfonso Villalobos, Luis


Almond, Jean-Luc


Arianpour, Sara


Armstrong, Erin

53, 73, 74

Asher, Amy Michelle


B Bahiense, Cristina


Bekirovic, Semâ


Bellobono, Angelo


Bergholz, Sven


Boamin, Liu


Bluemel, Bernadette



D DeBow, Sheri De Liberato, Luciano

56 119

de Reus, Paul


Didden, Honoré


Dunlop, Geoff


Dutu, Victoria


E Erlich, Leandro

45, 83


Boer, Hilda


Bordenave, Dominique


Boswell, Lucie


Bourel, Matthieu


Feriancova, Petra



Fernandes, Flávia



Fernandez Marquez, Pablo


Fine, Jane


Brandis, Maria Isabel Broeckx, Ronny Burdick, Margaret L.


Forman, Seth Michael Friedemann Sánchez, Nancy



38, 89 16-19, 94-95, 97



Gallois, Virginie


Laraki Omari, Ilham

Geismar, Jårg


Lialko, Iryna


Gozubuyuk, Aysel


Light, Mara


Grønlien, Anders Gulcan, Beril

100-101 61



Linkous, James


Longyear, Robert



Hayeur, Isabelle


Mac Mootry-Everaert, Jacqueline


Heiser, Heidi


Marchesini, Silvia


36, 37

Marchica, Marilina


Hengst, Joe Holden, Gordon


Hundt, John C



Marković, Ana Markström, Marika

50 110

Marsenić, Igor


Masotti, Pierantonio


Matsuura, Tomoya


Maurice, Mademoiselle


Kaludjerović, Dejan


Maynard, Chris


Kanderal, Sylva


McCabe, Kevin


Kaptein, Paul


Meriggio, Maria

34, 35

Katsilakis, Aris


Milne, Carol


Klotz, Roswitha


Münster, Jost


Knights, Christopher


Kraiza, Robert

92, 105, 126


N Nagy Saar, Erzsebet

R 103

Riley, Mary Robbins, Natalie

O Ohmaki, Shinji


Ornelas, Quirarte +


Ouellet, Sophie


Pejac, Max


Ruscica, Jani


S Salvador Lloyd, Dion Samugheo, Chiara


24 66 108

Schmalzl, Franziska


Seak, Kae


Peled, Zemer


Senger, Christine


Perrin, Elvia


Serna, Javier


Pisciotta, Federico


Shifflet, Jenn


Piotrowska, Aga


Spirek, Hank


Polonsky, Brett


St Amant, Daniel


Popadic, Jelena


Staller, Jack


Prakash, Ella


Stowe, Judit


Szittay, Robert

Q Quirarte + Ornelas


T 68 Takala, Pilvi


Taormina, Rossana


Tesauro, Marisa


Tollas, Erik Tsomo, Sangchen 130

123, 124-125

Rowling, Carol

Saadé, Stéphanie



54, 55, 56, 57, 58 127

U Uhinck Rose, Stacie

Y 59


Yoon Shin, Ho


Yoshida, Shingo



van der Velden, Margarita


van Hoorn, Allard


VanMatre, Anna


Vogl, Johannes


Zelen, Kelly


W Wai Bong, Koon Wenjun, Fu Wert, Miquel Witt, Karel

32 104 79-82 123

Wright, Wesley


Wyman, Jemima


X Xing, Danwen




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