THE NEW COLLECTORS
The New Collectors Book Fifth Edition, 2016 Publisher: Basak Malone LLC Editor in Chief: Tchera Niyego Contributing Editors: Gaby Miller, Gaye Arslanbas, Alvin Kuhar Art Direction & Design: Elizabeth Taurisani Research: Joshua Loren Front cover image: Sangchen Tsomo. Flight, 2015. Acrylic, oil, pastel on canvas, 30 in by 20 in. Inside front cover image: Avital Sheffer. Mother-Tongue II, 2010. Handbuilt earthenware, 24.02 in by 21.65 in by 9.45 in. Back cover image: Sangchen Tsomo. Pound, 2015. Acrylic, oil, pastel on canvas, 30 in by 18 in. Inside back cover image: Cavin-Morris Gallery, Tantra Paintings, ca 1980-2014. Untitled, hand-ground colors including minerals, mother of pearl, coral, tree resin, vegetable pastes on vintage paper, 5.98 in by 5.75 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: 978-0-9847413-6-6 Basak Malone LLC is a New York based Art Consultancy Firm. 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 The New Collectors Book: Fourth Edition ISBN: 978-0-9847413-5-9 firstname.lastname@example.org thenewcollectorsbook.com
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THE NEW COLLECTORS BOOK is an art archive to be treasured as a reference book, as we believe that contemporary art has an essential value in peopleâ€™s lives, offering multiple reflections on how we live and how our futures are being constructed. THE NEW COLLECTORS BOOK is dedicated to presenting a wide range of fine arts and providing an opportunity for the appreciation of select artworks through acknowledged galleries in its special 5th Edition. We are happy to feature emerging and outsider art juxtaposed with well-established artists and reputable galleries. We extend our thanks to all participating artists and venues.
Sangchen Tsomo. Virgin Mary, 2015. 28 in by 48 in. 7
Sangchen Tsomo. Untitled, 2015. Acrylic, oil, pastel on canvas, 20 in by 30 in.
Sangchen Tsomo. Entombment, 2015. Acrylic, oil, pastel on canvas, 30 in by 30 in.
Sangchen Tsomo. Osho young, 2015. Acrylic, oil, pastel on canvas, 14 in by 12 in.
Sangchen Tsomo. Burnt Blue, 2015. Acrylic, oil, pastel on canvas, 36 in by 22 in.
Dragomir Misina. Would you like fries with that? 2014. Acrylic on board, 50 cm by 70 cm.
which inevitably informs the course of painting. However, in the process of painting, it is not a question of making ever more references to the narrative, but a deliberate attempt to break away from it. Therefore the paintings may be observed for what they are rather than what they should mean.
My paintings are an exploration of colour, texture, mark making and the process of painting itself. Concerned with the delicate balance of chaos and order, they combine deliberation and chance, functioning as a diagram of layers, marks and colours creating gateways into make-believe worlds. The starting point of each painting is based on some form of narrative,
Dragomir Misina. Fâ€“117, 2014. Acrylic and permanent marker on canvas 200 cm by 120 cm.
Dragomir Misina. Semi-detatched, 2014. Acrylic and permanent marker on canvas.
Above: Dragomir Misina. White Mountains. Acrylic, spray paint and permanent marker on board, 75 cm by 110 cm. Right: Dragomir Misina. Shift 4, 2015.
Dragomir Misina. Garden of Eden. Acrylic and spray paint on canvas 200 cm by 115 cm.
Bertha Wuilleumier Cavin-Morris Gallery
Above: Bertha Wuilleumier. Untitled, 1953. Color pencil on paper 5.3 in by 8.2 in. Left: Bertha Wuilleumier. Untitled, 1953. Color pencil on paper, 8.2 in by 5.3 in.
TR Colletta Caldwell Snywell Gallery
TR Colletta. Unspecified.
Any purpose beyond design that I choose to layer within a painting is not necessarily what an audience may read. Each viewer holds his or her own personal relationship to an image. When recognition occurs, mutual gratitude results. As the Romantic poet, John Clare wrote, â€œLanguage has not the power to speak what love indites, the soul lies buried in the ink that writes.â€? So too it is with paint. trcolletta.com
These images of entertaining objects, which have infused our culture this past century, began to appear on my canvas in late 1995. They present a contemporary exercise in recognizable memories. The objects themselves inform my choices of color and design, while they unite diverse experiences through universal recognition. Though style and theme ally the canvases, each one remains singular in voice. 20
David FeBland. Casting Call.
My work considers issues of privacy, conflict and isolation in contemporary urban life, employing a coloristâ€™s eye and a strong sense of formal compositional structure. I describe the interaction between man and his physical universe through a series of invented truths, a sleight of the facts as it were, inspired by observations of everyday life throughout the world. Drawing upon experiences over a wide range of geographical locations, my paintings are driven by a conviction that certain behavioral responses to ones environment are universal. I show extensively in galleries and museums throughout Europe, the UK and the United States. davidfebland.com
David FeBland. Princess Games.
David FeBland. How I Learned to Swim.
Jรกnos Huszti. Wedding, 2015. Oil and ink on canvas, 60 cm by 60 cm. 24
Jรกnos Huszti. Childhood, 2015. Oil on canvas, 70 cm by 60 cm.
I have been engaged in portraits, especially from Historical Archives of Hungarian State Security for a few years. I am interested in the past of Hungary, specifically the 1950s era.
In addition I am concerned in contemporary street art phenomenons. Recently I have tried to set together these two ages and different dimensions in my artworks.
Above: Max Ferguson. Michael with Guitar, 2013. Oil on canvas, 40 in by 40 in. Copyright Max Ferguson. Right: Max Ferguson. Girl with Vermeer, 2014. Oil on panel, 18 in by 12 in. Copyright Max Ferguson.
â€œThere are a number of ways one can approach my work. Subject matter (disappearing New York). Technique (craftsmanship, detail), etc. But for me, what I am really concerned with, is emotions. Specifically, the emotional connection with, and response of the viewer. Most of the figures in my paintings are solitary figures. In one sense, my paintings are soliloquys. But there is another character involved; the viewer. So it is really a dialogue. It is this emotional pas de deux with which I am most concerned. [The more personal you get, the more universal you become.] If I strike a common emotional chord with my viewers, I have succeeded. If not, I have failed.â€? maxferguson.com 26
Max Ferguson. Popcorn, 2015. Oil on panel, 30 in by 44 in. Copyright Max Ferguson.
Max Ferguson. Lulu in New York II, 2014. Watercolor on paper, 14 in by 14 in. Copyright Max Ferguson.
Max Ferguson. Violin Repair Shop, 2013. Oil on panel, 44 in by 30 in. Copyright Max Ferguson.
Lisa Wright Coates & Scarry Gallery
Lisa Wright. Time Would Stop for Her, 2013. Oil on canvas, 150 cm by 120 cm. 31
Lisa Wright. Boudoir Cabinet. Oil on canvas, 150 cm by 120 cm.
her work is held in many corporate and private collections. Major awards include the National Open Art Prize, the Hunting Art Prize and, most notably, the Threadneedle Prize in 2013.
Lisa Wrightâ€™s paintings interweave motifs and ideas from historical paintings with contemporary concerns. Her figures hover on the brink of adulthood, in the curiously heightened suspended state of adolescence. Wright studied at The Royal Academy Schools, London. She has exhibited in numerous solo and curated group exhibitions and
lisawrightartist.co.uk coatesandscarry.com 32
Lisa Wright. Dark Silence. Oil on canvas, 24 cm by 18 cm. 33
Lisa Wright. The Keeper of Secrets. Oil on canvas, 50 cm by 40 cm. 34
Lisa Wright. Unstitched Seems. Oil on canvas, 50 cm by 40 cm.
Lisa Wright. A Delicate Truth. Oil on canvas, 150 cm by 120 cm. 36
Lisa Wright. Watching the Rhinoceros Standing. Oil on canvas, 150 cm by 120 cm. 37
Sam Leach Sullivan+Strumpf Sam Leachâ€™s works are informed by art history, science, and philosophy. He combines the poles of the metaphorical and the empirical, the analogous and the objective, in an ongoing investigation of the relationship between humans and animals. With a distanced, scientific approach, the artist draws connections between data visualisation techniques, semiotics, and formalist abstraction that results in a kind of reductive aesthetics. While the delicate interplay between formalist figuration and modernist abstraction in his paintings operates on one level to distance the viewer â€“ to encourage them to look objectively at the subjects â€“ on another level each animal depicted has a symbolic currency that resonates with the audience on a personal level. The paintings extend their focus from animal life to the spectrum of all life itself, encouraging the viewer to contemplate their role as living creatures on this shared earth. sullivanstrumpf.com
Sam Leach. Diagram for Rhinoceros, 2014. Oil and resin on wood, 30 cm by 42 cm.
Siddharth Parasnis Caldwell Snywell Gallery Working in the space between abstraction and representation, San Francisco painter Siddharth Parasnis filters landscape and architecture through his imagination and subconscious, creating dynamic, light-filled compositions that almost seem to rise off the canvas. Parasnis has internationally exhibited, including the Bakersfield Art Museum and Crocker Art Museum in Sacramento. He is the recipient of a 2012-13 Pollock-Krasner Foundation Grant. He has been featured inpublications including The Huffington Post, Art Ltd., and American Art Collector. His paintings are held in public and corporate collections including Dell Foundation, the Galesburg Civic Art Center in Illinois, and the South Central Zone Cultural Center in Nagpur, India. siddharthparasnis.com CaldwellSnyder.com
Siddharth Parasnis. A Beautiful Day in the Valley. 40
Sylvain Corentin. Cavin- Morris Gallery. Tree House, 2013. Wood, canvas, wire, yarn, glue, paint, 86.61 in by 26.38 in by 14.17 in. 41
Sylvain Corentin. Cavin-Morris Gallery. Fox on the Roof, 2015. Wood, canvas, wire, yarn, glue, paint, 35.5 in by 6 in by 11 in. 42
Saad Qureshi Saad Qureshiâ€™s practice draws on memory, time and landscapes, both physical and mental. It explores the world in a state of constant evolution and becoming. Solo shows include Gazelli Art House, London and the Aicon Gallery, New York. Qureshi has exhibited at the Venice Biennale, Saatchi Gallery, Royal Academy of Arts, Barbican Art Gallery, White Project Gallery, Paris; Centrale Montemartini, Rome and the Museum voor Moderne Kunst, Arnhem. His works are in the Farjam Foundation Collection, Dubai; the Dipti Mathur Collection, California; the Creative Cities Collection, Beijing and the Boston Consulting Group Collection among others. A major public commission for Land Securities will be launched in London in Autumn 2016. saadqureshi.com
Saad Qureshi. Quicken, 2011. Mixed media including wood, cement, wattle and daub, paint, 900 cm by 200 cm.
Saad Qureshi. Wing, 2013. Mahogany, birch ply and far-eastern plywood, 496 cm by 91.5 cm by 210 cm.
Saad Qureshi. Other Crescents Other Moons, 2012. Mixed media including wood, cement, paint 440 cm by 240 cm.
Motohiko Odani. Study for a self portrait type-A.
One of Japanâ€™s leading living artists, Motohiko Odani (Japanese, b. 1972) transcends the static limitations of sculpture, blurring the duality of the spiritual and the physical. His multi-media pieces are comprised of complex layers of meaning that defy a singular interpretation, as Odani draws inspiration from diverse sources including horror and sci-fi films, Japanese folklore, Buddhism, and Futurism. He challenges his audience by revealing the illusory nature of the senses and by exploring the dichotomies of organic and artificial, perception and reality. His skillful handling of unorthodox materials and his ability to extract beauty from the grotesque have won him acclaim both in Japan and abroad; in 2003, at the age of 31, he was selected as one of two artists to represent Japan at the Venice Biennale, and in 2010 the Mori Art Museum devoted their entire space to his retrospective, Phantom Limb. Odaniâ€™s work is found in numerous public collections including Asia Society Museum, New York, NY; Museum of Contemporary Art Tokyo, Japan; The National Museum of Art, Osaka, Japan; and the Mori Art Museum, Tokyo, Japan among others. phantom-limb.com 46
Olsen Groiseau 55 Belle Chasse Gallery
Olsen Groiseau. Dancers, 2015. Bronze, 92 cm by 40 cm by 55 cm.
“My intuition leads me through the creative process and I take my chances with the opportunities appearing randomly when I am modeling. My source of inspiration is the imagination. I am representing the living while creating shifted interactions between humans and animals and expressing simple ideas. Giving human attitudes to animals and animal behaviors to humans... picturing inconsistencies and oddities in sizes, as well as in situations and poses… That’s what drives my researches.” 55Bellechasse.com
Cristina Bahiense 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. She studied art history at PUC and took various art workshops at the Escola de Arte Visuais do Parque Lage as well as contemporary art at Polo de Pensamento ContemporĂ˘neo, where the artist currently attends the group of study in art and philosophy with Paulo SĂŠrgio Duarte. The Ciclovia Series were taken on the pedestrian beach bicycle path of Barra, Brazil, to register the contrast between an already existing old asphalt with another newly placed layer, bringing to the fore and thus revealing a rich image. The vertical framing of these photographs brings a greater power to the final result. The result is a proposed decipherment of the visitors on the exciting transformation of the photographed object. cristinabahiense.com
Top right: Cristina Bahiense. Rio Colagem 2. 85 cm by 45cm. Bottom right: Cristina Bahiense. Urban Landscapes 1.110 cm by 59 cm. 48
Cristina Bahiense. Rio Orelhao. 144 cm by 85 cm.
Cristina Bahiense. Serie Fios. 120 cm by 69 cm.
Eric Bourret. Earth. Mixed media including wood, cement, paint.
Eric Bourret (b. Paris, 1964) lives and works in the south of France and the Himalayas. The work of this walking artist has been influenced by English land artists and landscape photographers. Since the start of the 1990s, he has been traveling the world on foot, over every kind of terrain and at every altitude, making images he sees as “experiences of walking, experiences of the visible.” He talks about the potential that walking represents for sensory and physical transformation: “It heightens one’s attention and receptiveness to landscape.” Since 1990, Bourret’s work has been exhibited in and acquired by many museums and art centers in Europe and Africa. He has participated in the Paris Photo art fair, as well as the 2015 Venice Biennale at the Palazzo Mora. saparcontemporary.com 52
Christine Sefolosha Cavin-Morris Gallery
Christine Sefolosha. Carcasse, 2011. Oil monotype on cloth, 58 in by 81.5 in.
The world Sefolosha depicts evokes mythic tales of constant metamorphosis where humans and animals merge and mutate and boundaries between the self and the natural world are ever porous.
She has exhibited in numerous Museum and solo Shows in Switzerland, France and the US. sefolosha.com | cavinmorris.com
Graciela Cassel It is my belief that artwork, a place of intersection and metaphors, is not an isolated event but explores concepts that can exemplify a way of thinking, living, and working. The practice of art may have started as a ritual but with time artwork has developed roots in science, literature, and philosophy. Investigating questions of identity, reality, fantasy, and, both the objective and the subjective, opens up for me the possibility of working between fiction and reality. gracielacassel.com
All images: Graciela Cassel. Intergration Portals. 54
Lucie Boswell Lucie Boswell (b. San Francisco, 1968) knew from an early age that she could communicate best through art and thus graduated with a BA from UC Santa Barbara Royal College of Art London & the Santa Fe Photo Workshops in 1992. In 1996 Boswell moved to Los Angeles. She has been working with art galleries in Italy and in New York showing work at the New York Art EXPO 2014-2016, Freize NY 2015 and at Miami Art Basel since 2013. Boswell has received many awards in recent years from Italy. The artistâ€™s abstractions in painting and her creative efforts in photography assignments including photographing Chinatown San Francisco and Los Angeles for over a decade, are ongoing projects.
Lucie Boswell. MGM RGB, 2012. Digital photography, 14 in by 6 in.
Lucie Boswell. Edisonâ€™s Dream, 2012. Digital Photography, 11 in by 13 in.
Lucie Boswell. Wish, 2015. Airbrush, paint and spray paint on canvas, 24 in by 18 in. 58
Lucie Boswell. My Jackson Pollack, 2014. Acrylic paint on canvas, 48 in by 36 in.
Sara Pathirane. Rotting in the Air, 2013. Acrylic on plexiglass, 205 cm by 125 cm.
Sara Pathirane paintings are both political and poetical, aesthetic and raw at the same time. Her main ambition is to create paintings that take the eye for a ride, makes it move around the canvas in whimsical ways. The careful yet intense use of colors and strong materiality gives the paintings a strong presence. The language of Pathiraneâ€™s painting stays in between cultures. Her subjects look funny, but bare in them themes such as fertility, war, gravity, existentialism and echoes from the archaic picture making. The world continues out of the canvas, but when painting, the whole world is there. It is a holy state. Sara Pathirane (b. Stockholm, Sweden, 1985) lives and works in Helsinki, Finland. She has MFA in painting from the Finnish Academy of Fine Arts. Her works have been exhibited widely in Europe. She is an alumni from the Art Student Leagueâ€™s residency at Vytlacil, New York. cargocollective.com/sarapathirane
Kai-Hsing Huang 黃楷馨 I view my artwork as a distillation of my senses and thoughts. The intangible and tangible aspects of my life and the way in which I live are central to my process. Whether it be fragments of so-called reality or fantasy… all perceptions and understandings remain in my mind, waiting for a chance to be released. Following the careful operation of my mind, all the inspiration will distill into clear forms or an authoring of kinetic energy, both in a natural manner. In turn, this forces me to realize them via all kinds of media, allowing the creative conversion to unfold before me. Thereupon, I can see a truly harmonious state.
Kai-Hsing Huang. When I look into your eyes, 2013. Oil, acrylic color and mixed media on canvas. 120 cm by 120 cm.
Kai-Hsing Huang. Cheers #4, 2012. Oil color mixed media on canvas, 91 cm by 65 cm. 61
Bret Amory Brett Amory (b. Virginia, 1975) attended the Academy of Arts in San Francisco \in 1998 and moved to Oakland in 2009, which he still calls his home and studio. His Waiting series which he started in 2001, was inspired by so-called ordinary and mundane daily life and the people who inhabit it seemingly always in a state of waiting. “I feel especially drawn to individuals who look lost, lonely, or awkward, those who don’t appear to fit into local societal norms. The Waiting series illustrates how people are distracted by a constant internal dialogue and preoccupations with memories of the past and concerns for the future.” Amory’s work attempts to visually represent the concept of detachment and anticipation, conveying the many ideas associated with the individual moments of our daily lives. After Waiting, Amory tackled other challenging and big-picture topics, exploring the unromantic, un-explored underbelly of cities across the world. This acclaimed series, Twenty-Four, has won him praise from critics and furthered his interest in documenting the human condition. Amory has shown his work around the world, with recent solo exhibitions in Los Angeles, New York City, London and San Francisco.
Bret Amory. Waiting #97.
Bret Amory. Waiting #83. 64
Bret Amory. Anonymous #7. 65
Hildy Maze. Haiku. 22 in by 25 in.
Top: Hildy Maze. Cutting Through. 17 in by 19 in. Bottom: Hildy Maze. Rawness Unmanaged. 26 in by 28 in.
My work is driven by a curiosity into the investigation of mind through art. None of us can avoid thoughts, but through awareness of our pitfalls, beauty, strengths and weaknesses we can open windows into the mind. The core of my contemplative art practice is to visually embody the blind spots as a result of our thoughts. I am interested in the study of how the mind works as a means of gaining insight, how we communicate, how we create identity through form, emotions and consciousness, and how we hide in that creation. Essentially this work is about all of us and the empty, clear and unconditional nature of mind we all have. When we know the nature of our mind we will know the nature of our world. hildymaze.com 67
Hildy Maze. Ungraspable by Nature. 35 in by 34 in.
Hildy Maze. Echos of Emptiness. 28 in by 33 in.
Hildy Maze. My Own Deceiver. 26 in by 27 in.
Souske Onoike. Murasaki-yo.
Souske Onoikeâ€™s paintings give us a little bit of glamour and essence of his native land Japan. Through a black precise but sinuous sign, female figures of delicate and refined beauty take shape, wrapped in the traditional kimono. The fascination with feminine power is used not in mischievous or instigating way, but as symbol of a fine and chaste sensuality; of a beauty almost whispered, which we can behold implicitly in little gestures and elegant poses, in the sweet and shy glances, in the delicacy of the chromatic harmonies.
Olga Antonova Beth Urdang Gallery
“For me, it’s not about the subject matter at all,” says Antonova. “Subject matter is just a pretext for my execution and sensitivity to technical issues. I’m getting closer to the divine harmony, closer to divinity, but not quite yet. That is what is great about painting - just when you think you are getting there, the point of achievement moves away. But, I want to catch that moment of solitude, that quiet harmony that people can relate to. That’s what I’m after.” olgaantonova.com bethurdanggallery.com
Olga Antonova. Seven Stacked Cups. Oil on canvas, 36 in by 14 in.
Barbara Czapka. Dokhan, 2014. Oil on canvas, 120 cm by 140 cm.
Africa is portrayed as the birthplace of mankind. In my paintings I make use of Africa and its symbolism in order to draw attention to human development. Change is caused and influenced by patterns â€“ from inside and out. Which patterns do we allow, which keep us untouched? By which are we shaped, which do we decline? Do we adapt ourselves or do we stay individuals and remain true to our characters? The examination of the change of mankind by structure and patterns, the influences between human beings and the development caused by outside conditions and circumstances. barbara-czapka.com 72
Avital Sheffer Cavin-Morris Gallery
Avital Sheffer. Inannah V, 2009. Handbuilt earthenware, 26.77 in by 12.99 in by 7.09 in.
My work is informed by an investigation of my Middle Eastern and Jewish heritage and an ongoing engagement with the landscape, architecture, languages and wisdom of that part of the world, and that way of being in the world. The world of antiquity, in its diversities and dichotomies, is a passion and an infinite source of inspiration.
Ancient ceramics, glass, metal ware and calligraphy employ universal aesthetic principals yet reveal intimate aspects of human idiosyncrasies and needs that are relevant to the present. avitalsheffer.com cavinmorris.com 73
Marc Abele. Between, 2012. Colored pencil on paper, 21 cm by 29.7 cm.
Marc Abele’s illustrations are non-verbal symbols written with pencil or brush. The example here shows the word “Between”. The interesting thing about “Between” is the word’s relation to space and time, to material matters or also to human sensitivities. As a preposition, “Between” is not only valid on its own, but it’s also always a reference to the circumstances ‘around’ it, from which it arises. “Between” can stand for many things–for closeness, conflict, harmony, a break, distance, vastness, isolation, for yesterday and the day after tomorrow… The multiple ways in which it is used lends the word a universal quality. atelier-abele.de
Sangchen Tsomo. Dreaming, 2015. Acrylic, oil, pastel on canvas, 30 in by 22 in.
Niloufar Banisadr 55 Belle Chasse Gallery
Niloufar Banisadr. Voiles aux vents.
Iranian artist, Niloufar Banisadr spent most of her life in Iran and now resides in Paris. Her controversial series Freud reflects her background and life, focusing on the duality of East and West. The collection Voiles aux Vents/Sexy window, displays some of her exploratory work with fabrics. Equally, critics have focused on its symbolism, but the artist believes it is open for interpretation. Banisadrâ€™s work can be found at the MAM Rio de Janeiro and the Cooper Cafritz Foundation in Washington and has been exhibited at De Mesdag Collectie (Van Gogh Museum) in the Netherlands. 76
Niloufar Banisadr. Water of Life. 77
Niloufar Banisadr. Spiritus Sactis.
Penny Byrne Coates & Scarry Gallery Australian artist Penny Byrneâ€™s sculptural works are politically charged, highly engaging and often disarmingly humorous. She uses materials such as bronze, glass, vintage porcelain figurines and found objects to create artworks that present an ongoing inquiry into popular culture and international politics. Her training as a ceramics conservator informs her practice. Her work has been exhibited internationally including at The Venice Biennalle 2015, with Coates and Scarry and at Saatchi Gallery, London 2014, and at Art Basel Hong Kong 2013.She has also shown extensively in Australia. Born in the regional town of Mildura in 1965, Byrne now lives in Melbourne and is represented by Coates and Scarry and Fehily Contemporary.
Penny Byrne. Mightier. Vintage porcelain figurine, ball point pen, pencils, paint brushes, vintage action man machine gun and boots, epoxy resin, enamel paints, 42 cm h by 22 cm w by 14 cm d.
Penny Byrne. In Happier Times, 2011. Vintage porcelain figurines, vintage action man guns bombs and accessories, plastic bling, epoxy resin, re-touching medium, powder pigments, dimensions variable. 79
Penny Byrne. Devils on Horseback. Replica tang ceramic horse, vintage action man figures, porcelain dolls heads, mixed media, enamel paints, 60 cm h by 58 cm w by 30 cm d. Photo credit Jeremy Dillon.
Louise Christensen. Seven Livesâ€“Many Faces.
I am a self-taught artist from Denmark. The inspiration for my work comes from nature, reflections on life and dreams. I work mostly intuitively and the theme that concerns me the most, and is like a golden thread through my personal life, is the voltage and interaction between the earthly world and the heavenly world, with all that this implies. The materials I use are a mix of acrylic on canvas, natural materials such as flowers and plants, stones, sand, art paper, photos, textiles, objects such as glasses, shoes, clothes, snakeskin â€” all that inspires me in my process. louisechristensen.com 81
Cor Fafiani In my work I get inspired by flora and fauna and the diversity of living things. Through imagination and myth, and genetic engineering inaccessible places such as the jungle and the depths of the ocean and the indescribable, images that invite as Pandora boxes. This creates hybrids â€” a humorous universe between reality and fiction. corfafiani.weebly.com
Cor Fafiani. Untitled.
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, especially by gravitating towards functional forms produced in the practice of those fields that inspire my own thinking. Contrasting influences such as evolutionary theory with images drawn from areas of human experience and belief that can provoke more uneasy trains of thought. johnhundt.com
John C Hundt. Rise Up, 2015. 14 in by 11 in. 82
Henry Hussey Coates & Scarry Gallery
Henry Hussey. Prodigious. Dyed tablecloth, dyed cotton, digitally printed velvet, digitally printed cotton, chainstitch embroidery, embroidered cotton and swarovski crystals, 130 cm by 134 cm.
Henry Husseyâ€™s works brings together vintage, hand-dyed and printed fabrics, embroidery and bead-work in the production of rich and emotive textile pieces. Drawing upon personal experiences of specific events and the emotional responses that have informed his life, Hussey skilfully layers and interweaves text, imagery and material to create exquisitely detailed works with a powerful resonance. Hussey graduated from Chelsea College of Art with a BA and honors in 2011 and completed his MA in Textiles at the Royal College of Art in 2013. Husseyâ€™s work was selected for the Bloomberg New Contemporaries exhibition touring nationally and the Royal Academy Summer exhibition in 2014. He is represented by Coates & Scarry, UK. henryhussey.co.uk | coatesandscarry.com 83
Above: Xenia Hausner. Indigo Yao, 2013. Oil on paper on dibond, 87.5 cm by 134 cm. Right top: Xenia Hausner. Laundry Day, 2006. Oil on dibond, 153 cm by 211 cm. Right bottom: Xenia Hausner. Bullet in the Head, 2002-2004. Acrylic on hardboard, 130 cm by 152 cm.
My pictures tell stories that elude a straightforward reading. In my work people play roles in the biographies of others. They are like actors cast in a play. I write the play and then look for the characters for material located within myself. It is not my objective to present clear solutions, only a precision of the fragment at hand. There is a more pointed, a distilled message in these fragments, and I find no solution to the puzzle. Still, I try to capture an inner feeling tone. The situations are ambiguous, but the viewer understands them nevertheless as he is moved by interpreting the pictures through his own collection of experience. The more questions a picture triggers in the viewer due to its visual inconsistencies, the closer I come to my goal. I remain a puzzle to myself. xeniahausner.com
Barbara Hardmeier. Wild Water, 2008. Oil on canvas, 100 cm by 90 cm.
Barbara Hardmeier (b. 1957, Switzerland) studied audiovisual design and painting at the Gerrit Rietveld Academy in Amsterdam, where she graduated in 1985. She has participated in various exhibitions in the US, Italy, Turkey and Mexico. barbarahardmeierartist.com
Marika Markstrรถm. Phtalo.
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 at Malmรถ Art Academy in Malmรถ 2014 and her BFA at the Finnish Academy of Fine Arts in Helsinki 2012. marikamarkstrom.net 87
Paola Pineda Cordova
Paola Pineda Cordova. El Asombro. 39.4 h by 39.4 w by 2 in.
I studied architecture because of its great relation with space, symmetry and the idea of uniqueness within a universal corpse. The same that happens with a human face. When I discovered this similarity and its magical possibilities, I studied at New York Visual Arts School and, later on, at the most important school for painters at Mexico, the Escuela Nacional de San Carlos, where I felt in love with almost every drawing material and technique. Iâ€™ve done several works on tempera, oil, watercolor and, most recently, acrylic. And discovered that mixing them is almost a painterâ€™s paradise. Finding the infinite options i have every time I take a brush is like discovering the land where creation itself creates a new reality. I draw with a real desire to understand all the mysteries: those of color, those of human expression and those that reveals aesthetic even where they appear to have none. I describe myself as an insatiable curious eye and a silent observer, in equal proportion. Absolute passion about all the faces of a single human face. My weakness: to paint them. I draw portraits not merely of individuals but their often hidden traits of beauty... paolapinedac.com 88
Bettina Gorn. Head Protection, 2013. 70 cm by 105 cm.
In the hands of Bettina Gorn, photography is freed of the constraints of being a mere depiction of reality, becoming a medium of artistic reflection on time, mortality and memory. Gorn exhibits photographic images that focus on the human body, freeze-framing it in all its vulnerability and motion. The outer envelope of the material seems to have dissolved, making space for the energy of the spiritual. Blurriness here becomes a mode of capturing the body in the midst of action and movement. The artist is interested in visualizing the authentic, processual and experimental. The engagement with the question of identity, of within and without, is given a new impulse. â€“Patricia DrĂźck, PhD, Art Historian bettinagorn.de 89
Gabriel Bien Aime. Cavin-Morris Gallery. Untitled, 20th Century. Iron Metal Sculpture, 26 in by 22 in by 4 in.
Maria Teresa Guala Maria Teresa Guala (b.Turin 1947) comes from a family of painters and sculptors of Monferrato. The artist’s father, painter and designer Giovanni Battista was the curator of Torino Esposizioni. In the 60’s she studied at Accademia Belle Arti of Turin (drawing) and at the studio of Filippo Scroppo. She also worked as a translator with important industries while continued participations in key exhibitions including: Gallery Micrò Turin, Promotrice Belle Arti of Turin, Fiat Cultural Group as well as other exhibitions in London, Bruxelles, Hamburg, New York, Insbruck, in Italy: Venezia, Palermo, Padova, Piacenza, Lucca, etc.
Maria Teresa Guala. La poule sour la tete. 63 cm by 83 cm. 90
Brad Howe Caldwell Snywell Gallery Beginning his career in Brazil under the tutelage of architects, Brad Howe has sought connection with artists and collectors worldwide. It has been his intention that his work be inclusive rather than exclusive, and that it speak across the barriers of knowledge directly to the people and their lives, independent of their knowledge of art. bradhowe.com Brad Howe. Howe Manaus, 2015. Stainless Steel and Polyurethane, 39 in by 29 in by 11 in.
Waldraut Hool-Wolf I live and work in Zurich Switzerland. In my art work, movement, strength, energy and courage reflect the colour. It grows from a sense of how colours and shapes act into something that cannot be done with words. Exhibitions include: (2015) Modern Art Civic Museum Monreale, Italy; Affordable Arte Fair International Milano, Italy; 2nd Biennale International Palermo, Italy; Airport Zurich, Switzerland; (2014) The Jambo Street & Pop Art Bologna, Italy; the Affordable Art Fair International Milano, Italy; Arte Genova Fair International Italy. design.ch
Waldraut Hool-Wolf. Cher is Back. 91
Lili Nalovi. Balinese Temple Dancing Girl, 2011. Tempera on canvas, 70 cm by 50 cm. 92
Jesco Willert. Harbour Mandalay, 2013. Tempera on canvas 120 cm by 160 cm.
“The artwork and installations of the German artist-couple Lili Nalŏvi and Jesko Willert is closely related to their months of travel through time and space, journeys that have deeply influenced their very existence. By creating their Moods Environments paintings, Nalŏvi and Willert create a highly atmospheric Gesamtkunstwerk in which they transform spaces, recycle lovingly chosen objects, intricately and imaginatIvely processing materials. The created spaces, grant an existential perception of life infused with intense sensuality. Within these created spaces their sensitive portraits and deeply soothing water landscapes are always an integral part of the installations. Their portraits show people of different ages, states of existence and time of life — at the moment when the mask falls. They allow an impartial view of the person — stripped of status, role and function, reflecting their innermost self. In 2015 in the context of the 56th International Art Exhibition of La Biennale di Venezia Lili Nalŏvi and Jesko Willert were part of the exhibition Personal Structures – Crossing Borders with an expansive installation in Palazzo Bembo at the European Cultural Centre.”
Left: Lili Nalovi. Young Monk Wangdicholing Dzong Bhutan, 2010. Tempera on canvas, 135 cm by 90 cm. Above: Jesco Willert. Birds Mekongdelta, 2014. Tempera on canvas, 120 cm by 160 cm.
Above: Lili Nalovi. Burmese Woman Selling Fish at Nyaung-U Market, 2005. Tempera on canvas, 120 cm by 160 cm. Right: Jesco Willert. Market India, 2012. Tempera on canvas, 90 cm by 135 cm.
Eric Wert. An Offering. Oil on panel, 20 cm by 24cm.
I sometimes think of my work as passive-aggressive still lives: intended to be both sweet and destructive at the same time. They have the components of a traditional still life but the subjects are often smashed or upended. This can suggest a narrative â€” the aftermath of a jilted lover or a domestic disturbance. Theyâ€™re vanitas paintings, not just about the transitory nature of life but of relationships as well.
Eric Wert. Two Perch. Oil on panel, 12 cm by 16 cm.
Eric Wert. The Locavore. Oil on canvas, 40 cm by 50 cm.
I want the paintings to provide an active rather than passive viewing experience â€” to be an image that one can be lost within. To me still life painting is about looking intensely, about intimately exploring a subject. I hope that the paintings can convey that sense of intensity and fascination. werteric.com 99
Eric Wert. Roughage. Oil on panel, 24 cm by 30 cm.
Eric Wert. Blood Oranges. Oil on panel, 20 cm by 20 cm.
Stefan Filarski After a career in advertising Stefan Filarski (1967) decided to focus on his art. One of the projects of the Dutch artist is the Crushed Can Series, made in a pop art style with bright colors and clear shapes showing larger than live crushed cans that were literally picked up from streets across Europe. These works of art are made with different techniques. He finds his inspiration in daily live objects and by taking them out of their context, he creates a new vibrating reality. Stefan Filarski. Cut Vegetables, Red Cabbage.
Dean Melbourne Coates & Scarry Gallery
Dean Melbourne. Anxiety. Oil and gloss on canvas.
Dean Melbourne. Under the Green Trees. Oil and gloss on canvas.
Dean Melbourne. Juno, 2016. Oil and gloss on canvas, 120 cm by 90 cm.
Gilbert Salinas My central theme is based on investigating the variety of ways to address the organic forms of nature and its constant evolution through art. I am also interested in the aging surfaces of the planet and in the traces that time bares on earth. In my work I use the mysteriousness of the organic forms as reference to explore and experiment with organic patterns which are created, among other things, by manipulating and intervening the paint and its consistency as it flows thru different surfaces. gilbertsalinas.com Gilbert Salinas. Mammalia. 60 cm by 40 cm. 104
Susan N. McCollough
Susan N. McCollough. Her Earthly Vision, 2011. Oil on linen, 4 ft by 5 ft.
I paint out of the excitement of the blank canvas. I paint with the freedom of inner-feelings, movement, connection with space, combination of colors and playing with negative space until it all speaks to me. My ideas come from so many things that just fill my head all the time. It comes from travels, faces I see, works of nature and creations of mankind; architecture, people, sometimes and mostly the feeling I get just about to start a new canvas. Between sketching, reading and studying about art; I find that there are not enough hours in the day. Before I paint a new canvas, many times I will envision painting it as I fall asleep and I work it out in my head until I know the direction I will take the next morning. Sometimes I do not wait till the next morning. I find it all a labor of love, fun and exciting with every brush stroke.... I look at things that are realistic in nature and change them into abstract thinking. Most times I visualize realism in the abstract. susannmccolloughart.com
Ricardo Mbarkho Ricardo Mbarkho’s (Beirut, 1974) work stems from the vibrant scene of today’s global digital art practices. Mbarkho manipulates different layers of significations by investigating multiple questions related to language, communication, creative industries, history of art as well as the visual representation within the sociopolitical sphere. Mbarkho’s images are made from texts. The artist uses the computer as a tool to mutate texts into images; the text’s binary codes, those simple digits that computers use to stock information, are transposed into a unique corresponding visual.
Ricardo Mbarkho. The Lebanese National Anthem, 2012. Pigmented print on photo paper, 37 in by 40.2 in.
Thomas J. Condon In my early teens I experienced impaired vision and temporary blindness. When vision unexpectedly returned the discrepancies between images I had created without light and what was now gleaming before me were remarkable and confounding. I reveled in the exchange between light and surface, image and illusion. My work celebrates the complicated nature of perception. I allow intuition to inform my hand as it moves toward material. thomasjcondon.com Thomas J. Condon. Attraction Diversion.
Tantra Paintings, Cavin-Morris Gallery. Natural pigments (hand-ground colors: including minerals, mother of pearl, coral, tree resin, vegetable pastes) on vintage paper, 5.35 in by 5.12 in.
Kritika Bala I am an artist trapped in an engineer’s body with an environmentalist’s brain. The artist wants out. The environmentalist is going to tag along for the ride. I was born an environmentalist in India. The engineering destination was inevitable once medicine was ruled out as a career choice. The artist happened along the way when music lessons and badminton drills didn’t seem to stick as well as the art lessons did. All three personalities stuck it out through five long years of earning a Master’s in engineering. The three moved to California. The artist went back to messing with paint and stuff. lonetigerart.com
Kritika Bala. Mumbai 8. 107
Sylvain and Ghyslaine Staelens. Cavin-Morris Gallery. Cavalier, 2015. Wood, metal, cloth, found objects, 35 in by 47 in by 13 in.
Alfonso Mangone. Untitled.
Fernando Alfonso Mangone (b. 1958, Italy) studied at the Academy of Fine Arts in Naples, the Academy of Fine Arts of Catanzaro and continued his studies at the Academy of Fine Arts in Florence. The artistâ€™s stay in the cradle of Renaissance art is the privileged occasion of his artistic training that develops and enriches the daily use of pictorial and architectural works of the great Florentine masters. Mangone created works and exhibitions of note including a series held at the Italian Cultural Institute of Amsterdam, realizing numerous murals in public and private spaces such as subways, theaters, nightclubs and parks and being commissioned to projects by Greenpeace, Amnesty International and a number of theatrical and musical groups, while living and working in Holland between 1989 and 1995. The artistâ€™s return to his homeland in Italy in 1996 marks the beginning of a new phase of study and experimentation. The city and and the urban landscape in its various connotations and the review of the greek myth; from vase painting and legends of the Magna Grecia, are the two issues which are still widely represented in Mangoneâ€™s painting. 109
Sofia Rainio-Eskalinen. My Leisure Time.
Sofia has found a great deal of her inspiration through graffiti art. She considers that freedom and relaxation play a key role in the artistic process. The main goal of Raino-Eskelinenâ€™s work is to incorporate vibrant colors and strong brushstrokes, in order to transmit liveliness. The unique complexity of her art amplifies the rhythm and the tension of the composition. Sofia has been exhibiting her artwork in Finland, as well as internationally; in Paris, Osaka, Rio de Janeiro and Seoul. sofiarainio.com 110
Sylvain and Ghyslaine Staelens. Le Chasseur, 2015. Wood, metal, cloth, found objects, 42.52 in by 12.99 in by 7.09 in. 111
Sangchen Tsomo. Oya, 2015. Acrylic, oil, pastel on canvas 30 in by 24 in.
B Bahiense, Cristina Bala, Kritika Banisadr, Niloufar
Bien Aime, Gabriel
Guala, Maria Teresa
H Hardmeier, Barbara Hausner, Xenia
C Cassel, Graciela
Hundt, John C
Condon, Thomas J. Corentin, Sylvain Czapka, Barbara
L Leach, Sam
M Mangone, Alfonso
McCollough, Susan N.
Pineda Cordova, Paola
R Rainio-Eskalinen, Sofia
N Nalovi, Lili
T Tantra Paintings
Tsomo, Sangchen 7-11, 75, 115, 120
W Wert, Eric
Sangchen Tsomo. Habibi Chango. 30 in by 40 in.