The New Collectors Book 2014

Page 1


New Collectors Book


New Collectors Book

The New Collectors Book Third Edition, 2014 Publisher: Basak Malone Editor in Chief: Tchera Niyego Contributing Editors: Alvin Kuhar, Sally Teke, Gaye Arslanbas, Gaby Miller, Beste Atvur Art Direction & Design: Elizabeth Taurisani Design Assistant: Jillian Smith Cover images courtesy of Sangchen Tsomo. Front cover image: The Origin of Art, 2013. Cigar Box, acrylic paint, toy parts, paint brush. Back cover image: The Wealth of Nations, 2013. Cigar box, toys, wire, tantric images.

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 USA This book may be purchased from the publisher. ISBN: 978-0-9847413-5-9

basak malone llc.

Copyright © 2013 Basak Malone LLC

The New Collectors Book aims to be an art archive to be treasured as a reference book. We think that contemporary art has an essential value and function in people’s lives, and offer multiple reflections on how we live and how our futures are being constructed. Furthermore we strive to benefit ourselves and others by growing into being creative, loving-kind and free beings. We are indeed joyous in introducing rare artists, such as Sangchen Tsomo, whose sublime works hold benefit for all beings—even beyond our understanding; alongside emerging, outsider and well-established artists. We extend our gratitude to all participating artists, venues, art professionals, collectors and readers.

Zena Holloway The silver Swan, who, living, had no Note, when Death approached, unlocked her silent throat. Leaning her breast upon the reedy shore, thus sang her first and last, and sang no more: “Farewell, all joys! O Death, come close mine eyes! More Geese than Swans now live, more Fools than Wise.” – Orlando Gibbons Underneath the surface of the water where all is silent and still the figure floats serenely in an alien world of weightless calm. In a place where sight and hearing are lost, where the senses slow and the body does not breathe she is filled with peace and absent of fear. She is truly an ephemeral angel in another world. Following a successful debut of Swan Song images at AAF London, bo.lee gallery presents a solo show of work from acclaimed underwater fashion photographer Zena Hollaway, whose portfolio includes commissions from Dazed & Confused, FT, GQ, Tatler, Sony and Kylie Minogue.

Ephemera, Swan Song Series, 2006. Photography, Color, Black & White, C-type, Standard Edition of 45, 23.2 in by 16.5 in by 0.1 in.

Allen Brewer Allen Brewer (b. 1974) is a multi-disciplinary artist living in St. Paul, MN. Recent exhibitions include: the 3rd MN Biennial, EVA International Biennial in Limerick City Ireland, and VERBATIM at Mpls Institute of Arts. His work re-contextualizes text and image by way of mediated tactics, such as painting blind and utilizing language as visual cues. New painting’s illusionary approach represent and respond to theories of representation and perceptions of representation. Putti, 2011. Oil on panel (painted without looking), 16 in by 20 in.


Sangchen Tsomo Appearance as enchantment. 20 years ago Sangchen Tsomo walked away from the brick a brack world of conventional job, family, politics, entertainments, internet and wandered into the woods to live a life of retreat as a Tantric Buddhist yogini. Having accomplished the goals of the path she lives like a cloud, carefree, wandering about in aesthetic spontaneity. Her magical configurations utilize cast off cigar boxes, toys, wire, found objects to create tiny worlds that are a dialogue between the expanse of emptiness and the magic of appearing. Nowhere@Nothing.Nobody

The Origin of Art, 2013. Cigar Box, acrylic paint, toy parts, paint brush. 9

Charwei Tsai

Ah, 2011. HD digital video, 5-minute loop.

Nothing is Absolute.

Anne Harper Anne Harper is an abstract painter and musician, working out of Atlanta and New York. The pieces in her Persuasion Series are at once feminine and strong, and explore the relationship between natural imagery and abstraction. Her use of color and line creates a constant push and pull of paint and layering that she sees as parallel to the formation of nature. Anne has worked in the fields of advertising and music while continuing to develop her personal body of fine art works. Her paintings have been displayed in national exhibitions and galleries, such as: the Arden Fritz Gallery in Miami, FL (2012); the Marietta Cobb Museum of Art in Atlanta, GA (2012); and Artlantis in Atlanta, GA. Anne graduated with a Bachelor of Fine Arts in Design and Photography from the University of Miami and is working towards her degree in Painting, Design and Photography at the Savannah College of Art and Design. 10

Persuasion #2, 2011. Acrylic and mixed media on canvas, 30 in by 40 in.

Anna Halarewicz

HUNG. Acrylic on canvas, 11.8 in by 11.8 in by 0.8 in.

Born in 1983, Anna Halarewicz graduated from the School of Fine Arts in Wroclaw on the drawing faculty. Fashion and its impact on human beings are significant elements of her works. Her works have been published in several fashion magazines including: Tw贸j Styl, Exklusive, Bluszcz, Wprost, Viva!Moda, Take me, Elle, Barrel.


Cristina Troufa

ĂŠxtase, 2011. Acrylic on canvas, 150 cm by 100 cm.

Cristina Troufa is a Portuguese artist, working predominately in figurative painting. In recent works, she uses her own image in autobiographical paintings that explore her experiences and spiritual beliefs. As a form of self-knowledge and self-questioning, her work explores, in a symbolic way, an inner world, which remains inaccessible to the voyeur, who can only guess what each painting represents. Cristina holds a masters degree in Painting since 2012 and a degree in Painting since 1998 from FBAUP (University of Fine Arts of Porto). She has exhibited throughout Portugal, in solo and group exhibitions since 1995 and some international exhibitions in Italy, Spain France, and Australia. She was referenced, interviewed and cited in various media and in various books from Portugal, Australia and U.S.A.. 12

Benjamin Parker

Across the Atlantic, 2012. Drawing, mixed-media on paper, 21 cm by 29.7 cm.

My work focuses around two main concepts under the assumption that I create as many questions as answers during the act of execution. Firstly I am interested in honesty of interpretation, beginning from the standpoint of personal naivety, addressing questions of the human experience with a child-like joy and the humility of adulthood to accept that conclusions are fleeting illusions that should be embraced but never accepted with finality. My imagery and process are often taken from the natural realm; this is a result from the second concept that shapes my work. Nature is honesty in itself and has provided both questions and answers throughout the human experience.


Rain Harris

Bliss, 2006. Porcelain, luster, plexiglas, rhinestones, 12 in by 9 in by 13.5 in.

While my work ranges in scale from dainty diminutive pedestal objects to large sprawling installations, there is a common thread that runs through these seemingly disparate bodies of work. My ideas are spurred by an analytical interest in the ironies associated with excess and class, which become interpreted visually through color, pattern and decoration. I freely borrow stylistic embellishments and motifs from the decorative arts and combine incongruous elements to create work that pushes decorative eclecticism to a point of excessive overindulgence. This allows the work to transcend itself, re-compose itself and find a new coherence. I look to the contradictions that reside between the tasteful and the tawdry and I create arguably elegant objects and installations that oscillate between good and bad taste. I ask if an ugly object be in “good taste?” Also, can a beautiful object also be a tasteless object? Frequently, I integrate lowbrow materials into my work to create “refined” work that teeters on the edge of ironic gaudiness. At other times I incorporate jarring color combinations and allow the work to indulge itself and brazenly flaunt its tastelessness. 14

Barbara Buttinger-Fรถrster

Without Title, 2013. Mixed materials on paper, 14.5 cm by 21 cm.

Heads... bodies... simpler and simpler... from design to sign, to symbol, from visible to invisible. For Creation, birth and death, for transformation and transfiguration. Times require to maximize authenticity; to be up to it and co-create. 15

Hormazd Narielwalla

Le Petit Echo de la Mode No.36, 2013. Collage on original tailoring pattern, 29.6 in by 20.5 in.

Hormazd Narielwalla is a London-based artist who works with tailoring patterns. His work mines a seam of precious material, a streak of radical abstraction hidden in Le Petit Echo de la Mode, a French domestic fashion magazine, published between 1897 and 1983. The magazine contains tailoring patterns that, for efficiency’s sake, layer the life-sized templates of garments onto paper supplements. Narielwalla challenges to view this sheet not as a means to an end but as an end in itself. Shattering the female form into precise overlapping facets flattened not as views of a subject but as the object itself. Predating Futurism and prefiguring Cubism these artworks abstracted the female subject to a degree more radical and precise than the highest aspirations of the 1912 manifesto Du “Cubisme”. 16

Bovey Lee

Sewing Highways, 2011. Cut paper Chinese xuan (rice) paper on silk, 25 in by 21 in.

Bovey Lee was born in Hong Kong and is based in Pittsburgh, Pennsylvania, USA. Working with cut paper, she explores the tension between man and the environment in the context of power, sacrifice, and survival. Her work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction.


Jeeheon Cho

StarTrails, 2013. Photography.

Being a professional photographer usually means specializing in one particular field. As someone who loves exploring every area of photography, I love photographing weddings because they encompass everything in one! Wedding photography is a combination of portrait, fashion, architectural, product, editorial, and landscape photography. This provides the challenge (and fun) of switching gears in regards to composition and lighting constantly. Here are two examples of my background in various fields of photography coming together in one event. 18

Annaclara Di Biase

Eliza, 2013. Acrylic on paper, 30 cm by 40 cm.

Annaclara Di Biase (b.1977, Turin). My artworks are inspired by the interest that I have in common rituals and their capacity to transform forms. Everything starts with a video recording of a performance act in which the model, that is placed in a neutral space, makes some actions. These actions, made in total isolation, are the symbol of a reflection on some of our everyday habits like getting dressed, eating, dancing and singing. I use dresses as a starting point and transvestitism is the way by which I redefine, in each series, the image of a different woman. Through painting I fix the bodily form that mutates.


Frank O. Maier Frank O. Maier (b.1976, Germany) lives and works in Munich. He works in various forms of media including objects, installations, video and drawings. The main focus in his work is dealing with objects and sexuality. The contrasting materials he uses are chewing gum, dust, hair, gold and cultivate crystals. Maier’s artwork is an ambivalent play between beauty and horror, disgust and attraction, ironic humor and shocking dismay. Pink Heroes I, 2013. Hard foam, chewing gum, gold leaf, cultivate crystals, pigment, wood.

Soo Sunny Park Soo Sunny Park’s work engages with the spaces between artistic categories— sculpture, installation, and drawing—as a way of exploring luminosity. Unwoven light in sections of welded chain, fitted with dichroic plexiglass diamonds. Fences and glass are boundary materials that usually divide yours from mine, inside from outside, all the while letting light pass through. Here, these boundaries divide the light into its colored spectral components. We pass among the forms as they force the light to show itself, to inhabit and structure our space. Unwoven Light. Installation Rice Gallery.


Casey Vogt With their euphoric colors and pyschedelic compositions I create ornate, mandala-like compositions that serve as a backdrop for politically charged figurative scenes. The most recent paintings explore Americans’ relationships to drug use, the war on drugs, and the pharmaceutical industry. The backgrounds are composed of masses of layered dots of house paint in myriad colors, recalling a pharmacopoeia of pills. They act as a painterly and metaphysical contrast to the socio-political narratives presented by the figures.

Rapture. House paint, collage, enviro-tex on panel, 24 in by 24 in.

Erwin Wurm “My work is about the drama of the pettiness of existence, whether one approaches it through philosophy or through a diet. In the end we always draw the short straw”. Clothing as a sculptural theme, the second skin, the protective shell, the outline, and also the filling out of a volume is of prime importance in Erwin Wurm’s complex work, which includes performance, video, photography, drawing and classical sculpture, in combination and interdependence. Time is a further important factor which he explores. Wurm understands the concept of sculpture as the pre-modern premise that sculpture is concerned with the alteration of mass and volume. – Hella Pohl, Galerie Thaddaeus Ropac, Paris (F), Salzburg (A), 2013.

Suit (Desperate Philosophers), 2009. Acrylic, cloth, 48 cm by 20 cm by 12 cm. Photo: Studio Wurm.


Delphine Balley Delphine Balley’s photographic series reconstruct and dramatise news items, family situations, pre or post-crime scenes and true stories with thoroughness and a pronounced taste for motif and detail. These playlets, as metaphors of everyday life, are closed, timeless spaces that skilfully combine reality and fantasy. The artist’s creative quirkiness transports the spectator into an unusual, strange, worrying, sometimes unsettling universe which is also marked by humour and derision. Armed with her camera, Balley moves between the chronic, the journalistic, narration, the tale and the cinema. From her multiple influences (Velázquez, Goya, Ellroy, Kubrick) she has inherited a particular type of perception, and with her framings, lighting schemes and subtle compositions she makes pictures that are both classical and innovative.

Huîtres (Oysters), 2012. 140 cm by 110 cm. Courtesy Gallery Suzanne Tarasieve, Paris. Copyright Delphine Balley.

Carlton Scott Sturgill


Detail of DS Couple Seeks Female switch - mw4w - 3131 (Cinci) - Her, 2013. Paint chip sample mosaic; shirts; vintage Ralph Lauren gift box; antique table; windows; baseboard molding; vintage screws and hardware; wire; floral tape 59 in by 31.5 in by 36 in.

Inspired by the bedroom communities of the Midwest, Carlton Scott Sturgill’s work examines the conflict between our need to push our individual sexual boundaries and our desire to appear as ambassadors of a white-picket-fence America. Using objects sourced from the suburban landscape, such as paint chip samples from Home Depot and clothing from the all-American company Ralph Lauren, along with imagery and text appropriated from the Casual Encounters section of Craigslist, he explores the dichotomy between public persona and private sexual behavior. His paintings, sculptures and paint chip mosaics use the vernacular of the American heartland to scratch the surface of suburban pretense, exploring the compulsion to veil ourselves behind the facade of a commoditized version of the “American Dream.”

Peter Seminck Peter Seminck (Antwerp 1958). Life is all around us. Many see it, some even understand it but only a few try to put it in to images, called art by some and Art with capital A by others. Unfortunately too many people feel compelled to talk about it, explain it and even garde it. They don’’t seem to understand that Art is like wine; you like it or not, whatever the year of make or signature. Passion does not need a label. Secretary Day, 2012. Oil on canvas, 100 cm by 70 cm.

Tracey Snelling My work derives from voyeurism, film noir, and geographical and architectural location. Within this idea of location, themes develop around a particular locale’s inhabitants: Who are these people? What do they do and why do they do it? These questions transport observation into the realm of storytelling, wherein I create new realities that change with the viewer’s perception. Through video, sound, and manipulation of size, I am not trying to replicate a place; rather I give my impression of a place, its people and their experience, and allow the viewer to extrapolate his or her own meaning.

Bad Girl, 2012. Wood, paint, lights, electroluminescent wire, lcd screens, media players, speakers, transformer, 28 in high x 24 in wide by 24 in deep. Based on The Bad Girl by Mario Vargas Llosa.


Yevgeniy Fiks

Song of Russia no. 12, 2005-2007. Oil on canvas, 36 in by 48 in.

My work is inspired by the collapse of the Soviet bloc, which led me to the realization of the necessity to reexamine the Soviet experience in the context of the history of the Left, including that of the international Communist movement. My work is a reaction to the collective amnesia within the post-Soviet space over the last decade, on the one hand, and the repression of the histories of the American Left in the U.S., on the other. Having grown up and having been educated in the Soviet Union in the 1980s, my work is about coming to terms with the Soviet experience by carving out a space for critique both without and within the Soviet experience. Having lived in New York since 1994, I’m particularly interested in the history of the American Communist movement and the way it manifests itself in the present-day United States.


Verginiya Yancheva This work represents our inner worlds. Our love life, our work life, our feelings, thoughts, impressions. It simply presents us.

Bipolar, 2013. Photograph, 60 cm by 40 cm.

Sinje Dillenkofer Sinje Dillenkofer analyses and reveals social structures of western society, their understanding of values and nature. Questions of individuality, authenticity and their reproducibility are posed through photosequences, serial photography and typological studies. The subjects of Sinje Dillenkofer’s photographs, for example fragmentary or complete bodies of humans and animals or her earlier staged and constructed photographs, are always actual objects and are not digitally generated. All lines, forms, shapes and structures, whether abstract, figural or symbolically read, have their origins in reality. In combination with the carefully chosen materials, they take on a sensibility which is more painterly or sculptural than photographic.

GOAT 1, 2011. Photography, museum glass and aluminum, 180 cm by 180 cm. 25

Hanna Schwarz Hanna Schwarz’s installations of films, sculptures and drawings bring together the forms and motifs of modernism and minimalism with choreographic elements of postmodern dance, and place them into new contexts. Her work revolves around body politics, deconstruction of architectural structures, and the relationship between body and space. Her installations are characterized by fragility and a deliberate sketchiness. They address issues of enactment and the reliability of the performative gesture and are more likely to be seen as states or frozen pending motions, than as a static setting. Her work was recently exhibited in the ICA in London, Migromuseum in Zurich, Kunsthalle Schirn in Frankfurt, Badischer Kunstverein Karlsruhe, and others. She is represented by the Galleries Dépendance in Brussels and Nagel/ Draxler in Berlin.

POSE (Filmstills), 2011. 3min loop,16mm transferred to HDV, with sound. Courtesy dépendance(Brussels) and Hanna Schwarz.

Antonella Ferrari Italian born, London based artist Antonella Ferrari studied Fine Art at Central St Martins College, where she achieved a BA in 2003 and an MA in 2010. Inspired by memories and autobiographical events Antonella’s works become delicate introspections, which aim to create an intimate response in the viewer. Beyond an apparent simplicity, these works hide something more ambiguous and un-resolved, perhaps a trauma or a personal enquiry. Antonella employs different mediums to express her concepts, from photography to video and sound installations. Often creating immersive and site-specific works, she guides the viewer through a journey of intimate and melancholic experiences.


Unspoken, 2, 2012. Photography.

Julia Bornefeld

Final Play, 2013. Acrylic, 200 cm by 200 cm. Courtesy of Galerie Elisabeth & Klaus Thoman Gallery, Innsbruck / Wien.

The Dictate of the Metronome shears time and space. It’s pendulum swings ceaselessly between past, presence, and future. In order to uncover submerged stories and to surmise future things, I compose images and installations by shifts of space, time and meaning. Each body has a memory that stories past incidents and stages them anew in different forms. In search of a strange familiarity I transform ordinary objects. The original state remains recognizable, the familiar congruence of meaning and function is overruled.


Benjamin Senior

Orphic Swimmers, 2012. Egg tempera on cotton on board, 50 cm diameter.

The viewers of Benjamin Senior’s work can sense his enjoyment of control—over the choreographing of figures; medium of egg tempera; and over the system of colors and shapes that characterize his work. With surgical precision and wry humor, he probes ambiguous areas of our notion of healthy lifestyle and beauty. The paintings are nuances of everyday observations and periods of drawing from life. Senior pays particular attention to the appearance of light and the transparency of skin to create a perceptual intensification. The artist aims to color the viewer’s vision of the world by amplifying the numeric and geometric nature of daily life.


Jennifer E. Price

Grand Paino, 2011. Monoprint, 480 cm by 238 cm. Photograph courtesy of ON-SITE Gallery, UK.

Price’s artwork harnesses both basic and traditional printmaking methods, then stands them on their head, such that the results cross boundaries of printmaking, drawing, sculpture, site-based installation, new media and public intervention. The work addresses complex layers of material culture and the role of the visual artist in a complicated age of media. Her ambition is to build on the populist tradition of printmaking as a way to introduce visual art practice to a broad spectrum of culture.

Corinna Wagner Corinna Wagner is a self taught painter, based in Frankfurt, Germany. There are two sides to her creative output. on the one hand her works are colourful abstract paintings , and on the other hand are intense and haunting solitary figures. These two different ways of working are important for her artistry, as she needs both in compensation. The preferred mediums are chalk, acrylics and gesso on canvas or paper.

Das Stille Kind, 2012. Chalk on paper, 20 cm by 30 cm.


Bärbel Ricklefs-Bahr Baerbel Ricklefs-Bahr is a painter deliberately taking risks in her art. She does not plan in advance, but instead relies on spontaneity. The artist requires a certain amount of freedom, generosity, and limitlessness to reach the level of her expectations from the work. She aims to shape with colors, and bring contrasts into harmony. Without pressure, she follows her intuition. She works informally, not letting herself get boxed in by the rules of style. Her art develops out of the process of painting. A piece begun as an abstract painting may eventually form objects and lead to triggering emotions through the colors that are at the foundation of her painting, through the shapes one might discover, and through diverse textures. The viewers find their own access when they engage in the experience.

Untitled, 2013. Acrylic collage, 100 cm by 100 cm.

Sylvie Poinsot Originally from the theatre world, today she works on mask and portrait themes to “unmask” her emotions in ambush, and to unveil the screen. Whether the artist’s work is with charcoal, pastels or paint, it has been on the same track for several years. She focuses on corporal and facial scenography. And throughout her primarily colourful and luminous (pastel) pieces, she tends toward expressionism without concessions, becoming the unique character on the stage with portraits that are, as such, self-portraits.


Sans Titre, 2013. Acrylic paint, 46 cm by 38 cm.

Virginie Gallois Virginie Gallois’ work is a very personal universe, undefined and imaginary places which often show an idyllic Nature with a disturbing atmosphere under the yoke of oppositions : bright colours and pastel shades, light and dark, opaque and transparent, blur and the net, angle and curve, the formal and informal, the close and distance. French artist’s practice relates to the use of colour through various mediums, mainly ink and painting she proposes in installations that may also include photography and video.

Nature Au Serpent, 2012. Mixed media, ink, acrylic, watercolor, 76.8 in by 44.9 in by 1 in.

Elisabeth Fossheim Juul Elisabeth Fossheim Juul continually strives to increase her ability to paint with wholehearted emotion and thought. Some of Elisabeth’s paintings carry glimpses from her roots; Norwegian mountains and nature, with an input of flowers, or a beautiful landscape covered with snow. These are works of her imagination, constructed from the perspective of the mind. The blank canvas draws her in, and gives her a sense of freedom. It is the artist’s way of letting go.

Listen to the trees. Acrylic on canvas, 80 cm by 120 cm.


Reto Pulfer In Reto Pulfer’s work, music and language are elements contributing to an atmosphere created to establish a connection with his audience by erasing the comfort zone between viewer and artwork. Early-data free-form structures and technical versatility coverage with the artist’s desire to fully exploit art’s infinite possibilities of expression and communication. By putting himself through a physical avalanche, integrating different sounds such as sculptures falling and his own music, Pulfer’s performances move on the fine line between conscious and subconscious, generating a sense of immediacy that makes them a unique experience. – Michele Robecchi

Die Milchstrassengrotte, 2013. Ink on cotton, bed sheet, ribbon, ink on crate, metal parts, Raku ceramic, 1400 cm by 1550 cm by 550 cm. Swiss Insitute, New York. Courtesy the artist, Balice Hertling, Paris and Hollybush Gardens, London.

Kendell Geers I paint my exorcisms and sculpt my dreams with Second Sight in my Third Mind. Sigils, signs, symbols and seals unlock doors of perception to reveal the hidden “magickal” worlds of divine imagination. Art should be transformational or not at all. Believe in what you create and create only what you believe in.

Ligne De Fuite 42, 2013. Acrylic on canvas, 263.5 cm by 183 cm. 32

Myriam Holme Myriam Holme’s artistic work is characterised by wonderfully poetic pictorial compositions that vacillate between dense and glittering surfaces, shining and matt structures, delicate and massive elements. After having familiarised ourselves with one element and associating a known object or an experience with it, the familiarity we seem to have felt is dispersed the very next moment, giving way to absolute uncertainty in face of the material. Acrylic meets stain, loosely applied paint meets bamboo poles, crystalline stones meet dull platforms. The active viewing of Myriam Holme’s works conveys the inherent haptics of the materials. Their actual qualities recede to the background in favour of an aesthetics that forms worlds of its own in correspondence with the titles. – Meike Behm Entimmernd, 2009. Galerie Kadel Willborn. Aluminum, glass, wood stain, acrylic paint, varnish, 500 cm by 500 cm by 350 cm.

Gunilla Oldenburg Born in Avesta, Sweden and raised at an idyllic place by the Dalecarlia River, the influences of nature early became my greatest source of inspiration. Studying abstract painting under the eminent artists Emilio Vedova and Zao Wou-Ki, my style became an interesting combination of west and east, a mixture of poetic compositions, rhythm and texture. In my 3-dimensional paintings, I experiment with different materials, for example dried sea-algae from the Swedish west coast. I have participated in more than forty solo and group exhibitions all over the world and I am represented in numerous collections. Alga Opus, 2013. Mixed media, 30 cm by 30 cm by 4 cm.


Eva Christin Laska

Longing, 2010. Mixed media on canvas, 23.6 in by 23.6 in by 23.6 in.

Eva Christin Laszka holds a BA in visual communication and illustration from Iparmüveseti Föiskola in Budapest. The artist has a strong connection to her Hungarian roots receiving inspiration for her work. She works with mixed media, including coal, ecoline, oil, ink and acrylic paint. The starting point is often the photos that are illustrated and put into a new expression. Laszka weaves the mystery and emotion in the images and blends abstract elements into the figurative. She is an in house artist in the Gallery Ramfjord in Oslo.


Liza Lou

Untitled 21, 2013. Woven glass beads, 64.9 in by 64.9 in.

Born in New York City in 1969, Liza Lou first gained attention when her room-size sculpture, Kitchen was shown at the New Museum of Contemporary Art, New York in 1996. She has participated in numerous solo museum exhibitions internationally: Museum of Contemporary Art, San Diego; SCAD Museum of Art, Savannah; Museum Kunst Palast, Düsseldorf; Bass Museum of Art, Miami; Aspen Art Museum, Aspen; Henie Onstad Kunstsenter, Oslo; Santa Monica Museum of Art, Santa Monica and Fondació Joan Miró, Espai 13, Barcelona. Lou has participated in numerous group exhibitions including the New Museum of Contemporary Art, New York, the Metropolitan Museum of Art, New York; Cleveland Museum of Art, Cleveland; Museum of Contemporary Art, Los Angeles; Palais de Tokyo, Paris and Museum of Contemporary Art, Tokyo. She is the recipient of a 2002 MacArthur Foundation Fellowship.

Filippo Guicciardi Filippo Guicciardi is an Italian artist, living and working in Sydney, Australia. His passion for photography started in his early teenage years, taking him on an artistic journey to develop his career path. There isn’t a chronological measurable in his photography, each landmark immerses and drowns itself in the flow of a continuous dynamism which recounts the deeds of a passage without beginning and without end... something undefined, unfinished, as the movement is never completed.

Bundaberg, Edition 1/3, 2013. 50 cm by 75 cm.


Marike Schuurman “I look at man-made spaces and landscapes and how people act within them through photography. The starting point is photographing phenomena from life, which I find absurd or brilliant, with the ultimate goal to overrule reality.’ Marike Schuurman (1964, Groningen, Netherlands) lives and works in Berlin and Amsterdam.


Leigh Chorlton I conceive my current work under the title Retro Renaissance, as an oxymoron; being a revival of a revival, by redefining the Renaissance today as something more lightweight. A lite history; where both religious and mythical narratives now lack meaning in our ironic, postmodern, and mainly capitalist framework. My aim is to define a Renaissance aesthetic for today, using skills attained by the masters but knowing that underneath the meaning is lost and only the surface remains.


Family Tree, 2009. Oil on shellac on paper, 151 cm by 120 cm.




Genealogy of Damnatio Memoriae Torino 1965-1982, 2012. Three carved trees 314 in high. Courtesy Castello di Rivoli Contemporary Art Museum, Turin, Italy.

Sara Goldschmied (b. 1975, Vicenza, Italy). Eleonora Chiari (b. 1971, Rome, Italy). The Goldie Chiari art duo was founded in 2001. Using installation, video and photography, they explore the concepts of history and memory in terms of the division between amnesia, deletion/reconstruction and reflection. Exhibitions include: MACRO Museum in Rome, Museion in Bolzano and Centro d’Arti Visive Pescheria in Pesaro, Italy, Cac Passerelle in Brest, France, MoCa Shanghai (2010), the MusÊe de Grenoble (2007) and Castello di Rivoli in Turin (2012), Mambo Museum, Bologna, and their work has been presented at the biennials in Venice (2009) Berlin (2006) Dublin (2011) Selestat (2013). Tel Aviv (2010).


Peter Esdaile

The Library, 2013. Mixed media, 80 in by 70 in.

Esdaile’s works capture a surreal magic of contemporary life while exploring the timelessness of human experience. Figures and stormy landscapes collide with architectural forms in some paintings, while elsewhere symbolic images and classical mythology converge with an eclectic mix of figures from popular culture. Vibrant, energetic and mysteriously poetic. In this painting, a magician floats effortlessly carrying a glowing sphere, as if embracing the mysterious energy of intuition. The solidity of the background presents a stark contrast to the knowledge encased in the volumes of books on the bookshelf, reminding us that intuition and knowledge are never far apart. 38

Rosie Emerson

Ophelia #3, 2013. Hand-finished screen print with charcoal, guilder’s powder, 22 in by 30 in.

Rosie Emerson was born in Dorset in 1981. Since graduating in Fine Art from Kingston University In 2004, her work has drawn reference from archetype’s old and new, from Artemis to the modern day super model. Unrestrained in her technique she uses playful collage to elevate her subjects to goddess like status. Rosie has exhibited widely in the UK, as well, Europe, and recently in LA, Singapore, Hong Kong and Dallas. Her work has also been featured in the likes of Vogue, Harpers Bazaar, Another Magazine, The Financial Times and The Sunday Times Style Magazine. 39

Daniel Coves

Net no.10, 2013. Oil on board, 100 cm by 100 cm.

Right now I am mostly involved in painting and cinema. I am interested in a kind of painting that suggests a prolonged event of time in its content, as a painting which encloses a capsule of time within her, a portion of time far from the frozen moment that can suggest a photographic image. A kind of pictorical representation that reports a “precinematographic� sequence which for his own physical characteristics cannot give information about what happens before or after the presented image, offering as a suspense or enigmatic image as a result.


Loris Cecchini

Monologue Patterns (reading books in the park), permanent installation, 2004. Iron, aluminium, 3M optical lighting film, plexiglass, PVC, selected books. Galleria Civica, d’Arte Moderna, Gallarate, Italy. Photograph by Ela Bialkowska.

Loris Cecchini has been noted for his objects sculpted in rubber and distorted micro spaces, like caravans or tree houses. Oscillating between sculpture, architecture and diagramatic models. His work reconsider the notion of the “model” by reworking familiar, everyday forms into a modified vision, challenging the spectator’s perceptions. Cecchini’s work depicts a microcosm and macrocosm; constitute an amazing and moving biological metaphor, based on plastic, steel modules, or sculptural relief patterns, where the boundaries between scientific and aesthetic spheres are overlayered. It is as if the whole architecture, or a part of it, were suffering the consequences of a phenomenon that influences, modifies and leads it towards an organic symbiosis with the space. 41

Mimi Norrgren Tugged between sculptural object and performative action, Mimi Norrgren’s work often takes the form of live performance. She is obsessively involved in sculpture because it allows her to understand the world through touching it. Norrgren’s work is guided by images of unique landscapes and tradition, some of which are routed in her Czech and Swedish ancestry. After her BA in Fine Art at Oxford, Norrgren went on to complete an MA in Sculpture at the Royal College of Art in London. In 2010 she was shortlisted for the Saatchi New Sensations Art Prize. Included in ’100 curators 100 days, Saatchi Online, 08/2012′ online collection. She won The Red Mansion Art Prize in 2009. Norrgren has exhibited and sold work internationally.The artist currently lives and works in London. Head, 2013. Wood sculpture, 19.7 in by 11.8 in by 5.5 in.

Andrea Nacciarriti Consciousness and acceptance are the terms for a space where there are certain visions of a ‘mistaken’ poetic, of the collective and individual failure, silent stratification of an aesthetic, the devastation of information and a consequent ethic responsibility. The work is not perceived in a destructive tone, but a cynical action of reconstructing the submerged and materializing a malformation of the assimilated reality. The human mistake is seen as a vital part and the base of the analytic process given by actors and viewers as unreliable beings.


Driftwood, plastic glass, water. Variable dimensions. Courtesy Franco Soffiantino Contemporary Art Productions. Photo by Giovanni Ghiandoni.

Barbara Stacher

Horse, 2012. Bronze, 17 cm by 9.5 cm by 12 cm.

Barbara Stacher draws inspiration from the force of the instinctive and her approach is generous in impastos and rhythmical traces. Her work is a continuity along the path traced by classical modern art, using traditional media (oil paint, clay, bronze, wax), thus indulging in the eternal quest for colour, tension and form. Born in Vienna, Austria, Stacher has been dedicated to painting and sculpture from an early age on. She currently lives and works in Belgium. Her selected exhibitions include: Art-Base Gallery, Espace Art Gallery, Salle Allende-ULB and Espace EntrĂŠe Libre in Brussels; Royal Opera Arcade Gallery, Pall Mall, London 2013; Gallerie Thuillier, Marais, Paris 2013; Stuart, in Florida, 2013 and WN Gallery in New York 2014.


Miguel Wert For more than ten years, my work has been dealing with the theatricality of everyday life and questions the representation of the collective unconscious. In the staging of these images I try to reconstruct the recent past that is fading from our memory, linking personal genealogical issues with a shared collective experience. The frame is treated as a stage, full of anonymous actors who perform in front of the curtains of an imaginary theatre. Often these actors come from documents that I inherited (tied to my Swedish roots) or are the result of an arduous selection process from different archives. The contemporary use of evidence and documentary traces, offers a new dimension and life to the image. I like to interpret it as a gift... and in this same way, share it with the audience.

Corrientes, 2011. Charcoal and acrylic on canvas, 81 cm by 116 cm.

Cecilia Fernandez de Arrospide Painting this series titled Ocean Waves is a very important part of my work. I live ten blocks away from the sea and it is a part of my life. It is a joy playing and swimming or just contemplating on a summer evening as the sun sets down. It is my daily contact with the greatness of the universe. Although these paintings are very realistic they are also abstract because they represent an infinitesimal part of the inmensity of the sea. The poem by Octavio Paz named Mi vida con la ola expresses this series so exactly the sensation that the sea and waves produce in me and that also identifies me as a woman. Sparkles II, 2013. Oil on canvas, 80 cm by 120 cm.


Luisa Rabbia

Source, 2013. White pencil, fingerprints, blue acrylic polymer paint, canvas, 188 cm by 122 cm by 3.8 cm. Courtesy of the artist and Peter Blum Gallery, New York.

Luisa Rabbia’s practice is rooted in drawing, but extends from works on paper to installation, video, and papier-mâché sculptures that are often combined with natural materials like wood and stone. In her work, the color blue operates both symbolically and visually. It is the color of a universal skin, of blood, of inner feelings, and of abstract mental landscapes. She is interested in connections and searches for them through time, place, thought, and human relationships. These subjects are intertwined through long organic lines which look like roots and veins that simultaneously connect and divide. 45

Juliana Manara

Youth, 2013. Limited Edition of 10. C-type print, 70 cm by 70 cm.

With the idea of exploring our existence through fantasies the Brazilian born London-based artist decided to build a surreal scenario in her studio. In need of a model to join her experimental photographic artwork she created a little character, dressed in a black coat and cap who later was named MiniB. Today, MiniB is part of a few series and it gave the artist a strong recognition in the art scene. ”I am inspired by surrealism, and photography is a possibility to explore my imagination. My cameras are the tools to produce the perfect images that will join the final composition. With photographs I illustrate, create montages and collages, and more. These works allow us a certain ‘escapism’ from reality as well as enabling us to identify with ourselves. 46

Justin Richel

Globe (Detail), 2007. Gouache on paper, 30 in by 30 in.

Justin Richel is an artist who’s primary focus is painting, his works, which largely consist of gouache on paper range in scale from small intimate paintings to sprawling wall works. Behind the confectionary palette of Richel’s portraits of colonial fellows, seductive pastries and Victorian furnishings are narratives of control and chaos replete with incisive social commentary. The artist wields a sinister brand of humor that, drenched in the levity of pastels, subversively taunts the culture of consumption. Justin currently resides in the mountains of Rangeley, Maine where he maintains a studio along with his wife and fellow artist Shannon Rankin.

Jone Kvie Jone Kvie’s work is inspired by a broad range of diverse subjects including nature and the natural sciences, film and art history. This content is transformed into sculptures in bronze, aluminium, woodpulp or plastic. Kvie’s work problematises our ideas of nature and the role of art: The visual and sculptural motifs reflect phenomena and forms in nature such as roots, nebulae, planets and meteors. the art historical references—in the form of romantic nature themes and the idea of the sublime—are in Kvie’s work exposed as constructions and the border between nature and culture is dissolved.

Untitled, 2006. Carpaint on bronze, partly polished, 120 cm by 70 cm by 80 cm. 47

Frederico Penteado

Polis, 2009. Acrylic on paper mounted on canvas, 190 cm by 122 cm.

My art practice is an attempt to express a poetical vision. A practice based on memory and imagination and even though I come to my paintings from things previously seen in daily life I never depict directly from Nature. I come to my artworks in a mind state which I can only describe as daydreaming, not in an automatist manner like those of the surrealists or the artists of the subconscious but rather a superimposition of an image that coalesced in my mind through my memories. My art works tend to be evocations rather than representations. In them the city or the evocation of cities is a metaphor of society, of human enterprise and its meaning.


George O. Jackson de Llano This latest series of photographs, called Calaveras Resplandecentes, arose out of my fascination with color and light, which I found in refracted abundance in a skull-shaped vodka bottle that could be made to express a range of emotion, thought, and associations, as well as beautiful abstract patterns. The only limit to the creative potential of the glass skull was my own imagination. I started photographing the chandelier with a telephoto lens, attempting to capture and distill the pure colors and forms that broke out of the morning light. I recognized the unusual power of the vodka bottle when it winked at me as it went up on the shelf. I noticed how it changed and adapted to the light and colors of its surroundings, and I succumbed to its dynamic spell. Tzompantli Celestial, Homenaje a Rene Magritte, 2013. Photography, 40 in by 60 in by 1 in.

Cameron Platter Cameron Platter’s work appears in the permanent collection of MoMA, New York; The FRAC des Pays de la Loire, France; and the Iziko South African National Gallery. His work has been highlighted in The New York Times, The Wall Street Journal, Vice Magazine, NKA Journal of Contemporary African Art, Artforum, and Art South Africa. In a faraway Galaxy. On a faraway planet. STOP. ZOOM. Arcadia scene at Blue Lagoon. Matisse. Psychedelic Butterflies. Everything was peaceful. Violence, disease, poverty, death, money, arcadia, unhappiness, war. Religion, famine, (KFC drumstick: twirling), taxes, mosquitoes. Did not exist and they made love openly. Penis, eyes, sweat, heads moving up and down, butt plugs... flashing colours, dolphins, cityscape, scene ends with fireworks, black. NO NO NO NO NO NO.

Advertizing Tombstone Wall (III, Tell Me Everthing), 2013. Carved jacaranda wood, 250 cm by 200 cm by 30 cm. 49

Caroline Rothwell Process and concept are united in Caroline Rothwell’s work which ranges across two and three-dimensions. Often using unique fabrication methods, Rothwell examine how ideologies have shaped our contemporary world. Metal is cast into fabric moulds; PVC is hand-cut into sculptural wall drawings; paintings are embroidered; pollution is used as a painting medium. Frequently examining specimens, curiosities and historical data to create uncanny worlds that are a collision of art, science and perception, Rothwell explores how the unintended consequences of our past collide with present technologies, politics and landscape. Attendants (after Schongauer), 2012. Britannia metal, hardware, plywood, approx 200 cm by 182 cm by 192 cm. Installation view, Caroline Rothwell, Borderlands Collection Art Gallery New South Wales, Image courtesy the artist and Tolarno Galleries, Melbourne.

Aline Bunji Aline (b. 1982, La Chaux-de-Fonds, Switzerland) resides and works in Basel, Switzerland. Throughout her career, she has completed numerous art courses in Switzerland and Germany to broaden her abilities and better her craft. The experience she has gained has allowed her to rely on her gut feelings and intuition as she creates. This allows her to go beyond the knowledge gained from education and take inspiration from a place of experience and emotion. Through her works Aline hopes to make life a lot brighter for the people viewing them and hopes they genuinely feel happier. She has exhibited in galleries, museums, hotels and etc all over Switzerland.

Cover and Hide, 2012. Acyrlic and cord on canvas. 50

Maria Luisa Imperiali

IN-TRA-FRA, 2012. Mixed media.

Maria Luisa Imperiali lives and works in her hometown of Milan. Having graduated with a degree in sculpture at the Academy of Fine Arts in Brera, it is fundamentally expressed through her installation and sculptures. The first show she ever participated in, which was as a student, is still on display since 1978.

Polly Morgan In 1998 Polly Morgan moved to East London to study English Literature at London University. As an undergraduate she became acquainted with many prominent artists working in the area, and inspired by their example she took up taxidermy and began making sculptural work in 2004. Having studied with Scottish taxidermist George Jamieson, Morgan began to play with and dismantle taxidermy traditions, creating sculptures that brought herwork to the attention of many notable collectors and curators both in Britain and internationally. Collections include: Thomas Olbricht, Omer Koc, Anita Zabludowicz, Ivor Braka, David Roberts, Didier Casimiro. Polly Morgan continues to live & work in London.

Sunny Side Up. Taxidermy, light bulb, glass, wood, 21 cm in diameter by 18.5 cm in height.


Zuimeng Cao

Impression of Liaoxi, 2000. 70 cm by 70 cm.

Representative of Chinese Ice-Snow Painting Style; founder of “Orthodox vs Ugly Art Theory”; Professor at Chinese Art Institute, an accomplished painter and art theorist; Zuimeng Cao holds numerous awards in national as well as international Art Exhibitions; Published two books on Art Theory, co-edited several books on Art Collections; A number of Ice-Snow paintings have been collected by art research Institutions and museums. TV documentary and articles include: “Zuimeng’s Art Experience”, “A Discussion of Ugly Arts”, “Zuimeng’s Chinese Landscaping Painting” and “An Extraordinary Ice-Snow Painter: Cao Zuimeng”.



Maiko 02-C: The Hour of the Ox, 2012. Collage mixed on burlap board.

The use of the burlap and the collage once again makes me go back to the earliest moments of my artistic life, when I was looking for cheap materials to start and follow the creative process. The burlap tinted blue with yellow suede fabrics produce an effect light shining similar to the sunrises in Japan. Colors flat and bright, but at the same time loaded with a fragile beauty is this experiment with the Japanese print. As the texture of the make-up of the Maikos or apprentices geisha, life is a reality many times retouched while beautiful in its conception of beauty.


Ute Rathmann

Hommage à Goya I. Drawing, 24 in by 16.5 in by 0.4 in.

My medium is drawing. The human being is my motive, and specifically the human body and how it relates to clothes, costume, fashion and fabric. I tend to arrange my work in series with scenes reminiscent of masters such as Gustav Klimt. A model is dressed up according to a particular theme. This is the visual basis. The end result, however, is not directly connected to the depicted subject but takes on a life of its own. My work is a never ending process—old drawings get torn to pieces, then brought together in a new way. These old fragments form new canvases on which I draw. Thus my “final” works can be seen as frozen moments in time, parts of an endless inquiry into the human form and nature. 54

Petra Vlčková I present human interventions on the natural landscape through my photographs. The impact of human presence is often conscious and has a negative affect on the environment which can also be positive. There are times when these interventions go unnoticed, however they pose a particular visual value. These series of photographs derive from long term observations of these situations. To articulate situations I’ve documented my staged interventions within the environment. Listening Trees. Photography, 26.8 in by 31.5 in.

Brighart Abstract expressionist, Brighart. Born 1956 in Amsterdam. The artist received a variety of creative education on “de Werkschuit” in Amsterdam with: Michiel Czn.Dhont, Anton Assies, Agaath Koers, Dorien Melis, Aleid Holman, Hendrik van Leeuwen and especially with Femia Morselt. Brighart also attended the Rietveld Academie and from 2004 to 2007 she worked full time at the WBK Free Academy Workshops for arts and design in The Hague where she studied with teachers including Zuang hong Yi, Mark de Wijer, Vincent Botella, Bill Bogaarst and Peter Otto. During 2010–2011 Brighart studied at the Willem de Kooning Academie. Movement and Joy are two imminent principals in the artist’s work. “This positive energy radiates warmth as it stirs my imagination through the use of colour and materials in abstract paintings and prints.”

Nature, 2013. 150 cm by 150 cm. 55

Michael Vincent Manalo

The Turning Point, 2011. Digital Mixed-media, 100 cm by 71 cm.

I work as a photographer, photo-manipulator and an installation artist. My work is inspired by the imagined memories of nostalgic and dream-like environments and altered realities; which documents their decline into post-apocalyptic and nightmarish creations. Most of my work is inspired by realities which are at most times overlooked, realities that are fantasies to some, dreams of others or universal concepts perceived through the mind. It is mostly dwelling on melancholy, nostalgic memories, dreamy landscapes, from warm emotions to dark and brooding atmospheres, and nightmarish dreams; differential concepts of home; and subjective and objective views on society.


Fabien Mérelle

De Pasquale, 2013. Ink and watercolour on paper, 21 cm by 28.2 cm. All images © Fabien Mérelle & PrazDelavallade, Paris.

“My life follows the course it has been assigned from above.” These words pronounced by Albrecht Durer on the eve of his own wedding could well apply to the youthful Fabien Mérelle who recently became a father. Do we read there a special correspondence between the two artists, separated otherwise by five centuries? “Carefully observe Nature,” wrote the Master of Nuremberg. “Let it guide you and do not stray. The more your work resembles the living form, the better it will be judged.” This is where art transcends personal feeling. The proximity Fabien Mérelle cultivates with his surroundings informs his graphic character, as a musician would draw from familiar sounds. He turns his daily life into a mirror in which hand and line will blend. The mask drops, pretense crumbles. What is left as the last trace of a previous life is this skin colored, modest and surreal, ultimate translation of the artist’s quest for a bridge between bliss and abyss. – R.J. Praz


Barbara Hardmeier Barbara Brigitta Hardmeier, born in Switzerland, studied audiovisual design and painting at the Gerrit Rietveld Academy in Amsterdam,The Netherlands. Hardmeier’s work reflects the present; they are time documents and are of a trend setting nature. She uses materials in a rather ‘unorthodox’ way, and mixes various styles. Her work has been exhibited in numerous international exhibitions and biennales.

Earthly Desires are Enlightenment, 2009. Mixed media, 90 cm by 80 cm.

David Brian Smith

Great Expectations—A short history, 2012. Oil and Silver Leaf on Herringbone Linen. 180 cm by 150 cm.

David Brian Smith (b. 1981, Wolverhampton, England) studied at Chelsea College of Art, London. Often drawing on autobiographical incidents and memories, David Brian Smith’s paintings utilize personal as well as fond photographs as a source of imagery. Solo exhibitions include, Goodwill and the Unknown Man, 2012, Great Expectations, 2010 and I Believe in Everything, 2007 at Carl Freedman Gallery, London. Group exhibitions include, You play the line, I play the sand, with Oliver Perkins, Galerie Vidal Cuglietta, Brussels, 2011, Newspeak: British Art Now, Part Two, Saatchi Gallery, London 2010 and **** (Part Three), Neue Froth Kunsthalle, Brighton, 2013. He was selected for SV10: Members’ Show, by Jennifer Higgie and Rebecca Warren, Studio Voltaire, London 2010 and was a prize winner in The Creekside Open, selected by Ceri Hand, A.P.T Gallery, London 2013.


Lia Porto

SELVA MISIONERA 2: AM (MISSIONARY FOREST 2:AM), 2010. From the series NESTS. Acrylic on canvas, 152 cm by 95 cm.

My work is essentially organic; it refers to the natural world but always as a kind of fiction. An ‘artificial nature’ in a way... The elements may sound familiar but they have their own development, their own language. I’m attracted to the nutritive, the affluent, the gorgeous. The nature recreated is attached to the plenitude and to the interrelationship between things. This is then translated into a complex process that escapes from emptiness in the search of saturation and simultaneity, the imbrication of images. I work over the surfaces as if they where fields, in which a profuse universe appears and develops and particular events are simultaneously occurring. There is a rhythm, a movement, like in the water or the air. Something that leaves traces in the canvas, traces that evidence the search, the joy, the tension, the balance. 59

Andrea Myers

Tangled Web, 2011. Machine-sewn fabric collage, 30 in by 45 in.

My sculptural works present a seemingly whole object that has then been disrupted, fractured or rendered vulnerable, exposing striations of color in an otherwise white or neutral colored object or site. The objects I create become charged with a polarity of solid, stable object juxtaposed with a vulnerable more human moment of the revealed interior. Through abstract means, the pieces collapse, erupt, and give in to the pressure of objecthood, allowing the sculptures to serve as surrogates of an imperfect and human condition. Andrea is represented by Circuit, 12 Gallery, Dallas, TX. 60

Otto Zitko

Untitled, 2009. Acrylic. Nationalgalerie im Hamburger Bahnhof—Museum für Gegenwart—Berlin. Produced for the exhibition „Die Kunst ist super!“ 05.09.2009– 14.02.2010. Photographer: SMB/Thomas Bruns. © Photo: bpk/Nationalgalerie im Hamburger Bahnhof— Museum für Gegenwart—Berlin.

In his large-format, expansive wall drawings and his installations of carefully positioned aluminium panels, Otto Zitko (born in 1959) has for many years been analysing the relationship between drawing and space, between graphic gestures and predefined architecture. “In Zitko’s works the ambivalence between the seemingly wild, chaotic and spontaneous gestures of his lines and his controlled, deliberately structured elements offer a mine of interpretations,” says Hemma Schmutz, asking: “Is there such a thing as a deliberately created spontaneity? What kind of balance is there between the conscious control and freely flowing lineaments?” (Tattoo, in: Otto Zitko, Pythia, Salzburg 2008).

Eeli-Ethel Polli Eeli-Ethel Polli works mostly with acrylic mixed media, mixing artworks, paperclips, drawing, crayons and paint. Paintings are created using newspaper, old artwork, old books, prints, photos, clipped images and text. The collages consist of a mixture of images from various media mixed with abstract and contrived elements. Paintings are one-of-kind or form a small series. She seeks to describe coincidences of our lives. Way of painting is expressionistic and motives come from different experiments. The contrast between light and shadow, spontaneity— are all sources of inspiration. It all starts with a color, movement, rhythm, which develops into a composition. Pink Rain, 2012. Mixed media on canvas, 7.1 in by 9.4 in by 0.6 in.


Tim Parchikov

From the series Venice Suspense: Venice, 2005 – 2011. C-Print, 23.4 in by 35.1 in.

Visual information literally bombards us in contemporary reality via various media, forming connections with our thoughts and feelings. I try to employ this in my work. By avoiding recognizable narrative patterns, I leave the audience the freedom of their own interpretation triggered by their private vocabularies of mental and emotional connections. This way, every person sees his own story in my art. It requires me to step out of the scene as the author and the viewer authors what he sees. This is why I prefer the vague to the obvious; I want to get the audience thinking what’s going on rather than just seeing it clearly defined.



GROW, Besançon (France), 2013.

Subtlety is not something that the current street art scene has us used to. On some occasions it comes off as intrusive as outdoor publicity. But this isn’t the case with SpY. The participation of this man from Madrid doesn’t jump out at you. Rather, it waits until you run into it. It isn’t a monologue but a dialogue, between the artist and the environment, between the passer-by and the piece. SpY’s work involves taking over urban elements through transformation or replica, commentary on urban reality and the interference in their communicative codes. The bulk of his production comes from observing the city and an appreciation of its components, not as inert elements but as a palette of materials overflowing with possibilities. The will of the game, the careful attention to the context of each piece and a constructive, not invasive, attitude characterize, without a doubt, his performance.


Cie. Willi Dorner

Above, Under, In Between, NYC, 2010. Photograph by Lisa Rastl.

Cie. Willi Dorner’s bodies in urban spaces is one of those pieces that thankfully defy categorisation —being neither dance, nor street theatre. You can use artspeak and call it an urban intervention or performance art if you will, or living sculpture, or fun. How we fit into urban spaces is addressed in a completely literal, funny and rather touching way and the contrast between the obdurate building, materials and the malleability of the human body is rarely so clear. – Ballet.Magazine UK, John Mallinson, October 2009. 64

Irini Miga

Ah yes! yes I am here and so are you.

Irini Miga holds an MFA in Visual Arts from Colombia University, New York and BA from Athens School of Fine Arts, Athens. Credits include: Arts Collaboration Lab Residency at The Watermill Center (NY) and Norwegian Theater Academy, Fredrikstad, Norway, 2012, AZB Sculpture Guest-atelier, Zurich, Switzerland, 2009. Exhibitions include: Now and Then, European Central Bank’s Collection, Frankfurt am Main, Germany, 2013; Contemporary Ceramics, LeRoy Neiman Gallery, Columbia University, New York; Outside Mediation, Green Hall Gallery, Yale University, New Haven, 2013; Conceptual Romantic, with Ann Craven, CONDUITS (IT), ReMap3, Athens; DESTE Prize 2011, Museum of Cycladic Art, Athens, 3rd Thessaloniki Biennale of Contemporary Art, Museum of Contemporary Art, Thessaloniki; Of The Moment, The Renaissance Society, Chicago; Rrripp!!! Paper Fashion, Museum Bellerive, Zurich, 2010; The Beautiful is just the First Degree of Terrible, State Museum of Contemporary Art, Thessaloniki, 2009.

Ingvill Solberg Norwegian artist Ingvill Solberg enjoys sand, textiles, oils, acrylics and other mediums in creating paintings, drawings, graphics, and and objects. She clarifies her inspiration; the human being, with her interpretation on how the environment affects one’s inner-world and how rhythm, movement and body language is developed.

Positur XI. Coal, krit, 26 in by 10.2 in.


Sangbin Im Sangbin IM lives and works in New York, NY and Seoul, Korea. He received his MFA in painting and printmaking at Yale University. Sangbin IM is best known for his composite photographs–vibrant works composed of hundreds of images taken over a series of days and embedded over painted surfaces–IM’s works seamlessly blend painting and photography, integrating the two mediums to create a hyperrealist vision. Exploring the relationship between fantasy and reality, IM begins with the subject of the urban environment, and then manipulates and idealizes it, creating a utopian vision of a place. Altering scale, exaggerating color saturation, and combining digital images with a painterly surface, IM creates works that challenge viewers’ perception and conflate illusion and reality.

Times Square, Edition of 5 + 3 APs, 2013. Lambda print in two parts, 42.5 in by 75 in (top); 17 in by 75 in (bottom). Courtesy of artist, RYAN LEE, New York and PKM Gallery, Seoul.

Izgi Ozant I have always been impressed by the “feelings” reflected from the “expressions”, rather than what has had been said, or what I’ve heard in a song or read in sentences. I remember focusing on the (facial) expressions (and gestures) when someone was making a serious conversation with me, by muting the voices in my mind during childhood. I was becoming so focused that everything would seem frozen, disappeared and moved away. I think, this lies at the heart of my understanding of figure. The elongated necks are partly related to the desire to escape from the present place and to our desire to take a look at ourselves from a distance, when we contemplate intensively. I never liked to make definitive statements about my works, because I didn’t like clear meanings, and I still cannot like it... Untitled, 2013. Oil on canvas, 45 cm by 35 cm. 66

Rita Bolla

Mamba & Me, Days Off, 2010. Oil on canvas, 30 in by 40 in.

As someone who essentially grew up in the Hungarian countryside, living in a major American city sets me an irresolvable conflict: my love of nature’s minimalism versus the sensorial delight of big city life. My works of art represent this constant struggle for balance, the attempt to find “flow,” those mindful moments that thread through life’s parade of shifting attitudes, perspectives and expressions, where all this extraneous noise becomes one, a whisper of fulfillment. To capture this my work provides a series of candid, close-up, intimate observations, a still life in the speeding lane. I invite my viewers to experience “flow”, to realize the moment in which they live, in all its dimensions. Like a Buddhist mantra, a gospel song or a yoga class, my work offers a moment of silence, peace and mindfulness.

Elisa Laraia Laraia focuses her research on identity-transferringexperiences of private life into public. Her work “Private Conversation” has pervaded urban spaces with large photo frames and urban screens. Since 2009 Elisa has directed LAP Laboratorio permanente di Arte Pubblica and Public Art Award that transformed the Basilicata region into a showcase for contemporary artists, with the collaboration of Spencer Tunick. She studied in Bologna, Paris and London. Selected exhibitions, private galleries and museums: 54th Venice Biennale, XIV Quadrennial of Rome, Biennial of Young Mediterranean Artists, Sarajevo, GAM of Bologna.

Private Conversation. Orfeo hotel Contemporary Art Project © 2004 | 2013. Urban Space LAP | Public Art Award. 67

Melissa Wyman Melissa Wyman is an interdisciplinary artist investigating interpersonal exchanges and hybrid notions of belonging. Her work is often participatory and incorporates performance, video, installation, drawing, painting and social practice based projects. She occasionally makes objects. Melissa has created and presented work in the US, Italy, Japan, New Zealand, South Korea, and Chile. Her book, Fight Therapy: A Discussion about Agency, Art and the Reverse Triangle Choke was published in 2010. She received an MFA from the California College of the Arts in San Francisco, where she was a recipient of the Barclay Simpson Award, a Postgraduate Diploma in Art and Theory from Massey University in Wellington, New Zealand and a BA from the University of California, Santa Cruz. After spending many years overseas, she now lives and works in Northern California.

A Monster and a Donkey, 2010. Watercolor, 57 cm by 77 cm.

Traci Talasco I create sculptures and installations addressing the psychology of home, in a humorous way. Sections of walls, floors, and interior spaces come together in absurd architectural arrangements. Simple acts become unnecessarily complicated. The viewer is invited to physically engage with the works on different levels. Sometimes they pose physical challenges, such as balancing a floor or climbing waves of carpeting, and other times they change the viewer’s perspective by obstructing their view. I use home construction materials and decorative elements, such as plywood, carpeting, and wallpaper. The titles are idioms that imply both a physical and emotional meaning. Tread Carefully, 2013. Hardwood flooring, .5 inch plywood, orange interior paint, hardware, dimensions variable. Hardwood flooring is stacked in various heights with some sections missing. Viewers are invited to walk across the floor, paying careful attention to how they navigate through the space. 68

Hector Hernandez

When Good Dogs Do Bad Things, 2003. Mixed Media, acrylic on book cover, 14 in by 8 in.

In formal terms, my current work is an exploration of how form is determined by, and conversely determines, space. My work references the figure, though more recently it has explored similar figure/ space relationships utilizing basic geometric shapes. I am interested in the tension that exists between a form such as human legs or cylinders and the space which it both occupies and is contained by. My long history with mixed media and photography has driven my most current work, as I have returned to such traditional materials as paper, fabric, photographed images, and fabricated artifacts to produce works that focus on the process of creating surreal characters/creatures.

Noa Gur Noa Gur´s work intertwine two series of questions: one thread questioning contemporary modes of artistic roduction, the other thread questioning inequality based on class or ethnicity. She uses and transform the genre of self-portrait to point towards contemporary aporias of the artist as an economic unit asked to simultaneously show and hide her labor, her body, her face. Within her practice, Gur poses questions regarding who or what is exploiting artists today? How can we evaluate artists’ subjectivity when artistic production as a mode of autonomous, self-regulated labor has become the model for cognitive and immaterial labor as we know it? What is the logic of self-exploitation itself? What does it do with the subject that performs it? And what is the place of material labor within this hall of mirrors? Noa Gur tries to get all that back into the picture. – Karin Harrassar, ‘Black face- White cube, White face- Black cube’.

Burning Bush, 2012. Video installation. 69

Paul Pretzer My painting is based on three main columns: Form, Colour, Content. I try to achieve a balance between these three elements. The impulse to start a painting can come from everywhere but in most cases I refer to history of art. My work seems to evoke the viewer to remember something that s/he knows but it is also always different from what s/he is used to. I’d like to think I evoke the viewer to be playful and get into a mood of creative reception.

Queen of Tears, 2012. Oil on canvas, 150 cm by 120 cm.

Elisabeth Gress

RELAX-LADY, 2013. Mix-media, ca. 60 cm by 40 cm by 45 cm.


Elisabeth Gress lives and works in Switzerland. Her paintings and sculptures are characterized by the use of special expressions to give it a multifaceted meaning. The combination of different materials creates the impression of three dimensions and this is especially pronounced in her pictures. By applying this particular means of expression which she has mastered with her sculptures and pictures, she is able to create the illusion of her pictures being mere objects. Elisabeth is a member of many national and international art forum. The artist exhibits regularly in Switzerland and occasionally in other European countries.

Dhimas Santos Versatile, architect by training and with a career spanning over three decades of artistic activity, Dhimas Baes Santos’ work is essentially expressionist with informal tendencies. The artist’s work is in permanent search of a language meant to speak, rather to proclaim in a loud voice, from its being-heart, soul, spirit... His apparent turn, is deeply marked by his sensitivity to nature, music and rhythm... “Your work must be analyzed without losing sight of fair and kind personality.”

Trazos de Esperanza, from the Grassy Strokes Series, 2009. Charcoal and ink on paper.

Martin Hoener Martin Hoener creates a hermetically open system of symbols by connecting fragments of (art)-history and music or hints at certain local circumstances in a—for him—logical way. His conclusions when doing this do not necessarily reveal themselves to the viewer and therefore create, besides pure perplexity, a whole field of readings. In any case, the viewer has to deal with himself as much as with the things he gets from Martin Hoener. So, this instageorgebility of the oeuvre is a challenge to develop own standards for right and wrong, good and bad. – Eno Henze, “Symbol traps”

Inebriation & Analysis (effluvium), 2013. Oil on linen, 29.1 cm by 21.2 cm. 71

Martin Bell

Untitled, from the series Skull Gully II (detail), 2012–2013. Ink on BFK Rives paper, 56 cm by 76 cm. Courtesy of the artist and Tolarno Galleries, Australia.

Martin Bell works across various mediums including collage, photography and sculpture. His work has been exhibited at Hell Gallery, Melbourne, the Australian Center for Photography, Sydney and in association with the National Gallery of Australia, Canberra. Martin’s first book My Birthday Party was released in 2008. He has also released numerous independent small run publications with Serps Zine. Layering inspiration in a completely original, celebratory manner, he takes visual pointers from 18th century French fabric decorative art Toile de Jouy, the world’s first engineer, Vitruvius, Roman artist of imagined prisons Piranesi, as well as Melbourne landscape painter Arthur Streeton... If you relax and just let the whole thing soak into you, it all makes perfect, ridiculous sense. Every single piece of the puzzle is considered, every element a key player in Marty’s wonderful imagination/reality. – Max Olijnyk.


Chris Martin

Flower Brain, 2013. Signed one of one original drawing. Ink on 200 gsm silk watercolor paper, acid free.

Chris Martin spends much of his working day deleting emails from misguided Coldplay fans, but any remaining time is spent tongue to cheek and crayons in hand. Chris also has a vicarious fascination with notions of friendship and love, things he is yet to experience thanks to his unwavering dedication to his art. Clients include The Guardian, Nokia, Umbro, Nike, Dazed & Confused, Nexus Productions, FSB Norway, Love/Johnnie Walker, The RSPB, Macmillan, Hodder & Stoughton, Orange and Ray Ban. 73

Pravdoliub Ivanov

Rise to Score, 2011. Installation. Metal construction, basketball set, artificial palm tree, plastic pottery, Total height 480 cm. Collection Vehbi Koรง Foundation, Istanbul, Turkey.

My simple ideas are a kind of crossing point between daily life and fantasy, though I try to create works that belong to neither. Many of my installations are temporary. This is part of my belief that the value is not in the artwork itself rather in the relations it generates. I prefer to work in the field of the object, the installation, photography and drawing, often utilizing the circumstances and the challenges of the specific site and environment. I develop my projects as an attempt to understand and explain to myself the Global World. The titles are important for understanding most of my works. 74

Adam Ekberg

Eclipse, 2012. Archival inkjet print.

In calculated performances that intersect with photography’s documentary potential, I explore ephemeral occurrences. Making such humble events happen is alchemy of sorts; the transformation of the mundane into the poignant. Within the constructed images, I reposition specific celebratory iconography to create minor spectacles. The process requires detailed and elaborate production outside the photographic frame so that what appears within the frame implies simplicity and straightforwardness. It is important to me that these constructions actually exist in the world, if only for the moment in which the photograph is made.


Stefan Venbroek My work is an interpretation of images from print media or from my own photoarchive that I am instinctively drawn to. I also make use of collage to create my own unique compositions. At once complex and intuitive, my mixed media paintings combine form, colour and texture to create a strong sense of vigour and dynamism, the contrasting figurative and abstract pictorial elements stimulating the viewer to see familiar subjects in fresh and challenging ways.

Aangepast, 2012. Mixed media on cardboard, 70 cm by 100 cm.

Ben Godward My sculptures respond to the slick and saturated media of the world we live in. They are reflections of myself, contradictory and impulsive. Carrying references to food, sex, and toxic sludge in their bright organic formations of foam, they are exacerbations of material excess and imperial gluttony. Pure carnival joy harmonizes unselfconsciously with commodity culture. Their chaotic exuberance demands attention with vigor equal to that of our marketed landscape.


Protection, 2009. Copyright Ben Godward.

Asli Vural

Disruption 1, Istanbul, 2012. Acrylic on canvas, 130 cm by 160 cm.

Aslı Vural’s works depict the modern life as it is reflected in the chaos of the city and the person imprisoned in the city life. The dichotomy between panic attacks and commercial billboards, antidepressants and dieticians, solariums and gyms, yoga and organic food is telling. Vural’s series Disruption, takes the human being in the metropolis as a dualistic starting point. This process claiming to be the architect of our lives, consumes the nature so-called-nature-friendly green buildings” are erected at full speed, ecology being deliberately destroyed, forests being devoured by the sprawling cities symbolizing the new order of things. At its core, this is segmentation, fragmentation and decomposition, and one craves to acquire a place in this new paradigm. The artist moves architectural imprinting and creates surfaces that are parts of a whole extending to infinity tracing marks on the canvas with paint. The chaos, darkness and void leftover from the destruction of nature stack over each other as transparent layers. The metropolis representing happiness, anger, ecstasy, panic, horror and chaos while concurrently being dynamic, exciting, free and creative, are reflected in Vural’s works as silhouettes of the city where she lives and works.


Levent Kunt

Plakatwand, Frankfurt am Main, 2011. Wood, 1,200 cm by 300 cm.

Frankfurt based artist, Levent Kunt, produces installations and participative works that deal with social processes in the context of modern urban life and its socio-political organization. Taking the city and the public space as a starting point for his artistic research, Kunt creates situations that can trigger changes in the urban structure or its perception. Many of his works that take place in public space involve passerby, letting them become witnesses, activists, street artists or dancers. By creating individual maps, he visualizes systems and networks of civil movements or communities and their place in the city. Therefore, the city need not be a specific place but rather stands as a structure for different life models. 78

Justin Berry

Dust Vale, edition of 3 + 1 AP, 2013. Ink on archival baryta paper, 60 in by 48 in.

Justin Berry is a photographer, though he rarely uses his camera. He employs the photographic gaze to see things other than the physical world. Using 3D models, screen captures of video games, retouched scans, and printed digital negatives, he wields new technologies to reflect and contribute to the historical and social narratives that came before. His images are the backgrounds of fantasy book covers and the landscapes found in video games when the player turns away from the action, they are pictures that return power to the viewer by allowing them to engage these imaginary worlds on their own terms.


Hansjurgen Bauer

A Brief History Of The Crusades—Holy Mother Inside The Walls Of Constantinople, 2012. Photomontage.

My image world consists of peoples and landscapes unfamiliar to most, perceivably strange and ethereal, where place and subject merge fact and fiction; hinterlands where the veil has been lifted, far-flung outposts, port cities of the imagination, haunted territories, transition points between worlds, whirlpools spilling into parallel dimensions, shrouded lands straddling the waypoints between desire and dreams. The whole world, everything we consider sane and normal, might well be a leather ball filled with air. In some places, the leather has been scuffed away to nothing. Ideally, my images transport the viewer to those landscapes of magical realism where the dividing line is thinner; masked, mystical, chimerical cities and citizens of the mind, at great distance, but near enough to touch. 80

Lucy Cruz Mexican artist Lucy Cruz holds a degree in Communication Sciences and although having started painting at a young age, only in Veracruz in 2004 has she been immersed in the arts with her leading teacher Bernardo Gonzalez Pena. Cruz creates a combination of fantasy with color and textures where the abstract merges with defined figures. Exhibitions and credits include: Sonora, Veracruz, Mexico, Senailly, France, in Au Coin deu Feu Gallery, Amsterdam Whitney Gallery in New York, and Studio Vogue Gallery, Toronto, Canada and Galleria360, Florence, Italy. Medaille d’Argent Artist / Mérite et dévouement Français, Title of Delegate to Mexico October 2012, Cotation Agréée September 2013–September 2015, Paris, France. La Noche. Acrylic on canvas, 24.8 in by 24.8 in.

Hector Madera I make artwork that explore and react to the ideas of failure and success and the back and forth that goes down between the two. I look for my own personal experiences and for subjects with bizarre stories that highlight the day to day struggles with the occasional favorable outcome. Shameful acts, grandiose moments, unfortunate events, forgotten heroes, insignificant achievements and individuals that are somehow overlooked, are all combined to create an ironic and often contradictory interpretation of the high and lows of the everyday life.

1636, 2013. Holographic tape, colored cardboard and acrylic on paper, 22 in by 30 in.


Joris Van de Moortel 3/18, 2013. Marker, Neon installation, Antwerp. Courtesy of the artist and Galerie Nathalie Obadia, Bruxelles. © WE DOCUMENT ART.

Erwin Redl

Fetch, 2010. Light Installation with Animated RGB LEDs in Acrylic Tubes, 517 ft by 12 ft by 65 ft. Exhibition “Six Solos” curated by Christopher Bedford. Wexner Center for the Arts, Columbus, OH, USA


“Since 1997, I have investigated the process of “reverse engineering” by (re‑)translating the abstract aesthetic language of virtual reality and 3‑D computer modeling back into architectural environments by means of large‑scale light installations. In this body of work, space is experienced as a second skin, our social skin, which is transformed through my artistic intervention. Due to the very nature of its architectural dimension, participating by simply being “present” is an integral part of the installations. The active light in my installations transforms structural logic directly into an intense corporeal sensation without traditional art media’s detour through the materiality of objects and reflected light.” Erwin Redl’s work is collected by prestigious national and international institutions, among them the Whitney Museum of American Art New York, the Museum of Contemporary Art San Diego and the Milwaukee Art Museum, Borusan Contemporary Istanbul as well as by prominent private collectors.

Traven Pelletier

Elemental Totem Series, 2013. Recycled steel, LED lighting, 8 inch diameter, 12-14 feet high.

Traven Pelletier currently lives and works in Dexter Michigan and is Owner and Designer at Elemental Design. He is known for large scale sculpture and installation work in a variety of materials. He has exhibited regionally in the Midwest and Northeast United States as well as internationally. Traven was born in St. George’s, Grenada while his parents were Peace Corps volunteers. Raised in Wellfleet and Eastham, Massachusetts, he developed a strong love for his natural surroundings, which have since become the source for his ecologically oriented work. He is represented by the Malton Gallery in Cincinnati Ohio. 83

Etienne Clement

Temperance, Fortitude... Celebrity, 2011. Lambda print diasec mounted, 226 cm by 180 cm.

“We all live in the world as we imagine it, as we create it.” – Andrei Tarkovsky/Nostalghia Clément is a storysmith’. He builds up stories combining solid and verified historical events and outright pure invention. Etienne Clément (B. 1965, Paris) studied at La Sorbonne. His work has been widely exhibited in the UK, at BALTIC Centre for Contemporary Art, Gateshead, in the Jerwood Space, at Bloomberg’s ArtFutures, the Architectural Association, the RIBA Gallery, the Geffrye Museum and the V&A Museum of Childhood in London. He recently showed work at the Printmakers Gallery Edinburgh alongside the likes of the Chapman Brothers, Damien Hirst and Andy Warhol. He is represented by Alon Zakaim Fine Art on Cork Street, London and is an artist member of the Contemporary Art Society (CAS).


Ruben Ochoa

Bestiary Series (the New Deadly Sins) Sin VI, 2013. Lie, single photographic exposure developed and printed onto slabs of amber toned fossil-rich Caliza stone quarried in Yucatan, Mexico, 91 cm by 152 cm, 80 kg.

I have always maintained that artistic creation is a chance to explore new sensations. Technique is the accomplice of an expressive need in which, amidst an infinity of forms, materials, resources and ideas, experience and the gaze become pretexts to create. I cannot imagine artistic evolution without self-exploration or without sense; I believe in no work that does not contain a minimum of self and self-confession. I do not believe in trends or frivolous praise, and maintain a deep respect for the authentic aesthetic and moral discourses of others. Form and medium, for me, should always be in response to—or dictated by—the particulars of an opportunity. This spontaneity is the soul of self-teaching. Talent, if definable, is a mute sign from this soul before it has learned to speak.


Zhang Huan

Know the Destiny, 2013. Cow skin, steel, wood and polystyrene foam, 315 in by 272 in by 287 in.

"..We are born with our future already in us; our personal histories can be swallowed whole to escape detection, consumed by a greater power like the state or regurgitated, given away, under pressure. Always one returns to the dump immediacy of the big face, the slippery soap bubbles, the little snapshot. Mr. Zhang's is an elegant form of endurance art: efficient, sometimes offhand, occasionally even witty. It is legible without being derivative and unfamiliar without seeming exotic. Heady, yet grounded, it simply makes itself available to the viewer on levels simultaneously personal, esthetic and cultural." – Roberta Smith, New York Times, Art in Review .


Michael Pajon

A Whisper, A Handshake, A Drop of Blood, 2013. Mixed media collage on antique photograph, 14 in by 11 in. Courtesy of Jonathan Ferrara Gallery.

Standard American explores the natural intrigue of finding and handling an object to consider its history. This group of work contemplates the most humble of human remains: old matchbooks from junk shops, antique postcards and books, sheet music from my great aunts collection, cracker jack toys that belonged to my mother, and other objects once treasured, lost and resurrected. By collaging these elements amid drawings and other media, I create small relationships to arrive at a whole image. Like delicate strands of DNA, these tiny pieces, in combination hold the key to unique identity. This identity reflects the best and worst of Americans, the common as well as the fantastic. These inevitable contradictions are the foundation on which identity is built.

Folkert de Jong The figurative installations devised by de Jong, which are anchored in the (often mysterious) history or meaning of a location, combine an ironic reference to the Old Masters with a large dose of the present. He brings together historic figures or situations with a contemporary visual language or objects. Fiercely beautiful figures have ambiguous relationships with each other and with their environment. The dark side of human nature is the driving force behind this Dutch artist’s work, like his fascination with the opposition between pomp and circumstance on the one hand and the obscene reverse side of the display of power.

Old Sport, detail, 2013. Patinated bronze, 180cm by 80 cm by 50 cm. Courtesy of the artist and James Cohan Gallery New York. Copyright Studio Folkert de Jong, James Cohan Gallery New York and Middelheim Museum Antwerp Belgium.


Brendan Huntley As the saying goes, eyes are the window to the soul. Whether, in placing their eyes, Huntley uncovers the souls in his objects and paintings or gently guides them into being, it is in these apertures that their life force seems to be contained. Before any appraisal of colour, form or texture can be made, you must let them look you in the eye. – Francis. E Parker, Curator, Monash University Museum of Art.

Untitled, 2012 – 2013. Stoneware, raku, terracotta, porcelain, slip, glaze and enameled wooden bats, 58.5 cm by 34 cm by 34 cm. Courtesy of the artist and Tolarno Galleries, Australia.

Robert Melee Melee’s multi media practice finds its psychological analogues in the blurring of beauty and grotesquerie, nostalgia and critique. In so doing, Melee’s work suggests an underground or alternative narrative of how and why visual ideas develop; because Melee’s language draws in such a large part from the private realm of domestic environments. His work elicits emotional responses that are both uncannily familiar and disarmingly strange.

Mobile, Futura Gallery, Prague (installation view). 88

Jasper de Beijer

Wir sind das Gedächtnis #02, Edition of 7, 2013. C-print, 170 cm by 115 cm.

The main focus in my work lies in the fascination of the source material I find. Mostly I find my inspiration in historical material; in the periphery of events, where confrontations between worlds or cultures create a new reality. I use any means necessary to reconstruct: mostly I build scale models, combined with material I make (costumes, props, studio settings) and computer generated images. I assemble these elements digitally into new images, to create new material and use these to investigate the impact the source material has on me. Â Â


Hans van Bentem

LOVE, Keep on Dreaming!, 2012. Chrystal porcelain, bronze, ceramics & wood installation.

Hans van Bentem (Born The Hague, The Netherlands 1965). To execute my sculptural works I search the world for craft, traditional techniques that have been around for centuries. Like a quest for endangered species I like to cherish my discoveries and build lasting relations with these craft studious. This way I work with, amongst others, Dutch Ceramic companies, make Bronzes in India, Wood in Senegal, Crystal in the Czech Republic and Porcelain in China. In this way I try to freeze images of the NOW in precious materials that will be cherished and can be showed and admired and will be hopefully kept to stay around and tell feature generations of our times‌


LOVE, Keep on Dreaming!, 2012. Detail.

Carlos Garaicoa Manso

Retrato (Europa) / Portrait (Europe), detail. 2006. Installation. B/W and color photographs, coins, wood, PVC. Variable dimensions.

Carlos Garaicoa Manso (b. 1967, Cuba) lives and works between Havana and Madrid. Carlos studied thermodynamic and later took on painting at the Instituto Superior de Arte, Havana (1989-1994). He employs a multidisciplinary approach to address issues of culture and politics, particularly Cuban, through the study of architecture, urbanism and history. Solo Exhibitions include: Inhotim Instituto de Arte Contemporáneo, Brumadinho and Caixa Cultural, Río de Janeiro; Museo ICO and Matadero, Madrid; IMMA, Dublin; Palau de la Virreina, Barcelona; Museum of Contemporary Art (M.O.C.A) Los Angeles; Biblioteca Luis Ángel Arango, Bogotá and Palazzo delle Papesse, Siena. Participation in International events are: the Biennials of Shanghai, São Paulo, Havana, Venice, Johannesburg, Liverpool and Moscow Biennial, the Triennials of Auckland, Yokohama and Echigo-Tsumari and Documenta 11.


Jeanne Wilkinson

Night in the City. Digital collage, Dimmensions are variable.

The Painted People are former Barbies, Kens and other dolls, transformed in my studio into a kind of Paleo-Postmodern migratory clan. In the “Night in the City� series they trek across an earth that reacts by becoming more alive, more beautiful, more revelatory of its underlying forces. Cities turn into strange night places, streets become fluid streams, skies morph into oceans and webs of life, buildings dissolve into fantastic life-forms. The People traverse a world of premonition, environmental change (apocalypse?) and natural magic. These digital collages are layered with my photos of nature, the city and my paintings and drawings. 92

Anna VanMatre

Black Blue White, 2013. Acrylic on cut canvas with gold.

“...(Viewing VanMatre’s work) brings to mind Camille Paglia’s Nature as depicted in her grand title Sexual Personae which she states being inspired by Ingmar Bergman’s film Persona. Mother, Sister and Beloved Awareness-Appeareance sustaining Herself through the devouring of its beginningless / endless phenomenon-tail. The earth, water, fire, air and space, as display of self-nature— introduced by Thinley Norbu Rinpoche with such practical wonder in the Magic Dance; is re-cognized and magnified under Anna VanMatre’s looking glass, constant and interacting in varying combinations of differing degrees constantly—all at once; bringing the five wisdom elements ‘home’ with each of her images as the ground where the five functions—form, feeling, perception, impulse and consciousness—that constitutes the sentient being can be practiced, as the Thus Gone One teaches; to find equilibrium. In this “House” nothing is ‘I’ or ‘mine’ and the doors are wide open... “ – from ‘Come to Mama, Images of Anna VanMatre’, Tchera Niyego. 93

Nushka Nushka was born in 1983 in Lille, France. She lives and works in Paris and Southern France. She studies political science in Science Po and management in HEC Paris. She considers knowledge as a whole and beauty being part of it. Representation of the body is concurrent in artist’s work. A predominantly female body she explores in all its forms; faces, busts and fragments of body... “The narrative is not essential for me. I enclose the body of my subjects in abstract structures, diagonals, verticals, loose perspective lines as if they were the backbones of my new models.” Nushka plays on contrasts; sensitive, sensual, timeless topics and vivid, dynamic and contemporary brushstrokes. Fashion Week, 2013. Oil on wood, 21 cm by 16 cm.

Alison Elizabeth Taylor By bringing marquetry (wood inlay) into the realm of traditional painting and drawing, I challenge the conventional distinction between craft and high art. Like traditional painting, these works wrestle with issues of beauty, realism, narrative, and illusion. Part of the appeal of integrating this medium is its history of erratic flights to the high and low ends of the cultural spectrum. This hierarchical schizophrenia in regards to artistic value encourages reevaluation of how these distinctions are determined.


Transparent Eye, 2013. Wood veneer, oil paint, shellac , 53 1/2 in by 40 in. Courtesy of the artist & The James Cohan Gallery.

Carina Sanmarful

Time Without Life, 2004. Mixed media on paper, 80 cm by 60 cm.

The world of the Monochrome. A long time ago, primal creatures slept in plasticity, refusing to clear contours. Sand clocks ran without losing from their chaos. Darkness surrounded it all in eternity. One day, a feather and a pen armed with black ink came to visit. They transformed the primary mass into lines and plastic shapes on a white surface. Those shapes were filled in with layers of blackness. Then came human particles, fake animal species or just unreal things into existence. Eventually, the new world of movement was born from that previous chaotic world.

Leona Matějkovå The inspiration to create this piece came from the doctorate thesis of Franciscan monk Petr Regalat Benes. The focus being on the symbol of YHS, which is the human name of God. This symbol consists of three letters and is framed by a sun disc with twelve rays. Sanct Bernardin of Siena started the use of this symbol in the 14th century. My own interpretation of this symbol takes from my personal experiences and is done with a modern twist.The material that I used for this piece was paper stretched to the wooden frame with golden aquarelle and for finishing touches, sliced gold was added. YHS, 2012. Gold Leaf, Mixed media. 95

Hans Op de Beeck

Staging Silence (2), 2013. Full HD video transferred to Blu-Ray disc, colour, sound - 25 minutes (16:9 aspect ratio). Courtesy of the artist and of Galleria Continua, San Gimignano / Beijing / Le Moulin; Galerie Krinzinger, Vienna; Marianne Boesky Gallery, New York; Galerie Ron Mandos, Rotterdam—Amsterdam.

Hans Op de Beeck (1969, Belgium) lives and works in Brussels. Op de Beeck creates figurative sculptures, installations, video, film, drawings, paintings and photographs. The scale of his works varies from small watercolors to monumental sculptural constructions of 500 m2. His labor-intensive work concentrates on how we tragicomically stage our lives in these post-modern times. The artist shows us fictional, alienating yet identifiable indoor and outdoor places, moments and characters that appear to have been taken from everyday life. Solo shows in museums include: The Galleria Borghese (Rome) and The Hirshhorn Museum (Washington DC). Op de Beeck also participated in many major art events such as the Venice Biennale.


Alicia Imas

Dragon de Fuego, 2012. Oil on canvas, 100 cm by 80 cm.

I believe that art has always been a part of my life; maybe that is why I started studying architecture. When I left my studies I started working for an airline company, but I still kept in touch with my artistic side by taking a few decoration workshops, amongst others. Eventually, I got my BA in psychology, but my curious soul needed something else. I asked myself: How and where can I feed my creative desires? The answer was to start wandering around several art workshops where I began my journey. These days, I have found a way to free my artistic expression at Heriberto Zorilla and Helena Distefano’s research workshops. I feel that their proposal meets my artistic standard. To me, this means searching the depths of one’s being. Painting allows me to search and discover my true self. Letting the brush take its journey, being surprised by the colors are all acts of freedom. Freedom is maybe the most sought after aspect in my life and while I paint, I am undeniably free. 97

Jorge Chamorro

Camouflage 52. Collage.

Jorge Chamorro (Madrid, 1972) is a graphic designer, teacher and collage artist. He worked as a graphic designer for several studios and agencies, until he set up his own studio in Madrid in 2005, where he develops communication projects for different clients. He combines his work as a designer with teaching graphic design and workshop about creativity. Besides designing and teaching, he develops artistic projects, mainly collages. He has exhibited regularly in a variety of venues and his work has been published in national and international media.


Janita De Jong Dutch portrait painter Janita De Jong is moved by the people behind their masks. The modest, quiet atmosphere that characterizes her portraits, invites you to stand still for a while, and perceive the inner world of the nude models.The portraits are shaped out of transparent layers of oil paint that give them their color and tone. The absence of thick, smooth brushstrokes corresponds with the intention to lay bare the fragile inner self. Painting most layers with rags, Janita invites coincidence to leave its mark on the composition. Connected, 2013. Oil on canvas, 70 cm by 90 cm.

Sid Daniels My collages represent the twisted world we live in. Trapped, like laboratory animals in our living rooms, and with no place to escape, our dysfunctional society remain slaves to the media, who continuously feeds us a smorgasbord of garbage, bad news, sexual identity, paranoia and taboos. In my recurring “showgirl themed” paintings, (my work on canvas), I juxtapose eye-popping geometric patterns and designs with a stylistic and theatrical potpourri of figures, paying homage to the world of Burlesque, MGM Hollywood movie musicals, haute couture fashion, Latin/Brazilian music, the Big Band Era, and Art Deco memorabilia. My work continues to morph, as seen in the Parasol Series, a contemporary study in repetition, and camouflage. I’m Going to Make a Man Out of You, 2010. Collage on paper, 12 in by 16 in.


Vera Arjoma

Peep Show 2, 2012. Photographic installation. Digital photograph in a light-box, inside a black box with a hole for seeing the image. Night-time mental landscapes.

Vera Arjoma (b. 1977, Tampere, Finland) combines moving images, photography and sculpture to installations; dealing with private layers of the mind, the inner space of human experience. A personal history grows towards generalized themes, the human mind, existence or traces of violence in a subtle way, as the multi-layered works create space to look inside. Seeker (2010) examines borders of the mind, Peep Show: Directions For A Viewer (2010) creates a labyrinth of interpretation and Peep Show 2 (2012) mental cityscapes.


Duan Jianyu

Schnable, Vulgar Scenery of China No.4, 2002. Oil on canvas, silk-screen printing, plastic plate, 160 cm by 180 cm. Courtesy Vitamin Creative Space, 2013.

Born in China 1970. Graduated from the oil painting department of the Guangdong Academy of Fine Arts, Guangzhou, China. Awarded with the 2010 CCAA Best Artist Prize. Highly personalized, her paintings interweave with her textual notes, narrating pulp, surrealistic stories. The rendering of the Chinese landscapes with the pairing-up of unpredictable elements, like Air-hostesses, are the main features of her Sister series. Mixing the elements from Western art history with the popular culture Duan grew up with in the 70s, her paintings and installations depict a rich and juicy grassroot culture in the Fine Art context, sometimes self-ironic but full of appreciation of daily life.

Anne Deleporte REBUS “This is no doubt an artist’s filter of the newspaper. Images are privileged over words, suggesting a different kind of literacy. Deleporte’s selective reading creates a sense of order out of the glut of visual and textual matter we face daily, both awake and in dreams. The way in which Deleporte’s work summarizes the news, bringing together chance occurrences in print media, is integral to her art, while it also leaves the door open to the viewer’s subjective reading… How one image or detail relates to another is part of the experiment. The real mystery is what Deleporte chooses to cover up.” – Sara Reisman

REBUS, 2008. Process view, Prospect1, New Orleans.


Corine Pagny Corine Pagny’s ‘Nudes’ do not stop with the borders of each piece. They testify of an intimate meeting, of this fleeting moment when the artist gets the vitality, the energy, the rhythm of the model, when the model reveals her body in movement, exposes herself without disclosing her bestiality (her emotion), in the short-life of a gesture. Trained as a designer, Corine Pagny has dedicated herself completely to the work for the last 15 years. Nominated for the Azart’ price in Mac Paris Prix, 2012. Price of the Jury in Etampes in 2010. Gallery Carré d’artistes represents her works all over the world. Having exhibited in the Sultanate of Oman and in the United Arab Emirates, and participated in workshops in Palestine, she leads drawing workshops in Dubai and will be exhibiting again in Mac Paris till December 1st, 2013.

Nude, 2013. Ink and watercolour with brush and feather, 15 cm by 15 cm.

Michael Alan Micheal Alan’s workhas been discussed over 200 publications, books and media sources, including the New York Times, The Huffington Post, Bomb Magazine, Art 21, NBC’s Today Show, Marie Claire Italia, Frank 151, Art+Auction, the New York Post, Fox Channel 5, the Village Voice’s “Best in Show”, The Creator’s Project, Art Forum, the Gothamist, Time Out New York, Vice, Frame, American Artist, Animal, Hyperallergic, Curbs and Stoops, Cacao and many more. In addition to his work as a multi-media artist, Michael is the founder and director of the Living Installation, where human beings are transformed into unique, living art objects. These happenings are set to Alan’s original music, which is recorded featuring artists such as The Residents, Tommy Ramone, Ariel Pink, and Meredith Monk. 102

Strange And Productive, 2011. Collage, ink, paint on colored paper, 11 in by 9 in.

Norm Paris

Rock (Helmet), 2012. Forton MG, metal power, children’s football helmet, 24 in by 18 in by 20 in.

Art historical references, sports figures, and cultural icons are present in my work, however they are encoded, encased, and cut apart. Images taken from newspaper clippings and jpeg downloads are turned into architecture or rock formation. A symbiotic relationship between sculptures and drawings has given me a way to shift between an emphasis on materiality and depiction. If drawing is a place for me to entertain impossible structures, then my sculptures use the gravity of material to speak about the falling apart of these imagistic forms. The work exists at a tenuous crossroads between legible source and a material process.

Pascal Pinaud Pascal Pinaud is an insistent, stubborn, obstinate demonstrative artist who believes in painting, in making painting, despite the fact that numerous grave diggers of art have more than once buried it and those who create it. He paints monochromes in the sparkling colours of metal sheets which have just left body shops and he «accidents» them with dents and stripes in other colours, of other cars and other body shops. He stacks drawings applied to small boards, little drawers that can be pulled out like files on which he spreads his colours and essences. At times the coulours turn like Tibetan mantras composed of spools of thread, at other they smash, they explode, they attach to each other, they stick together, they are spread on unlike surfaces that call to mind not the support but the object’s history. – Andrea Busto

View of the exhibition, 7 ans de réflexion, Galerie Nathalie Obadia, 2012. Artwork from left to right: Patère IV, 2011 (ref 11A23), Arbre à fèves, 2011 (ref 11A21), Patère II, 2011 (ref 11A18). Photograph © François Fernandez. Courtesy Galerie Nathalie Obadia. 103

A Kassen A Kassen works with performative installation and Sculpture. Actions that are discretely part of the exhibition space. A Kassens’ works refer to the objectless, conceptual art of the 60s, to performance and pop art. They examine and experiment with the borders between art and non-art as well as self invented systems that change the functions within a given space. The works are absurd, subtle and often very elegant due to their seamless adaption to their context. The Color of Things (Vase), 2013. Pulverized vase, glue, framed photo, installation size 107.5 cm by 150 cm. New Works, Gallery Nicolai Wallner, Copenhagen, Denmark. Installation shot Anders Sune Berg. Objects are photographed and thereafter pulverized and mixed with a binder. The liquid-ized object is painted on the wall next to the photo.

Egill Sæbjörnsson Egill Sæbjörnsson (1973) was born in Reykjavik, he lives and works in Berlin. A playful approach to art underlines the versatility of human nature. Before any religion and before any art discipline or philosophy there is an underlying force, which is creativity. Art can be seen as a species of it´s own, that we interact with. Performance and music play an important role in Sæbjörnsson´s work, which mainly comprises video installations where sound and image interact in a dynamic and inventive way. His installations, often site specific, are based on the communication between computer-animated image projections and three-dimensional objects or settings.


Ping Pong Dance, 2006. Installation, Safn Museum, Reykjavik Plastic buckets, ping-pong balls, single-channel video projection, soundDimensions variable. Duration: 5:22.

Janaina Tschäpe

Poliarcopolis. Mixed media on canvas, 110 cm by 118 cm.

Taking the female body as her muse, Janaina Tschäpe explores themes of the body and landscape, sex, death, renewal and transformation in paintings, drawings, photographs and video installations. To experience Tschäpe’s work is to swim through universes of polymorphous landscapes amongst embryonic forms, ambiguous characters and exotic botanical life. She seeks to give form to the trance of art making, portraying not a dream world, but the sensation of being in one.The artist’s use of organic lines and ethereal forms in her paintings create a network of relationships, linking the process of artistic practice to lifecycles found in nature. Tschäpe lives and works in New York and Rio de Janeiro.


Jessica Kirkpatrick My paintings employ a figure/ground compositional strategy as a metaphor for the paradigmatic pattern of binary opposition: internal/external, nature/culture, reality/illusion, image/material, feminine/masculine, flat/dimensional are some of the primary motifs in my work. By manipulating the body’s position in space to explore the dynamic between place and identity, my paintings often reflect the decentered, placeless zones of suburbia or urban peripheral as a function of a dislocated identity or collective fantasy. I construct narrative clashes, where the protagonist participates in the pictorial space of the painting surface, residing in the logic of an allegorical perspective.

The Gardener, 2012. Egg tempera and watercolor on paper, 9 in by14 in.

Florin Kompatscher


Untitled, 2011. Oil paint on canvas, 220 cm by 170 cm. Image Courtesy of Elisabeth & Klaus Thoman Gallery, Vienna/Innbruck, Austria, The Artist, and VG-Bildkunst, Germany.

Florin Kompatschers’ work, over the last years, has increasingly condensed into brittle, seething, earthy surfaces. Kompatscher works on these areas by applying paint with broad brushes and partially removing it with a spatula. This gives rise to the heightening of white, and serves for intensifying the drama and spatial quality in the composition. In so doing, everything is borne by a dynamically rhythmatised energy that expresses contrasts in a confident, characteristic style. Florin Kompatscher is a traveller who journeys between the ‘inside’ and the ‘outside.’ In the rhythms of his densely abstract paintings, he connects his own thinking with a universal perception. His painting doesn’t feature narration and representation at any point. Rather, he excavates the memory of time. – Katja Blomberg, Himmel über der Wüste, in: Florin Kompatscher, Malerei/Painting 2005–2010, Hrsg. Klaus Thoman, Innsbruck, 2010.

Emily Barletta “We do not often speak about the traumas of day-to-day living. I can create a tiny intersection that slows down time. Whether it is only using blood red threads, or playing with landscape colors, the needle allows me to create a mental space that is slower than the rest of the day. I can pierce the paper with the needle, pull it through, taught, and start again, creating delicate worlds that are softer and kinder than this.” Emily Barletta is a graduated from the Maryland Institute College of Art in 2003, holding a BFA. She currently lives and works in Brooklyn, New York. She received a New York Foundation for the Arts Fellowship in 2009 and a Pollock-Krasner Grant in 2011. Her work has been praised in The New York Times, The Washington Post, Baltimore CityPaper, The Village Voice, City Arts Magazine, American Craft Magazine, Fiberarts Magazine, and Foam Magazine. Untitled 59. Thread and paper, 24 in by 18 in.

Michelle Hold Michelle Hold was born in Munich and raised in Innsbruck (Austria) where she studied architecture. She works as an artist and textile designer in different venues in Paris, New York, Hong Kong, Munich and London and her textile designs has been published by major fashion companies like Krizia, Blumarin, Escada, Ungaro, Genny and others. Today Hold lives and works in Italy, close to Milan where she has formed a group of artists ARTMOLETO with whom she develops projects and exhibitions. Hold has shown nationally and internationally in Contemporary Art Fairs and in Solo and Group Exhibitions in Italy, Austria, France, Portugal, Ireland, the United States and China. Her artwork can be found in private collections worldwide.

Almost Invisible, 2013. Pigments and acrylics on screen, 31.5 in by 31.5 in (80 cm by 80 cm). 107

Ana Soler Through engraving as the starting point Ana Soler begins to develop a personal research, both theoretical-conceptual and as artist-practice, in the expanded field of the contemporary graphic arts. The artist reflects on the footprint concept, understood as a transmitter of inverse similarities in the processes of generation and production (life/death, imprint/ matrix, negative/positive, visible/invisible, original/ multiple). She proposes a system of elations between opposites expressed by using disciplines such as photography, sculpture, drawing, and installation inviting the viewer to discover, through walking a spiral journey where the dual gaze is always present (nothing is what it seems): continent and content, the soul and flesh, cause and effect. In short a juxtaposition of opposites that work in an endless chain of images and words that build their imaginary personal stuff.

Anoito, 150 Little Persons and Glasses. Installation. Dimensions variable.

Tim Charles When you paint pictures, you have a unique freedom to create. I use this freedom in my pictures to combine reality with dreams and imagination. My art is a result of this, where each piece tells its own open-ended story.

The Island. 115 cm by 115 cm.


Eliana Perinat

Tigris Altaica, 2011. Oil, acrylic, encaustic, eco paint and gold particles on canvas, 300 cm by 200 cm.

“My main practice is painting although I also engage in drawing, sculptural and video installations and film as well. Lately dealing with issues such as extinction, the general focus is on social aspects of the world today. Approaching them in a poetic way, evoking reenchantment with nature, a consideration for bureaucracy.” Elina Perinat (b. 1965, Paris) was educated in London and New York and is now living and working between Madrid and the Pityusic Islands. Her works can be found in museums and international collections such us the Consell Insular d’Eivissa-Formentera, Museo de Arte Contemporáneo de Loulé, Portugal and Colección Iberdrola. Exhibitions include: 2012 Casablanca Biennal, Morocco, Museo de la Basílica de Guadalupe & Fundación Sebastian, México D.F. Museu d’Art Contemporani d’Eivissa.

Julie Rrap I am interested in images and objects that arouse our curiosity and play with our expectations. Our imaginations are what free us from the mundane and return us to the magical. I like to think of the history of art as a great theatre of the world in which our passions, fears and beliefs are constantly evoked and shared across time.

Walking on Water, 2012. Digital print. Exhibited at the S.H. Irving Gallery, Sydney (Blake prize).


John Stark

House of Misfortune, 2013. Oil on panel, 41 cm by 50 cm.

John Stark’s dark and eerie landscapes and interiors present a mastery of realism, conveying emotion and narrative. Inflected with the suggestion of paranormal phenomena and calling viewers to consider underlying themes, Stark’s works often reflect an ill-fated world struggling within the dissonance of spirituality and science. It is the many dichotomies in Stark’s paintings; religion and science, nature and industry, light and dark, among others, that enlivens his work and makes it original, stimulating and intriguing.


Jörg Karrenbauer

Captures: Still Waters, China 2012. Giclée print on Hahnemühle FineArt Baryta, 60 cm by 90 cm. Alu Dibond, Edition 4+1 AP.

Black-and-white photography provides us with another way of looking at our environment. It means the reduction to the essentials: contrast and composition. This fascinated me right from the beginning. I was born and grew up in Saarbruecken, Germany. As I got a Leica at the age of 16, I set off without delay to the neighboring France. Today I still prefer to take b/w pictures of impressive landscapes, portraits and street life to make limited fine art prints. It is in the more remote region of Scotland, England, France, Norway, Kuba and all over Asia where I find my subjects.


Josefina Temin

Del Ave, 2013. Paper and Wood, 16 cm by 79 cm by 56 cm.

Space is most fascinating for me. Who we are, how we see the world, how we move and feel changes due to space. Shape is what seems to limit space. I express these phenomena with two materials: paper and steel. Although the two may have extremely different qualities in relation to each other, they do have similarities. Through these I have found balance and freedom in my work.


Zarouhie Abdalian I make site-oriented installations; more specifically, I work with those features regarded as intrinsic to a site-as-system. Whether merely gallery walls, lighting systems, or windows, these ‘givens’ constitute the basic materials of my work, understanding that each of my operations on these elements doubles as a discursive act. The resulting artworks chiefly concern the material and social conditions under which they are nominated as art; by highlighting, skewing, or performing other operations on the specific features that express these constraints, I mean to upset the normal operability of these systems or at least, to prompt a reconsideration of their terms. Away Setting, 2012. Timers, lights, inaccessible splitlevel rooms. Installation view, Shanghai Biennial. Courtesy of the artist and Altman Siegel, San Francisco.

Matalli Crasset Matali Crasset (b. 1965, Châlons en Champagne, France) considers design to be research, working from an off-centered position, both serving daily routines and tracing future scenarios. With both a knowledgeable and naïve view of the world, she questions the obviousness of codes so as to facilitate the breaking of these bonds. Like her symbolic work, focused on hospitality, “When Jim Goes up to Paris”, is based on a mere visual and conscious perception in which she invents a relation to the everyday space and objects. Her proposals are never towards a simple improvement of what already exists but, without rushing things, to develop typologies structured around principles such as modularity, the principle of an interlacing network, etc… Her work revolves around searching for new coordination processes and formulation new logics in life.

Courtesy of Galerie Thaddaeus Ropac, Paris/Salzburg. Photography by Philippe Servent.


Kim Kirk Nielsen

Untitled Pink Lace, 2012. 2 meters by 2 meters.

Kim Kirk Nielsen (1983, Denmark). Lives and works in Paris since 2010. The artist investigates the relationship between man and technology in an extremely thorough way. He works diligently with details and precision, so the work mimics reality in the best possible way, in order to emphasize men´s sometimes naive and uncritical faith in new technology and machines. Kim Kirk Nielsen developed his own lace pattern concept. The interest in craftsmanship comes from his childhood in Denmark where nothing was too difficult to make yourself. The big lace works are exclusively made with an ink pen. Only the outline of the pattern is made with a compass. All circles, bows and loops are drawn by hand. As Kim sees it, we live in a time where we are so concerned about the future and the many opportunities that we take the past for granted.


Viktoria Tremmel

Frau Hinter Vorhang Bearbeitet, 2008. Pencil on paper, 29 cm by 5.21 cm.

Setting out to write about the work of Viktoria Tremmel, one is tempted to introduce the body as the central motif: the body as stage, the female body, the body as image, the body as a place, the wounded body, etc. Though her work itself fully justifies to stipulate such themes, putting it like this is evidence of a tendency to split reality into the body and its surroundings. The idea thus invoked is of an interior and an exterior, of an inwardness on the one hand and a culture on the other hand, which latter, coming from outside, seems foreign to this body, threatening and hurtful. This conflict between interior and exterior suggests that in interpreting the work we identify with the body and locate the reasons for its sensibility in an incongruent exterior. The result is the variable realization that the subject, the individual has to get up time and again and take up a position that allows one a perspective on this tragicomic spectacle. – Andreas Spiegel

Marja Vermeij Once an artist said: “The painting I work on is the house I live in.” I think that is very true.

Behind the Curtain. Oil on canvas, 30 cm by 24 cm. 115

Nygårds Karin Bengtsson

Boy in Bedroom, 2007. C-print, 123 cm by 135 cm.

Nygårds Karin Bengtsson (b. 1972) lives and works in Sweden. Her staged photographs are mostly characterized by a lonely person in a room or a landscape. In a carefully framed pictorial space, her mise-en-scène often conceals references to paintings from the last century. Her work revolves around memory and melancholy. The stories already told. Nygårds Karin Bengtsson holds an M.F.A. from the University of Art and Design, Helsinki, Finland (2003). Her work is represented in the collections of Malmö Art Museum and The National Public Art Council, Sweden.


Daniel Coves. Interior no. 2 detail, 2011. Oil on linen, 120 cm by 150 cm. 117

Christian Andersson

Paper Clip (The Baghdad Series), 2009. Installation, forty-nine clay pots, interior compound. copper, iron and vinegar.

In his artistic practice, Christian Andersson identifies unstable movements in history, or at least the writing of it, and offers variations, new possibilities, new timelines. He casts the viewer as an archeologist of both future and past, struggling to separate low signal from high noise. And here we arrive at the heart of his practice—while museum displays are conventionally framed as accounts of the truthful progression of history, once inside Andersson’s installation, your experience of historical fact becomes largely incoherent, though not inconsequential. Rather than the programmatic critique of an earlier generation, Andersson leaves the door wide open to the unprompted, impulsive and extemporaneous as legitimate paths towards the limbo he’s conjured out of truth’s fictions.


Cavin-Morris Gallery

Alaska-Nunivak Island—Yupik Mask, ca. 1920. Wood, feathers, leather, sinew, and pigments, 17 in by 25 in by 8 in.

Cavin-Morris Gallery has been exhibiting world artists for 27 years. We represent the new generation of self-taught artists whose work remains authentic and visionary while representative of contemporary times. We also feature important works from preceding generations of self-taught artists including Jon Serl, Bill Traylor, and Emery Blagdon. We show an eclectic selection of tribal art from all the major regions of the world focusing on the unusual and the formally surprising. Our newest department is a developing interest in Contemporary ceramics. We are especially interested in the way ceramists push the envelope of traditional forms and cultures. We show Western ceramists as well as Japanese, Chinese and Korean work. The common thread that connects all this art is uniqueness, integrity and authenticity, and its reflection of cultural homeground. We always support non-mainstream over mainstream works. 119

Tiril Benton “I paint with absolute faith. The experience of each painting illuminates, not by enabling me to intellectually or artistically compose a meaningful piece of art, but by finding the inherent knowledge instilled within. The external experience serves as the catalyst for the internal striving to comprehend the connectedness of all on an energetic level. Is it not the quest of the human journey to balance the life of matter to the life of spirit. The ego to the true self. The experience of the painting is the microcosm of this eternal struggle. Facing the tension between illusion and reality.� Tiril was born in London, she is now a US citizen, residing in Huntsville, Alabama. Primarily self taught, she has had solo and group exhibitions in the US and Europe. Her works are part of many international and national private collections.

End of Doubt. Acrylic paint, 30 in by 24 in.

Fie Norsker The imagery comes from my nightmares and nightly dreams which I consider as important as breathing in and out. It lies as deep as the mother’s womb or the darkest tomb. I do not know what it means but I need to reveal it and create it. The emotion is existential. It comes from within - inner landscapes and characters. The soil is made from ash and moulded by the colour of expression and hopefully it will shine.

Totem, 2012. Ceramics with glaze. 120

Sultana Raza

Karmic Wheel, 2013. Mixed media.

Sultana Raza’s art blends elements of her writing, abstract concepts, and Eastern thinking, with modern issues. This art-work is part of a series based on Sultana’s poem, Time Is, exploring people’s experiences of time. ‘Time is an illusion / for those / who’ve ascended the karmic wheel.’ Do Indian philosophy and quantum physics converge when they theorize that time is an illusion? Why do we continue dancing to time’s drum-beat, unmindful of karma, by over-indulging? Will rising beyond the confines of time be the next evolutionary step for human beings?



Zena Holloway. Angel, Swan Song Series, Limited Edition of 12. 44 in by 30 in. 123

Pamela Valfer

Landscape Simulation: The Shining/Gilligan’s Island/Magnum PI, 2012. Graphite on Paper, 48 in by 48 in.

The simulacrum is never what hides the truth—it is truth that hides the fact that there is none. The simulacrum is true. – Ecclesiastes. (From Simulacra and Simulation, Jean Baudrillard). I am interested in utilizing drawing and the language of realism as a signification system to explore hyper-reality. The use of cultural detritus and appropriation is my methodology to critique the world of images that saturate our lives. My drawing approach enhances the dystopian simulated reality of the perceived “real”. The representation is distilled; the drawing mark becomes absent of an empathetic position. Constructions are broken apart offering a facsimile of reality without offering truth. 124

Tomasz Wieja

Drivers, Š 2012. Photography, giclee print on dibond, 60 cm by 60 cm.

Tomasz Wieja sees his images as memories from journeys to the core of the psyche. What he encounters there is silence and nostalgia. I believe art and philosophy are two aspects of the same essence. Art operates within form. Philosophy— within thought. Together, they tackle the ultimate question: what next? Tomasz graduated from Fotoacademie in Rotterdam as a photographic illustrator. He works as a freelance illustrator, fine art photographer and is a member of the Treslettres Collective.



C Cao, Zuimeng Cavin Morris Gallery


50 117

Cecchini, Loris


Chamorro, Jorge


Charles, Tim


Chiari, Goldie


Cho, Jeeheon


Abdalian, Zarouhie


Chorlton, Leigh


Alan, Michael


Clement, Etienne


Andersson, Christian


Coves, Daniel


Crasset, Matalli

Arjoma, Vera

Cruz, Lucy

B Balley, Delphine Barletta, Emily

38, 115 111 79

D 20 105

Daniels, Sid


Bauer, Hansjurgen


De Arrospide, Cecilia Fernandez


Beijer, Jasper de


De Jong, Folkert


Bell, Martin


De Jong, Janita


De Moortel, Joris Van


Deleporte, Anne


Bengtsson, Nygรฅrds Karin


Berry, Justin


Benton, Tiril


Di Biase, Annaclara


Bolla, Rita


Dillenkofer, Sinje


Bornefeld, Julia


Dorner, Cie. Willi


Brewer, Allen




Bunji, Aline


Buttinger-Fรถrster, Barbara


E Ekberg, Adam


Emerson, Rosie


Esdaile, Peter





Ferrari, Antonella


Im, Sangbin


Fiks, Yevgeniy


Imas, Alicia


Imperiali, Maria Luisa


Ivanov, Pravdoliub




Gallois, Virginie


Geers, Kendell


Godward, Ben


Jackson de Llano, George O.


Goldie, Chiari


Jianyu, Duan


Gress, Elisabeth


Juul, Elisabeth Fossheim


Guicciardi, Filippo


Gur, Noa


H Halarewicz, Anna Hardmeier, Barbara

K Karrenbauer, JĂśrg


Kassen, A



Kirkpatrick, Jessica



Kompatscher, Florin


Harper, Anne


Harris, Rain


Hernandez, Hector


Kunt, Levent


Kvie, Jone



Hoener, Martin


Hold, Michelle


Holloway, Zena

6, 120–121

Holme, Myriam


Laraia, Elisa


Huan, Zhang


Laska, Eva Christin


Huntley, Brendan


Lee, Bovey


Lou, Liza





Madera, Hector


Pagny, Corine


Maier, Frank O.


Pajon, Michael


Manalo, Michael Vincent


Parchikov, Tim

Manara, Juliana


Paris, Norm

Manso, Carlos Garaicoa


Park, Soo Sunny


Martin, Chris


Parker, Benjamin


Matějková, Leona


Pelletier, Traven




Penteado, Frederico


Melee, Robert


Perinat, Eliana


Mérelle, Fabien


Pinaud, Pascal


Miga, Irini


Platter, Cameron


Morgan, Polly


Poinsot, Sylvie


Myers, Andrea


Polli, Eeli-Ethel


Porto, Lia


Pretzer, Paul


Price, Jennifer E.


Pulfer, Reto


N Nacciarriti, Andrea Narielwalla, Hormazd Nielsen, Kim Kirk Norrgren, Mimi Norsker, Fie Nushka

60 101

40 14 112 40


118 92


Rabbia, Luisa


Rathmann, Ute


Raza, Sultana


Redl, Erwin


Richel, Justin


Ochoa, Ruben


Ricklefs-Bahr, Bärbel


Oldenburg, Gunilla


Rothwell, Caroline


Op de Beeck, Hans


Rrap, Julie

Ozant, Izgi






Sæbjörnsson, Egill


Sanmarful, Carina


van Benten, Hans


Santos, Dhimas


VanMatre, Anna


Schuurman, Marike


Venbroek, Stefan


Schwarz, Hanna


Vermeij, Marja


Seminck, Peter


Vlčková, Petra


Senior, Benjamin


Vogt, Casey


Smith, David Brian


Vural, Asli


Snelling, Tracey


Solberg, Ingvill


Soler, Ana




Stacher, Barbara


Stark, John Sturgill, Carlton Scott

108 20

T Talasco, Traci


Taylor, Alison Elizabeth


Temin, Josefina


Tremmel, Viktoria


Troufa, Cristina


Tsai, Charwei


Tschäpe, Janaina


Tsomo, Sangchen


Valfer, Pamela

W Wagner, Corinna


Wert, Miguel


Wieja, Tomasz


Wilkinson, Jeanne


Wurm, Erwin


Wyman, Melissa


Y Yancheva, Verginiya


Z Zitko, Otto