Autumn 2023 |. £4.00
International Art Magazine.
Designed and Published by The Arches Project Ltd Publishing Director Evette Edmeade Advertising : @thearchesproject.org Editorial : Submissions@thearchesproject.org Web : www.thearchesproject.org Tel +44 121 772 0852 Facebook : www.facebook.com/TheArchesProject Instagram : @thearchesproject The Arches Project Ltd
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Hidden Talents magazine
Welcome to the autumn issue of
perspectives in our upcoming December issue.
Hidden Talents quarterly art magazine! As the warmth of summer gradually
As we step into the enchanting world of autumn, may this
gives way to the crisp embrace of autumn, we
magazine be your trusted companion, igniting your creativity
extend our heartfelt wishes to each and every
and warming your soul. Have a splendid autumn season,
one of you for a splendid season ahead. It's a time
filled with art, inspiration, and the joy of sharing stories.
for change, transformation, and new beginnings, Best wishes Evette Edmeade
In this issue, we invite you to embark on a journey with us, where talented individuals from diverse corners of the globe have taken the courageous leap from thriving careers in IT and engineering to immerse themselves in the world of fine art. Their stories are a testament to the indomitable spirit of human creativity and the pursuit of one's passions. You'll find the inspiring narratives of artists who left their homelands to seek new horizons, each brushstroke and canvas echoing the resilience and determination that define their artistic pursuits. These real-life stories showcase the profound power of art to transcend boundaries and connect us on a universal level. But this issue isn't just about the artists; it's also about embracing the comforts of autumn. Inside, you'll discover tips for crafting your very own soul-warming soups, perfect for those cozy nights as the leaves fall and the air turns crisper. We hope you'll relish every page of this
CALLING ALL ARTISTS, SCULPTORS, CERAMISTS, AND CRAFTERS! Are you passionate about your craft and eager to share your talent with the world?
Look no further! Hidden Talent Magazine is on the hunt for extraordinary artists like you to showcase in our upcoming issues and connect with a global audience.
magazine, drawing inspiration from the incredible journeys of our featured artists and finding solace in the art of culinary creation.
Email your interest to: Submissions@thearchesproject.org
And remember, we eagerly await the opportunity to read your own stories and
DISCLAIMER Every care has been taken during the production of this magazine in compiling editorial and advertorial. However, The Arches Project Ltd cannpt accept responsibility for material supplied by third parties and excludes all liability relating to any products and services promoted within this
publication or arising from any error, omission, or inaccurace, nor is The Arches Project Ltd responsible for the content of external websites. Finally, the views expressed in this magazine are not necessarily the views of the publisher, no part of this magazine must be copied or reproduced without written permission from the publishers. Copyright ©The Arches Project Ltd. All rights reserved
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Table of Contents
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Robert Talbot Painting from Observation
Piero Dell Francesca that appeals to me. I don’t think I’ve quite managed to incorporate these colours into my paintings yet, but I’m working on it. There are many approaches to the arrangement of space in still life—for example, the shallow shelves used by Chardin, or the tipped-up tabletops of Cezanne. For now, I’ve found that an elevated viewpoint where I can arrange elements in depth seems to work.
Turps and oils, Oil on linen
I paint still life because I find it to be a rich and expressive genre. To me, still life is about fundamental aspects of experience such as touch, weight, texture, and space. In my work, I am trying to achieve a kind of resonant stillness.
I’ve experimented a lot with light. There used to be stronger contrasts in my painting, but where I am now, with a gentler light source, seems to work for me. There is something about the colours of the early Renaissance artists such as
It can take me a long time to arrive at a composition that I feel is worth painting. I find that loose sketches that are more expressive than analytical are the most use in developing compositions. These preparatory sketches are valuable as a reference point later to remind me of the essence of why I started something.
Blue table, Oil on linen
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