My main interest is figural painting. However, not as a study of human anatomical features, but rather a way how a man’s external appearance reveals a person’s inner, the most intimate world. The deepest and probably the most indirect message of my paintings is a story of human being and an event which creates his inner world. The goal of my paintings is to study the question about deepest realities of life, which is hidden in a human being. Paintings are created as a conversation in silence about most significant events.
As Christian Bobin in his book “Le Trés-bas” about Francis of Assisi wrote: “Essential things always start in sleep. Essential things always arrive unnoticed. In life there are only few events. Wars, celebrations and everything that come with noise is not the event. The event is a life that suddenly comes into existence. It comes without notice, without noise (..) we will never see it coming. We can never be a witness of invisible. Only after a long time we realize that something had happened.”
When I come across a subject matter worthy of painting it is like falling in love for the first time. It sweeps me off my feet and I want to find a way to immortalize that moment for all time, creating something that will communicate that feeling to someone else. For me, that experience comes most often with antique cars, particularly the 1950′s models. The sweeping curve of their exterior is like a sculpture, and I am fascinated with the way they bend and curve light — especially when that surface is chrome or Bakelite. It is a dance of visual poetry.
I am usually surprised that what I start out painting changes and evolves into something much more interesting than I anticipated. It is like raising a child and watching him grow with all those unexpected moments of bliss and delight. After I’m finished I think, “Wow, where did that come from?”
Mi trabajo habla sobre el análisis de la dinámica interna que se suscita en mi al percibirme perceptible y percibible. Descomponiendo en el lienzo las fuerzas interactuantes que me cuenten de mi existencia, fluyendo entre la indefinidad, de la Primeridad, al mundo material; en un movimiento presente y registrado en la obra, su efecto. Soy otro producto, del deseo de vivir como mexicano, siendo aquello que mis circunstancias económicas y socioculturales no me permitieron en su momento.
Moviéndome, soy el puente, entre la infinitud y la muerte. Creando; me advierto estando vivo. Buscando sobrevivir, mientras tallo con el pincel lápidas efímeras como evidencia memorial, perecedera; de un discurso a-temporal existido y asistido en su modificación, en su materialización, por mi movilidad o por alguna otra. Mi obra, inerte a su termino; como otro ser. Busco en la ejecución, la definición sin detalle; la luz coloreada, la falsa textura; la sombra iluminada, la forma; el trazo simple y honesto. Uso la imagen por su universalidad, y su color, por su correspondencia discursiva con mi percibir. Lo figurativo por su falsedad, pudorosa. Busco el retrato; por afán. La apariencia, como ventana de la verdad. La razón humana importa cuando no está, cuando no se entrega, cuando reta, cuando desafía y entrega deslizándose hacia el lienzo.
-25 junio 1980, La Piedad de Cavadas, Michoacán de Ocampo, México.
Moving, I am the bridge between the infinity and death. Creating, I warn you to believe. Looking survive, while the brush stem as evidence memorial headstones ephemeral, perishable, of a speech to-time there and assisted in its amended form realization, mymobility or otherwise. My work, inert to its end, as another being.
-25 June 1980, La Piedad de Cavadas, Michoacan de Ocampo, Mexico.
I produce from my studio an ever-evolving genre wherein the figurative, the human form, is a central theme. Capturing a movement, a moment, in the endless flow of life is love, my love. That life has flowed from time immemorial, without repeat, each unique motion of each individual an act of love – conscious or sub-conscious, knowing or unknowing, intended or accidental. Who are we – except to move, and to be, and to love? Depicting life – and, so love in its endless magical mystical variety must continue to be one of the cornerstones of art. Life and love are inextricably intertwined, and arguably identical in the final analysis.
There is a primal element to movement, The body is there, visible. The inner energy shines through. Movement is the expression, while numerous unseen chemical and biochemical transformations enable drama to unfold. Contacting, perceiving and grounding that inner energetic dance in my work, on my canvas, is my passion. I hope a co-creation with nature, and certainly my lifelong endeavour.
The fascinating, endless diversity, sexual – is my spectrum. I am inspired by the moment, in the moment, by the subject, to understand the essence of a scene, and trap it, still moving, first in my mind and then through my hands, often coloured by my imagination, and share it with others. The true artist tells us what she knows, not only what she sees, thereby opening new dimensions of our (oftentimes) narrow awareness. Reality intersects paradox. Our worlds are partly perceived – and partly created.
Unlike modern western, Western civilization, the ancients of the Orient were well tuned to the fundamental importance of sexuality – as evidenced in the divine practices of Indian Tantra. On the highest echelon they led to enlightenment. Sexual energies are the most powerful of human, and ’spill’ into all activities. Much of my work attempts to locate, portray, and celebrate, these sacred inner love-inspired energies. Colour, movement, action, voice, emotion, pain, joy, pleasure are some of my tools of celebration.
Human form and movement are too rich and to diverse to ever be captured in their wholeness. My work is humbly, a step in that direction, an inevitable journey along my life’s path, a joyful celebration of the love that surrounds us – but only rarely perceive. A love inspiration.
Discovering people and observing their emotional landscape as it mirrors reflectively on their faces with never ending variation- marking their history and defining the human condition that is the mystery that I like to document in a new exploitative way.
My artistic goal is to replicate the experiences that we share as we discover people and document this experience in a visual way – making it an exploration rather than a documentation.
When approached from a distance my artwork creates a first impression based on simple and bold graphic elements- symbolizing the archetypal the mask, the iconic, the foundational basic emotional structures that we all share – the symbolic images that mankind has created to describe the human condition dating back to the early iconic painting of Christianity of the multi cultural mass carving styles from around the world all expressing a common connection. It is the principle layer within my art work.
On closer view i work on details the stabilizers the small nuances that make faces so expressive. The surface that is there to be observed- the grief- the joy- the horror- the humanity- the more than 200 facial expressions we have been imprinted at birth that we learn to interpret at a very early age.
The surface is the mystery known to all of us- what lies underneath is a journey or discovery.
By creating carefully orchestrated compositions I combine and extract multiple interpretations to create a complex impression. the compositions are stark and without denouements. I use a lot of white /negative space and reduce all expression to a minimum forcing the reader/viewer to complete the picture in their own mind based on their own present emotional landscape. The result is a multi layered interpretation not unlike the experience we all have as we get to realize people.
It has been a long time since I have thought on the idea of writing a book on Art. The more time I spent thinking about it the more complex my thoughts became, so much so I was immediately gripped by the futility of it. Yet I persisted in weighing its importance to my life, how it has changed and given to it a vitality and sobriety I would never have known without it. Art has launched me on a fascinating journey across a vast sea whose horizons seem endless, within whose scope I feel is my Odyssey.
Through it I have wandered into the murky waters of despair self seeking and obsessed, as if what I was discovering was a Biblical revelation of man’s upward thrust into the light and into the truth. All this through an activity which has enforced itself upon me to see not only people as they are but the human being in the context of time.
I feel as Odysseus himself set on a course upon forbidden shores where reality is perceived by the very soul yearning, stumbling, reaching forward into an illusive world strange and unfamiliar, exotic in its beauty and horrifying in its tenacity.
There have been times when I have clung to Art conspicuously, using it as a shield against my fears and as excuse for my excesses. At other moments I have cursed it for its fickle nature, the demands it makes, and the weight it imposes on my life, on my loves and wants. It is at those moments I have been tempted to abandon it, preferably never to have known it. To be normal in the sense of not feeling fated to forego a somewhat undesirable task blind folded from the beginning. Yet it remains merciless in its grip on the artist. The spirit of Art can’t exist without him, this of course whether it is to follow an idea or search for the perfect form in a beautiful image. In this sense Art becomes a responsibility to the human mind and its evolution.
The Sphinx of the Oedipus Rex Tragedy is the theme of the large sculpture. It is a modern interpretation of the riddling Sphinx as a mechanical Godly device put on earth to the service of some mysterious purpose. This purpose is directly involved in Oedipus’s life’s fateful direction.
The Robotic element is what makes it so original and disturbing. It could be perfectly used in a Modern Greek tragedy (Epidaurus) interpreted to include it with a voice of course dubbed over.
The Minotaur represents an age old almost prehistoric human internal battle of conscience; man wrestling the animal out of himself. I have taken the artistic liberties of interpretation in revealing the new Minotaur of today, the mechanical Minotaur of our psyche. This Minotaur haunts us with its icy mystic mind. This is the Minotaur of tomorrow, the one which is coming but is already here. This is the side of us which threatens our humanness. And we must battle once more for our freedom.
Raised and Educated in Toronto, Canada but inspired by Greece.
● 1969-1973 Central Technical School Fine Art Department. ( Acquired the F. Dawson Kennedy Award for outstanding Achievement)
● 1973 Won Scholarship as visiting art student to Florence Art College.
● 1980-1983 Studied Philosophy and Literature in University of Toronto
● 1984-1985 Anatomy studies at the Ontario Chiropractic College Toronto
● 1987-1989 Studied and graduated at the Ontario College of Art
● Toronto (Acquired Fine Arts Diploma)
● 1980-1985 Teaching Life Drawing and History of Art at Central Technical School, Toronto
● 1980-1985 Teaching Air-brush Technique and Poster Design at Dan forth Technical School, Toronto
● 1990-2000 Greece-Opened my own Art School at Xolargos, Athens
● 1993-2000 Taught in my own private Art School teaching Clay Sculpture, Wire and Plaster Sculpture, Life Drawing, Watercolor, the Technique of Oil Painting and Lectures.
● 2002-2004 Teaching at A K T O School of Fashion and Design Koumoundourou Sq. Athens Greece
● 2004 Construction Artist for the Set Designs of Sam Shepherd’s Lie of the Mind at Theatre Embros, Athens Greece Director: Tasos Bandis, Set Design: Lily Kendaka Lighting:Guido Levi, Costumes: Bruno Fatalot, Carpentry:Xavier Devaux
● 2007 Full time Artistic position for construction of Sets for the National Theatre of Greece.
● 2009 Children’s Theatre: By John Xristopoulos Productions and Xari- Romas- Sevax the Mariner
● 2010 Children’s Theatre: By John Xristopoulos Productions and Xari- Romas- The Princess and the Frog Lectures
● 1982 “Man and Art” Trinity College, University of Toronto
● 1983 “Mythology” Blantyre Public School, Toronto
● 1984 “Mythology” Huron Public School, Toronto
● 1984 “mythology” St. Margaret Public School, Toronto
● 1996 “Art and Color” Deree College, Athens Greece
I always wanted to be an artist but my mother told me “You cannot survive on art – take an ordinary exam first” and so I did. But nothing can provide a person if she really wants to do something. So the painting took more and more place in my life. 1996 I decided to go to South Africa for 3 month to think my life over. Back home it was now or never, so my career as an artist began.
I had painted for many years for artist Gunnar Okner .He inspired me but also quelled me. So after some years I decided to go my own way – I do not want to be a copy of anybody. Since then I have painted the way I am; happy, positive and generous.
I am painting my life and my surrounding. The woman is me – always young as the inside. But why she always is barefooted I do not know. The dogs are my safety, the cats my wish for nine lives and more “feline guts”, the bulls and the horses are the men in my life….
I speak in pictures and it is easy to see what I depicts. I work thematically – determined by culturally phenomena – pictures and figures, action and surroundings are woven together to a significant totality. I work in several techniques such as oil, gouache, ink and embroidery and I have rugs made in South Africa after my pictures.
Do I depict reality? Yes, but I do eliminate irrelevant objects in my pictures, such as perspective and light and shades, just to make my message more obvious.
Béatrice Casanova studied art with the great masters of Florence at the Martenot School. Lately, she exhibited in China, and took part in a great group exhibition organized by the “Art en Voyage” (Travelling Art) association. She exhibited in Mayfair and Paris with Artspace Galleries. She was noticed and selected by the Société des Artistes Français last November to expose to the ” Art in Capital ” to the Grand Palais in Paris. She draws her inspiration from contemporary Aboriginal art, amongst others. Her themes show a powerful esoteric symbolism. This dimension is sublimated by a work involving matter which, through superimposition of pigments, creates a dreamlike world full of shades.
I am an artist from southern parts of Sweden. In my artworks reflects my feelings and experiences that this world gives me. Viewers can put themselves in center of the artwork. I hope to reach a more international art public.
With my art I want to provoke, make people reflect, remove blinkers and arouse feelings.
Lisbeth Petersen is a self taught artist, who has developed her art, and talent through personal experiments in painting, and studying the work of other artists, and classes in Fritz Flansmose, Croque Portraits; Ester Lervad, Raku burning and potting; Iron and stone .
“My art takes position in abstraction, and I create my paintins in a world of fragments. Professionally I am Educated in a college of education. Through many years I was teaching pedagogue, and worked as a social family consultant. I also tought several classes of developing art. Though the years I have exhibited in many Art Galleries, and participated in for examble: International Art Fair for Artists, Berlin 2008, Art Fair Copenhagen, 2008 and a various number of exhibitions in Denmark, Breda, Holland 2010, and Biennale Internazionale dell’ Arte, Firenze Italy 2009, Berlin Bienale 2011 with Marzia Frozen, International art festival in Kerteminde DK and different Galleries in Holland 12 month , 2011.
Living in the forest area for 20 years, I naturally fell in love with the forest. I enjoy experimenting unique ways to express my inner feelings without compromising integrity of subject matters. Playing with light and shadow , splitting shape and color, I try to create a sense of drama and visual excitement. In Hope series , I tried to convey the concept of people’s long journey to seek their true love. I used the images of sculptures and the mythology of Cupid and Psyche to represent the enduring human quest for love. I love the process of creativity ,and I am thrilled at the stage of its unknown destiny.
Recuadros, seres desmaterializados en transición en el espacio, transparencias y chorreados son elementos que se confabulan para crear el lenguaje plástico de Edwin Caquías. Objetos cotidianos con carácter emblemático integrados en composiciones, reflejan esa búsqueda constante en el tiempo y el espacio. Imágenes que se transforman en metáforas en diversos niveles existenciales, presente y pasado conjugados en un mismo espacio, conforman su discurso temático conceptual. Su ensayo pictórico explora la actividad humana, el dilema existencial del paso del tiempo en el ser humano. Planteamientos con la intención de despertar los sentidos y provocar al espectador a reflexionar sobre unos puntos en particular, de manera que transite por nuevas vías interpretativas. Son imágenes que fluyen del diario vivir donde lo que acontece es determinado por lo que aconteció; en él analiza, retoma e integra la memoria como una manifestación del tiempo.
Boxes, transition dematerialized beings in space, transparency, and jets are elements that combine to create the visual language of Edwin khaki. Everyday objects as an integrated emblematic compositions reflect this constant search in time and space. Images that become existential metaphors at different levels, present and past conjugates in the same space, make his speech conceptual theme. His essay explores pictorial human activity, the existential dilemma of aging in humans. Approaches intended to awaken the senses and provoke the viewer to reflect on some particular points, so that transit through new avenues of interpretation. They are images that flow of daily life where what happens is determined by what happened, it analyzes and integrates the memory returns as a manifestation of the time.
Nace en Ponce, Puerto Rico. Obtiene su MFA con concentración en Dibujo/Pintura de la Universidad Interamericana de Puerto Rico, Recinto de San Germán en el 2002, donde formó parte de su facultad. Actualmente, se desempeña como profesor de Artes Visuales en la Escuela de Bellas Artes de Ponce.
Activo desde la década de los 80, ha expuesto su obra en múltiples exhibiciones nacionales e internacionales. Con la Galería Hatman Space Art de Miami, FL, ha participado en las ferias de Atlanta, Miami, Las Vegas, Nueva York, Suiza e Italia. También, ha formado parte del grupo selecto de artistas del Museum of the Americas, Miami, FL.
Su afán por evolucionar su imagen, en el año 2000, lo dirigió a experimentar con diferentes medios y técnicas, y buscar una nueva propuesta plástica. Su discurso temático y conceptual, el dilema existencial del paso del tiempo en el ser humano, lo han llevado a ser seleccionado para participar en las muestras: Síntesis de Latinoamérica, Museo de Arte Latinoamericano, Coral Gable, FL en el 2000; Muestra de Artistas Puertorriqueños, Latin American Art Museum, Miami, Fl en 2001; Arte del Caribe, Galería Hatman Space Art, Coral Gable, FL en el 2003; Arte Latino, Wachiovia Bank, Atlanta, Georgia en el 2005; participó en el Art Expo New York, en Javitis Convention Center en New York (2005), además de participar en Transformaciones artísticas en Hatman Art Space, Daytona, Beach, FL; Arte en vivo en la Galeria Astorias, Daytona Beach, FL (2005).Gran Premio Leonardo Da Vinci, Salón Pequeño Formato, FYR Gallery, Florencia Italia en el 2007; Premio Francisco de Goya (Pequeño Formato), Galería Global, Barcelona, España, 2008. Premio Wolfgang Amadeus Mozart (Pequeño Formato), ACT Center of Contemporary Art de Viena, Austria, 2008. Crisolart Gallery, ARTEXPO LAS VEGAS 2008, Mandalay Bay Convention Center, Las Vegas, NV 2008; Artists At Home & Abroad, Broadway Gallery NYC, New York, NY, 2011.
Fue seleccionado para ser incluido en el libro 100 Contemporary International Artist, de la Biblioteca de Artistas de las Comunidades Europeas y el Museo de las Américas, presentado en la Feria Internacional Lineart en la ciudad de Gant Bélgica, en el 2007. Como parte del proyecto Artist At Home & Abroad, su propuesta y obra fueron incluidas en el Vol. 17 Spring 2011 de NY Arts Magazine.
A nivel nacional ha participado en dos ocasiones en la Muestra de Arte Nacional del Instituto de Cultura Puertorriqueña, 2001 y 2003. Tres artistas en Coabey, Galería Coabey, Viejo San Juan, PR, 2000. Viaje Interior, Sala de Exposiciones Universidad Interamericana de San Germán, PR en el 2002. Muestra de Artistas del Sur en el Museo de Arte e Historia de Arecibo, 2006; Arte Universal en la Galería Rayone Art Gallery en Guaynabo, P.R. en el 2006; Cambio en el Museo de la Historia de Ponce; Bienal de Artistas del Sur en el Museo de Historia de Coamo, PR 2007; Galería Aniversario Plaza del Caribe Ponce, 2007; Festival Internacional de la Cultura, Yauco, PR 2007 y Cambio: pequeño formato, Galería Trinitaria en Ponce, P.R., 2007; Llamarada, un diálogo con la novela de Enrique Laguerre, Palacete Los Moreau, Moca, P.R. 2008. Museo de Arte Universidad de Puerto Rico, Cayey, Feria ARWI, Centro de Convenciones, San Juan, P.R. 2008. Diálogo, Centro de Bellas Artes Ada Maje, Juana Díaz, P. R. 2009. Grito de Esperanza– Llamarada: un diálogo con la novela de Enrique Laguerre, Museo Casa Escuté, Carolina, PR 2010.
“Amsterdam’s maestro of art” was born in Aroub, Palestine and exhibited art paintings all over the world. After finishing his art study in Frankfurt, he visited several academies. Today his art can be found within many art books, catalogs, newspapers, magazines and historic encyclopedias. Artwork from Khamis is included in the collections of several museums, royal families and private collectors. He can also be seen in many film documentaries, television and radio interviews.
On the visualization of internal soulscapes
Artist Aurelia Waßer´s work deals primarily with Existential themes.
After being processed internally, these themes are transformed into artistic statements and Waßer´s pictorial language.
Aurelia Waßer’s work confronts us with bewilderingly sublime landscapes. Her paintings have always had an affinity to surfaces resembling landscapes and their deep-running currents, but never before had the artist so consistently made the landscape itself the subject of her art. Her figures have roots in the ground of landscapes, unfolding their peculiar presence and their subtle richness of relations, which are waiting to be discovered in their vastness.
Aurelia Waßer’s landscapes are thus a romantic setting in the truest sense of the word: They always represent an elemental ’inside’ or ‘beneath’. Her paintings are geographic forms of a complex inner life, of whose structures and preoccupations the artist sounds the depths as she paints. Mental landscapes develop in the process, which, not least through the materials she works with, are close to the earth, dust-bound; raised out of ash, coal and now handmade paper. They draw their vitality from the suspenseful opposition of bright spectrums of colours and burned, charred organic material, which, as we gaze upon them, seems to light up passionately one last time – again and again.
Beyond these extremes, Aurelia Waßer’s expressive art is unattainable because we ourselves are unattainable beyond these extremes.
Zake Prelvukaj was graduated from the Faculty of Figurative Arts – the Branch of Painting in 1990, in Prishtina in the class of Professor Nysret Salihamixhiqi. She received a master degree in Prishtina in 1997, at the class of Professor Muslim Mulliqi. Since 1993 she is ordinary profesor in Faculty of arts Kosova lecturing painting. Lives and works in Prishtina.
“The children’s world is different, their math’s results are different. To children 1+1=2 does not stand, often their numbers are their loved ones, parents, their friendship, dog, cat, fish, sun, etc. Their enumeration results as per their wish and their demands are expressed through these signs which we carefully should decode. So a child’s world should not be interfered with nor corrected, their freedom and wishes should be respected. For easier communication with them we should use their signs of expression. The children’s world is an attractive inspiration for the arts in general.”
Andras Manajlo was born in 1970 in Uzhgorod, in the wonderful Transcarpathia region, in a painter dynasty family. His ascendants – grandfather Fedor and his father Iván – achieved significant place in the art life of the region. A talent from very young age Andras’ work always possessed a unique quality that is deeply intense and critical in its sensibility. While working in advertising Andras established his own venture, and – proudly taking his Ruthenian origin – became the leader of the Hungary’s Ruthenians. During that time Andras organised several international art-camps and took part in numerous collective and solo exhibitions.
One of the most outstanding fine arts historian of Hungary, Dr. Balázs Feledy wrote on him as follows: „Andras Manajlo is a really talented painter with remarkable abilities, great genes, thus based on his talent and capabilities he will be able to create a type of painting with very individual values, with which he is expected to occupy an honourable place in the European history of fine arts.”
I see the world around me as a limitless canvas. My photographs are a considered fusion of the contemporary and the classical, influenced by the likes of Art Wolfe, Ansel Adams and Claude Monet. Using colour, light, shape and form, my images are created with an inherent aesthetic of simplicity to portray the splendor of the natural world.
I use my camera as a vehicle to convey my fascination with our ever-changing natural surroundings. I am interested in the transitory qualities of nature and how they can be likened to those of a thought process, continually in motion. Inspired by the concept of capturing both my thoughts and the dynamics of nature in the static form of a landscape photograph, I am in essence stripping these elements of their individual fluidity, representing them together within the constraints of a frame.
Taking a very literal approach to the creation of my images, I avoid any major retouching or modification. By restricting my technique in this way, I can encapsulate my memories and experiences within a photograph, while still allowing the natural beauty of the landscape to speak for itself, taking precedence over all personal aspects of the image.
Lorraine is passionate about the creativity of photographic art. She is a self taught Photographic Artist who has been working with photography for many years. She uses two cameras, a Minolta 35 mm SLR film and a Canon EOS 500 digital DSLR.
Lorraine specialises in capturing the moods of amazing landscapes, architecture and people when she travels and loves to share her experiences with the viewer. She has journeyed to many parts of the world, including countries such as Burma, Libya, Afghanistan and Iran. She also gains inspiration from the light, colours & natural beauty of the foreshores and the sea. She specialises in nautical images & seascapes that reflect the maritime heritage of NZ in particular, along with unusual places and moments in time. Lorraine has exhibited both nationally around New Zealand as well as internationally and her images are untouched Limited Editions. She is available for commissioned or contract work.
The digital medium puts the voice of my emotions into a visible space and form. I create contemporary art by incorporating a floral theme with abstraction. I often find similarities between the frailty of flowers and my own emotion, and the flowers have become my natural language in representing my subject matter. While exploring deeper into the digital environment, I find new inspiration for expressing spiritual topics. My desire is that my artwork can inspire and invoke hope into viewers
My recurring theme seems to be based on the nature of things. I guess this relates to my childhood, where I grew up in the south west of Western Australia, amongst the Karri and Jarrah forests. For the children that lived there, their backyard and my backyard was the forest. It was virtually our secret garden. We used to build ‘cubby’ houses amongst the trees and on the ground. Our imaginations ran wild. For me, this was a great life.
I was born in Manjimup, Western Australia in 1953. Completed Visual Arts degree 2005-08, with Graduate Diploma completed in 2010. My work is influenced by growing up in the country surrounded by nature, and my themes always seem to revolve around landscape. Both abstract and impressionistic (which I call my ‘dab-dab’ style) work. I like to work on larger canvases, as – due to my physical limitations (I am in a wheelchair) – I am not comfortable working on smaller spaces. I like the room to express myself.
My search as an artist is a spiritual search of truth, using mixed media and poetry to approach the inner images. That came to me as a way to express. My work is being mainly a tribute to the ones I called martyres of injustice after September 11, then war I made a series called “Golden blood of martyres” with a series of poems that I exhibited in. Florence Biennal, then One exhibited in Roermond Holland dedicated to my country Mexico, my new series called Spes ei (Hope) in latin is dedicated to the injustice that we live again in México recently exhibited in Broadway Gallery in NYC.
I love painting since early years of childhood being able to have a degree in La Universidad Iberoamericana in Mass media and a Diploma in La Salle University in Art and Art History. I’m member of International groups as DIN A4, Terra dell’arte, and participated in International Biennals as Florence, Italy, Arad, Rumania, Chapingo, México etc. Exhibited widely in Canada, USA, Cuba, Holland, Germany, Spain, Italy etc. My work includes a poetry book named “Between Heaven and exile”, theather plays such as “Alba” “Esperanza” etc. and Murals
Through sometimes quirky, always thought-provoking art, Shunsuke Kawasaki explores the themes of creation and destruction, nature and technology. The multidisciplinary artist creates mind-expanding works whether they are on paper with pen and ink, colored pencil, or watercolor, or are sculptures. Kawasaki smoothly draws intricate lines into his paintings. As these lines converge they form images that resemble the cells of living organisms. The curves and repetition of the lines symbolize the cyclical pattern of creation. Ultimately, the paintings represent “ultimate destruction,” the idea that death is inevitable even if it gives way to new life.
Utilizing the non-biodegradable plastic ABS (Acrylonitrile Butadience Styrene), Kawasaki speaks on the destruction of the environment. In crafting the material into robots that could never be found in nature, he forewarns of the trend toward artificial replacement. Shunsuke Kawasaki was born in Osaka, Japan, in the tail end of the 1970s, and currently works in Xiamen, China.
“I study the impressions that come towards me. When I observe nature I see it as if it was for the first time.”
Jenny-Marie Johnsen lives and works in Tromsø, Norway. She was educated at The Royal Danish Academy of Fine Arts, Copenhagen.
Jenny-Marie uses nature as her point of departure and operates in the borderlands between painting and photography. She wishes to retain the quality of the original photography and the reference to nature at the same time as highlighting the work’s painterly qualities. The intention is to bring new dimensions of reality through the works. Her art has been included at exhibitions in Europe and the US. She is represented in the art collection at Troll Station Antarctica, Arts Council Norway, among others.
The original and unique artworks of sculptor and painter Bruno Torfs continues to bring joy and inspiration to visitors from all over the world. Nestled amongst the luscious rainforest setting lives a collection of unforgettable characters lovingly hand crafted by Bruno from clay and fired onsite in his kiln. Bruno has created a world rich with fantasy and insightful beauty derived from his imagination and inspired by his intrepid journeys to some the world most intriguing and remote regions. See video
Unfortunately on the 7th of February 2009 a bushfire raged through the township, decimating everything in its path without mercy and claimed the lives of our friends and neighbours indiscriminately. Bruno was extremely lucky to survive and the rest of the family are safe and well. Bruno’s home and art gallery were unfortunately completely destroyed in the blaze.
Bruno chose to stay in Marysville to rebuild his home and restore the gardens. Bruno’s passion to share his love of art and the story of life with the world has not been damaged by the fires, in fact you would almost say it has been forged anew by the flames that nearly took it all away. Whether you are new to Bruno’s works or a friend from way back, rest assured that this is far from the end of anything, it is just the beginning of something even more special.