My attraction to ancient painting techniques is the quality of their craftsmanship and the pure essence of the natural materials. From beeswax and resin, to lime and sand, my perception of creativity changed radically after a strong shamanic experience. The message of the experience was that only when you hold nothing fixed, could true creativity enter. I began pouring the paint rather than applying it with a paintbrush. Through this process I am dancing between the hazard of the flowing paint and the edge of control, as in life, letting the flow of the universe enter and be directed with life’s experience to temper the current. In more recent work, I have included my paintbrush again and have found my personal trinity- including all parts of myself- mind, primal energy and spirit.
My most recent work draws inspiration from the visual patterns and rhythmic movements of East Indian performance, especially Bharat Natyam and Khatak traditions, as well as other forms of music and dance that we encounter in everyday Western life. All of these rhythms and movements narrate and reflect the overall patterns inherent in the universe as a whole.
With my paintings, I strive to distill the audio and visual forms of these live experiences, both organic and stylized, into a fresh visual language on canvas. Though painting as a medium is static, I want my work to vibrate with motion, color and sound, offering the illusion and pleasure of a three-dimensional experience to the viewer.
My current studio is set up in the living room of my apartment, which limits the scope of my work. Your program will give me the space and opportunity to further my goal as an artist by creating larger works and to experiment with installation format, which would overflow the boundaries of the canvas and offer the viewer even more of a three-dimensional sensory experience. As the pattern flows around them, the viewer will be surrounded by the abstract gestures of dance and rhythms that become its own imagined universe.
Ayo Adewunmi was born in Odo-Ere, Kogi State, Nigeria, and studied art at Ahmadu Bello University Zaria, in northern Nigeria. Since 1991, he has taught graphic design at Institute of Management and Technology, Enugu.
In one picture a woman can be seen who is sitting at a table on a lonely beach and seems to be waiting for someone, because the seat next to her on the right is not taken. She seems to search someone, but no one appears. A waitress brings an empty tea cup, a ship in a bottle, a wine-glass, a dress, a knife. A dancer is moving about inside a cylinder of red cloth in a window, prior to which a skirt can be seen fluttering there.
In another picture a man can be seen who is sitting at a table on a lonely beach and seems to be waiting for someone, because the seat next to him on the left is not taken. He also seems to search someone, but no one appears. A waitress brings an empty tea cup, a ship in a bottle, a wine-glass, a suit, a knife. A dancer is moving about inside a cylinder of white cloth in a window, prior to which a pullover can be seen fluttering there.
In the third picture you see a table laid for two persons. Gradually the set menu changes, the elegant dinner table turns into a banquet, and in the end there are just leftovers and bones, and glasses are lying on their sides on the table.
In the course of history vanitas, transitoriness, was represented in still-life paintings with certain objects and motives. They symbolized death and the end, by e.g. a skull, rotten fruit or an hour-glass in which the sand slowly filters through.
Terminal can be seen as the end of the road, as something final, a last borderline. Vein is the place through which the blood moves, and it´s the medium of circulation. Does it definitely have vain, idle, mean and transitory traits, too? Vain? Maybe the transitory pulsates in itself and because of itself? Many things are transitory, because they carry on living.
Often relationships between people are continued during a long period of time because of various unimportant reasons. Automatisms are created, and decades later you finally decide to break it up nevertheless.
Then each part is often worn out and broken, and the pulse of one´s own circulation seems to have lost it´s energy. But the sand is flowing. The music of the installation underlines the advancing of transitoriness. In the beginning the table still seems to be orderly fixed, the music, however, is solemn, but a bit sad.
After everything is settled and ended, the mood is relaxed and nearly joyful, which is also expressed by the music.
An end can carry in itself the movement of a new beginning.
Cinematography: Johannes Wiedermann, Composer: Henrik Cordes
Woman: Melanie Haupt, Man: Matthias Schott
My paintings evolve from a fascination with the complexity and variation of flowers that’s been with me from childhood. They are an exploration of memory and color, combined with dreams and imagination, folklore, from travelling and personal experiences, bordering on the edge of surrealism. Having studied art therapy, I hope to reach into the depths of the psyche to relate those hidden stories we all know, somewhere inside of us. I also use music to compliment my mood and influence color. I find it gives an added energy to the work.
Having worked in the creative industry in London for many years and spent several years travelling, I moved to Wales in 1991 and lived closely with nature in a Tipi, later moving to a remote cottage on the edge of the Black Mountain where I began to paint wildlife, particularly birds of prey and big cats, exhibiting yearly at the British Falconry and Raptor Fair.
Moving back to London 5 years later, I worked as a part time art tutor for Waltham Forest, and together with a fellow artist and tutor, staged a very successful, East London Art Fair. Following this, I opened my own gallery which was successful in selling my own work as well as a being a platform for local professional artists.
I now work from my studio in Parndon Mill a renovated flour mill on the banks of the river Stort in, Harlow, and combine a role as Secretary for Parndon Mill Artists as well as being actively involved in teaching local art groups. I had a short break in 2008 having slowed down a little due to a congenital heart condition which has now been operated on successfully, I am back to working full time from my studio, building a body of work that tells a story from what actually inspires me, to personal experiences, to dreams and fantasies.
When we enter Claudia`s artwork, we go into a hermeneutic physical-literary world. Not only does she portraits figures but she also retouches, symbolizes and express a message. Through her paintings she transmits what the character would think to operate. As soon as our eyes penetrate the depth of her painted speeches, it appears signs and air from different places. Each of her artworks describes
something important and catches our attention. Her work is open to multiple doors and comments, and reveals her own history. Her paintings are different from the Zeitgeist because these are representational and narrative and at the same time colourful and decorative. Claudia Birkheuer decided one day to change sides. As a graduate in journalism, she worked for a german Radio- and TV-Station, she reported about people and told their stories. She still remains committed to this theme and in 1997 merely switched from creative reporting and making films to creative painting. Thus her descriptive tools are now canvas, brush and paint. She was trained at “Art Academy Trier”, “Museum Kunstpalast” and was taught by famous painter Albert Fürst (Group 53) Germany.
The artist exhibits her work regularly in national and international galleries and artfairs: Duesseldorf, Cologne, Maastricht, London, Monaco, Barcelona, Bologna, New York, Paris.
–Curator Rose Marie Bellemur (London, UK)
I take great pride not just in my Blackfoot heritage, but just as being Native American which I try to express in my artwork that represents ALL of the Nations. Through the years of my life`s teachings, I have learned that the “Spirit world” is very much real and I try bring my viewers into this “Spirit World” of the American Indians so to remind them that all it takes is to open your mind and heart to visit. I create my artwork in pencil because I feel the absence of color gives the viewer more depth and the feel of a different time in history.
Günther Egger, born on October 27, 1966, lives and works in Innsbruck and Barcelona. He has worked as a professional photographer since 1995, focusing on the areas of fashion/beauty, products and fine art. He is displaying his works of fine art photography from the past fifteen years. While the photos appear to contradict his professional activities, Egger notes: “Even though I make my money by portraying all of these beautiful things and people, you still need to keep in mind that exaggerated consumerism also has its pitfalls. A critical attitude is no contradiction.” Egger is pro photo award winner 2010 and Hasselblad Master Finalist 2010 an Qualified Photographer
As an artist who paints more than four decades I am for now in constant search of feelings and emotions of my soul and the soul of humanity in particular. Painting for me is a tool for expression and through which I try to express difficulties and hidden things of our life. I try to check the immediate surroundings of the person that lives his normal life and see through that the masks of his life. It’s fascinating to me because I try to peel and reveal his real life or his own true self. Viscerally I connect strongly with the history of the Jewish people, beliefs and religion and the Holocaust runs sometimes through my paintings. In this approach to painting I’m not boring myself ever. I created a series of works in black and white or single color and it provides me .In the drawings I enter the human body and the physical, the skeletal structure and body parts. I can get through them to immaterial things, mind, desires, loves, hatreds, and the truth in my subjective way.
In it’s essence, photography is an act of voyeurism. To catch reality by stealing it’s light is an indiscretion made with sensibility. Recording an image transforms a transient ray of light into a permanent object that, by it’s nature, may induce feelings or ideas that give a meaning to it’s own existence. In this sense, photography should be shocking and provoke a reaction, must stimulate our sensibility and be free of any pre-determined concept of beauty.
Photography is fascinating because it keeps the moment an image impressed us, induced a thought, stayed in our memory, and thus entered our own individual culture. This gratifying record of life, so dear to photographers, is largely responsible for the effect induced in the observer. Through the image, photography induces interpretation and the remembering of similar experiences, in this way contributing to one’s self-enrichment.
Native of Cap de la Madeleine, (Quebec, Canada). Thérèse Boisclair is a resident of Ottawa (Ontario, Canada) since 1980. She studied communications and photography. She spent a number of years searching for the “right medium” to explore her artistic abilities. Thérèse discovered watercolor and used it as a mean of expression for over 18 years. She then started to experiment with acrylics and tissue paper as well as other exotic paper. For the last three years, she is painting with acrylics directly on tissue paper using all the watercolor techniques she learned over the years. Water is her main tool and she still exploring its unlimited possibilities.
Her inspiration is the emotion of the moment. It is what will influence the colors she will lie on paper. Her brush is the water guided by her imagination. From the delicate tissue paper, the movement of water and colors, bright and fluid landscapes emerge. Therese Boisclair creates paintings that depict unique atmosphere and evoke abstract landscapes that inspire us in the meander of our own imagination.
Thérèse has won many awards and has exhibited in Europe, United States and Canada.
“I am moved by the actions, history and events that shape mankind, by nature or anything that elevates the spirit. I feel we are connected, that we can affect or be affected by everything around us. I can’t help wanting to create things that reflect how I feel. I want people to understand what they may be sacrificing, ignoring or overlooking in life. Sometimes it’s watching the simplest things, it could be the most horrifying things, often it’s experiencing the adventure or beauty nature has to offer and it’s definitely in the connection I have with animals. It translates into all this energy which I can express in a positive way through my artwork; I only hope it inspires the same passion, love and hope in others.”
Max Fujishima does not construct a set or use of strobe lighting, preferring instead to photograph subjects unvarnished, illuminated only by the natural light of the sun. Nor does he insert anything into his pictures or otherwise manipulate them. His works hold a light to the interface between his world and the world beyond the lens, exquisitely expressing the drama of the moment and the inevitable flow of time. The works in this exhibition showcase miniature dolls of only a few inches height. They guide the viewer into another world.
Art for me is the freedom to create with no boundaries, to express the diversity of color from which the human soul is composed. Spreading color across a canvas is a means of meditation; I connect with my inner self. My hands just move with rhythm using the painter knife to mix the colors directly on the blank canvas. I choose the colors and let my soul conduct me, handling the knife as a brush .The colors merge on the canvas on their own. I then use the spatula to paint over them in oil. When working in watercolor “aquarelle”, I allow the colors to merge with the water in whatever direction they choose
Esther Arias was born in Jaén in 1957. It was her wish to experiment with colour and with the magic of light and shadow that made her venture into the world of painting. She studied marketing in Madrid and Los Angeles but she soon exchanged the figures for paintbrushes and started off experimenting in the world of paints, which is why one could say about her that she is self-taught and that her work is intuitive. She has been working for 15 years with the idea in her mind, that “it is those who look at my paintings who have to adopt them as theirs and invest them with the dreams they inspire”.
Her study is located in a district of artists and artisans, in the Calle Cotoners, 14. She has held exhibitions in Kopenhagen, Brussels,New York,Buenos aires,Berlin .She also has a permanent exhibition in Oslo, Pingving Gallery. Her permanent exhibition is to be found in her study. Esther often holds exhibitions for young artists who are trying to find a space in the world of art. It is not only painting that we can see in her study, we have been able to enjoy music, dance and sculpture as well. She is a member of the Catalan Guild of Art Galleries. Her work is to be seen in New York, Miami, Vicenza, Madrid and Barcelona.
Jeanette Milner was born in Melbourne, Australia and has lived in Italy for more than 30 years, first in Rome and now in Assergi in the Province of l’Aquila in Abruzzo. From an early age she has participated in courses to study the methods of watercolour, oils and ceramics. For several years she frequented the studio of a well known artist in l’Aquila to deepen her knowledge of the techniques of oil painting. The artist prefers natural landscapes, horses and still life. She often expresses herself through her artwork depicting the sea, mountains and sunsets.
During the last 5 years the artist has held and participated in 60 collective/personal exhibitions, with positive reviews from critics and the public, in the following cities: New York (USA), Wilmington (USA), Philadelphia (USA), Melbourne (Australia), Brussels (Belgium), Istanbul (Turkey), Adelaide (Australia), Bruges (Belgium), Sharjah (United Arab Emirates), l’Aquila, Secinaro, Santo Stefano Belbo, Orsogna, Rome, Piacenza, Pisa, Padova, Brindisi, Palermo, Taormina, Santo Stefano di Sessanio, Agrigento, Polistena, Bari, Celano, Onna, Sogliano Cavour, Roccella Jonica, Assergi and Milan.
The artist has a passion for strong and brilliant colours. Often her paintings are created from inspirations of moments captured during her frequent voyages. Her artworks are held in public and private collections in Australia, Belgium, Canada, Greece, Italy and the United Arab Emirates. Many international catalogues feature Jeanette’s art namely: Catalogue of Modern Art, editor Giorgio Mondadori; International Register of Painters and Sculptors, editor Italia in Arte; Avanguardia Artistiche, editor Centro Diffusione Arte; International Dictionary of Artists, editor WorldWide Art Books; and Grandi Maestri, editor Centro Diffusione Arte. Some of the well known art critics who have written about her work are: Andrea Diprè, Paolo Levi, Roberto Chiavarini, Sandro Serradifalco, Anna Biondolillo, Dino Marasà and Paolo Martocchia.
Richard Michaud (madlabs) is a multidisciplinary artist, designer, motion artist, and creative director based in Stamford, Connecticut. Having been in the industry since 2004, he has been doing work for numerous fields ranging from gaming to print. An experimenter, he brings forth a style that is original, raw, unique, edgy, and realistic; Richard leaves no stone unturned (nor censored)
Whenever you make a decision in this life, a vacuum is always left behind accompanied by the feeling of having lost the other options that were not chosen. Upon meditating on the issue these dualities and anguish tend to ease and fade away; it is then that I allow these conscious status to influence my artistic output. Meditation leads me into immobility, toward my crux; every time I reach this quiet stage, I am able to comprehend that which is ephemeral and fleeting in this world. As the old masters used to state, “the only true certainty is change”. It is through this world and this life full of changes that my work pours out. It is through my connection with nature, my holistic healings and reflection that my work has experienced and absorbed these processes with no intentional willingness to create a specific structure or technique.
Every time I have a diamond in the rough in my hands, my creativeness finds a blank page in which I have the possibility of letting my art flow with as little control as I can muster; I simply provide a flowing guide. The technique isn’t all that important to me and can vary depending on the mood imposed by my human condition; it is reflected in my musing. Preferences fade away and become weak and there is no more need for identifying a given style or to sticking to any particular shape or color. Passion can take over as can indifference; and it is the immutable calm that which will convey a reflection of the energy comprised in “indifferent passion”.
“Ain’t it fun“. No better words can describe my desire to create art! Art, is the rock n roll of my soul and desire of expressing a lifestyle. From the very beginning of my work, more than 20 years ago, I decided to develop a new approach to photography and the possibility of expressing myself. I was driven by the desire to put more life and feelings into my works and create a new perspective of photographic art.
Experimenting with analogue photography and printing techniques, in 2006 I created my own technique of illuminating pigmented colors on canvas or similar materials thus finding a possibility to show the world in colors and expression through my eyes. Berlin, London, Paris and Vienna are only some of many locations in which my work was shown.
In the process of creating a painting I shift back and forth between abstract and figurative work. The abstract is based on improvisation. At some point, with any luck, a compositional constellation begins to emerge and a connection takes place between me and the painting. Philippe Guston once pointed out that there is a mysterious element to the picture plane –“an imaginary plane that defies any traditional explanation”. I believe that the moment we become lost in a painting, we are closest to the space between heaven and earth that the Japanese describes as “Nakazura”, the silent place of all and nothing. An inexpressible place, between dream and reality, for escape and solace which hopefully, ultimately heals and leaves the viewer with a fresh way of seeing Home Base.
Annabelle studied photography at Cégep du Vieux Montréal, Quebec. In 1999, she undertook a photographic research on the transformation and representation of reality. She is doing researches in actual photography. In 2000, she moved to Paris and held her first exhibition at the 19th District City Hall. She stay in Madrid in 2005-2006 and in London in 2007. In 2008 his works began to be auctioned. In 2009 she founded the Group of photographers an international group who is working on non anecdotal photography and research. Her work is part of the permanent exhibitions Galerie De Visu in France. She figures in the Drouot quotation’s dictionaries. Some of her pictures can also be found as part of the Bibliothèque Nationale de France’s collection, The Iris Collection as well as in some private collections both in Europe and in America.
Fumino Hora was born and educated in Tokyo, Japan. She lived in Hong Kong from 1994 to 2006, where she worked as an artist. She moved to Pittsburgh, Pennsylvania in October 2006 to launch her American art career. She has obtained a Bachelor of Fine Arts Degree and a Master of Fine Arts Degree at the Royal Melbourne Institute of Technology University (RMIT University), Melbourne, Australia in 2002 and 2005. She is currently a candidate for a Doctor of Fine Arts Degree at RMIT University. Throughout her art career, she has experimented with various media whilst seeking more conceptual forms of expression.
Her most recent artistic theme is ‘The Human Condition’, which explores the nature of human beings through the lens of Japanese aesthetic ideals and historical and cultural context. She works with multimedia such as glass, metal, photography, video and installation. Her previous awards include ‘Robert and Sylvia Robinson Family Foundation Award’ in 2008, and ‘Philippe Charriol Art Foundation Art Competition’ in 2002.
She was a resident artist at Pittsburgh Glass Center in 2010, where she most recently had a solo exhibition entitled ‘The Way of Samsara’ from November 2010 to January 2011. The semi-site-specific exhibition featured glass, paper, photography and video.
She has contributed to charity activities such as ‘The Society Of the Relief of Disabled Children’ and ‘The Nesbitt Centre’ (The Hong Kong Vocational Centre). She is a member of ‘Associated Artists of Pittsburgh’, Fiberarts Guild of Pittsburgh’, and ‘Pittsburgh group’. She has obtained a Photography Certificate from Pittsburgh Filmmakers in April 2008. Her works have been exhibited and collected both nationally and internationally.
Zoëv shows both abstract paintings, three dimensional works with vitreous paint. Drawings made of India ink on paper figures in metal (stainless steel) cut with the laser. In her quest for calligraphy combines simplicity with a rhythmic expression. The result is a passionate and elegant lines that makes her own mark. In the beginning of each creation Lines appear like an octopus. It’s the birth of the movement The intuition of the moment. The tension becomes free Spontaneous is the conducted line. And then the in conscious comes up The arabesque creates a new dimension And gives all kinds of shapes Like an calligraphic writing With a lot of fantasy The dancing shapes Are a ritual dancing Carnal but also sensual Just for the pleasure of the eyes. The variety of sources Results into density And provides vibration And momentary emotion