José Manuel Castro López - Esculturas
A sculptor based in Coruña, Galicia, Spain seems to be defying the laws of nature with his amazing malleable stone sculptures. His works are made out of natural materials like granite and iron oxide, from which he crafts his rock-like formations with folds, wrinkles and flaps as if they were made of clay or skin. Providing some of the stones’ fleshy appearance, one could say they almost appear to be alive. López achieves a magical effort. He doesn’t see rocks in the same way that other people do. Inspired by the mythology of his native Galician culture, he believes that stones are spirits of the land and, as an artist, it is his role to to conjure them. This is carved out of the solid material. He never uses glue. It is a miracle how José Manuel Castro López brings so much life to a stone. “Mi relación con la piedra no es física, sino mágica. Toda mi capacidad creativa va dirigida a establecer con el material una relación vital. Nos respetamos, nos entendemos, me obedece... somos amigos; no es un material inerte, vive, se manifiesta. (My relationship with the stone is not physical, but magical. My entire creative capability is directed to establish a living relation with the material. We respect each other, we understand each other, it obeys me… we are friends; it is not a lifeless material, it lives, it becomes manifest in itself)”. José Manuel Castro López

Artist:
José Manuel Castro López

A sculptor based in Coruña, Galicia, Spain seems to be defying the laws of nature with his amazing malleable stone sculptures. His works are made out of natural materials like granite and iron oxide, from which he crafts his rock-like formations with folds, wrinkles and flaps as if they were made of clay or skin, as if smiling and grimacing human faces are carved out of the solid material. Providing some of the stones’ fleshy appearance, one could say they almost appear to be alive. López achieves a magical effort. He doesn’t see rocks in the same way that other people do. Inspired by the mythology of his native Galician culture, he believes that stones are spirits of the land and, as an artist, it is his role to to conjure them. This is carved. He never uses glue. “Mi relación con la piedra no es física, sino mágica. Toda mi capacidad creativa va dirigida a establecer con el material una relación vital. Nos respetamos, nos entendemos, me obedece... somos amigos; no es un material inerte, vive, se manifiesta. (My relationship with the stone is not physical, but magical. My entire creative capability is directed to establish a living relation with the material. We respect each other, we understand each other, it obeys me… we are friends; it is not a lifeless material, it lives, it becomes manifest in itself)”. José Manuel Castro López

Nigel Van Wieck
For nearly two decades, Nigel Van Wieck has been evolving a distinctive idiom firmly rooted in the tradition of American realism. His small-format oils offer glimpses of classic Americana: racetracks and baseball fields, toy sailboats skimming over a pond, tourists relaxing on sun-drenched beaches. Typically his are solitary figures, often recalling the loners once celebrated by Edward Hopper, and though there is no Hopperesque gloom here, at moments there emerges a vague sense of the ominous. Van Wieck has painted a progression of works grouped into series with such themes as Working Girls, Players, and Dancing. Though visually diverse, all have underscored the disjuncture between modern people’s physical proximity and emotional connectivity; whatever their gender, race, class, or occupation, no matter how intimate their contact may be, these figures do not fully “get” each other. Flowing against this thematic continuum was the large number of portrait commissions that Van Wieck undertook during the 1990s. As one would expect, he became deeply interested in his sitters, who connected closely with each other in the image, or at least with their viewers. These are figures whom we “get,” at least to a certain extent.

Artist's Statement
I always want to capture a “moment in time”, it makes my paintings real and timeless. I achieve this by painting the light; whether painting daylight or the lights of the night, light is familiar to us; it’s like music, it evokes a memory or an emotion, and crystallizes the moment. Vermeer was extremely successful at this; even though he was painting a 17th-century scene, the way he paints light allows today’s viewer to connect to that moment thus making the painting both modern and timeless.

Artist:
Nigel Van Wieck

Nigel Van Wieck is a figurative artist working in the tradition of American realism. His portrayals of America feel as though they’re from another time, even if the content is modern. From an era of romanticism and dreaminess, almost free of time if not for the trappings of culture that carry specific definition. From one side, the painter Nigel Van Wieck (b. 1947) appears to be the proverbial “Englishman in New York,” having discovered Old Master aesthetics and made them his own since 1979, when he immigrated to the U.S. But from the other side, we see the quintessentially American practitioner of contemporary realism he has become during those same three and a half decades. Trippi has been the editor-in-chief of Fine Art Connoisseur magazine since 2006. He was previously the director of New York City’s Dahesh Museum of Art, which is devoted to 19th-century European academic art.

Exhibitions

2015 Didier Aaron Gallery New York 2011 Nigel Van Wieck American Realism curated by Elizabeth Michitsch, Brauneis Klauser, Vienna 2010 Galerie Elisabeth Michitsch, Vienna 2008 Galerie Elisabeth Michitsch, Vienna 2007 Galerie Elisabeth Michitsch Vienna 2004 Kunsthandel Elisabeth Michitsch, Vienna 2001 Beadleston Gallery , New York 1995 The Venice Biennale's Centennial Exhibition, Venice 1993 Fosse Gallery Stow-on-the-Wold 1991 Tatistcheff and Company, Inc, New York 1989 Tatistcheff and Company, Inc, New York 1988 Alex Reid & Lefevre Gallery, London 1985 Germans van Eck Gallery, New York 1984 Tatistcheff and Company, Inc, New York 1983 12 Green Street Gallery New York 1982 Alex Reid & Lefevre Gallery, London 1977 Redfern Gallery, London 1974 Richard Demarco Gallery, Edinburgh 1973 Ikon Gallery, Birmingham 1972 Majorie Parr Gallery, London 1971 Majorie Parr Gallery, London

Christoph Eberle - Hyperreal Oilpaintings
Christoph Eberle was born in 1969 in Zürich, Switzerland. He graduated in 1996 as an architect. As a self-taught hyperrealistic painter his influences include old masters such as Caravaggio, Vermeer van Delft, Jacques Louis David, Caspar David Friedrich and Segantini. Most of his inspirations are born from snapshots of everyday life – be it in the laundry room or on the way in to town: These moments, when for an instant the light and the situation are coherent, producing a brief moment of clarity and perfection – a type of film still from his personal movie – are what he searches to capture as precisely as possible. Painting with very fine and concise brushstrokes he is exploring the classic image concepts (landscape, still life and portrait). Although photos are used as a starting point in the painting process, the intention is not to fool the eye but to create images that are coherent and self-contained, allowing space for interpretation. So the goal is to achieve a strong and independent visual idea, not a slavish copy.

Artist:
Christoph Eberle

Christoph Eberle was born in 1969 in Zurich, Switzerland. He graduated in 1996 as an architect. As a self-taught hyperrealistic painter, his influences include old masters such as Caravaggio, Vermeer van Delft, Jacques Louis David, Caspar David Friedrich, and Segantini.

Exhibitions

2019: Algo más que realismo XIII Exposición de pintura realista contemporanea Zaragoza Nov. 7 - Dec. 5, 2019: Hyperrealism The refinement of accuracy University of Lucerne February 14, 2019: Solo show Thomas Dutoit Galerie Unterentfelden Vernissage March 16, 2019: Swiss Art Expo Zurich 15.-19.8.2019: streetart.limited, Ebikon Pop up in the Mall of Switzerland 2018: International Contemporary Art Show Basel June 13-18: Hyperrealism streetart.limited, Baden 2017: May 13– June 10: The hundredth Alex Schlesinger Gallery, Zurich 4 artists 2016: art fair ART 16 ZURICH Alex Schlesinger Gallery October 27-30: Reality2 - From Fantastic to Hyperrealism in Painting Museum Bickel, Walenstadt Group show (3 artists) September 18 - November 13 Opening Werthmüller Gallery 2013: Still life vs. Landscape Gallery R57, Zurich 2012: Bildwelten_6 Gallery R57, Zurich 2011: Zurich art scene Free warehouse, Zurich

Group show

November 18, 2018 - March 23, 2019: The Abstract Real The Royal Hall of La Madeleine, Paris October 16-21, 2018: That One Moment IG Halle in the Kunst (Stuff) House Rapperswil August 26 - November 4, 2018: Hyperrealism - Why not take a photo right away? Rotary Club miles September 12, 2018: Realism - Still alive and kickin ' Ulrich Gering Gallery, Frankfurt / Main April 22 - June 9: realism Mörfelden-Walldorf Municipal Gallery (D) March 11-25, 2018: art KARLSRUHE 2018 International Fair for Classical Modern and Contemporary Art 2017: Hyperrealism Galerie Wehrli November 4 - December 3 :2015 small in format - big in effect art333, Wädenswil 10 years Haldegalerie, Haldegalerie, Widen New Paintings Arte piccolo, Matthys Gallery, Wollerau 2011 New pictures Galerie 497, Zurich with Bernard (sculptures) Matthys Gallery, Wollerau

Publications

Publications Hyperrealism Magazine # 7 is the first and one magazine (digital & print version) fully dedicated to the Hyperrealism Art. Artist Portfolio Magazine - Issue 36 Independent specialty art magazine that promotes the portfolios of emerging and established artists from various parts of the world. ​Skull'n'Art An inspirational collection of great artists all over the world and a lot of skulls ​L'abstrait réel Publication accompanying the exhibition in the Royal Hall of La Madeleine, Paris Post-Modern Times: The Journal of Aesthetics and Art History, Vol.1 No.3 by Stephen Smith ___________________________________________________________________________ Press ​Mysterious interiors Article in the Aargauer Zeitung 14.03.2019 ​On the trail of sleep Article in the Tagesschau (SRF) to the exhibition “Sleep well”, December 1, 2018 The last moment in life as a work of art by Jérôme Stern / Southeastern Switzerland at the weekend (pdf) ​About life before and after death Zürichsee newspaper Obersee (pdf) ​These pictures say: Die to become - the resurrection of illusion through photography by Daniele Muscionico / NZZ ​Hyperreal in the museum bickel by Angela Adank / Sarganserländer ​«Reality» - colorful, imaginative and fascinatingly beautiful by Guido Baumgartner and Judith Annaheim / The Region (pdf) ​Exaggerated, distant, sometimes disturbing by Judith Hochstrasser / Sonntag Christoph Eberle / Hipersuiza - DLYC | De Letras y Colores - ENKAUSTICOS by OPin (Argentina) Hyper realistic meat show Cultural criticism - critical voices on cultural events by Rafaela Roth

Guennadi Ulibin
The exhibition presents two main lines of Ulibin's work. Despite their external differences, they are united by a common philosophical concept. The first line is a series of paintings that show the post-historical world - the result of human activities based on the principle of reckless consumption and exploitation. These paintings are like open portals to a world freed from technological civilization, in which humanity opens up completely new development paths based on self-improvement, knowledge of one’s inner potential and harmony with the Universe. This is the time when the course of the history of mankind and its meaning are rethought. Man is the most perfect thing on Earth and the potential of human capabilities is much greater than that used in the framework of modern civilization. Any, even the most high-tech machine, is for a man only a tool - a substitute for his own undisclosed abilities. Naked human on bare earth is the main motive of the compositions. Civilization and technology no longer exist, only its remnants, in the form of strange objects, once high-tech machines rise above the surface of the earth or sea, - a pile of metal, like a defeated idol of a technogenic system. The space of heaven and sea symbolizes the infinity of the universe and freedom, the same infinite. The Earth, as a renewed space, is part of the Universe, - mysterious, but at the same time open to human knowledge and giving it inspiration. Women personify the future of humanity. They are hope and inspiration, as well as a symbol of love and beauty - the beginning for the creation of a new beautiful world based on the principle of knowledge and understanding of the infinite Universe.
The second line in his work also has a deep philosophical content. Most of the works in this series are made in the schedule - coal on paper. These are compositions that are the result of my imagination, reflection and searching for answers to the main questions. They are united by the theme of the meaning of life, knowledge of the fundamental principles of being and evolutionary development. The process of comprehending the ideas for expressing them in the form of graphic or pictorial compositions has gone far beyond the scope of fine art and has become a philosophical method for studying reality. This led to the fact that it became possible to implement my creative ideas in large multi-figured paintings. So the picture “Diaries of the Horsemen of the Apocalypse” appeared. In this picture, the Apocalypse, as an emergency intervention in the course of the evolutionary-historical process, is not the end of the world, but its beginning. The Apocalypse is a moment of spiritual and intellectual enlightenment - understanding the true mission of human, as the embodiment of the mind on earth with the goal of cognition and understanding of the infinite Universe.

Artist:
Guennadi Ulibin

Guennadi Ulibin is an artist who is originally from Russia. He has a fine arts degree from the Saint Petersberg Academy of Fine Arts. When we immerse ourselves in the style and ways of the art world it is difficult to classify the characteristics of his works and subject matter. His work is hyperrealist and we regularly find surrealist elements and objects which at times we cannot properly identify. These phantasmagorical elements appear side by side with human figures and surprise because they are painted so realistically and provoke a sense of an unreal reality within Ulibin’s compositions as they are directly captured in the place they represent. Perhaps we can view Guennadi’s work as a form of transcendental realism trying to show us people who, it seems, suddenly, for some mysterious reason, have traveled to another dimension or another world. Real people, made of flesh and blood with their own unique characters, thoughts, and feelings. Nudes on a bare landscape are the main theme in his creations. Technological civilizations no longer exist as there are only the remains of inexplicable machinery depicted as giant silhouettes, which sometimes look like ghosts protruding from the land or emerging from the sea. But the protagonist in his works is always humanity. Despite the apparent stillness emanating from the posture of his characters, one can appreciate enormous energy from within everyone. In the solitude and thoughts of his characters, the painter creates a psychological universe.

Exhibitions

2003: International festivals of modern art. Seville. Spain The international festival of modern art De Arte. Madrid. Spain Circulo Mercantil e Industrial. Seville. Spain Gallery Gema Lazcano. Madrid. Spain Exhibition devoted corrida. Exhibition at the center of the culture of cityOsuna. Spain. Exhibition Modern secrets . Gallery Clave . Spain Gallery Castello 120. Madrid. Spain Exhibition hall Osborne. Puerto de Santa Maria. Spain International Bienale of modern art. Florence. 2002: International festivals of modern art. Seville. Spain Gallery Pablo Ruiz. Malaga. Spain Gallery SanVisente 31. Seville. Spain Gallery Art Gallery Encarna Gomez. Marbella. Spain Exhibition at the center of culture of city Puebla del Rio. Spain Plaza de Armas. Seville. Spain II Bienal of modern figurative art. Gallery Clave. Murcia. Spain I competition devoted to the international day of protection environmental. Exhibition at the centre of culture of city Osuna. Spain. Hermanamiento artistico entre Sevilla y San Petersburgo. An exhibition hall at the centre of TV and radio of an announcement Andalucia. (RTVA). Seville. Spain Exhibition hall of the telecentre Canal Sur. Malaga. Spain Exhibition Tondo. Gallery Clave. Murcia. Spain Palacio de Pena Flor. Ecija. Spain The international festival of modern art. Gante. Belgium. Gallery Castello 120. Madrid. Spain 2000: Charitable exhibitions for the restoration of church Sacred Agustin. center of culture of city Osuna. Spain. 1999: Exhibitions Ballet and dance an Exhibition hall of the union of the artists. St.-Petersburg. Exhibition of degree works. An exhibition hall of Academy of arts. St.-Petersburg. 1997: Exhibition devoted to the teacher. An exhibition hall Academies of arts. St.-Petersburg. Exhibition of the students and teachers in Lenexpo. St.-Petersburg 1996: Exhibitions Northern light Chattanooga. Tennessee. USA. 1993: Exhibitions of Landscape painting. An exhibition hall of Academy arts. St.-Petersburg. .

Solo exhibitions

2003: Galleries Clave. Murcia. Gallery Pablo Ruiz. Malaga. 2001: Exhibition at the centre of culture of city . Casino Cultural de Estepa. Exhibition at the centre of culture of city Lora de Estepa. Gallery Sargadelos. Seville. Exhibition hall Plaza del Altozano. Seville. 2000: Exhibition halls CajaSur- Reyes Catolicos. Cordoba. 1999: Casino de Osuna. Palacio de Pena Flor. . 1998: Exhibition at the centre of culture of city.

Achievement

In 2003 was awarded "The premium Lorenzo Medichi on Bienale international of modern art" in Florence.

Terry Rodgers
Rodgers is an accomplished painter with a striking mastery of light and transitions as is evidenced by his current body of work. This work focuses on the life of the upper-middle-class Americans, seemingly adrift in affluence and casualness, unsatisfied and disconnected. Nonetheless, Rodgers's work remains firmly rooted in life class drawing, necessitating the use of, and contact with, human models. Rodgers asks friends, acquaintances, professional models, and, sometimes, total strangers, to pose for him in a photography session. He then builds a scenario in a painting by pulling together elements from a wide array of photographs. His rendering of an imaginary leisure life stands as an iconic vision of the tensions and confusion endemic to today's society. The resulting images are not snapshots or slices of life, not verite records of actual moments in actual families or party situations, or diaristic records of his family life, but carefully constructed and composited fictions, designed to elicit the most meaning and sustain the maximum amount of ambiguity. The seductive and marvelous glamour of the outer world jars against the vulnerability and delicacy of our inner and private selves. From spectacular large oil canvases and mixed media to stark photo-portraits and kaleidoscopic videos, Rodgers’ work both collapses and emphasizes psychic distance and physical proximity. It suggests that, in a world of ready-made entertainment, there’s an underlying uncertainty and a sense that something is missing.
Cutting edge art and the figurative is again avant-garde in the paintings by Terry Rodgers. The viewer is at the same time a voyeur and a guest at the party, but an existential calm reigns in the paintings. Rodgers is a master of composition.

Artist:
Terry Rodgers

Terry Rodgers is an internationally recognized artist who has worked and lived in Massachusetts, Washington, DC, and Ohio. He attended Amherst College, with a major in the Fine Arts. His strong interest in film and photography influenced his style in the direction of representational realism in art. He spends summers each year in Southern France painting from life and photographically capturing the gestures, faces, and figures that inhabit the 21st Century milieu that he depicts in his paintings.

Several books about his work have been published including: Terry Rodgers — Dimensions of Ambiguity, Terry Rodgers — The Apotheosis of Pleasure, Solo Spaces, and Vectors of Desire. His work has appeared in many museum catalogues, and Rodgers has been featured in numerous publications in America and abroad including Die Welt, Art in America, Citizen K, German GQ, Kunstbeeld, Arte, Die Zeit, NRC Handelsblad, Numero, Zoo, Le Vife, Joia Magazine, Elle and FLAUNT to name a few. His works can also be followed widely in blogs internationally.

Susan Abbott
Susan Abbott was born in Takoma Park, Maryland, and grew up in this Victorian suburb of Washington, DC. Her parents met as labor organizers in the 1930’s, and they continued to be active in social and environmental causes throughout their lives. Because her father was an artist and graphic designer, there were many art books and supplies at home and Abbott was drawing and painting from an early age. Her mother was a skilled seamstress and taught her to sew, knit and embroider. These hand crafts and time outdoors exploring the creeks and woods in her neighborhood were favorite childhood activities that have informed her work as an artist. Abbott began her formal art studies at fourteen, studying life drawing in the summers under the famed professor Robert D’Arista at American University. She dropped out of high school to begin full time studies at the Maryland Institute, College of Art, which she selected for its rigorous painting program. At MICA, Abbott focused on figure painting and plein air landscape with Israel Hershberg. She graduated Summa Cum Laude and two years later received a MFA degree from the Institute’s Hoffberger School of Painting, working with renowned abstract painter Grace Hartigan as her advisor. She went on to study printmaking in the graduate program at the University of Iowa under the master intaglio artist Mauricio Lasansky. Susan Abbott has been working as a professional artist since that time, exhibiting in galleries and museums around the country. Her still life and landscapes have been featured at the Corcoran Gallery of Art, National Museum of Women in the Arts, Contemporary Art Center of Virginia, Museum of Technology, Hood College, and the Baltimore Museum of Art. Her painting was included in the show “Objects of Personal Significance”, which toured museums around the United States. She has been a recipient of a Maryland Art Council “Individual Artist Award” and a Vermont Arts Council “Creation Grant”. In 2009 she was one of ten a

Statement
Growing up in Washington, DC, I had an early love of drawing encouraged by my artist father and for textile crafts learned from my mother, as well as many happy hours exploring neighborhood woods and streams. These childhood activities gave me a connection to hand craft and nature that have stayed with me and informed my work as a painter. In my eagerness to begin my art education I dropped out of high school to attend the Maryland Institute, College of Art, where I received a BFA and MFA. I’ve been working as a professional artist since that time, exhibiting in galleries and museums around the country and teaching art workshops around the world. I moved to Vermont twenty-five years ago for the most impractical of reasons, love at first sight. I’m still attracted to all the ordinary things I see around me here–houses, barns, trucks, fields, mountains—and how they are made magical by ever-changing light and seasons. When I paint in my studio from the references I gather on-site, invented colors and shapes take over and combine with my memory of the subject to create something completely new. My hope is that the paintings that result from this alchemy of the real and abstract communicate to the viewer something of my deep love for the familiar yet mysterious landscape of Vermont. Susan Abbott

Artist:
Susan Abbott

Susan Abbott was born in Takoma Park, Maryland, and grew up in this Victorian suburb of Washington, DC. Her parents met as labor organizers in the 1930’s, and they continued to be active in social and environmental causes throughout their lives. Because her father was an artist and graphic designer, there were many art books and supplies at home and Abbott was drawing and painting from an early age. Her mother was a skilled seamstress and taught her to sew, knit and embroider. These hand crafts and time outdoors exploring the creeks and woods in her neighborhood were favorite childhood activities that have informed her work as an artist. Abbott began her formal art studies at fourteen, studying life drawing in the summers under the famed professor Robert D’Arista at American University. She dropped out of high school to begin full time studies at the Maryland Institute, College of Art, which she selected for its rigorous painting program. At MICA, Abbott focused on figure painting and plein air landscape with Israel Hershberg. She graduated Summa Cum Laude and two years later received a MFA degree from the Institute’s Hoffberger School of Painting, working with renowned abstract painter Grace Hartigan as her advisor. She went on to study printmaking in the graduate program at the University of Iowa under the master intaglio artist Mauricio Lasansky. Susan Abbott has been working as a professional artist since that time, exhibiting in galleries and museums around the country. Her still life and landscapes have been featured at the Corcoran Gallery of Art, National Museum of Women in the Arts, Contemporary Art Center of Virginia, Museum of Technology, Hood College, and the Baltimore Museum of Art. Her painting was included in the show “Objects of Personal Significance”, which toured museums around the United States. She has been a recipient of a Maryland Art Council “Individual Artist Award” and a Vermont Arts Council “Creation Grant”. In 2009 she was one of ten artists selected from an international competition to receive funding to produce a series of paintings about the future of Vermont for the “Art of Action” project. She is an active partner with non-profits in projects that connect art and conservation. Susan Abbott’s paintings are in many private and corporate collections, including Mead Data Central, the Gund Company, the Federal Home Mortgage Administration, Peat Marwick, and Chittenden Bank. Her commission for Oprah Winfrey was featured on the Oprah Winfrey Show.

Statement

Growing up in Washington, DC, I had an early love of drawing encouraged by my artist father and for textile crafts learned from my mother, as well as many happy hours exploring neighborhood woods and streams. These childhood activities gave me a connection to hand craft and nature that have stayed with me and informed my work as a painter. In my eagerness to begin my art education I dropped out of high school to attend the Maryland Institute, College of Art, where I received a BFA and MFA. I’ve been working as a professional artist since that time, exhibiting in galleries and museums around the country and teaching art workshops around the world. I moved to Vermont twenty-five years ago for the most impractical of reasons, love at first sight. I’m still attracted to all the ordinary things I see around me here–houses, barns, trucks, fields, mountains—and how they are made magical by ever-changing light and seasons. When I paint in my studio from the references I gather on-site, invented colors and shapes take over and combine with my memory of the subject to create something completely new. My hope is that the paintings that result from this alchemy of the real and abstract communicate to the viewer something of my deep love for the familiar yet mysterious landscape of Vermont. Susan Abbott

Ha Thi Nguyen Nguyễn Thị Hà
Nguyễn Thị Hà’s work unfolds as a poetic and visually sensitive exploration of form, light and cultural resonance, where each composition reads as an emotional impression rather than a literal snapshot of reality. Her paintings often blend figuration with atmospheric fields of colour and texture, creating scenes that feel both intimate and reverberant, suggesting memory, place and personal experience without explicit narrative. Through nuanced modulation of tones and an intuitive sense of composition, her art invites the viewer into a contemplative encounter with space and mood, where familiar elements are transformed into evocative visual impressions. In exhibition contexts, Hà’s artistic language speaks to a meditative engagement with surface and form: quieter passages of gentle light contrast with deeper, more saturated areas, giving her work a rhythm that both soothes and intrigues. This balance between visual lyricism and expressive structure allows her paintings to resonate beyond immediate recognition, encouraging viewers to pause and reflect on the subtleties of perception, emotion and the everyday moments her images quietly evoke

Artist:
Nguyễn Thị Hà

Artist statement

I paint what is around me — the things that draw me in and captivate me. For me, the act of painting is not only an exploration of art, but also a journey of discovering myself. Painting gives me the precious opportunity to observe more deeply and profoundly the magical beauty of nature, of people, and of life itself. When I paint, I convey my own way of seeing — and it is precisely through those observations that I recognize the silent, empty moments of the mind, the places where I feel truly free. The struggles and contradictions that surround the life of an artist also constantly lead me to question my inner conflicts — where do they come from, and what meaning do they hold? Art, perhaps, is the most fitting path for me to truly feel life and to learn the lessons that are uniquely my own. I feel fortunate. I would like to introduce to everyone my way of looking at nature and at life through these paintings. Nguyễn Thị Hà

Sheryl Luxenburg Canadian Hyperreal Painter
Evgenia Luxenburg’s drafting and painting methods are grounded in classical formulae. She works in dry brush style using a dappled technique of lying different colored marks of paint side by side and by glazing with thin translucent layers of single color one on top of the other. Through the decades, she has maintained allegiance to water-based media and has invented unusual methods of applying absorbent compound on top of gessoed layers and in mixing acrylic and water-color paint with a granulating medium. In all compositions, she strives for tight details and precision on the main subject elements and uses an airbrush when suggesting the background.

Theme
Luxenburg describes her figures interacting with water or condensation on glass as a symbolic expression, a metaphor for a fatigued emotional state, a sense of alienation and the process of cleansing disturbing emotions. She describes her models as the vessels who carry her projected emotions. Most of Luxenburg’s series’ portray her moods and the psychological phases relating to the challenging periods in her life.

Artist:
Sheryl Luxenburg

Sheryl Luxenburg is a Canadian hyperrealist painter and artist mentor based in Ottawa who uses watercolor on paper and acrylic on linen with airbrush and regular brush to capture ultra-realistic subject matter. The flattened depiction of space revealed in her paintings is so hard to distinguish from reality, especially when viewed online, that many scrolls over her hand-painted work thinking they are photographs. Although Luxenburg’s technical skills are impeccable, it is most important to her that the viewer identifies with her subject matter and finds the soul in her artwork.

Education

Her undergraduate art education was completed in studio painting at Concordia University and The School of Art & Design of The Montreal Museum of Fine Arts, Montreal, Quebec,.Then she attended graduate studies at McGill University , Montreal, Quebec. The Banff Centre For The Arts, Banff Alberta and at Keene State College, New Hampshire, U.S.

Astrid Stöppel
Astrid Stoeppel’s art is rooted in a vibrant and dynamic exploration of colour, geometry, and visual rhythm, where simple forms such as circles, dots, lines and fields of pure colour become the language of emotional and perceptual engagement. Through her abstract compositions, she invites viewers to slow down and immerse themselves in the interplay of hues and shapes, encouraging repeated looking and continuous reinterpretation of what at first appears minimal. Her work balances clarity and complexity, using bold, saturated tones and clean geometric elements to create paintings that feel both immediate and meditative, drawing attention to the joy and energy inherent in colour itself. In recent series and exhibitions, Stoeppel has expanded this language into a more spontaneous and expressive approach, blending geometric discipline with freer gestures and nuanced gradations of acrylic and oil. Her pieces resonate with a sense of optimism and visual harmony, inviting the viewer to experience abstraction not simply as form, but as a space for reflection, emotional resonance and perceptual pleasure. Exhibited internationally — from New York and Paris to Milan — her art encourages audiences to engage with the pure sensory experience of colour and shape, offering an uplifting and contemplative encounter in contemporary abstraction.

Artist:
Astrid Stoeppel

Astrid Stoeppel is a professional contemporary artist born in Germany and based in South Germany and Italy/Marche with a passion for bright pure colors and geometric shapes. Her artworks are part of public and private collections in more than 30 countries worldwide. Stoeppel was born on the 7th of June 1974 in Weilheim, Germany. After her studies in biology and human genetics in Munich she decided to enter in the own family business, a store with books and art supplies located in Weilheim. Her first exhibitions (2012) took place in her studio and in local store rooms with awesome success. In 2014 Astrid Stoeppel designed her own website, created social media profiles and became a member of various online galleries and art blogs. Now she gets invitations to national and international group or solo shows as well as art fairs and charity events. Astrid has experimented with different mediums and worked on various styles. Her unique artworks with acrylic colors are painted on large-scale canvases: bright, bold and powerful colors in common geometric shapes like lines, dots, circles and color fields. Another important sphere of action of Stoeppel are one-of-a-kind wall sculptures, based on snippets of paper mounted on canvas as well as digital art.

Statement

"I'm captivated by vibrant and powerful colors arranged in geometric patterns. That's me: precise and organized at work, yet always creative, inquisitive, passionate, and a touch imperfect. Color itself inspires me, and I cherish its purity. Each individual hue receives my full attention. I paint color by color, gradually filling the canvas with dynamism, vitality, and structure. My message? Time is fleeting, and our minds are heavily influenced by the media and social networks. I wish for people to pause their thoughts, relax, follow the lines, move with the circles, observe the dots and color fields in my art, and experience the liveliness and allure of pure colors and common shapes."

Joseph Lorusso
Inspired by the expressive power of his medium and its history, Joseph Lorusso produces emotionally evocative oil on canvas paintings. His childhood trips to Italy, where he was exposed to the Old Masters and the country’s rich artistic heritage, sparked his interest in art. He initially studied watercolor painting and later switched to oils, teaching himself how to work with the latter material. He concentrates on urban and natural landscapes and the human figure, rendering his subjects in a naturalistic, impressionistic style. Lorusso is especially interested in painting ordinary people in everyday settings, which he invests with a sense of pathos and mystery. Through his work, he aims to connect to others by conveying universal human experiences. “I believe truly great art serves as a trigger into something deeper within all of us,” he says.
Joseph Lorusso creates landscapes and figurative works. In painting these subjects, He has concentrated on honing his powers of observation, especially as it concerns to color, texture, form and composition. Lorusso’s paintings have been described as warm and dreamlike, places of restful escape with a sense of spirituality, and share timelessness with the works of other eras. The mood and emotion conveyed in Lorusso’s paintings evokes a deep sense of beauty found in the quiet times of daily living. His people are mysterious, lonely, romantic and yet familiar, placed in settings we often see ourselves. Lorusso’s paintings have gained notoriety by their ability to connect with the viewer, resonating in a way that is intimate and personal.

Artist:
Joseph Lorusso

Joseph Lorusso was born in Chicago, Illinois, in 1966 and received his formal training at the American Academy of Art. He went on to receive his B.F.A. degree from the Kansas City Art Institute. Born of Italian descent, Lorusso was exposed to art at an early age. Through several early trips to Italy, his parents introduced him to the works of the Italian Masters. Lorusso would look to these influences throughout his early artistic development and they are still evident in his work today. While in school, Lorusso majored in watercolor and considers himself self-taught as an oil painter. He learned to paint by studying the works of master painters, often losing himself in the halls of the Chicago Art Institute during lunch hours, which frequently turned into afternoons of self-study.

Lorusso’s work has been shown internationally and has won numerous awards and honors. He has been featured in American Artist magazine, Southwest Art, U.S. Art, Art & Antiques, The Artists Magazine, Art News, American Art Collector, International Artist and Art Talk magazines. Lorusso’s work is part of many private collections; his work is in the permanent collections of the Albrecht-Kemper Museum, St.Joseph, Missouri and the Wichita Museum of Art, Wichita, Kansas. Joseph Lorusso is currently represented by McLarry Fine Art, Santa Fe, NM, Bonner-David Gallery, Scottsdale, AZ, Newbury Fine Art, Boston, MA, Principle Gallery, Charleston, SC, and Alexandria,VA, Jones and Terwilliger Galleries, Carmel, CA, Broadmoor Galleries, Colorado Springs, CO and Saks Gallery, Denver, CO.

Exhibitions

2019: Wine & Art Soirée, Kelly D Kennedy Fine Art LLC, Midland Wine & Art Soriee, Kelly D Kennedy Fine Art LLC, Midland# 2018: Summer Small Works, Maxwell Alexander Gallery, Los Angeles Within the City, Bonner David Galleries, Scottsdale 2016: Chévere, Sirona Fine Art, Hallandale Beach New Work, Saks Galleries, Denver 2015: The Great Holiday Exhibition, Saks Galleries, Denver Spring Exhibition 2015, Saks Galleries, Denver 2014: American Art Invitational 2014, Saks Galleries, Denver Solo Exhibitions: 2019 Artist's Demonstration: Joseph Lorusso, Bonner David Galleries, Scottsdale 2014 Joseph Lorusso August Artist of the Month, Saks Galleries, Denver

Discovering the works of the Impressionists, he gravitated towards the works of Manet and Vuillard. Lorusso searched for similar work of such emotion and soon became an avid student of painting, seeking out and immersing himself in the works of various artists. This path would ultimately lead him to the works of Sargent, Sorolla, Whistler and a whole army of lesser-known yet equally capable painters. Within this group of artists, Lorusso would find a sense of identity. In these masterful works, he saw the power to harness emotion and convey it with power and confidence, yet with delicacy and tasteful restraint. He also saw in these artists the ability to express the "essence” of an object with just a few carefully chosen brushstrokes, creating a visceral and intuitive state of painting.

Toshihiko Okuya
Born in Gifu, Japan in 1955. Toshihiko Okuya is a Japanese master of digital painting. In his work, the strangeness of human existence is expressed in an allegorical and plastic vision. It is sometimes violent, demonic and emotional. And it tells various stories. You may find yourself there.

Artist:
Toshihiko Okuya

TOSHIHIKO OKUYA

Toshihiko Okuya is a Japanese master of digital painting. In his work, the strangeness of human existence is expressed in an allegorical and plastic vision. It is sometimes violent, demonic and emotional. And it tells various stories. You may find yourself there. 1955 Born in Japan, Gifu Prefecture 1981 - Started illustration work with magazines etc 1982 - Illustration work such as children's books and picture books. Announcing maze and illustration puzzle with magazines, books 1983 - School for Children Education, Lecturer 1996 - Started work on graphic design, web design 2001 - Although he was producing oil paintings in parallel, he scanned the work and started making digital works on a personal computer.

EXHIBITS (SELECTION)

1989 "Illustration in Japan 1988" Exhibition (Seibu Art Forum) 2001 Mikuni Town Trick Art Competition Award Winning Work Exhibition (Mikuni RyuShoKan) 2008 44th Kanagawa Prefectural Art Exhibition (Kanagawa Prefectural Art Museum) 2010 Epson Color Image Contest, Winning Work Exhibition (epSITE-shinjyuku)

PRIZES

1978 Creative Picture Book Recruiter Award, Excellence Award Winner (Creative Picture Book) 2001 Fukui Prefecture Mikuni Town 4th Trick Art Competition Special Prize Winner (Puzzle Art) 2008 44th Kanagawa Prefectural Art Exhibition, Selected (Oil Painting) 2009 Epson Color Imaging Contest Selected (Digital Art, Inkjet Print Works)

WEB

WikiArt: https://www.wikiart.org/en/toshihiko-okuya Instagram: https://www.instagram.com/okuya.toshihiko/ Tumblr: https://toshihiko-okuya.tumblr.com/

Jason Anderson
Jason Anderson’s paintings captivate through their striking interplay of color, structure, and emotion. Built from bold, geometric fragments, his compositions evoke landscapes, skylines, and seascapes without ever depicting them directly. Thick, layered knife strokes create a mosaic-like surface that reflects his background in stained glass, allowing light to seem almost tangible within the paint. His works balance precision and spontaneity, offering both architectural order and expressive freedom — a harmony that invites viewers to experience color as light in motion. What makes Anderson’s art so distinctive is its ability to shift and transform with perspective. From a distance, his paintings appear as cohesive scenes, rich in atmosphere and depth; up close, they dissolve into abstract fields of pure color and texture. This dynamic quality gives each piece a living presence — vibrant, meditative, and ever-changing. In his exploration of light, space, and emotion, Jason Anderson creates a contemporary language of abstraction that feels at once modern and timeless.

Artist:
Jason Anderson

Jason Anderson, born and raised in southern England, began his artistic career as a stained-glass craftsman. Early in his life, he worked on restoration projects for some of the UK’s most renowned cathedrals, including York Minster, Gloucester Cathedral, and Wells Cathedral. These experiences deeply shaped his sensitivity to color, light, and structure — qualities that continue to define his work today. His early exposure to the interplay of light through glass would later evolve into a distinctive approach to abstract painting, characterized by a mosaic-like arrangement of colors and forms. Now based in Dorset, on the southern coast of England, Anderson is known for his vibrant, geometric oil paintings that bridge the gap between abstraction and impressionism. Using thick, textured knife or brush strokes, he builds compositions that evoke landscapes, seascapes, and urban skylines — not as literal depictions, but as emotional impressions. Each painting is a study in light and movement, where color fields seem to shift and interact as the viewer changes position. The result is a body of work that feels dynamic, harmonious, and almost architectural in its precision.

RENAUD GRIZARD - https://www.grizard.fr
Soft, luminous, in warm and acidulous tones, his paintings question above all the place of man in society and nature. While we are constantly confronted with a flood of information and events, his works invite us to slow down, to look, to consider different points of view. Anchored in his time, his powerful and sober work imposes itself on us, almost like a philosophy, and the texts chosen for the title add poetry to an already eminently poetic work.

Artist:
RENAUD GRIZARD

Né en 1961 à Paris. Après une enfance au Canada et au Pakistan, il revient en France où il effectue ses études d’architecture à Marseille. Après obtention de son diplôme en 1986, il abandonne très rapidement sa profession d’architecte pour se consacrer exclusivement à la peinture. Il vit et travaille à Marseille. ​ Born in 1961 in Paris. He spent his youth in Canada and Pakistan before coming back to France to study at the Architecture School of Marseille. After his graduation in 1986, he rapidly gave up architecture as a living to dedicate himself exclusively to painting. He now lives and works in Marseille.

Alejandra Caballero
Current figurative poetic paintings Intimate scenes predominate where time passes slowly and the characters contemplate, reflect or are revealed in everyday actions. As in memories, the superfluous is eliminated. The female figure stands out in spaces where light and sometimes the sea are also protagonists. Alejandra excites us with her scenes of eloquent silences and makes us participate in a game of looks where the viewer is an active piece that finishes giving the ultimate meaning to the work.
If anything characterizes Alejandra Caballero, it is the deep stillness present in her works. Everyday intimate life (similar to that of the Dutch Flemish), accompanied by a diffused brush stroke, results in the impression of languor, as if diluted. The tones, in turn, distill harmony and softness, transmitting peace, a sense of nostalgia, of a deep calm, of serenity.

Artist:
Alejandra Caballero

Current figurative poetic paintings Intimate scenes predominate where time passes slowly and the characters contemplate, reflect or are revealed in everyday actions. As in memories, the superfluous is eliminated. The female figure stands out in spaces where light and sometimes the sea are also protagonists. Alejandra excites us with her scenes of eloquent silences and makes us participate in a game of looks where the viewer is an active piece that finishes giving the ultimate meaning to the work. If anything characterizes Alejandra Caballero, it is the deep stillness present in her works. Everyday intimate life (similar to that of the Dutch Flemish), accompanied by a diffused brush stroke, results in the impression of languor, as if diluted. The tones, in turn, distill harmony and softness, transmitting peace, a sense of nostalgia, of a deep calm, of serenity.

Elena Volkova Елена Волкова

Artist:
Elena Volkova Елена Волкова

Born in Yalta, living in Moscow, Russia

Evgenia Trifonova
Evgenia Trifonova’s art is characterized by rich, evocative still lifes and figurative compositions that invite viewers into quietly contemplative worlds of color, texture, and everyday objects. Working primarily in oil, her paintings transform simple subjects — fruit, flowers, table settings, domestic scenes, and humble objects — into compositions that balance realist observation with painterly sensitivity, capturing light and surface with nuanced attention. Trifonova’s use of color and form infuses familiar motifs with a sense of calm poetry, where the arrangement of elements feels both intentional and gently spontaneous, encouraging an appreciation of beauty in the ordinary. In an exhibition context, her work offers a meditative experience that celebrates the tactile richness of paint and the quiet resonance of still life as a genre.

Artist:
Evgenia Trifonova

Evgenia Trifonova was born in 1972 in the city of Zheleznogorsk. Evgenia's favorite genre is still life. Her stylish compositions created with great technical skill captivate with their simplicity and sincerity, and they emanate warmth and tranquility. Evgenia is a member of the creative union of artists. The artist’s paintings are in private collections in Russia and abroad.

Works by Victor Onyshchenko
Victor Onyshchenko was born in Chernihiv, Ukraine, in December 1977. He Studied at T.G. Shevchenko State Art Secondary School and The National Academy of Fine Art and Architecture, Kyiv, Ukraine. He is a member of the National Union of Artists of Ukraine since 2017. Currently, Victor lives and works in Kyiv.

Artist:
Victor Onyshchenko

Victor Onyshchenko was born in Chernihiv, Ukraine, in December 1977. He Studied at T.G. Shevchenko State Art Secondary School and The National Academy of Fine Art and Architecture, Kyiv, Ukraine. He is a member of the National Union of Artists of Ukraine since 2017. Currently, Victor lives and works in Kyiv.

Exhibitions

February 2019. Anniversary exhibition of the Kyiv organization of the National Union of Artists of Ukraine. Kyiv. July 2019 - All-Ukrainian Triennial of Painting. Kyiv. November 2019 - International Trial "Wandering Philosophy", Kremenchug City July 2017 - Chernihiv - ("Around us". In the exhibition hall of the Union of Artists). August 2017 - Kyiv - (Independence Day exhibition). August-September 2017- Dnipro - ("The wonderful colors of the Dnieper"). January 2016 - Kyiv (Christmas exhibition). June 2016 - Mariupol (Memorial to A.I. Kuindzhy exhibition). Dec 2013-Jan 2014 - Museum of Arts, Chernihiv.Exhibitions: November 2011 - Gallery 24, Chernihiv. February 2012 - Simferopol art museum, Crimea September 2012 - Molodezhny Theatre, Chernihiv.

Sasha Hartslief
Hartslief's experimentation with chiaroscuro techniques derives inspiration from the works by 17th century Baroque masters such as Rembrandt who, through the buildup of impasto paint, evoked light and shadow in his portraits as a psychological device, similar to the way in which stage-lighting functions in the theatre. Often seeming to be lit from below, the expressive shading in Hartslief's portraits tends to converge around the facial hollows, giving the paintings a spatial as well as emotional depth. The eyes of the women in her portraits, in particular, seem inwardly focused.

Artist:
Sasha Hartslief

Sasha Hartslief was born in 1974 in Gauteng. At the age of seventeen, she came to Cape Town to study English and Philosophy at UCT. Passionate about drawing from an early age, she is largely self-taught, closely observing other artists and avidly reading up on technique. Hartslief had always been passionate about drawing, but the desire to become an artist only crystallized into a decision in 1995, when she enrolled at Cape College under the tutelage of Elizabeth Gunter. Her subjects are often viewed from a philosophical, deeply personal perspective, resulting in striking works that are emotionally charged, pensive in mood and considered in composition. Her subtle investigations into the human condition via the underbelly of Cape Town life somehow strike a chord with us. "I defer to the classical Masters for inspiration," says Sasha Hartslief, who admits to placing images painted by the 19th century American Impressionist, John Singer Sargent, next to her easel while she paints. Her muses include the 19th century neo-classicist, Jean-Auguste-Dominique Ingres, whose draughtsmanship and linear dexterity provide formal inspiration for her works. But Hartslief's brushstrokes are more diffuse than the precise, stylized techniques of the neo-classicists. Like the 19th century French Impressionists, she uses brushstrokes to evoke the transience of light, colour and movement. And like her Renaissance and Impressionist forebears, she employs everyday visual devices to explore the way in which atmospheric light and tonal modulations inform a surface, and to evoke atmospheres fraught with symbolic subtexts. But the transience of the captured moment is counterbalanced by the disciplined rigour of Hartslief's technique and painterly process. She admits to being "obsessively skills-driven and consumed" by her work. Each image becomes a formal study in light, contour and line. Hartslief's experimentation with chiaroscuro techniques derives inspiration from the works by 17th century Baroque masters such as Rembrandt who, through the buildup of impasto paint, evoked light and shadow in his portraits as a psychological device, similar to the way in which stage-lighting functions in the theatre. Often seeming to be lit from below, the expressive shading in Hartslief's portraits tends to converge around the facial hollows, giving the paintings a spatial as well as emotional depth. The eyes of the women in her portraits, in particular, seem inwardly focused. Since 1999, Hartslief has exhibited regularly at the Everard Read Gallery, Cape Town, including several solo exhibitions. She continues to attract a broad collector base from around the world and is clearly one of South Africa’s most exciting young talents.

SELECTED SOLO EXHIBITIONS

2018 Interiors, Everard Read, Cape Town, South Africa Aura, Everard Read, London, UK 2016 Sasha Hartslief: New Works, Everard Read, Cape Town, South Africa 2013 Hartslief New Works, Everard Read, Johannesburg, South Africa 2012 Sasha Hartslief, Everard Read, Cape Town, South Africa Solo Exhibition, Rosendahl, Thöne & Westphal, Berlin, Germany 2011 Recent Works, Everard Read, Cape Town 2009 Sasha Hartslief : New Works, Everard Read, Cape Town 2007 Solo Exhibition, Everard Read, Cape Town

SELECTED GROUP EXHIBITIONS

2017 People & Portaiture, Everard Read CIRCA Gallery, Cape Town, South Africa 2016 Nocturne, Everard Read Gallery, Cape Town, South Africa 2015 Summer in the City, Everard Read Gallery, Cape Town, South Africa Homage , Everard Read Gallery, Cape Town, South Africa WINTER, Everard Read Gallery, Cape Town, South Africa EMPIRE, Everard Read Gallery, Cape Town, South Africa 2014 Summer Season Part I, Everard Read Gallery, Cape Town, South Africa Winter, Everard Read Gallery, Cape Town, South Africa 2013 100, Everard Read, Cape Town, South Africa

Alexey Lantsev
Painter Alexei Lantsev, a graduate of Moscow's Surikov School of Fine Arts, explores a wide range of subjects in abstract and semi-abstract painting styles. He was born in 1970 in the city of Krasnodar and has had more than 20 solo exhibitions in Russia, France, Germany, the United Kingdom, Switzerland and Hong Kong. “To paint, you have to close your eyes and sing,” Picasso once said. It seems that when Alexei Lantsev paints his pictures, he not only sings, but at the same time performs a real dance with a brush, giving in to an impulse that drives him from within. All his compositions essentially consist of a combination of a graceful line with sonorous color spots, which are distributed as if intuitively over the entire surface of the sheet. The guiding theme of Alexei Lantsev's work is always the search for a balance between logic and feeling, be it abstraction, landscape or figurative art. The echo of Matisse's distant song, the melody of Lantsev's painting undoubtedly testifies to the joy of life. The harmonious compositions in contrasting colors invite a silent attempt to hear your mysterious inner symphony while finding the area where the words end and the music begins.

Artist:
Alexey Lantsev

Painter Alexei Lantsev, a graduate of Moscow's Surikov School of Fine Arts, explores a wide range of subjects in abstract and semi-abstract painting styles. He was born in 1970 in the city of Krasnodar and has had more than 20 solo exhibitions in Russia, France, Germany, the United Kingdom, Switzerland and Hong Kong. “To paint, you have to close your eyes and sing,” Picasso once said. It seems that when Alexei Lantsev paints his pictures, he not only sings, but at the same time performs a real dance with a brush, giving in to an impulse that drives him from within. All his compositions essentially consist of a combination of a graceful line with sonorous color spots, which are distributed as if intuitively over the entire surface of the sheet. The guiding theme of Alexei Lantsev's work is always the search for a balance between logic and feeling, be it abstraction, landscape or figurative art. The echo of Matisse's distant song, the melody of Lantsev's painting undoubtedly testifies to the joy of life. The harmonious compositions in contrasting colors invite a silent attempt to hear your mysterious inner symphony while finding the area where the words end and the music begins.

Warwick Fuller
“You can read ad infinitum of the landscape painter trying to “paint his feelings”, “capture the light”, “render the mood of a scene”. There is nothing particularly new or unique in this ideology, developed in part through a natural progression of a very strong landscape tradition in Australia. It is sad to see these expressions misused, abused and over used to the point of becoming almost meaningless with insincerity. Those statements are though, I believe, some of the more important aims and ideals at the core of the genuine landscape painter’s psyche. I, like others, do search for a means of expressing these qualities! I know for me these are genuine and worthy goals. In this, there is a dilemma I feel will test me. It has been a long held opinion of mine that too often the work of the traditional landscape painter has been seen in an over-familiar sort of way. That is, known objects in the picture being seen superficially and assessed according to a preconceived understanding of those objects. How do I express my vision of the subject unambiguously. It’s not a technical thing as for example, in composition. It’s far more elusive than that. I am doubting more often whether the direction I am taking can adequately reveal, for example, the thrill of gazing at the last rays of sunlight in the tree tops. I can paint something of what it looks like but I am trying to paint how I feel! I want my pictures to sing the songs I sang when I painted them. My hope is that if I can paint with the joy of that moment, something of my emotional responses to the moment will shine through.” Warwick Fuller

Artist:
Warwick Fuller

Plein air painter Career spanning over 35 years Fellow of the Royal Art Society of NSW Paintings hung in private, corporate and institutional collections in Australia and overseas Represented in prominent galleries in Sydney, Blue Mountains and London Numerous awards and over 60 one-man exhibitions Occasional art judge, adviser and teacher Lives in Little Hartley, west of the Blue Mountains, NSW.

“You can read ad infinitum of the landscape painter trying to “paint his feelings”, “capture the light”, “render the mood of a scene”. There is nothing particularly new or unique in this ideology, developed in part through a natural progression of a very strong landscape tradition in Australia. It is sad to see these expressions misused, abused and over used to the point of becoming almost meaningless with insincerity. Those statements are though, I believe, some of the more important aims and ideals at the core of the genuine landscape painter’s psyche. I, like others, do search for a means of expressing these qualities! I know for me these are genuine and worthy goals. In this, there is a dilemma I feel will test me. It has been a long held opinion of mine that too often the work of the traditional landscape painter has been seen in an over-familiar sort of way. That is, known objects in the picture being seen superficially and assessed according to a preconceived understanding of those objects. How do I express my vision of the subject unambiguously. It’s not a technical thing as for example, in composition. It’s far more elusive than that. I am doubting more often whether the direction I am taking can adequately reveal, for example, the thrill of gazing at the last rays of sunlight in the tree tops. I can paint something of what it looks like but I am trying to paint how I feel! I want my pictures to sing the songs I sang when I painted them. My hope is that if I can paint with the joy of that moment, something of my emotional responses to the moment will shine through.” Warwick Fuller

Hanjo Schmidt
Hanjo Schmidts paintings are the departure from the smooth evenness of the beautiful facade to the core of the human being in its essence. His paintings represent the human being per se: an ambivalent existence, beautiful and at the same time ugly, vulnerable and brusque, searching and denying, showing and hiding. Our look at the paintings is like a look in the mirror reflecting upon ourselves.

Artist:
HANJO SCHMIDT

Born 1944 in Oberstdorf/Allgäu Germany

Selected Solo Exhibitions

2016 *Hanjo Schmidt, Malerei, Städtische Galerie Fellbach 2015 Goldrotschwarz German Arthouse, Vielschichtig, Potsdam 2014 Park Art Fair International, Triberg 2013 VBKW Waiblingen, Was bleibt Württembergischer Kunstverein, Gesichter *Kunstverein Musberg, Messer statt Pinsel, Lignopraphie VBKW, Open Studio 2012 VBKW Jahresausstellung Waiblingen, Portrait Park Art Fair International, Genf 2011 Park Art Fair International, Genf, Erster Preis 2010 Landratsamt Waiblingen, Gesichter 2009 Park Art Fair International, Genf Galerie Bräuning, Esslingen, Körper Zomertentoonstelling, Galerie Mokum, Amsterdam A Book about Death, The Emily Harvey Foundation, New York 2008 *Kunstforum Weil der Stadt, Wendelinskapelle, Gesichter 2007 *Open Studio, The Trapani Project *Kunstverein Musberg, Malerei Artprocess Trapani 2007, The Trapani Project 2005 *Open Studio Kunstverein Baden Württemberg, Stuttgart, Jahresausstellung 2004 *Galerie Dr. Ulrike Montigel, Stuttgart 2003 *Open Studio *Galerie Gatzanis, Stuttgart, 2002 *Papp Gallery, Soho, NYC 2001 *b+b Galerie, Stuttgart *Crane Street Studio House, Open Studio, NYC

Bibliography

Georg Leisten, “Nackedeis mit Fettröllchen”, Stuttgarter Zeitung, 30. Januar 2004 Petra Mostbacher, Interview, Lift Stadtmagazin, 2005 Petra Mostbacher, „Unendliche Nuancen“, Der Maler Hanjo Schmidt, Sonnendeck, 2006 Adrienne Braun in: Katalog Hanjo Schmidt Gesichter, Kunstforum Weil der Stadt 2008 Reiner Enke, “Dem Menschen ins nackte Antlitz schauen”, Leonberger Kreiszeitung, 2008 Christa Hagmeyer; “Der menschliche Ausdruck schlechthin”, Kreiszeitung Böblingen, 2008 Jochen Buchholz, “Gesichter sind wie eine Bühne”, Böblinger Zeitung, 2008 Georg Leisten, “Monster-Ich”, Folder zu Threefold Black, 2009 Grady Harp, „Painting larger than Life yet About it“, Poets&Artists Magazine, Los Angeles

Awards and Honours

Appointed New York Foundation for the Arts (NYFA) Fellowship in Painting for 2006 First Prize, Park Art Fair International, Genf 2011

Cesar Biojo
Interested in the way we humans perceive ourselves as a part of the universe.His work focuses on the emotions that we consider as "negative" in our moral system, since, he believes, they confront our human nature making it more latent and visible. Taking as starting point the quote of Jean Paul Sartre, "The gaze of the other makes us aware of ourselves", his work becomes an introspective study of human beings, their conflicts, their nature and existence.

Artist:
Cesar Biojo

Cesar Biojo (1981, Cali/Colombia) holds degrees in Fine Arts and Art History from Florida State University and currently works on a Ph.D. in Art Research from the University of Barcelona. His works are oil portraits created from pictorial resources that are destroyed immediate leaving evidence behind. This way the concept of time is introduced, connotating concepts inherent in the human being such as creation and destruction, the perishable and ephemeral. His work recovers in some cases post-impressionist styles, resulting in a personal language that makes his art project one of the most interesting in the contemporary scene. His work has taken part in a number of national and international exhibitions. He lives and works in Barcelona/Spain.

Solo Exhibitions

2018 Still, Artevistas Gallery, Barcelona Still, Artevistas gallery, Barcelona, Spain

GERARDO FELDSTEIN NosOtros
Gerardo Feldstein’s sculptural work is marked by a playful, imaginative and often whimsical engagement with the human figure and form. Emerging from a background in painting, Feldstein constructs his sculptures using a variety of materials — including wire, wood, textiles and mixed media — to create figures that stretch, distort and reconfigure the body in surprising ways. These works often feature exaggerated proportions, such as oversized hands, arms or feet juxtaposed with smaller heads, giving the figures a sense of both humor and poetic absurdity that invites viewers to reflect on the absurdities and curiosities of everyday life. His sculptures balance a sense of material expressiveness with conceptual wit, making familiar forms feel fresh and evocative rather than literal. Across his body of work, Feldstein explores movement, balance and presence, using the physical tension of his materials to convey emotion and narrative without relying on detailed anatomy. The resulting pieces often feel as if they are caught in mid-action — playfully stretching beyond their own outlines or engaging with space in unexpected ways — creating a dynamic visual rhythm that animates exhibition spaces. This approach, combining whimsy with thoughtful construction, gives his sculptures a unique voice within contemporary Argentine and international art, engaging audiences with both their inventive forms and subtly reflective character.

Artist:
GERARDO FELDSTEIN

SELECTION COLLECTIVE EXHIBITIONS

2019 Art Paris, Grand Palais, París France /Huntenkunst Art Fair, Ulft, Nederlands 2018 Art Expo Malaysia, DC Gallery, Malaysia / BARCÚ, DC Gallery, Colombia / Art Chico DC Gallery, Colombia / Salón Manuel Belgrano, Dibujo y Escultura, Mueso E. Sívori, Bs. As. Heterodoxa, Museo de la Cárcova, Bs. As / Faca, Galería Imaginario, Hipódromo Argentino, Bs. As. 2017 Huntenkunst Art Fair , Ulft, Nederlands / Beyond Time and Space, Gwangju National Muesum, South Korea / Zu-recht gebogen, Land Man 3, KÖlon, Germany / Stroke Art Fair, Munich, Germany / Art Lima, Galería Alfredo Ginoccio, Perú / Salón Nacional de Artes Visuales, Dibujo y Escultura, Palais de Glace, Bs. As. / Salón Manuel Belgrano, Dibujo y Escultura, Mueso E. Sívori, Bs. As. 2015 ART Revolution, Taipei; Taiwan 2013 Kiaf, Seúl, Corea, Mundo Nuevo Gallery Art 2012 Kiaf, Seúl, Corea, Mundo Nuevo Gallery Art 2011 KIAF Korean Art Fair, Mundo Nuevo Art Gallery, Korea del Sur/ Arteaméricas, LZ Fine Art, Miami, EEUU/ Realidad Utópica, Centro Cultural Coreano de Bs.As./ Arte Ba Galería Holz 2010 Cuatro artistas argentinos, Embajada Argentina en Ottawa, Canadá/ Artecho, Ctro. Cultural Recoleta – Malba 2009 2ª muestra y subasta de Arte Contemporáneo, Amia- Malba/ Arte Ba 09, Mundo Nuevo Gallery Art, CABA/ Cuatro Artistas Contemporáneos Mundo Nuevo Gallery Art, CABA 2008 Buenos Aires Polo and Arts, CABA/Muestra y remate en el Sívori, Museo E. Sívori/ 2007 Beauty in Art: 21st Century Interpretations, Ruiz Healy Art Inc. San Antonio, Texas- 2006 Primera Muestra de Arte Urbano a Cielo Abierto, Corazones Vivos, Buenos. Aires Cow Parade, Buenos Aires 2000-2005 Arte Ba Espacio Giesso, Buenos Aires

SELECTION SOLO SHOW

2019 Une Exposition de Gerardo Feldstein, APPART Paris, Francia 2016 Equilibriums, Afredo Ginoccio Gallery, Mexico, México 2016 Nos Otros, Carnacini Museum, Buenos Aires, Argentina 2015 Feldstein, Obras Recientes, Central Newbery Gallery, Buenos Aires, Argentina 2014 Ser Es, Korean Cultural Center, Buenos Aires, Argentina 2013 Feldstein, Raúl Lozza Comtemporary Art Museum, Alberti Argentina 2012 Y no esencia perdida, Holz Gallery, Buenos Aires, Argentina 2011 In estabilidades, Dácil Art Gallery, Buenos Aires, Argentina 2011 Drähte Ausstellung, La Galería, Lüchow Alemania 2010 Somos, Mundo Nuevo Art Gallery, Buenos Aires, Argentina 2008 Errantes, Empatía Art Space, Buenos Aires, Argentina 2006 Wired Series, The White Shop-Art fifteen Gallery, Ottowa Canada 2004 Exposición Paralela Oficial, Bienal de Cuenca, Ecuador

PRIZES

2016 Third Prize Sculpture, Salón Manuel Belgrano, Museo Eduardo Sìvori, Bs. As. 2008 2º Prize Salón de Pintura Copime. -Honour Mention, Salón Pampeano de Artes Plásticas. -Honour Mention, Salón Osram Arte Clásica. 2007 3º Prize Drawing, Salón Manuel Belgrano, Museo Eduardo Sìvori, Bs. As. Sculpture Mention, Salón Manuel Belgrano, Museo Eduardo Sìvori, Bs. As. 2006 Mention Prize Salón Manuel Belgrano, Drawing , Museo Eduardo Sívori- Special Mention of the Jury, Pintura, Salón Nacional de Arte Sacro, Tandil, Pcia.de Bs.As. 2005 2° Prize Drawing, Salón Pampeano de Artes Plásticas, La Pampa. 2004 Honour First Mention in Sculpture, Salón Pampeano de Artes Plásticas, La Pampa -First Mention. Salón Nacional Juan Manuel de Rosas. Ctro.Cultural Borges 2003 Mention Prize. Salón Nacional de Dibujo. Palais de Glace 1994 First Prize in Painting. Revista Actualidad en el Arte. Espacio Giesso. .Buenos Aires. -Third Prize in Painting. Salón Nacional del Mar. Mar del Plata -Second Mention in Painting. CEP. Centro de Estudio Psicoanalíticos. Buenos Aires.

Spannungsleben
Es sind Wimmelbilder im Rausch von Assoziationen. Die Gemälde stehen im Zeichen der Vielfalt, verfügen aber über eine ihnen inhärente Ordnung und Harmonie, die erst bei weiterem kontemplativem Sehen aufkommt. So steht es auch mit dem Leben selbst. Kann das Leben nur allzu oft chaotisch erscheinen, hat es doch seine Strukturen in all seinen Facetten und Perspektiven. Die Gemälde der Künstlerin Veronika Spleiss verbildlichen diesen Prozess in zweidimensionalem Stil, stehen aber aufgrund ihrer Formenvielfalt für eine multiperspektivische Öffnung zum Leben. Ganz im Sinne Friedrich Nietzsches wird der Aspekt des Perspektivischen als die „Grundbedingung allen Lebens“ gezeigt (JGB, KSA 5, S. 12). Denn Leben umfasst ein Ganzes. Der Mensch selbst hat aber keinen Zugang zu diesem. Der Lebende ist immer an seine eigene Perspektive und Sichtweise auf die Welt gebunden, der eine gewisse eigene Ordnung innewohnt. Die Werke spielen mit diesen Aspekten. Mehr noch, die Künstlerin versucht Leben in ihren vielseitigen Perspektiven grafisch zu visualisieren. Für den Betrachter bedeutet dies in erster Linie Chaos – eine vermeintlich chaotische Zusammenfügung verschiedener Sichtweisen, die aus dem Schwarz beziehungsweise Nichts hervortreten. Jedes Teilchen, jede geometrische Form steht dabei für sich allein, nähert sich jedoch an die anderen Formen an und stellt so eine notwendige Verbindung her.

Artist:
Veronika Spleiss

Biografie

Die deutsche Künstlerin Veronika Spleiss, geboren 1993, deren Wurzeln in Estland und Russland liegen, beschäftigt sich seit mehr als fünfzehn Jahren mit visueller bildender Kunst. Unter Anleitung der Künstlerin Natalia Zurakowska erlernte Spleiss die Techniken der Malerei, Grafik und Illustration. Nach ihrem Studium der französischen und russischen Literaturwissenschaft als auch der politischen Theorie in München, Clermont-Ferrand und Passau (M.A.) wendete sie sich vollständig dem künstlerischen Schaffen zu. Die Künstlerin lebt und arbeitet in Essen und München. Veronika Spleiss hat an zahlreichen Ausstellungen und internationalen Kunstmessen in Deutschland, Italien, der Schweiz und den USA teilgenommen. Ihre Werke befinden sich unter anderem in der ständigen Sammlung des Hunderwasserhauses "Grüne Zitadelle" in Magdeburg, Deutschland. Die Malerin wurde für zwei Kunstpreise nominiert, für den YAS Award 2020 und den Renate Hendricks & Valentine Rothe Preis 2021. Ihre Werke befinden sich in Privatsammlungen auf der ganzen Welt: in Japan, Frankreich, der Schweiz, Deutschland, Österreich und den USA.

Über den Stil von Veronika Spleiss

Der erste Blick auf das Werk der Künstlerin eröffnet ein berauschendes Fest an Formen und Farben. Auf den zweiten Blick offenbaren sich jedoch aus weißen und farbenprächtigen Fragmentstücken assoziative prägnante Formen der Realität – und auf Metaebene ihre Geschichten. Es sind Wimmelbilder im Rausch von Assoziationen. Die Gemälde stehen im Zeichen der Vielfalt, verfügen aber über eine ihnen inhärente Ordnung und Harmonie, die erst bei weiterem kontemplativem Sehen aufkommt. So steht es auch mit dem Leben selbst. Kann das Leben nur allzu oft chaotisch erscheinen, hat es doch seine Strukturen in all seinen Facetten und Perspektiven. Die Gemälde der Künstlerin Veronika Spleiss verbildlichen diesen Prozess in zweidimensionalem Stil, stehen aber aufgrund ihrer Formenvielfalt für eine multiperspektivische Öffnung zum Leben. Ganz im Sinne Friedrich Nietzsches wird der Aspekt des Perspektivischen als die „Grundbedingung allen Lebens“ gezeigt (JGB, KSA 5, S. 12). Denn Leben umfasst ein Ganzes. Der Mensch selbst hat aber keinen Zugang zu diesem. Der Lebende ist immer an seine eigene Perspektive und Sichtweise auf die Welt gebunden, der eine gewisse eigene Ordnung innewohnt. Die Werke spielen mit diesen Aspekten. Mehr noch, die Künstlerin versucht Leben in ihren vielseitigen Perspektiven grafisch zu visualisieren. Für den Betrachter bedeutet dies in erster Linie Chaos – eine vermeintlich chaotische Zusammenfügung verschiedener Sichtweisen, die aus dem Schwarz beziehungsweise Nichts hervortreten. Jedes Teilchen, jede geometrische Form steht dabei für sich allein, nähert sich jedoch an die anderen Formen an und stellt so eine notwendige Verbindung her. Jedes Kunstwerk von Veronika Spleiss fügt sich zu einer visuellen Geschichte zusammen. Die Künstlerin verschriftlicht ihre Gedanken und Vorstellungen zu jedem Werk. Visualität und Literatur vereinen sich.

Preise

2021 Renate Hendricks & Valentine Rothe Preis - Nominiert- Bonn, Deutschland 2020 YAS Award 2020 - Nominiert- Magdeburg, Deutschland

Kunstgalerien

Galerie Klose, Essen, Deutschland Hunderwasserhaus "Grüne Zitadelle" Magdeburg justBEE Gallery, Elsass, Frankreich Singulart, Online Kunstgalerie Paris, Frankreich

Anne-Françoise Ben-Or
My intention is that my painting Will be a source of inspiration for people. It is a process of observation Through which we discover Anew and see beyond What we already know. I wish that my painting Will create a direct connection to The essence of reality on a State of being and sensing. Anne Ben-Or

Artist:
Anne-Françoise Ben-Or

Born in Belgium (1965) Studies 1997-2000 Painting and sculpture - Israel Museum, Jerusalem 2001-2004 "Jerusalem Studio School", Israel Hershberg Additional 1997-2002: "The Israel Stage Orchestra" Stage designer

Solo Exhibitions

2020 „Prey To Prayer" Rothschild Fine Art Gallery, Tel Aviv 2018 „State of Mind" Rothschild Fine Art Gallery, Tel Aviv, Curator: Varda Steinlauf 2017 „Secret games" Rothschild Fine Art Gallery, Tel Aviv 2016 „Anne Ben Or Paintings" Artists' House, Jerusalem, Curator: Ron Bartos „New members" Artists' House, Jerusalem, Curator: Oscar Abush 2015 „Defiance" Rothschild Fine Art Gallery Tel Aviv, Curator: Irena Gordon, accompanied by catalog. 2012 „Intimate Room" Zemack Gallery, Tel Aviv, Curator: Ktzia Alon. 2011 „Tender" The Obsession of Art, Holland 2010 „Transparent Flowers" Giv'at Ha'im Ihud Gallery, Curator: Hanush Morag 2008 „Becoming" Bernard Gallery Tel-Aviv, Curator: Maya Moor, accompanied by catalog 2007 Wohl Centre, Bar- Ilan University, Curator: Guy Olami 2006 „Christine Decuyper" Gallery, Brussels 2005 „Echo" Bernard Gallery, Tel-Aviv, Curator: Maya Moor

Group Exhibitions

2020 „Corona Time" Art Gallery Gan Shmuel, Curator:Adi Yekutieli 2019 „Fresh Paint 2019" 2018 „I to eye" The Israel Museum, Jerusalem. Curator: Shir Meller-Yamaguchi. 2017 „BP portrait award 2017" National Portrait Gallery, London „Summer arrivels" The Obsession of Art Gallery, Holland. „Summer Exhibition" Zemack Gallery, Curator : Anat Bar-Noi. 2016 „Art 16" London, by Rothschild Gallery „Arti" Tiroche Auction House, by Rothschild Gallery „Art on Craft" Tel-Aviv. Curator: Esti Drori, Doron Polak. „Papers of value", Curator: Liza Gershuni, Liza Gershuni gallery 2015 „Women Of the Book" The first station, Jerusalem, Curator: Shoshana Gugenheim , Dr Ronit Steinberg, Judith Margolis 2015 „Salon Hacubia" Hacubia Jerusalem, Curator: Ela Cohen, Dan Orimian 2014 „They paint flowers" Art salon Jaffa , Curator: Amit kabesa 2013 „Fresh paint 6" Art Festival, Tel-Aviv, Zemach Gallery „Joy of life" The obsession of art gallery, Holland. 2012 „2012" Zemack gallery, Tel-Aviv, Curator : Ktzia Alon „La Prabola leri oggi domani" The museum of Israely art Ramat-Gan, Curator : Carmine Siniscalo „Summer exhibition" Zemack Gallery, Tel-Aviv „Fresh paint 5" Art festival, Tel-Aviv, Zemack gallery. 2011 „Two Hopes away", Museum Lehi, Tel-Aviv, Curator: Revital Silverman Grun „A Season in Heaven" Florentin Gallery, Tel-Aviv, Curator: Irena Gordon & Gilat Nadivi „Ee Mahut" Gerstein gallery Tel-Aviv. Curator Nurit TaL-Tenne. 2010 Salon d'art contemporain business art 2010 a' l'espace du Pierre Cardin

2009: "Childhood Stories”,. WhiteBox gallery, Munich.Germany Curator Yael Katz Ben Shalom "Manofim project" Jerusalem "Close Watch" Curator Irena Gordon & Boaz Noy "Tableau Vivant" Artist House Tel Aviv Curator Nir Haramat "Stories" Ein hod. Curator Naomi Hoss "Whispers of nature" The Obsession of Art Gallery, Holland "Self Examination" Hi-touch Gallery, Israel. Curator Dafna Naor "Primavera" Art Fair, Rotterdam, Holland 2008: "New passions" The Obsession of Art Gallery, Holland. 2007: "The Obsession of Art Gallery", Holland "Art Laren" Fair, Holland "Art fair" Maastricht, Holland "Primavera" Art fair, Rotterdam, Holland "Open Air" Art fair, Holland 2005: "Saint Augustine", Germany Sponsored by the "Kunstler" Gallery 2004: "Work in progress" Art space Gallery Jerusalem. "Abstraction", French cultural center, Romain Gary, Jerusalem 2003: "Mabat Meshulash" ,Jerusalem Theater 2001: "Omanut Yozert" Cultural center, Jerusalem

Exhibition of Marcus Cederberg - Become a minimalist - its the least you can do !
We are all living in an era of endless distraction and constant input. Channeling a sense of calm, Marcus Cederberg translates society´s intrinsic need for a slower pace into minimalist photographs. The Swedish artists outlook on life is thereby converted into colors, contrasts and negative space. His work has graced the walls of galleries in USA, Germany, Hong Kong, India, Denmark, Portugal, France and Sweden and his”less is more” message echoes from his Instagram where he has become a minimalistic influencer with over 245.000 followers.

Artist statement
When many photographers try to get as much as possible into the frame, I do the opposite and try to get as much as possible out of the frame instead, that is quite challenging sometimes. I normally work with negative spaces, vivid colors where lines, shadows and windows often are deviations that track attention. Many people have told me that they find my art calming and tranquil, some of them with ADHD etc, and I really like that my works can contribute to calm the mind. Enjoy ! Marcus Cederberg

Artist:
Marcus Cederberg

Become a minimalist, it is the least you can do !

We are all living in an era of endless distraction and constant input. Channeling a sense of calm, Marcus Cederberg translates society´s intrinsic need for a slower pace into minimalist photographs. The Swedish artists outlook on life is thereby converted into colors, contrasts and negative space. His work has graced the walls of galleries in USA, Germany, Hong Kong, India, Denmark, Portugal, France and Sweden and his”less is more” message echoes from his Instagram where he has become a minimalistic influencer with over 245.000 followers.

Solo exhibitions

2024 Maximal Minimal / Galeri You&Eye Photo - 30 Rue de buci - Paris 6éme - Paris, France 2021 Maximal Minimal / Bien Contemporary Gallery - Copenhagen, Denmark 2020 Deignergroup / Factory Art - Berlin, Germany 2020 Black and white minimalism / Sammys - Hong Kong, Hong Kong SAR China 2017 Maximal Minimal / Black Door Gallery - Örebro, Sweden

Group exhibitions

2023 Feelings / Biester Palace, LUKA Gallery - Sintra, Lisboa, Portugal 2020 Photos from the pandemic / Träslottet - Arbrå, Sweden 2019 Indian Photo Festival / State Art Gallery - Islamabad, India 2018 ArtExpo New York / Pier 36 - New York, United States 2018 Print Swap Holiday / ROOT Studios - New York, United States 2017 Photoville / Brooklyn - New York, United States

Prizes

2024 The Artist Gallery Award- 1st prize in the minimalism category- France 2022 International Photography Competition by Florida Museum of Photographic Arts - Winner of the category "Plane/Air Travel"- Miami, United States 2021 Photographize 2021 - Nominated- Berlin, Germany 2021 Minimalist Photography Awards - Nominated- London, United Kingdom 2020 Årets formbärare- First price- Örebro, Sweden

Tào Linh
Tao Linh is a self-taught painter from Vietnam. His works are deeply filled with beauty, kindness, tranquility and tenderness. They depict the essence of the inner state of being.

Artist:
Tào Linh

Self-taught painter Year of birth: 1960 Ha Noi, Vietnam

Exhibitions

First exhibition in September 1993 with Bui Minh Dung at Trang Tien (Hanoi Fine Art Association) First solo exhibition in March 2014: The Silence Gang at Gallery 39A Ly Quoc Su – Hanoi Work like professional artist from 2014 Participated many group exhibitions until now at many cities Hanoi, Hochiminh city, Hai Phong, Hoi An… Participated art workshops and exhibitions in Malaysia, Germany, China

Erin Hanson
After graduating from college, Hanson entered the art trade as a professional, inspired by landscapes and vantage points only beheld by the most adventurous. Rock climbing among the brilliantly colored cliffs of Nevada and Utah, watching the seasons and the light change daily across the desert, provided endless inspiration for her work. In these beautiful surroundings, Hanson decided firmly to dedicate herself to creating one painting every week for the rest of her life. She has stuck to that decision ever since and has for the past decade been developing a unique, minimalist technique of placing impasto paint strokes without layering, which has become known as “Open-Impressionism.” As other artists began emulating her painting techniques, Hanson was credited as the pioneer and originator of this contemporary style. Through the years, Hanson has continued to use the outdoors to inspire a huge collection of work. She visits the Colorado plateau every year, backpacking and hiking through areas such as Zion National Park, Canyon de Chelly, and Monument Valley. Other favorite haunts include Paso Robles, Joshua Tree National Park, and the Anza-Borrego desert. Erin Hanson transforms these landscapes into abstract mosaics of color and texture, her impasto application of paint lending a sculptural effect to her art. Her oil paintings stand out in a crowd, bringing a fresh new look to Western landscapes.

Artist:
Erin Hanson

Hanging precariously and horizontally from red sandstone, hundreds of feet above the ground, may not seem like it would inspire the creation of beautiful oil paintings, but that is exactly what happened with Erin Hanson. After a lifetime of experimenting in different styles and mediums, it wasn’t until Hanson began rock climbing at Red Rock Canyon that her painting style was consolidated by a single inspiration and force of nature. Erin Hanson began painting as a young girl, voraciously learning oils, acrylics, watercolor, pen and ink, pastels, and life drawing from accomplished art instructors. She began commissioning paintings at age ten, and by age twelve, she was employed after school by a mural studio, learning the techniques of acrylics on the grand scale of forty-foot canvases. Two years later, a high school scholarship took her to Otis College of Art, where she immersed herself in figure drawing. Graduating high school at age sixteen and once again demonstrating that she was a child prodigy, Hanson next attended UC Berkeley, excelling further in her studies and creative development and attaining a degree in Bioengineering.

Education

Otis College of Art and Design. Special scholarship program. 1996 Delphi Academy, La Canada, CA. High School Diploma. 1998 University of California, Berkeley. Dean's List. Bachelor of Science. 2003

Exhibitions

2021: ERIN HANSON: COLORS OF CALIFORNIA. Santa Paula Art Museum, Santa Paula, CA. 2018: IMPRESSIONS OF BIG BEND COUNTY. Museum of the Big Bend, Alpine, TX. 2018: CALIFORNIA ART CLUB'S 107TH ANNUAL GOLD MEDAL EXHIBITION. Natural History Museum of Los Angeles, CA. 2017: IMPRESSIONS OF ZION. Zion Art Museum, Springdale, UT. 2016: ERIN HANSON’S PAINTED PARKS. Solo exhibition St. George Art Museum. A FEELING OF HUMANITY: WESTERN ART FROM THE KEN RATNER COLLECTION. Mattatuck Museum, 2014. Rockwell Museum of Western Art, 2015. Bone Creek Museum of Agrarian Art, 2015. Museum of the Big Bend, 2016. 2014: LA SALLE UNIVERSITY ART MUSEUM, Philadelphia, PA. Permanent collection. MATTATUCK MUSEUM, Waterbury, CT. Permanent collection. 2014: BONE CREEK MUSEUM OF AGRARIAN ART, David City, NE. Permanent collection. 2013: ST GEORGE ART MUSEUM, St. George, UT. Permanent collection.

Exhibition and Awards

2016 - 2019: COWGIRL UP! Desert Caballeros Western Museum, Wickenburg, AZ. Awards: 1st Place 2-D on Canvas 2018 and Best in Show 2019. 2016 - 2017: THE MOUNTAIN OYSTER CLUB ART SHOW. Tuscon, AZ. THE WOODLANDS WATERWAY FESTIVAL. The Woodlands, TX. Awards: Best in Show, Featured Artist for 2017 and Poster Artist for 2018. 2016: ART SAN DIEGO. San Diego, CA. Awards: Spotlight Artist, Best New Exhibitor. 2016 - 2017: LA QUINTA ARTS FESTIVAL. Juror for painting category. 2015: THE ERIN HANSON ART & WINE TOUR. Paso Robles, CA. ART IN EMBASSIES. U.S. Department of State. 2015 and 2018 SAATCHI ART. Awards: The Year in Review: Best of 2015. WOODLANDS WATERWAY ART FESTIVAL. Houston, TX. Awards: Best in Show for 2015. INDIAN WELLS ART FESTIVAL. Indian Wells, CA. Awards: Poster Artist for 2015. HERMOSA BEACH ARTWALK. Hermosa Beach, CA. Poster Artist for 2015. THE MOUNTAIN OYSTER CLUB ART SHOW. Tuscon, AZ. 2014 WORLDWIDE ART LOS ANGELES, Artavita Contest 1st Place Winner. Los Angeles, CA. Curated by Despina Tunberg. 2014 ERIN HANSON: BORREGO IN COLOR. Tumbleweed Art Gallery, Borrego Springs, CA. Curated by Glenda Garmon. 2014 PASOSCAPES: OILS BY ERIN HANSON. Studios on the Park, Paso Robles, CA. Curated by Sasha Irving. 2013 EARTH, SKY, WATER. Arts at Denver, Denver. Curated by Paula Colette. 2013 LA JOLLA FESTIVAL OF THE ARTS. Awards: 1st Place Painting. 2013 BORREGO ART INSTITUTE. Borrego Springs, CA. Curated by Barbara Nickerson. 2013 ART IN THE PARK. Boulder City, NV. 1st Place Painting. Juried by Boulder City Hospital Foundation. 2012 ERIN HANSON: COLORS OF PASO, SOLO SHOW. Paso Robles, CA. Curated by Sasha Irving. 2012 BOULDER CITY FINE ART FESTIVAL. 1st Place Fine Art. Juried by Boulder City Art Guild. 2012 NATIONAL OIL & ACRYLIC PAINTERS' SOCIETY Awards: Best of America 2012 2012: CA 101 EXHIBITION, 2012, Redondo Beach, CA. Curated by Sandra Liljenwall. 2012: ICONS OF THE WEST 2012. Missoula, MT. Curated by Dana Gallery. 2012: DESERT

Suzanne Heintz - LIFE ONCE REMOVED
Suzanne Heintz’s photographic art blends conceptual performance, satire, and staged family portraiture to challenge cultural narratives about identity, gender roles, and the idealized family. For over two decades she has developed her long-term project Life Once Removed and its continuation Playing House, in which she appears alongside an artificial “family” of store-bought mannequins — husband and child — staging cinematic tableaux that mimic conventional holiday cards and travel snapshots while exposing their underlying artifice. Through vibrant, highly composed images that at first glance resemble everyday family photos, Heintz’s work disarms viewers with humour and familiarity before prompting deeper reflection on the pressures of conformity, societal expectations, and the constructed nature of personal narratives. By situating her staged scenes in both private interiors and public landscapes, Heintz transforms photography into a performative critique of cultural ideals, using bright colour, careful composition, and visual irony to evoke and then subvert the imagery associated with “perfect life” rituals. Her work engages audiences not just as pictures to be viewed but as conceptual provocations that invite reconsideration of how images shape our understanding of self and society. Part of the "PLAYING HOUSE PROJECT," a film and photo series confronting the social pressures to conform to the image of a Perfect Life. ________________________________________________ For more information, see www. playinghouseproject.com.

Artist:
Suzanne Heintz

SUZANNE HEINTZ’s work, described as equal parts photography and theater, makes her an unusual Artist. Though trained in Writing, Communication, Painting, Design as well as Photography, the chosen mediums for her personal work are Photography, and Video. Her professional experience as an Art Director for Television has a strong influence on how she works artistically. It taught her that to make an impact, it’s essential to connect with your audience. Since her work is intended for everyone, not exclusively the art educated, she uses mediums that have the most universal appeal. Taboo to most in the art world, humor is her third and most important medium. At the risk of being perceived as a form of “Artertainment,” Heintz employs satire because she feels that it is crucial to the digestion of what might be perceived as a bitter pill – social criticism.

Films

http://suzanneheintz.com/film/

Troy Brooks
Troy Brooks looks at the contradictions of artificiality through portraits of androgynous women captured at the height of their own private dramas. Presenting them spot-lit, Troy makes them appear almost like film stars, enhancing the suggestion of potent hidden narratives. In this way his women seem somehow prisoners of their own exuberance, beholden to their decadent impulses whilst also lucid enough to perceive their own folly.
“Brooks’s female subjects are not what we might call beautiful in the traditional sense. But these oddly elongated, crystal eyed ladies are none the less compelling to look at. Each one seems to be a piece of a story that writes itself different for every viewer. One can’t help but wonder what lies beneath these contemplative faces... what have they seen?” — SHE WALKS SOFTLY “His surreal portraits of women with elongated anatomies have become signature icons of the new contemporary art scene. Clearly influenced by the dramatic glamour of the femme Fatales of 30’s and 40’s film noir, Brooks’ women stare down the viewer as if taking their measure from within the world behind the frame. They are aloof, yet burning with interior dialogue and seductively demanding the attention of anyone who catches their gaze.” — COREY HELFORD GALLERY

Artist:
Troy Brooks

"Born 1972 in Southern Ontario, Canada. I had no formal training. The only teachers I had were the photographers and lighting technicians of the old Hollywood studio system. I learned how to draw and paint from vintage movie stills. I learned the art of visual story telling from watching those stills come to life in late night movies. I live and make my art in a converted 19th century bank in the historic town of Wallaceburg, Ontario Canada."

Troy Brooks is a contemporary surrealist painter. His work presents elaborate pageantry of female characters observed in allegorical settings. These women play out intimate scenes, usually caught in moments where something transformative has or is about to happen. The ‘women of Troy’ have become distinctive images on the contemporary pop surrealism scene.

Exhibitions

2019: Lucky 13 Anniversary Show, Pt. 2: Pop Surrealism & New Figurative, Corey Helford Gallery, Los Angeles Corey Helford Gallery at LA Art Show 2019, Corey Helford Gallery 2018: Troy Brooks "Skinwalker", Corey Helford Gallery, Los Angeles Ephemeral, Modern Eden, San Francisco Corey Helford Gallery at Art New York 2018, Corey Helford Gallery 2016 : Dec – Corey Helford Gallery Show (Solo) Aug – Corey Helford Gallery 10th Anniversary Show (Group) July – James Freeman Gallery, London UK (Group) May – 19 Karen Gallery, Australia (Group) April 16 – May 7 Troy Brooks “Veiled Hearts”(Solo) May – Annual Exhibition, 19 Karen Contemporary Artspace (Group) Sept 17 – Oct 8 Femme To Femme Fatale, The Feminine in Contemporary Art Beautiful Bizzarre & Modern Eden Gallery (Group) 2015 : “Smashing Suggestions” Pink Zeppelin Gallery – Berlin, Germany (Group) “Five and Under Show” Arcadia Contemporary – New York USA (Group) “Parabolic” – Red Head Gallery – Toronto, Canada (Group) “Lost Mitten Society” – Jonathan LeVine Gallery – New York USA (Group) 2014: “Scratch” – Double Solo Show w/R.Kelly Clipperton – TAC Gallery – Toronto, Canada(Solo) “Dragonseed” – Pentimento Gallery – Toronto, Canada (Solo) “Candy Land” Super Wonder Gallery – Toronto, Canada (Group) Art Attack- Buddies in Bad Times – Toronto, Canada (Auction) 2013: Pentimento Gallery – Toronto, Canada(Group) “March of the Velvets” – Pentimento Gallery – Toronto, Canada (Solo) “Summer Salon” – Pentimento Gallery – Toronto, Canada (Group) 2012: Galarie D’Avignon – Montreal, Canada(Group) “The Fates & The Furies” – Pentimento Gallery – Toronto, Canada (Solo) “Summer Salon” – Pentimento Gallery – Toronto, Canada (Group) 2011: “Colossus” Pentimento Gallery – Toronto, Canada(Solo) FCP Gallery – Toronto, Canada (Group) Pentimento Gallery – Toronto, Canada (Group) 2010: “Virago” Pentimento Gallery – Toronto, Canada(Solo) FCP Gallery – Toronto, Canada (Group) “Climax” – PWA Royal Theater – Toronto, Canada (Auction)

Sergio Murria Fotografía - Street Photography
People tend to be funny and provoke humorous moments without being aware of it, sometimes they provoke funny situations, other times ironic situations, His works are a small sample of it.

Artist:
Sergio Murria

Sergio Murria was born in 1977, in Spain. Previously a computer technician, now he works as a professional photographer.

Favorite Quote

"Carambola a la derecha, Carambola a la izquierda, Carambola en el centro, préstame tres pavos para chile con carne!" Raffael de la Guetto

André Lundquist The Poetry of Silence
For those who decide to enter the world of his paintings, Lundquist promises a great deal of emotions. His figurative painting is sensual and timeless. Grace, lightness, peace … are other words to describe the painting of André Lundquist. There is in his works a silent poetry that allows the viewer to enter each of them calmly, without fear. This is a real tour de force, because for the most of them, the women portraited and sketched, which he gives life to on the canvas, are presented and revealed in their intimacy. They are sitting, standing, lying, kneeling … And yet, the painter’s gesture never exudes any kind of voyeurism. These women are like stills who let under their skin pigments, behind the iris of their eyes, break a more complex story … As visual metaphors, they sometimes are the mirror of our own experiences sometimes a door open, behind which the viewer can give free rein to his / her imagination. In each of these women there are a thousand stories, a thousand situations to appropriate for one self or not.

Artist:
André Lundquist

André Lundquist was born in 1972 in Copenhagen, where he received his initial training with the painter Therese Dragshøj (1909-1998). His graphic studies under the tutelage of Peter Martensen (represented by the “Galerie Danoise” in Paris) have clearly left their mark on his technique and explain his penchant for creating tensions between the characters which he paints and the surface of the canvas on which they are painted. In 1999, he was the recipient of a scholarship from the Beckett Foundation. As part of the prize he had a residency in Southern Spain at the Valparaiso Fondación. He used that stay to seek new sources of inspiration. From this trip as well as many stays in the South of France, he withhold some feelings and sensations, which he later released and translated into light and colors. For those who decide to enter the world of his paintings, Lundquist promises a great deal of emotions. His figurative painting is sensual and timeless. Grace, lightness, peace … are other words to describe the painting of André Lundquist. There is in his works a silent poetry that allows the viewer to enter each of them calmly, without fear. This is a real tour de force, because for the most of them, the women portraited and sketched, which he gives life to on the canvas, are presented and revealed in their intimacy. They are sitting, standing, lying, kneeling … And yet, the painter’s gesture never exudes any kind of voyeurism. These women are like stills who let under their skin pigments, behind the iris of their eyes, break a more complex story … As visual metaphors, they sometimes are the mirror of our own experiences sometimes a door open, behind which the viewer can give free rein to his / her imagination. In each of these women there are a thousand stories, a thousand situations to appropriate for one self or not. Lundquist mixes oil, ink, charcoal, crayon, wallpaper. Many overlays which give all its originality to his body of work. These palimpsests sometimes born out of a subtle pastel color palette sometimes full of vivid, bright colors, are the creations of fine colorist whose lineage goes back to the late nineteenth / early twentieth century.

Exhibitions

2020 Galleri Kant, THE ISLAND SHOW – EASTER EDITION. Kunstfagligt kurateret af Kerry Harm Nielsen og Anna Gram Sørensen. Galerie L´oil du Prince, Paris, Frankrig. ” A fleur de toile” v / Yann et Laetitia Deshoulières. 2019 Forside til bogen ” La Chambre des époux “, forfatter Èric Reinhardt, Forlag : Gallimard. Paris, Frankrig. Galerie L´oil du Prince, v / Laetitia & Yann Deshoulières, Biarritz, Frankrig. Gallerie AU-DELÀ DES APPARENCES, v / Christian Geux, Annecy, Frankrig. Galleri Nobel, ” Som en del af labyrinten ll “, v / Henning Johannesen, Oslo, Norge. Bærum Kunsthal, ” Som en del af labyrinten ” Sandvika, Norge. 2018 Luxembourg Art Fair, v / Christian Geux. Gallerie AU-DELÀ DES APPARENCES. Carlsberg Centre for Comtemporary Art, København. Fælles udstilling. Kurateret af Rasmus Højfeldt og Simon Ganshorn. Galerie Albane, Nantes, Frankrig. Fælles udstilling med galleriets kunstnere. Gallery Down To Art, ” Naos ” ,Gent, Belgien, v / Marc De Corte. 2017 Galleri Nobel, ” Som blandt mennesker ”, Oslo, Norge, Kurateret af Henning Johannesen. Art Up, Lille, Frankrig v / Galerie L´oil du Prince, v / Yann et Laetitia Deshoulières. Gallery Down To Art, ” Among lines of poetry “, Gent, Belgien, Kurateret af Marc De Corte. Gallerie AU-DELÀ DES APPARENCES, ” A fleur de peau “, Annecy, Frankrig v / Christian Geux, . Galerie L´oil du Prince, ” Féminin Pluriel ” , Paris, Frankrig. v / Yann Deshoulières.

2016 Galeria Art Catto, Algave, Portugal. Separat, v/ António Lourencco. Gallery Down to Art, Gent, Belgien, v / Marc De Corte. Book Launch & Udstilling v/ Tomorrow Management, København. Udgivelsen af kunstbogen Før, Before, Avant – Efter, After, Après, er en bog der beskriver mit virke fra forskellige faglige vinkler. Der er i bogen bla. bidrag fra Kunsthistoriker Trine Ross, Dramatikker, Billedkunstner og forfatter Tomas Lagermann Lundme, Journalist på Kids News i Berlinske Hus Thorkil Jacobsen, Forfatter Gerd Laugesen, Journalist Lisbeth Rindholt og Arkitekt Lawrence Ebelle. Karin P. Madsen har udarbejdet alt det grafiske. Bogen er på Dansk, Engelsk og Fransk. Galerie L´oil du Prince, Paris, Frankrig. Fælles udstilling af galleriets kunstnere, v / Yann et Laetitia Deshoulières. 2015 Elle Magasin, Foto / maleri, i samarbejde med modefotograf Signe Vilstrup m.fl, København. Illum, Udsmykningsopgave, i samarbejde med modefotograf Signe Vilstrup, reklamebureauet DDB, Chef for marketing i IIlum Majbritt Tornhøj og Tomorrow Management m.fl, København. Gallery European Makers, Amsterdam, Holland. Galeria Art Catto, Algave, Portugal. Kurateret v / António Lourenco. Frederiksborg Slot, ” Portræt Nu ” Prinsessefløjen, gruppe. Kunstfagligt kurateret og censoreret. v/ Direktør Mette Skougaard m.fl. Galleri Nobel ,” Quiétude ” Oslo, Norge. v / Henning Johannesen. 2014 Galerie L´Oeil Du Prince, ” Féminin pluriel ” Paris, Frankrig. Kunstfagligt kurateret af Yann Deshoulières. Separat udstilling. Mellem linjer, Århus. Tema; Forfatterinden Gerd Laugesens dagbog ´På lysserødt papir ´. Ambasciata di Danimarca, Separat, Torino, Italien. The White Wall Project, Papirøen i København. Kurateret af Rikke Sengelsø. Nordic Artwork Gallery, San Francisco, U.S.A. Kurateret gruppe udstilling. Galleri Nobel, Oslo, Norge. v/ Henning Johannesen. 2013 Galleri Nobel ,Norge, Oslo. v/ Henning Johannesen. Gallery European Makers, Amsterdam, Holland. Gallerie Brigitte Capy, Hossegor, Frankrig.

Małgorzata Chodakowska
In her graceful sculptures, Malgorzata Chodakowska addresses the longing for inner peace, the search for inner balance - an ideal state that we consciously or unconsciously pursue all more or less. And so one is inevitably enthralled by their creations, which appear to us as soulful, individual beings. The human being - the measure of all things, from the ideal of the Greek high-class to the Renaissance to the present day, this theme has been devoted to whole generations of sculptors. Again and again, stimulating is the choice of motif for the dance as an expression of emotional feelings that communicate about the body language. Chodakowska confronts us with sculptures that appear extremely differentiated in their postures and physiognomies and thus symbolize very different characters. Some appear open and self-confident, while others are fragile and withdrawn, almost melancholy. The faces change as the figures move around, inner states of mind appear even more clearly.

Theme
Her recurring theme is the so-called "Stammfrau" (loosely, "archetypal woman"), usually carved from wood to give a life-sized or slightly larger than life-sized form. She told an interviewer in 2008, "Working with the human form enables me to feel as close as possible to the figure I am working on, and so I have the feeling that this is the form I can best compose sculpturally".

Artist:
Małgorzata Chodakowska

Małgorzata Chodakowska was born and grew up in the heart of Poland, at Łódź, where between 1980 and 1985 she attended the Liceum Sztuk Plastycznyc ("Fine Arts Secondary School"). In 1985 she enrolled at the Fine Arts Academy in Warsaw where she studied sculpture with Jan Kucz. Three years later, in 1988, she moved on again, this time to the Academy of Visual Arts in Vienna, in order to progress her studies further. Her prize-winning dissertation, which she submitted in 1991, was supervised by Bruno Gironcoli.

Education

since 1991 Freelance sculptor in Dresden / Germany 1988 Studies of sculpting at the Academy of Fine Arts Vienna 1980 Secondary School of Arts in Łódź

Exhibitions

Wien, Graz (Österreich), Tokio (Japan), Dresden, Berlin, Radebeul, Zittau, Kisslegg, St.Petersburg (Russland), Stuttgart, Bad Schandau, Pirna, Wernigerode, Ulm, Leipzig, Chemnitz, Winningen, Wroclaw, Lodz (Polen), Großsedlitz, Glauchau, Veksolund (Dänemark), Rottach-Egern

Achievements

2015 First prize and realization of the fountain »Liebespaar« at civil registry office Radebeul / Germany 2011 Award Sculpture »I know it« for the most family-friendly corporation of Dresden 2010 First prize and realization of the memorial »tear sea« at Heide-Cemetery Dresden / Germany in remembrance of the victims of February 13th 1945 2005 Award-Sculpture »The Dreaming« for the Saxon Entrepreneur of the Year 1999 First prize and realization of the sculpture "Sunny Boy" in Radeberg / Germany, Humboldt Secondary School 1996 First prize and realization of the bronze "King and Queen" at Waldheim / Germany, AOK Education center