Francien Krieg - Precious bodies
The truth is that I paint myself ... and therefore the battle of my own body with age, my own fears and my fascination with death. That fascination began at an early age because my father was preoccupied with death. His mother passed away at a young age and the subject was taboo, nothing could be said about her death. As a result this had such an impact on his thoughts that as an adult he conducted a thorough investigation on whether there is life after death. Listening to voices of deceased people and the radio program 'The black hole' with Andre Groote filled the living room on Sunday afternoon. His fascination also became mine, but this only became apparent years later when I was in art school. I made installations made of skins, meat heads, empty cocoons and baby skins. What appealed to me in this is the contrast between the tangible and the intangible of the body, the familiar contrasts with the distance that I feel in my body. The sudden death of a close friend during my time at the academy reinforced this feeling. The distance to my own body and my mistrust of it became even greater. Would my body also betray me in this manner? What followed was a long search that is still on-going, a search for the acceptance of transience. In the early stages I created paintings in which human forms were visible. I painted these in a detached manner: heads were removed, the bodies were decorative, eye contact was almost non-existent, there was no contact with the viewer. As my work developed I was sitting closer to the skin, from strange perspectives I showed the alienation to my own body. My fascination with the body deepened, I began to paint other people, especially those who deviate from the ideal of beauty. But even more, I really wanted to paint people like you and me, a universal image of the aging person. Staying true to myself, I have confined myself to the female body.

Artist:
Francien Krieg

Precious bodies

The truth is that I paint myself ... and therefore the battle of my own body with age, my own fears and my fascination with death. That fascination began at an early age because my father was preoccupied with death. His mother passed away at a young age and the subject was taboo, nothing could be said about her death. As a result this had such an impact on his thoughts that as an adult he conducted a thorough investigation on whether there is life after death. Listening to voices of deceased people and the radio program 'The black hole' with Andre Groote filled the living room on Sunday afternoon. His fascination also became mine, but this only became apparent years later when I was in art school. I made installations made of skins, meat heads, empty cocoons and baby skins. What appealed to me in this is the contrast between the tangible and the intangible of the body, the familiar contrasts with the distance that I feel in my body. The sudden death of a close friend during my time at the academy reinforced this feeling. The distance to my own body and my mistrust of it became even greater. Would my body also betray me in this manner? What followed was a long search that is still on-going, a search for the acceptance of transience. In the early stages I created paintings in which human forms were visible. I painted these in a detached manner: heads were removed, the bodies were decorative, eye contact was almost non-existent, there was no contact with the viewer. As my work developed I was sitting closer to the skin, from strange perspectives I showed the alienation to my own body. My fascination with the body deepened, I began to paint other people, especially those who deviate from the ideal of beauty. But even more, I really wanted to paint people like you and me, a universal image of the aging person. Staying true to myself, I have confined myself to the female body.

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

Richard Thorn - Richard Thorn SWAc – Artist & Tutor
Richard Thorn spent his early years drawing which led naturally into painting in watercolor. After pursuing a career in music (after leaving art college) he returned to painting in my chosen medium. Since that time his watercolours have gone through many changes. Appreciation of colour, tone, and composition have been my principal concerns. Light, texture and (spatial) distance are Thorn's chief interests, and these elements predominate his compositions and subject matter. For him, painting is a continuum – an exploration. But with watercolor, it is the medium that seems to be forever ahead of time.

Artist Statement
"I like to paint the soul of the scene I’m working on, depicting the essence of that which is before me. Watercolour is the master, I am the student."

Artist:
Richard Thorn

Born in Torquay, England 1952, Richard’s art began with drawing. His love of the countryside and the sea drew him to sketch and paint nature in an around his close environment. Since those early days, his paintings have been exhibited around England, Europe, and America. The Artist is principally self-taught apart from his schooling and a spell at art college after leaving school.

Biography

Thorn began painting professionally In the early 1980s. Since then he has produced many fine paintings of the commanding Devon and Cornish landscapes and coastline specializing in watercolour. Having lived for most of his life in and around Torbay he has committed the area's most picturesque coastline to paper in sublime fashion making the sun dance across the water like no other. The South West has a “quality of light” that attracts many British artists and Richard Thorn is no exception. He is drawn to the intensely bright and suffuses light, together with the many variations in the coastal and inland landscape of the area. In addition, he has enjoyed sojourn's in Spain and Venice from which he created equally emotive compositions in hot Mediterranean tones to great effect. Richard has had many exhibitions and one-man shows. His strong distinctive style and his penchant for light has made his work sought after by Galleries and Collectors throughout the country. In 1998 Richard exhibited his "Images of Portugal" at the Anglo-Portuguese Society in Belgrave Square, London. He is currently preparing a book for publication of his drawings and sketches. He has won two awards at the Royal Institute (for painters in watercolour) at the Mall Galleries in London - 2016/17 and his book - Down an English lane - was published in 2016.

Ronald Bowen the 90s and beyond
Structure: Ronald Brown's structure is dependent on the relationships between strong verticals and horizontals, with some strong diagonals; stability is achieved by the use of right angles.He enjoys breaking a fundamental art school rule by placing the center of composition at the exact center of the canvas rather than slightly off to the side. An absolute and austere symmetry is hence achieved. Light and Color: Though dependent on observed or photographically recorded light, Ron's handling is purer and more intense, using the full strength of oil paint to achieve a luminosity which is pictorial, not photographic. Shadows: Shadows provide the fugitive or delicate element in most paintings contradicting the strong architectural frameworks. The presence of shadows implies the passage of time and introduces a time element in the paintings which makes them less rigid or fixed. This is where the poetry in the work lies. Technique: Composition and initial layers are laid down in acrylic. The top layers are worked out fastidiously in translucent oil paint, which gives the works their richness and luminosity. Subjects: He chooses fragments of banal reality (architectural interiors, exteriors, windows, plants) but by concentrating on them, purifying them, and intensifying the light he brings out a sense of mystery and poetry lurking behind the ordinary appearance. In his insistence on the "frozen moment," shadows, and intense light, Bowen is closest to the work of the great 20th century American realist, Edward Hopper.

Artist's Statement
"If I were to define my style of painting, I would call it 'Transcendental Realism.' It is my intention to present to the viewer an image that is on the one hand concrete and close to life, yet so filtered, strange and bordering on the abstract that he may be led into a state of contemplation and meditation. There is a minimum of anecdote in my painting in order to allow the viewer space to create his own story, to discover his own mystery." -Ronald Bowen - American Embassy Art Show (Guest of Honor), Paris - May 1996

Artist:
Ronald Bowen

Ron Bowen is an American residing in Paris. His impressive realist oil paintings of contemporary interiors and exteriors reflect his mastery of a linear painting style. Basing his technique on the Renaissance method of underpainting and overpainting, he creates luminous color and bold shadows. The dialogue between color and light accentuates the simple subject matter, creating calm, intriguing, and thoroughly modern art.

Biography

Ronald Bowen was born in 1944. He grew up in Lake Placid Florida, a quiet town surrounded by lakes, citrus groves, and ranches. From an early age he showed a talent for drawing. From 1962 to 1967 he studied art, along with music and languages, at Florida State University in Tallahassee, completing his final year at their study center in Florence, Italy. This first contact with Europe was a turning point for him. Finished with his university studies, he taught art for a year at his former school in Lake Placid. In 1968 he chose to return to Europe to teach and continue his art studies, spending a summer in Paris, then a year teaching in a small boarding school in England followed by a year in Nice, France, enrolled as a full-time painting student at the Ecole Nationale d'Art Décoratif. In 1970 he returned to Paris as "Artist in Residence" at the Fondation des Etats-Unis, a scholarship offered by the Woolley Foundation. The scholarship was renewed for a second year. In 1973 he began teaching art classes part-time at the American School of Paris and has since made that city his home, retiring from the school in 2008. In 2010 he was awarded the Monique Corpet Prize for painting from the Taylor Foundation in Paris. in 2018 the Taylor Foundation awarded him the Madeleine Couderc Painting Prize. In 1993 Ronald Bowen received French Nationality, making him a citizen of both the U.S. and France. The artist lives and works in a light-filled Montmartre studio surrounded with tropical plants overlooking Paris rooftops and the Basilica of Sacré Coeur in the distance.

Solo Exhibitions

2015 - "Hyperréalistes" Expo Flash with Jacques Bodin, Galerie Anna-Tschopp Marseille 2013 - American School of Paris 2012 - Fondation Taylor, Paris2012 - Fondation Taylor, Paris 2011 - Galerie Beckel-Odille-Boïcos, Paris 2010 - ARTSZ, Galerie Suzanne Belaieff Monaco La Galerie Anna-Tschopp, Marseille 2006 - Galerie Beckel-Odille-Boïcos, Paris Galerie Catherine et André Hug, Paris 2005 - Galerie Catherine et André Hug et Galerie Eric Monbel, Paris 2004 - Rona Gallery, London 2003 - Galerie Artemisia, Paris 2002 - Rivier College Art Gallery, Nashua, New Hampshire DFN Gallery, New York 2001 - Royal Street Gallery, Paris 2000 - DFN Gallery, New York 1999 - Boutique Hughes Chevalier, Paris Royal Street Gallery, Paris Galerie Beckel-Odille-Boïcos, Paris 1998 - Galerie Mouvances, Paris Zenith Gallery, Washington 1997 - Zenith Gallery, Washington 1996 - American School of Paris Galerie Toft, Paris 1990 - American School of Paris 1983 - Galerie Philippe Frégnac, Paris 1981 - Galerie Philippe Frégnac, Paris 1979 - Galerie Philippe Frégnac, Paris 1974 - Conservatoire National d'Art Dramatique, Paris 1971 - Fondation des Etats-Unis, Paris

Collective Exhibitions

2018 L'Abstrait Réel, La Salle Royale de l'Eglise de la Madeleine, Paris Henry Miller Fine Art, London Salon Comparaisons, Grand Palais, Paris 2017 Henry Miller Fine Art, London Abstract Nature of Realism, La Salle Royale de l'Eglise de la Madeleine, Paris Société des Artistes Français, Grand Palais, Paris 2016 American School of Paris Fondation des Etats-Unis, Cité Universitaire, Paris Boïcos Fine Arts, Paxos, Greece 2015 Salon Comparaisons, Grand Palais, Paris Boïcos Fine Arts, Paxos, Greece 2014 Salon Comparaisons, Grand Palais, Paris Cercle Municipal des Gobelins et des Beaux-Arts (Guest of Honor) Marie du 13ème, Paris 2013 Salon Comparaisons, Grand Palais, Paris 2011 Galería Ámbit, Barcelona Salon Comparaisons, Grand Palais, Paris 2010 Salon Comparaisons, Grand Palais, Paris 2009 Galerie Beckel-Odille-Boïcos, Paris 2008 Galerie Beckel-Odille-Boïcos, Paris Selection du Salon d'Automne à Compiègne Galerie Raison d'Art, Lille 2007 Salon d'Automne Paysages, Pont-l'Evêque et Beaumont-en-Auge 2004 Galerie Artemisia, Paris Galerie Beckel-Odille-Boïcos, Paris 2003 D.F.N. Gallery, New York Redwing Fine Art Gallery, Yarmouth, MA Rona Gallery, London 2002 Salon d'Etampes Redwing Fine Art Gallery, Yarmouth, MA Galerie Beckel-Odille-Boïcos, Paris D.F.N. Gallery, New York 2001 Salon d'Automne Works on Paper, Espace Belleville, Paris Salon de Saint Cloud Salon de Garches American Embassy Art Show Galerie Beckel-Odille-Boïcos, Paris D.F.N. Gallery, New York 2000 Salon de Saint Cloud American Embassy Art Show, Paris D.F.N. Gallery, New York Salon d'Automne Salon de Saint Cloud Honors Show Philharmonic Center, Naples, Florida 1999 Salon d'Automne, Paris D.F.N. Gallery, New York Zenith Gallery, Washington Salon de Saint-Cloud American Embassy Art Show, Paris Kiron Espace, Paris Galerie Liliane R, Deauville 1998 Salon d'Automne, Paris D.F.N. Gallery, New York Zenith Gallery, Washington Salon de Saint-Cloud American Embassy Art Show, Paris

Hubert de Lartigue
The female body is the major inspiration and subject in Hubert de Lartigue's work. Influenced by fashion photography and the glossy idealization of the female nude, the artist portrays the beauty and imperfections of his live models in sensual and alluring poses. Hubert explains his work by saying, “The portrait is a classic theme in the world of painting. However, I try to create elements of surprise in each of my portraits, the way I crop them, the expression or the attitude of the models. But the power of the portrait lies above all in the look of the model, which is unique each time. All I have to do is underline the strength and the intensity,”

Artist:
Hubert de Lartigue

Hubert de Lartigue is a French painter and illustrator. After graduating with graphic arts, he began his career in the field of packaging, as well as a freelance illustrator. His works were more related to science fiction, book covers, and pin-ups. Since the 2000s, he turned increasingly to photo-realism and hyper-realism, including anatomical details in portraits or large canvases.

SELECTED SOLO EXHIBITIONS

2012 Muses, Bernarducci Meisel Gallery, New York 2001 "Figure it Out", Louis K. Meisel Gallery, New York, NY, 27 January - 24 February 2004 "Great American Pin-up- Vintage and Contemporary Works", Louis K. Meisel Gallery, New York, 11 September – 2 October. 2006 "Femmes artistes (peintures recente)", Galerie Frederic Bosser, Paris, France, 20 February – 10 March. 2007 Bernarducci Meisel Gallery, New York, NY, 4- 27 October 2006 Femmes Artistes (peintures récentes), Galerie Frederic Bosser, Paris, France Exhibition of pin-ups at the Christophe Agency in Paris Solo exhibition of SF illustrations at the Imaginales in Épinal (France) Exhibition and sales at the Monde de Jeu, Porte de Versailles Paris 2004 French Pin-ups, Galerie Frederic Bosser, Paris, France Exhibition “Great American Pin-up- Vintage and Contemporary Works”, Louis K. Meisel Gallery, New York, September 11 – October 2 2003 Exhibition 2012 Muses, Bernarducci Meisel Gallery, New York 2001 "Figure it Out", Louis K. Meisel Gallery, New York, NY, 27 January - 24 February 2004 "Great American Pin-up- Vintage and Contemporary Works", Louis K. Meisel Gallery, New York, 11 September – 2 October. 2006 "Femmes artistes (peintures recente)", Galerie Frederic Bosser, Paris, France, 20 February – 10 March. 2007 Bernarducci Meisel Gallery, New York, NY, 4- 27 October 2006 Femmes Artistes (peintures récentes), Galerie Frederic Bosser, Paris, France Exhibition of pin-ups at the Christophe Agency in Paris Solo exhibition of SF illustrations at the Imaginales in Épinal (France) Exhibition and sales at the Monde de Jeu, Porte de Versailles Paris 2004 French Pin-ups, Galerie Frederic Bosser, Paris, France Exhibition “Great American Pin-up- Vintage and Contemporary Works”, Louis K. Meisel Gallery, New York, September 11 – October 2 2003 Exhibition of pin-ups Frédéric Bosser Gallery, Paris, France 2001 Exhibition Figure it out, Louis K. Meisel Gallery, New York 1999 Exhibition Galaxiales in Nancypin-ups Frédéric Bosser Galler

SELECTED GROUP EXHIBITIONS

2017 The Europeans, Louis K. Meisel Gallery, New York, NY 2016 Collective exhibition pour the coming out of the book Tall Trees of paris at the Art Factory Gallery, Paris. Collective exhibition The Portrait Show at the Bernarducci Gallery, New York. 2015 Summer Group Exhibition, Bernarducci Meisel Gallery, New York, NY Context Art Miami, Bernarducci Meisel Gallery, Miami, FL Art Silicon Valley/San Francisco, Bernarducci Meisel Gallery, San Francisco, CA 2014 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, Indiana Austin Art Projects, Palm Desert, CA Collective exhibition, Winter White at the Bernarducci Meisel Gallery, Catalogue, New York. Collective exhibition, Derivare at the Nouveaux Frigos, Paris. 2013 Photorealism Revisited, Oklahoma City Museum of Art, OK; The Butler Institute of American Art, Youngstown, OH; MANA Contemporary, Jersey City, NJ Photorealism in the Digital Age, Bernarducci Meisel Gallery, New York Sneak Peek: Photorealism in the Digital Age, Bernarducci Meisel Gallery, New York Collective exhibition, The Naked Truth, Plus One Gallery, London 2011/2 Stand Still, Bernarducci.Meisel.Gallery, New York 2012 Collective exhibition, Bernarducci Meisel Gallery, New York Collective exhibition at the Imago Gallery, Desert Palm, USA Collective exhibition at the Rarity Gallery, Mykonos, Greece Collective exhibition, Galerie de Bellefeuille, Photoréalisme, Montreal Collective exhibition at the Marie Ricco Gallery, Calvi, Corsica 2011 National Juried Biennial, Amarillo Art Museum, Amarillo, TX Art Hamptons, Bridgehampton, NY Watermill Art Center, Watermill, NY Galerie Marie Ricco, Calvi, Corsica, France 2010 Expansion, Bernarducci.Meisel.Gallery, New York Permanent exhibition Alexis Lartigue Gallery, Paris, France 2009 Heros Collective, Zone Franche, Bagneux, France. Louis K. Meisel Gallery: 40 Years of Photorealism, Bernarducci Meisel Gallery, New York Figure 8, Bernarducci Meisel Gallery, New York

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

Paul Trefry
Paul Trefry’s sculptural practice is defined by hyper-realistic figuration and powerful emotional presence, confronting viewers with figures that navigate vulnerability, fragility and human lived experience. Drawing on decades of experience in film and special effects, he uses materials such as silicone, fibreglass and mixed media to render subjects — from children and the elderly to the marginalised — with astonishing tactile realism. His works often play with scale and context, creating figures that are at once familiar and disquietingly displaced, prompting reflection on themes of identity, embodiment and the passage of time. Trefry’s sculptures — whether a contemplative old man at rest or a child poised in uncertainty — invite audiences into a direct engagement with the nuanced complexity of human emotion and presence. What sets Trefry’s art apart is its conceptual ambition and social resonance: beyond technical precision, his sculptures act as poignant commentaries on issues often left unseen, such as ageing, isolation, loss and the overlooked dimensions of everyday life. By placing hyper-real figures in contemplative or unsettling poses, he draws attention to the quiet, unspoken narratives that shape human experience and challenges viewers to confront their own preconceptions. His work has been exhibited widely — from Sculpture by the Sea to solo shows like Flesh for Thought — and even entered major auctions, where pieces such as Man in a Cube have been acquired by collectors internationally, reflecting both the immediate impact and enduring relevance of his sculptural language.

Artist:
Paul Trefry

Paul Trefry is a distinguished and internationally recognised self- taught hyper realistic artist whose practice encompasses sculpture, evolving from decades in the film industry. Largely known for his thought provoking sculptures, Trefry has received many awards here and internationally, which, has seen him produce work for people such as Angelina Jolie, James Cameron, Ridley Scott and Baz Luhrmann. Many of his pieces can be found in private collections. With numerous articles published about his work and a strong passion for sculpture his career in the arts is evolving rapidly.

Exhibitions

Sculptures By the Sea 2009 Brenda May Gallery group exhibition 2010 Sculptures by the sea 2012 Salon Des Refuses 2013 Sculpture Darling Park Exhibition 2013, (1st prize) Richard Martin Gallery group exhibition 2013 Kings College exhibition 2013 Kings College exhibition 2014 Richard Martin Gallery 2014 The International Art Contest 2014 (1st place mixed media) Salon Des Refuses 2015, (Peoples Choice winner) Celeste prize finalist 2015 Mornington Peninsular Regional Gallery 2015 Blake Prize finalist 2016 Wynne Prize finalist 2017 Incinerator Prize finalist 2017, (Winner of Peoples Choice Award.) Tom Bass sculpture prize 2018 (Curators Choice and Peoples Choice Award) winner National Gallery of Australia 2018 commission for Hyper Real exhibition Performing Arts Meeting Yokohama Japan 2019 Toorak Village Sculpture Exhibition 2019 Salon Des Refuse 2020 Tom Bass Prize 2020, (Winner of Peoples Choice Award) Wellington St Gallery 2021 (Solo show, Flesh for thought) Art Renewal Center’s 15th international Salon 2021 (Honorable Mention) Sotheby’s New York Auctions 2021 (SOLD) Giant Gallery Bournemouth UK 2021 Wollombi Valley Sculpture Festival 2021 Tom Bass Prize 2022 (Peoples Choice winner) Traffic Jam Gallery Exhibition 2022 Lethbridge 20000 2022 1st place Winner Art Renewal Center’s 16th International Salon 2023 finalist

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.

John Cooney
"John Cooney is an Irish painter known for his evocative watercolour and oil depictions of the people and landscapes of Ireland, capturing the beauty of everyday life with sensitivity and charm. His work reflects a deep connection to Irish places and communities, presenting familiar scenes with a compelling and engaging perspective. "I find beauty in the commonplace and try to make it unique. I mostly paint the people and places of Donegal, Ireland. The people have partly formed the land but the land and its beauty has also formed the people. It is what I try to show in my paintings." John Cooney

Artist:
John Cooney

Despite specialising in Illustration in art college, I worked for many years in advertising and then teaching. I have only been able to paint full time in the past few years but love having the time to indulge in painting. I have won quite a few awards, at the Royal Ulster Academy, The Watercolour Society of Ireland and recently got second prize in Artist of the Year In the Mall Galleries, London. I find beauty in the commonplace and try to make it unique. I mostly paint the people and places of Donegal, Ireland. The people have partly formed the land but the land and its beauty has also formed the people. It is what I try to show in my paintings.

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."

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.

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.

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.

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

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

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

Anne-Christine Roda
I define a highly original interpretation of the portrait: in my work the painting is entirely subjugated to the portrayal of man’s fragility. My paintings, in terms of the choice of pose for my models and the neutral treatment of their backgrounds are as rooted in tradition, as my subjects are sourced unequivocally from our contemporary era. My choice of subject speaks directly to our everyday lives. My ‘sitters’ – very diverse in age and social status are striking in their individuality. Yet going beyond the individual, their very diversity represents disparate fragments of a mosaic combining to reveal an image of humanity pulsating with life. Through this shared humanity each portrait has the power to evoke in an instant for the viewer, the most personal of memories. Thanks to my training as a picture restorer, I, with each meticulously applied layer of paint gradually reveals my sitters face in all its naked intimacy. The features emerge with precision and realism. The gentle hollow of a fine wrinkle, the texture of a strand of hair or even the moisture of a glistening eye: it’s in this quest for exactitude and fidelity to my subject that the individual is revealed in all its sensitivity. It was the dawn of photography amongst other things that heralded the decline of the painted portrait and yet it is from a photograph that I work, ultimate proof that while digging deep into the traditions of my art form I distance myself from this very tradition in seeking a naked rawness in my representations. Since 2013, I have exhibited in Galleries (France, Geneva, Munich), Art Centres (in France), Art Fairs (Paris, Strasbourg, Monaco) and Museums (National Portrait Gallery in London and Edinburgh, Ulster Museum in Belfast, Meam in Barcelona, Wausau Museum in Wmoca). In 2015, I participated to the BP Portrait Award. My paintings are part of collections in France, Switzerland, Germany, UK, United States, Hong Kong...

Artist:
Anne-Christine RODA

I define a highly original interpretation of the portrait: in my work the painting is entirely subjugated to the portrayal of man’s fragility. My paintings, in terms of the choice of pose for my models and the neutral treatment of their backgrounds are as rooted in tradition, as my subjects are sourced unequivocally from our contemporary era. My choice of subject speaks directly to our everyday lives. My ‘sitters’ – very diverse in age and social status are striking in their individuality. Yet going beyond the individual, their very diversity represents disparate fragments of a mosaic combining to reveal an image of humanity pulsating with life. Through this shared humanity each portrait has the power to evoke in an instant for the viewer, the most personal of memories. Thanks to my training as a picture restorer, I, with each meticulously applied layer of paint gradually reveals my sitters face in all its naked intimacy. The features emerge with precision and realism. The gentle hollow of a fine wrinkle, the texture of a strand of hair or even the moisture of a glistening eye: it’s in this quest for exactitude and fidelity to my subject that the individual is revealed in all its sensitivity. It was the dawn of photography amongst other things that heralded the decline of the painted portrait and yet it is from a photograph that I work, ultimate proof that while digging deep into the traditions of my art form I distance myself from this very tradition in seeking a naked rawness in my representations. Since 2013, I have exhibited in Galleries (France, Geneva, Munich), Art Centres (in France), Art Fairs (Paris, Strasbourg, Monaco) and Museums (National Portrait Gallery in London and Edinburgh, Ulster Museum in Belfast, Meam in Barcelona, Wausau Museum in Wmoca). In 2015, I participated to the BP Portrait Award. My paintings are part of collections in France, Switzerland, Germany, UK, United States, Hong Kong...