Lorena Kloosterboer

Lorena Kloosterboer
Lorena Kloosterboer is a Dutch-Argentine artist (the Netherlands, 1962) painting contemporary realist still lifes. She seeks to capture the fascinating interactions between colors, light, shadows, textures and reflections, and unite them in visual poetry. During Kloosterboer’s thirty+ year career her artwork has received many prestigious awards, and has been exhibited in well over 150 gallery and museum exhibitions in Argentina, Belgium, Canada, Denmark, Estonia, France, Germany, Japan, the Netherlands, Spain, the United Kingdom, and the United States. Kloosterboer has written a book about painting in acrylics which has been published worldwide in several languages. She also writes essays about art and artists, catalog introductions, and has undertaken several curatorial projects. All her articles can be found on her website under Art Blog. Lorena Kloosterboer currently lives and works in Antwerp, Belgium.

Artist:
Lorena Kloosterboer

Lorena Kloosterboer is a Dutch-Argentine artist (the Netherlands, 1962) painting contemporary realist still lifes. She seeks to capture the fascinating interactions between colors, light, shadows, textures and reflections, and unite them in visual poetry. During Kloosterboer’s thirty+ year career her artwork has received many prestigious awards, and has been exhibited in well over 150 gallery and museum exhibitions in Argentina, Belgium, Canada, Denmark, Estonia, France, Germany, Japan, the Netherlands, Spain, the United Kingdom, and the United States. Kloosterboer has written a book about painting in acrylics which has been published worldwide in several languages. She also writes essays about art and artists, catalog introductions, and has undertaken several curatorial projects. All her articles can be found on her website under Art Blog. Lorena Kloosterboer currently lives and works in Antwerp, Belgium.

Helga Stentzel - Household Surrealism

Helga Stentzel - Household Surrealism
Helga Stentzel is a Russian-born artist based in London, UK. She works across a wide range of media including illustration, photography, video and stop motion animation. Helga received "food art creator of the year" award in 2020 and has collaborated with BBC, Honda and O2, among others. A St. Martins alumna, Helga worked in the advertising industry and ran a children’s clothing business before becoming a full-time artist. “To me, household surrealism is about finding magic in the mundane, seeing beauty in imperfections, and connecting to our reality in a new way. I love noticing playful similarities - be it a sweater on a clothing line looking like a horse or a slice of bread resembling a dog’s head. It’s only the starting point though. From this moment onward the stories and visuals start buzzing in my head: What will this horse look like? What’s her name and character? Does she like racing with other horses? - the list goes on and on! I hope that my art will help people to connect with their inner child and rediscover the joy of savouring little visual delights in and outside their homes.”

Artist:
Helga Stentzel

Helga Stentzel is a Russian-born artist based in London, UK. She works across a wide range of media including illustration, photography, video and stop motion animation. Helga received "food art creator of the year" award in 2020 and has collaborated with BBC, Honda and O2, among others. A St. Martins alumna, Helga worked in the advertising industry and ran a children’s clothing business before becoming a full-time artist. “To me, household surrealism is about finding magic in the mundane, seeing beauty in imperfections, and connecting to our reality in a new way. I love noticing playful similarities - be it a sweater on a clothing line looking like a horse or a slice of bread resembling a dog’s head. It’s only the starting point though. From this moment onward the stories and visuals start buzzing in my head: What will this horse look like? What’s her name and character? Does she like racing with other horses? - the list goes on and on! I hope that my art will help people to connect with their inner child and rediscover the joy of savouring little visual delights in and outside their homes.”

Helga’s work has received media attention across the globe – from Korea to Columbia; including in the press, on TV and online. Her Instagram page is often featured by the largest accounts (including by the Instagram itself)

Selected media mentions

Conversación con Helga Stentzel, la artista que creó la vaca con ropa colgada / El Columbiano, March 2021 ‘Household surrealism’ by visual artist Helga Stentzel / South China Morning Post, March 2021 Artist Transforms Everyday Household Items into a Host of Playful Characters / My Modern Met, March 2021 [이 한 장의 시각예술] 세탁, 소 / The Chosun Ilbo, March 2021 De l’art avec des objets du quotidien par Helga Stentzel / 2Tout2Rien, France, March 2021 Il bucato al pascolo di Helga Stentzel / Objects, March 2021 Clothesline Farm Animals Graze the Countryside in Playful Illusions by Helga Stentzel / Colossal, February 2021 Helga Stentzel hangs clothes to create surreal farm animal illusions / DesignBoom, February 2021 This Artist Turns Everyday Items into Hilarious Optical Illusions / DIY Photography Magazine, February 2021 凭奇葩“菜狗”表情包火出圈，设计师“糟蹋”无数食物，却让人有被治愈到! / qq.com, January 2021 L’artiste Helga Stentzel détourne le quotidien avec humour / Creapills, January 2021 Дизайнер из Лондона оживляет еду и предметы быта / Metro Moscow, August 2020 Food art creator of the year award / SnackableContent Awards, July 2020 I Use Food to Tell Fun Visual Stories / Bored Panda, January 2019 Helga Stenzel: la artista que construye figuras y escenas con objetos cotidianos / SDP Noticias, March 2018
Francien Krieg - Precious bodies

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

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

Christiane Vleugels

Christiane Vleugels
Christiane Vleugels work can be characterized as realism, but if you look closer you realize there is much more. Not only a lot of love for the subject, but also the feel of an ethereal atmosphere that exudes dramatic beauty and glamour. Each of her paintings unveils a certain aspect of life and inspires to dream. Christiane paints her philosophy of life in every painting she does, and it’s instantly visible. Her zest for life and her unshakable belief that the universe provides are palpable in her paintings, never failing to lift a smile from the viewer. Originally painting in a romantic style to gain the recognition she craved as an awkward teenager, she soon developed a mature mastery of the styles of the old masters through commissioned paintings, “which paid my bills and honed my skills,” Christiane recalls with a smidge of melancholy and a handful of gratitude. These days Christiane paints what’s alive and calling in her, whether it’s a sense of wonder about this world or compassion for her models, especially those that lack an articulate voice, such as women who’ve suffered trauma, her widowed father, or sometimes animals. Christiane paints in oil on board or aluminum panels, preferably of large formats, drawing, according to the mood or theme that may be stirring in her, on her large archive of photographs of models who have posed for her over the years.
"To paint what is in the heart always has been the biggest challenge. Sheer beauty, clears the mind and lets you open up for world’s beyond the dream. Of course it hasn’t always been like that, it took many years of reproducing old Masters and working on commission before I realized that the time has come to create from the heart. When I look back at those tiresome years, during which I often felt under incredible pressure and even, at times, uninspired, I realize they were a necessary part of my artistic journey. I really do believe I owe my various skills to that endless list of commissions. But now the time has come to take new directions in life. With each original work I create today, I realize more and more that the true learning process has only just begun for me!" Christiane Vleugels

Artist:
Christiane Vleugels

At the age of 12, Christiane went to the Academy of Art in Schoten (Belgium). At the age of 17 she went in Antwerpen to the Municipal Institute of Decorative Arts and Crafts where she focused on decor, publicity and nature drwaings. After that, it was time for the Royal Academy in Antwerp. There she studied figure drawing, oil painting and restoration techniques. Christiane Vleugels work can be characterized as realism, but if you look closer you realize there is much more. Not only a lot of love for the subject, but also the feel of an ethereal atmosphere that exudes dramatic beauty and glamour. Each of her paintings unveils a certain aspect of life and inspires to dream. Christiane paints her philosophy of life in every painting she does, and it’s instantly visible. Her zest for life and her unshakable belief that the universe provides are palpable in her paintings, never failing to lift a smile from the viewer. Originally painting in a romantic style to gain the recognition she craved as an awkward teenager, she soon developed a mature mastery of the styles of the old masters through commissioned paintings, “which paid my bills and honed my skills,” Christiane recalls with a smidge of melancholy and a handful of gratitude. These days Christiane paints what’s alive and calling in her, whether it’s a sense of wonder about this world or compassion for her models, especially those that lack an articulate voice, such as women who’ve suffered trauma, her widowed father, or sometimes animals. Christiane paints in oil on board or aluminum panels, preferably of large formats, drawing, according to the mood or theme that may be stirring in her, on her large archive of photographs of models who have posed for her over the years.

"To paint what is in the heart always has been the biggest challenge. Sheer beauty, clears the mind and lets you open up for world’s beyond the dream. Of course it hasn’t always been like that, it took many years of reproducing old Masters and working on commission before I realized that the time has come to create from the heart. When I look back at those tiresome years, during which I often felt under incredible pressure and even, at times, uninspired, I realize they were a necessary part of my artistic journey. I really do believe I owe my various skills to that endless list of commissions. But now the time has come to take new directions in life. With each original work I create today, I realize more and more that the true learning process has only just begun for me!" Christiane Vleugels
Sasha Hartslief

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
Warwick Fuller

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
Reflections of the World - Worlds of Reflections

Reflections of the World - Worlds of Reflections
Gerd Lieder, an artist and, among other things, an art historian, spans the broad spectrum from basic topics of the art science to philosophy to a contemporary exploration of human perception. With the highest technical and content precision, he brings seemingly unstructured shapes and colors into overarching, perfectly harmonious harmony. Through his individual, well-defined imagery he manages to convey the essential nature of art: art is a reflection, a reflection of reality, or rather, what we perceive as reality. It is our perception that shapes reality, so the reality is always subjective and cannot be determined according to generally applicable standards. Lieder reminds us of this by dissolving, reflecting and flowing into one another the forms we are talking about. The point of this game with perception is that there is no solution and everything is possible at the same time. The answer is not provided by the artist, but the viewer has to find it for himself. So life is.

Theme
Since 2000 his theme is about the visual experienceable world by means of reflection in different media like foils, water, glass, mirrors, and reality.

Artist Statement
The first “picture” in human history was a reflection - in a puddle, a still lake or a water hole. And the reflection of a bowed-over early face may have contributed significantly to the realization of man: The self-performed movements and grimaces are also the mirror image again - so I have to be what it looks at me. The key phrase is not “Cogito, ergo sum”, but “Video, ergo sum” - I see (me), therefore I am. - Gerd Lieder (https://gerdlieder.com/de/rezensionen/)

Artist:
Gerd Lieder

Reflections of the World - Worlds of Reflections

Gerd Lieder was born in Germany in 1955. He currently lives and works in Bremen. His contemporary oil paintings are depictions of the world as seen through the lens of reflection. Since 2000, the artist has carried different mirrors with him throughout the world to arrange as conspirators to his unique observations of compositions, situations, objects, and environments. Strategically placed for viewing his subjects through, they create the opportunity for a freeze-framing filter, representing the way our individual experiences inform unique renditions of our common existence. Overall, his paintings remark on the transient qualities of reality affected by place, circumstance, time and the ever-changing and impermanent perceptions of the viewer. Lieder attended the Ludwig-Maximillian University in Munich where he studied theatre science, history of art, German language and literature. His work has been included in many solo and group exhibitions in Germany and the United States.

EXHIBITIONS

2019: HOHMANN at Art Palm Springs 2019, HOHMANN 2018: HOHMANN at CONTEXT Art Miami 2018, HOHMANN 2016: HOHMANN at Palm Springs Fine Art Fair 2016, HOHMANN 2016: HOHMANN Celebrates 40th Anniversary, HOHMANN, Palm Desert 2016: GERD LIEDER - REFLECTED, HOHMANN, Palm Desert 2007: The Hart Gallery, Palm Desert, California 2007: Reflections and Reflections, Galerie Lonnes, Bremen, Germany (solo) 2007: What you see is what you get, VONDERBANK Art galleries, Hamburg, Germany (solo) 2006: Reality Revisted, gallery scale, Cologne, Germany 2006: Al caro Giorgio Gaber ”Circolo Artistico Politecnic, Naples 2006: Mirroring, mirroring on the wall…, Galerie Kunsthaus Oberkassel, Dusseldorf, Germany (solo) 2006: New location, ART - isotope, Galerie Schober, Dortmund, Germany (solo) 2006: Spiegelglatt, Gallery Eigen-art, Lauenburg, Sandesneben / Duchy, Germany (solo) 2005: Reflections 1995-2005, Galerie L'ART Lonnes, Worpswede, Germany (solo) 2005: Reichstag and Roland, Kontorhaus Bremen, Germany (solo) 2004: Welt - Spiegel, Galerie Loy, Rastede, Germany (solo) 2004: Reflections II, gallery scale, Cologne (solo) 2004: State Museum Buca, Tivat / Montenegro, Serbia (catalog) 2004: Querblick 3 ", Kolnisches Stadtmuseum, Cologne 2003: Ducal residence Rastede, Galerie Loy, Rastede, Germany 2003: Mirror of the Worlds - Worlds of Reflections II, Village Gallery, L'ART Lonnes, Worpswede (catalog) (solo) 2003: Reflections, gallery scale, Cologne (solo) 2002: Kontorhaus Bremen (solo) 2001: Mirror of the Worlds - Worlds of Reflections I, Village Gallery, L'ART Lonnes, Worpswede (catalog) (solo)
Alejandra Caballero

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.
Hanjo Schmidt

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 NosOtros

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.

Anne-Françoise Ben-Or

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

Hero Johnson

Hero Johnson
Hero Johnson loves the versatility of Oils. They lend themselves to everything from fine translucent washes to thick impasto. She finds peoples endlessly fascinating which is ultimately her ideal subject matter. Unless she is working on a commission, she emerges herself painting people she knows; friends, neighbors, and colleagues. Hero finds inspiration in everyday life. She does not prefer to stick to a particular style but she uses limited palettes that gives her work a sense of unity.

Artist:
Hero Johnson

Hero Johnson is a London-based visual artist, originally from Cornwall. Her Exhibitions include The BP Portrait Award, The Royal Society of Portrait Painters, The Trinity Buoy Wharf Drawing Prize, The Lynn Painter-Stainers Prize, The Ruth Borchard Self-Portrait Competition, The New English Art Club, The Discerning Eye, Hogarth’s House ‘Small Self’ and The Royal Institute of Oil Painters. Shortlisted for both the Bulldog Bursary and the RSPP Self Prize in 2013. A regular contributor to Artists & Illustrators magazine 2010-2014. Winner of the Royal Society of Portrait Painters Changing Faces Commission Prize 2015. Awarded the New English Art Club Drawing Scholarship 2016-17. Awarded the Elizabeth Greenshields Foundation Grant 2018. Made a member of the Contemporary British Portrait Painters 2019.

Selected Group Exhibitions and Competitions

2019 The Trinity Buoy Wharf Drawing Prize. Trinity Buoy Wharf. The Lynn Painter Stainers Prize. The Mall Galleries, London The Society of Women Artists. The Mall Galleries, London The Heatherley Staff Show. Bankside Gallery, London 2018 The Royal Society of Portrait Painters. The Mall Galleries, London ‘Empowered by Art’. The University Women’s Club, Mayfair The Jackson’s Painting Prize Open The Heatherley Staff Show. Bankside Gallery, London ‘Connected’. Waterstones Gallery, Gower St, London 2017 The BP Portrait Award. National Portrait Gallery, London The Royal Society of Portrait Painters. The Mall Galleries, London The New English Art Club. The Mall Galleries, London ‘Face to Face’; BP Portrait Award Artists’ Work. Cass Art Space, Islington ‘The Art of Reading’. Cambridge Literary Festival, Cambridge The Jackson’s Painting Prize Open The Heatherley Staff Show. Bankside Gallery, London 2016 The Royal Society of Portrait Painters. The Mall Galleries, London ‘The Art of Reading’. Waterstones Gallery, Gower St, London The Jackson’s Painting Prize Open. Finalist. The Heatherley Staff Show. Bankside Gallery, London. 2015 The Royal Society of Portrait Painters. The Mall Galleries, London The Heatherley Staff Show. Bankside Gallery, London ‘Portrayed’. Chelsea Old Town Hall, London 2014 The Royal Society of Portrait Painters. The Mall Galleries, London ‘The Small Self’. Hogarth’s House, Chiswick, London The Heatherley Staff Show. Bankside Gallery, London 2013 The Royal Society of Portrait Painters. ‘Self’ Prize Finalist. The Mall Galleries, London The Ruth Borchard Self Portrait Competition. Kings Place, London The New English Art Club. The Mall Galleries, London ‘Patrick George, a Likeness’. Browse & Darby, London The Reed Short Film Competition. Long-listed 2012 ‘Jumping Frog’. Daggett Gallery, London 2011 The Discerning Eye. The Mall Galleries, London 2010 The Lynn Painter Stainers Prize. Painter’s Hall, London 2009-10 Bust of Colin Powell for ‘The Nature o

Awards and Bursaries

2018 – The Elizabeth Greenshields Foundation Grant 2016 – The New English Art Club Drawing Scholarship 2015 – The Royal Society of Portrait Painters Changing Faces Commission Prize 2013 – The Royal Society of Portrait Painters Bulldog Bursary Runner-up 2007 – The Worshipful Company of Painter Stainers Bursary 2004 – Cypriot Ministry of Culture Bursary
Fei Gao 高飞

Fei Gao 高飞
因出生河套乡村，对乡村生活感受很深，成为自己创作的源泉，力求用油画表达对乡村景色的独特感受，充满激情的笔触，质朴的艺术语言，表达了自己对家乡景色的挚爱！ Fei Gao he has a deep feeling for rural life, which has become the source of his own creation. He strives to express his unique feelings about the rural scenery with oil paintings. His passionate brushwork and simple artistic language express his love for the scenery of his hometown! 1973年生于内蒙古巴彦淖尔市古城 1994年毕业于巴彦淖尔市美术专科学校 经典汇 CLATIA 签约艺术家 美国肖像画协会会员 美国NOAPS会员 中国少数民族美术促进会会员 北京市东城美术家协会会员 中华艺术研究院艺委会秘书长兼艺委会评委 北京书画艺术院油画艺委会委员 Born in 1973 in the ancient city of Bayannur City, Inner Mongolia Graduated from Bayannaoer Art College in 1994 Artists signed by CLATIA Member of Portrait Society of America US NOAPS member Member of China Association for the Promotion of Minority Arts Member of Beijing Dongcheng Artists Association Secretary-General of the Art Committee of the Chinese Academy of Arts and a judge of the Art Committee Member of Oil Painting Art Committee of Beijing Academy of Painting and Calligraphy

Artist:
Fei Gao 高飞

1973年生于内蒙古巴彦淖尔市古城 1994年毕业于巴彦淖尔市美术专科学校 经典汇 CLATIA 签约艺术家 美国肖像画协会会员 美国NOAPS会员 中国少数民族美术促进会会员 北京市东城美术家协会会员 中华艺术研究院艺委会秘书长兼艺委会评委 北京书画艺术院油画艺委会委员 Born in 1973 in the ancient city of Bayannur City, Inner Mongolia Graduated from Bayannaoer Art College in 1994 Artists signed by CLATIA Member of Portrait Society of America US NOAPS member Member of China Association for the Promotion of Minority Arts Member of Beijing Dongcheng Artists Association Secretary-General of the Art Committee of the Chinese Academy of Arts and a judge of the Art Committee Member of Oil Painting Art Committee of Beijing Academy of Painting and Calligraphy

2022年10月《圣吉米亚诺的回忆》获得美术室画廊“面孔”国际艺术展一等奖 2022年10月《圣吉米亚诺的回忆》获得ART SHOW INTERNATIONAL GALLERY（艺术展国际画廊）“第五届肖像”艺术竞赛天才奖 2022年9月《戴金色头盔的自画像》获得2022美国艺术大奖赛39类自画像第三名，《吐鲁番夜市之二》获得1类油画第五名 2022年8月《戴金盔的自画像》获得第二届委拉斯凱玆绘画＆雕塑大赛特别提名奖！ 2020年12月作品《塔吉克老人》入围美国油画丙烯画协会2020年国际秋季在线大赛 2020年11月作品《维吾尔族姑娘》人选第92届美国职业艺术家联盟国际展 2020年11月油画作品《圣洁》、《状态之三》入围第15届国际ARC沙龙艺术大赛 2020年9月获得2020年美国艺术大奖赛：油画《老人肖像》获得第1类人像的第一名 《喀什老城的维吾尔族妇女》获得第1类人像的第四名； 《自画像》获得第39类自画像的第一名 2020年8月《状态之三》获得美国人文彩色美术馆“最新作品”绘画在线大赛一等奖（美国） 2020年7月《状态之三》入选2020年美国艺术家联合会107届年度展 2020年5月19日《状态之三》入选美国油画丙烯画协会春季展在线展 2020年4月《状态之三》获得第十届具象绘画.雕塑在线竞赛优秀奖，作品《塔吉克新娘》入选。 2020年4月《状态之三》、《塔吉克新娘》获得第二届国际具象肖像画竞赛一等奖。 2020年3月油画作品《状态之三》获得美国肖像画协会第22届国际肖像画大赛“50名选择奖”！ 2020年1月参加浩然情怀•马中当代名家佳作展 马来西亚槟城人民大会堂 2019年11月民族美术高等教育60年成果回顾展 北京中华世纪坛艺术馆！ 2019年10月作品《圣洁》参加＂花团锦簇＂一一中国少数民族美术风情艺术展 北京恭王府嘉乐堂 2019年9月油画作品《圣洁》获得2019美国艺术大奖赛时尚类一等奖！油画作品《老人肖像》获得现实人物类三等奖！油画作品《戴红头巾的妇女》获得现实人物类四等奖！ 2019年8月参加远见 - 艺术9号油画精选展 中国油画院 2019年7月，作品《小天使》入选14届ARC国际沙龙大奖赛 2019年5月19日于北京举行【 画布上的乡情 】高飞油画个展 北京国艺展览中心 2019年5月13日高飞油画作品《维吾尔族老人》入选2019美国油画丙烯画协会春季在线展！ 2019年3月17日于北京宋庄举办【 乡绪高飞 】 - 高飞个人画展 宋庄雅文美术馆

In October 2022, "Memories of San Gimignano" won the first prize of the "Faces" International Art Exhibition of the Art Room Gallery In October 2022, "Memories of San Gimignano" won the Genius Award of the "Fifth Portrait" Art Competition of ART SHOW INTERNATIONAL GALLERY (Art Show International Gallery) September 2022 "Self-Portrait with a Golden Helmet" won the third place in the 2022 American Art Awards 39 categories of self-portraits, and "Turpan Night Market II" won the fifth place in category 1 oil painting In August 2022, "Self-Portrait with a Golden Helmet" won the Special Mention Award in the 2nd Velázquez Painting & Sculpture Competition! In December 2020, the work "Tajik Old Man" was shortlisted for the 2020 International Autumn Online Competition of the American Oil and Acrylic Painting Association In November 2020, the work "Uyghur Girl" was selected for the 92nd International Exhibition of the League of Professional Artists of America In November 2020, the oil paintings "Holy" and "The Third State" were shortlisted for the 15th International ARC Salon Art Competition In September 2020, won the 2020 American Art Grand Prix: the oil painting "Portrait of the Old Man" won the first place in the first category of portraits "Uighur Women in the Old City of Kashgar" won the fourth place in the first category of portraits; "Self-portrait" won the first place in the 39th self-portrait category; In August 2020, "Status 3" won the first prize in the "Latest Works" painting online competition of the American Color Museum of Humanities (USA) In July 2020, "The Third State" was selected for the 107th Annual Exhibition of the Federation of American Artists in 2020 On May 19, 2020, "State No. 3" was selected for the online exhibition of the Spring Exhibition of the American Oil and Acrylic Painting Association In April 2020, "Status No. 3" won the Excellence Award in the 10th Concrete Painting and Sculpture Online Competition, and the work "Tajik Bride" was selected.

In April 2020, "Status No. 3" and "Tajik Bride" won the first prize in the 2nd International Figurative Portrait Competition. In March 2020, the oil painting "State No. 3" won the "50 Choice Award" in the 22nd International Portrait Painting Competition of the Portrait Society of America! In January 2020, he participated in the Haoran Feelings·Malaysia and China Contemporary Famous Masterpieces Exhibition, the Great Hall of the People, Penang, Malaysia In November 2019, the 60-year National Art Higher Education Retrospective Exhibition Beijing China Millennium Monument Art Museum! In October 2019, the work "Holiness" participated in the "Blossoms and Blossoms"-China Minority Art and Style Art Exhibition, Jiale Hall, Prince Gong's Mansion, Beijing In September 2019, the oil painting "Holy" won the first prize in the fashion category of the 2019 American Art Grand Prix! The oil painting "Portrait of an Old Man" won the third prize in the category of realistic figures! The oil painting "Woman Wearing a Red Turban" won the fourth prize in the category of realistic figures! In August 2019, I participated in Vision - Art No. 9 Selected Oil Painting Exhibition Chinese Oil Painting Academy In July 2019, the work "Little Angel" was selected for the 14th ARC International Salon Grand Prix On May 19, 2019, 【Nostalgia on Canvas】Gao Fei Oil Painting Solo Exhibition Beijing Guoyi Exhibition Center On May 13, 2019, Gao Fei's oil painting "Uyghur Old Man" was selected for the 2019 American Oil and Acrylic Painting Association Spring Online Exhibition! On March 17, 2019, 【Xiangxu Gaofei】-Gaofei Solo Exhibition was held in Songzhuang, Beijing, Songzhuang Yawen Art Museum
Erin Hanson

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

Artist:
Erin Hanson

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

Education

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

Exhibitions

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

Exhibition and Awards

2016 - 2019: COWGIRL UP! Desert Caballeros Western Museum, Wickenburg, AZ. Awards: 1st Place 2-D on Canvas 2018 and Best in Show 2019. 2016 - 2017: THE MOUNTAIN OYSTER CLUB ART SHOW. Tuscon, AZ. THE WOODLANDS WATERWAY FESTIVAL. The Woodlands, TX. Awards: Best in Show, Featured Artist for 2017 and Poster Artist for 2018. 2016: ART SAN DIEGO. San Diego, CA. Awards: Spotlight Artist, Best New Exhibitor. 2016 - 2017: LA QUINTA ARTS FESTIVAL. Juror for painting category. 2015: THE ERIN HANSON ART & WINE TOUR. Paso Robles, CA. ART IN EMBASSIES. U.S. Department of State. 2015 and 2018 SAATCHI ART. Awards: The Year in Review: Best of 2015. WOODLANDS WATERWAY ART FESTIVAL. Houston, TX. Awards: Best in Show for 2015. INDIAN WELLS ART FESTIVAL. Indian Wells, CA. Awards: Poster Artist for 2015. HERMOSA BEACH ARTWALK. Hermosa Beach, CA. Poster Artist for 2015. THE MOUNTAIN OYSTER CLUB ART SHOW. Tuscon, AZ. 2014 WORLDWIDE ART LOS ANGELES, Artavita Contest 1st Place Winner. Los Angeles, CA. Curated by Despina Tunberg. 2014 ERIN HANSON: BORREGO IN COLOR. Tumbleweed Art Gallery, Borrego Springs, CA. Curated by Glenda Garmon. 2014 PASOSCAPES: OILS BY ERIN HANSON. Studios on the Park, Paso Robles, CA. Curated by Sasha Irving. 2013 EARTH, SKY, WATER. Arts at Denver, Denver. Curated by Paula Colette. 2013 LA JOLLA FESTIVAL OF THE ARTS. Awards: 1st Place Painting. 2013 BORREGO ART INSTITUTE. Borrego Springs, CA. Curated by Barbara Nickerson. 2013 ART IN THE PARK. Boulder City, NV. 1st Place Painting. Juried by Boulder City Hospital Foundation. 2012 ERIN HANSON: COLORS OF PASO, SOLO SHOW. Paso Robles, CA. Curated by Sasha Irving. 2012 BOULDER CITY FINE ART FESTIVAL. 1st Place Fine Art. Juried by Boulder City Art Guild. 2012 NATIONAL OIL & ACRYLIC PAINTERS' SOCIETY Awards: Best of America 2012 2012: CA 101 EXHIBITION, 2012, Redondo Beach, CA. Curated by Sandra Liljenwall. 2012: ICONS OF THE WEST 2012. Missoula, MT. Curated by Dana Gallery. 2012: DESERT
Arianne Clément - The Art of Aging - A photo story on the themes of beauty and sensuality after 70

Arianne Clément - The Art of Aging - A photo story on the themes of beauty and sensuality after 70
This project owes its existence to a revelation I experienced when I encountered Marie-Berthe, a young 102-year-old beauty whose ease and casualness in front of the lens was as impressive as it was inspiring. I was immediately taken with the old woman and the way she totally - almost unconsciously - felt beautiful and attractive and was not afraid to show it off. What if beauty could not be reduced to an idealized aesthetic? What if, beyond the traces left by the passage of time on our features, beauty could be something less tangible but more lasting? This vision is far removed from learned ideas and clichés commonly associated with beauty. It doesn’t have to be something that we are born with or without and neither does it have to be the privilege of youth. Beauty has to be much more and, hopefully much better, than this. It is a way of being. Something to cultivate, teach and learn from, and something that each of the nine women, and four men, that reveal themselves in this project are marvelous examples of. As models, they have been a great inspiration to me and it is my hope that my portraits will transmit their spirit and maybe also a precious lesson on the venerable art of aging. The elders whose intimacy is revealed and celebrated here share with me a notion of beauty and sensuality that inspires a state of grace. Lightness and depth are here side by side in a provocative but thoroughly pleasurable display. Like dozens of other potential subjects, the models featured here answered my invitation issued on social media over the last few years. They were willing to contribute in their own way to redefine the way we view beauty, sensuality and old age.
Borrowing from the conventions of Nude and Boudoir photography, the pictures show my fascination with the human body and its great potential for emotional expression. It is therefore of great importance to me to establish a strong bond with my models, with the goal of laying them bare both physically and psychologically. The subjects, captured in their uniqueness, diversity and vulnerability, are sublimated by the use of black-and-white which enhances their presence and adds a poetic dimension to each portrait. These pictures also aim to illustrate my irritation with the very conformist way we view beauty and with the pervasive presence of certain imagery that subdue many people into body shaming and a fear of getting old. Camera in hand, I hope to offer different images here – pictures that celebrate a diversity of bodies as well as a different way of feeling beautiful and sensuous.

The Art of Aging Queer
After working for many years on photo projects related to old age, Arianne noticed that there is a deep and wide-spread need to celebrate love, sexuality and beauty in seniors, along with a desire to break taboos about sexuality in old age. The art of aging queer echoes Arianne's sensitivity to the marginalized, the mavericks, and her concern for the well-being and fulfillment of her friends, colleagues and acquaintances from queer communities. Arianne's incompre-hension and revulsion in the face of the discrimination and violence that members of the LGBTQ+ community still suffer, despite significant progress made in recent decades, also motivated the creation of this series. This project aims to promote inclusivity, diversity, acceptance and openness toward others Five queer models volunteered to participate in this series. The participants, despite comparable ages, come from very different worlds, and express both contrasting and nuanced conceptions of homosexuality. Five models, five unique life paths in the margins of society, five visions reflected in the photographic works of this series, each of which contributes to our understanding of what it means to be queer. The photos of the art of aging queer were shot in August 2021. They are the result of long and beautiful encounters between the photographer and her models. Photo shoots often span several hours, and in some cases, several days, which is essential to building a strong bond of trust. These sessions give an important role to improvisation; identifying how these people want to be represented, and feel beautiful, is an integral part of Arianne's approach that promotes a collaborative spirit and sensitivity.

Artist:
Arianne Clément

After obtaining a master’s degree with honours in photography from University of the Arts London, Arianne Clément travelled far and wide to find inspiration, often getting involved in humanitarian projects with the marginalized, her preferred subjects. She now devotes her work principally to portraying the elderly. Her celebrated portraits of seniors have been exhibited nationally and internationally, and won her several prizes, grants and honours. What these distinctions reflect first and foremost are the sensitivity and boldness of her work and the unique connection she manages to create with her models. ​ Her pictures and stories were published in major newspapers and prestigious journals all around the world and her work was met with enthusiastic response online, creating a buzz in social media.
Graham Dean

Graham Dean
‘The body is a powerful tool to characterize the identity of a character – from the inside to the outside. The English artist, Graham Dean transmits an essential part of the emotions and psychological states of his characters whether they be beautiful models, athletes, crazy bondage enthusiasts, identical twins, people with skin imperfections, – all using their bodies as vehicles of expression. He is essentially a painter of identity. But more than the identity of the body, it is the identity of the soul as evoked by these sumptuous watercolours. Like Egon Schiele who was researching in mental hospitals to study his subjects, Graham Dean loves these oddball characters who voluntary use their bodies often in extreme situations. His images are recomposed in a creative alchemy, mixing people, body parts and time itself. Although the works are representational, they escape the illustrational to reach a universal form from something deeply personal. He has also used buildings, mysterious ships, confessionals in churches, forests, trains, to enhance these atmospheric moods. For Graham Dean, the body is a ‘holding-pen of emotions’, a ‘thinking body’ similar to the research done by Wilhelm Reich. His characters are the receptacles of these emotions, ideas, and memories. They are witnesses of the human condition and our complex relationship with the world. Our individuality, our identity is formed by this interaction of our inner lives which is constantly penetrated and altered by the outside world. Graham’s painting is an investigation between the inside and the outside, the surface and what lies beneath. Arms, faces, torsos, legs become interchangeable – anonymous but recognisable, The body becomes a canvas, torn and stretched, a vehicle for the imagination of the artist. The works are open to interpretation, free, as are the movements of watercolour, colours and sensual shapes.
Using a technique he calls ‘’reverse archaeology’’, Graham Dean re-invents the traditional uses of watercolour resulting in a unique technique. Contrasting layers of paint are applied separately on thick, handmade paper from Southern India. Each sheet has undergone a process of tearing and overlapping to create a final composition, this corresponds to the multiple layers of the epidermis which protects the human body. The process is organic and cyclical, the paintings appear fragmented and destroyed using sections(front and back) that lead to a renaissance in the form of a new composition. The choice of colours and contrasts is important to Graham Dean : like the English landscape painter John Constable, the use of red accentuates the dramatic effect of green and yellow. These powerful and bright colours like those found in silk saris, fascinated him when he had a residency in Trivandrum, Kerala in Southern India. The application of paint glazes (multiple, transparent layers) create intensity and depth, as in Rothko. The juxtaposition of complimentary colours creates strong, theatrical works. The artist illuminates his figures in the manner of a filmmaker, pointing to body parts, which are also found in the videos of the artist. Intoxicated by the colour and the pleasure he takes in his touch, Graham Dean likes the thickness of the paper and the sensual, exotic properties of transparency and opacity. Just as Peter Doig builds the work of materials (sets of textures, colours – pure and mixed), he creates painted atmospheres. Moving forms which escape our gaze, disintegrate before our eyes . We admire his mastery of pigments suspended in water.’ Adapted from an article by Galerie Maubert, Paris. September 2011

Artist:
Graham Dean

‘The body is a powerful tool to characterize the identity of a character – from the inside to the outside. The English artist, Graham Dean transmits an essential part of the emotions and psychological states of his characters whether they be beautiful models, athletes, crazy bondage enthusiasts, identical twins, people with skin imperfections, – all using their bodies as vehicles of expression. He is essentially a painter of identity. But more than the identity of the body, it is the identity of the soul as evoked by these sumptuous watercolours. Like Egon Schiele who was researching in mental hospitals to study his subjects, Graham Dean loves these oddball characters who voluntary use their bodies often in extreme situations. His images are recomposed in a creative alchemy, mixing people, body parts and time itself. Although the works are representational, they escape the illustrational to reach a universal form from something deeply personal. He has also used buildings, mysterious ships, confessionals in churches, forests, trains, to enhance these atmospheric moods. For Graham Dean, the body is a ‘holding-pen of emotions’, a ‘thinking body’ similar to the research done by Wilhelm Reich. His characters are the receptacles of these emotions, ideas, and memories. They are witnesses of the human condition and our complex relationship with the world. Our individuality, our identity is formed by this interaction of our inner lives which is constantly penetrated and altered by the outside world. Graham’s painting is an investigation between the inside and the outside, the surface and what lies beneath. Arms, faces, torsos, legs become interchangeable – anonymous but recognisable, The body becomes a canvas, torn and stretched, a vehicle for the imagination of the artist. The works are open to interpretation, free, as are the movements of watercolour, colours and sensual shapes. Using a technique he calls ‘’reverse archaeology’’, Graham Dean re-invents the traditional uses of watercolour resulting in a unique technique. Contrasting layers of paint are applied separately on thick, handmade paper from Southern India. Each sheet has undergone a process of tearing and overlapping to create a final composition, this corresponds to the multiple layers of the epidermis which protects the human body. The process is organic and cyclical, the paintings appear fragmented and destroyed using sections(front and back) that lead to a renaissance in the form of a new composition. The choice of colours and contrasts is important to Graham Dean : like the English landscape painter John Constable, the use of red accentuates the dramatic effect of green and yellow. These powerful and bright colours like those found in silk saris, fascinated him when he had a residency in Trivandrum, Kerala in Southern India. The application of paint glazes (multiple, transparent layers) create intensity and depth, as in Rothko. The juxtaposition of complimentary colours creates strong, theatrical works. The artist illuminates his figures in the manner of a filmmaker, pointing to body parts, which are also found in the videos of the artist. Intoxicated by the colour and the pleasure he takes in his touch, Graham Dean likes the thickness of the paper and the sensual, exotic properties of transparency and opacity. Just as Peter Doig builds the work of materials (sets of textures, colours – pure and mixed), he creates painted atmospheres. Moving forms which escape our gaze, disintegrate before our eyes . We admire his mastery of pigments suspended in water.’ Adapted from an article by Galerie Maubert, Paris. September 2011
Transformation

Transformation
Charles Choi (SCA, OSA, CAA) was born in Shanghai, China and immigrated to Canada in 1995. Learned oil painting at China Academy of Art by the age of 4. He was an multi-award winning artist both in Canada and China including “People’s Choice Award” in SSNAP Biennale National Exhibition, Canada, “Award of Excellence” in 148th OSA Open Juried Exhibition, Finalists of Kingston Prize, the “Gold Award” of Arts and Letters Club “Next 2”, “Best of the Show” in SCA Members Annual Art Show. His paintings have been selected in the MEAM Barcelona, Jackson’s Prize London, Beijing International Biennale, DaFen International Oil Painting Biennale and China National Art Exhibition for three consecutive times. His work is represented in private and public collections across Canada, USA, Hong Kong, Australia, Japan, England, Singapore, France and China..

Artist:
Charles Choi

CAA, SCA, OSA

Charles Choi (SCA, OSA, CAA) was born in Shanghai, China and immigrated to Canada in 1995. Learned oil painting at China Academy of Art by the age of 4. He was an multi-award winning artist both in Canada and China including “People’s Choice Award” in SSNAP Biennale National Exhibition, Canada, “Award of Excellence” in 148th OSA Open Juried Exhibition, Finalists of Kingston Prize, the “Gold Award” of Arts and Letters Club “Next 2”, “Best of the Show” in SCA Members Annual Art Show. His paintings have been selected in the MEAM Barcelona, Jackson’s Prize London, Beijing International Biennale, DaFen International Oil Painting Biennale and China National Art Exhibition for three consecutive times. His work is represented in private and public collections across Canada, USA, Hong Kong, Australia, Japan, England, Singapore, France and China..
Sheryl Luxenburg Canadian Hyperreal Painter

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.
Watercolor art by Ramesh Jhawar

Watercolor art by Ramesh Jhawar
Ramesh’s paintings are mostly depictions of everyday life combined with the element of strong light and shadows. He plays with light and shades depicting everyday life look dreamy and surreal. Being a self-taught artist has helped him evolve an individual style rather than fetter him into one school of painting. There is never a dearth of subjects for him as he is constantly inspired by one thing or the other. His experiences have enriched him, not only as a person but also as an artist. He wants his art to speak for itself rather than give an explanation for it, obviously, that is the best way to judge art.

Artist:
Ramesh Jhawar

Ramesh Jhawar is a watercolorist from the rich, vibrant land of India. A realistic artist, he plays with light and shades depicting everyday life look dreamy and surreal. Being a self-taught artist has helped him evolve an individual style rather than fetter him into one school of painting. There is never a dearth of subjects for him as he is constantly inspired by one thing or the other. His experiences have enriched him, not only as a person but also as an artist. He wants his art to speak for itself rather than give an explanation for it, obviously, that is the best way to judge art. Ramesh has participated in several national and international exhibitions and has received awards and honorable mentions for his watercolor paintings.

Exhibitions

2015 World Watercolour Triennale, Seoul, South Korea 2015 ‘Fabriano in acquarello’, Fabriano, Italy 2015 ‘CASTRA 2015’ International Watercolor Biennial, Slovenia 2015 International Watercolor Elite Exhibition, Taiwan 2014 World Watermedia Exposition, Bangkok, Thailand 2014 Karnataka Chitrakala Parishath, Bangalore 2014 China Qingdao International Watercolour Biennial, China 2013 La estacion de neguri art gallery, Neguri, Spain 2013 Lalit Kala Akademi, New Delhi 2012 “Aquarelles d’Inde”, Entre Lac et Lumiere galerie, Begnins, Switzerland 2012 Online solo show on ‘The Tree Of Life.com’ 2012 Art Perspective Gallery, New Delhi 2012 Online show on Indianartcollectors.com 2012 Shanghai Zhujiajiao International Watercolor Biennial Exhibition, China 2012 Kasthuri Sreenivasan Art Gallery, Coimbatore 2011 Kasthuri Sreenivasan Art Gallery, Coimbatore 2010 Kasthuri Sreenivasan Art Gallery, Coimbatore 2010 Vinnyasa Premier Art Gallery, Chennai 2010 Karnataka Chitrakala Parishath, Bangalore 2009 Kasthuri Sreenivasan Art Gallery, Coimbatore 2009 India Art Gallery, Pune 2008 South Central Zone Cultural Centre, Nagpur 2007 India art Gallery, Pune

Achievements:

2014: Outstanding Watercolor Award in Boldbrush painting competition organized by FASO, USA 2013: Best entry award in All India Art Exhibition organized by Camel Art Foundation 2012: Best Watercolor Painting Award in All India Painting Competition, Pune 2012: Outstanding Watercolor Award in Boldbrush painting competition organized by FASO, USA

André Lundquist The Poetry of Silence

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

Artist:
André Lundquist

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

Exhibitions

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

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

Alexander Shandor

Alexander Shandor
Alexander Shandor is a dedicated Ukrainian painter who has exhibited his work in Ukraine and Russia. From his delicate still lifes to serene landscapes, he creates works marked by a sensory touch and careful hand.

Artist:
Alexander Shandor

Alexander Shandor was born in Ukraine, city Vinogradov, Transcarpathian region in 1981. He studied at the Erdeli College of Arts in Uzhhorod, at the department of metal processing in the studio and under the mentorship of professors Petretsky, Lukac, and Mykhailyuk. Shandor is a Member of many Ukrainian and international exhibitions and Plein air. His works are in private collections, galleries of Ukraine and abroad.

Biography

2015 winter - overall exhibition "Mitets Verkhovyna" Hust city on the day of 50th anniversary Summer 2015 - after the plein-air exhibition of the city of Rakhiv Autumn 2015 - a total exhibition dedicated to the Day of the artist in the gallery "Ilko" city Uzhhorod Autumn 2015 - regional exhibition city of Uzhgorod Autumn 2015 - personal exhibition in the city of Kiev in the Kiev University of Law PMC NASU. Spring 2014 - Exhibition "March 8" town Hust - art gallery. Spring 2014 - after the plein-air exhibition gallery Slavsko "Mahіm." 2014 summer - total exhibition "Mitets Verkhovyna" Gallery in the city Vinohrady -Gallery "Impasto". Autumn 2014 - Exhibition Gallery of the city of Moscow "Art Summer" Autumn 2014 - regional exhibition city of Uzhgorod 2013 - Exhibition "Hutsul year" Ivano-Frankivsk, the exhibition hall in Ivano-Frankivsk regional branch of the National Union of Artists. Spring 2013 - after the plein-air exhibition of the city of Sevastopol gallery "South Hermitage". Autumn 2013 - after the plein-air exhibition of the city of Sevastopol gallery "South Hermitage". 2012 - All-Ukrainian exhibition of plein air "Bukovel" - "Rhapsody sea and mountain" Ivano-Frankivsk, drama theater. 2012 - was admitted to the Youth Union "Transcarpathian artists." 2012 winter - overall youth exhibition city of Uzhgorod. 2012 winter - Ukrainian exhibition "Christmas", Central House of Artists, Kiev. 2011 - personal exhibition of the city Hust. 2011 - participated in the charity event "entrepreneurs Babies" city Uzhhorod. 2007 - was admitted to the Creative People's Association "Artist Verhoviny" in Hust.

Exhibitions

Solo Exhibitions: 2019 winter - exhibition "In search of" Vinogradov Impasto Gallery 2018 summer - Personal exhibition "Polesie and Transcarpathia" - city of Zhytomyr, gallery "Gnatyuk Art Center" 2017 – exhibition "Carpathian Paths" Gallery "Zavalny ARTTsenter, Kyiv, Ukraine 2016 - exhibition "Symphony of the Carpathians" Gallery "Palmgren Madame", L’viv, Ukraine 2015 - exhibition "My Carpathians", Kyiv Law University NAS PMC, Kyiv, Ukraine 2014 - Gallery "Art Summer", Moscow, Russia 2011 - Hust Art Gallery, Hust, Ukraine Group exhibitions: 2016 - Christmas exhibition, City Art Gallery, Hust, Ukraine 2016 - exhibition "Spring", City Art Gallery, Hust, Ukraine 2015 - "Mitets Verkhovyna"At the City Art Gallery dedicated to the 50th anniversary, Hust, Ukraine 2015 - Day of Creative Arts exhibition, Gallery "Ilko", Uzhhorod, Ukraine 2015 - Uzhhorod regional exhibition, Ukraine 2014 - exhibition "International Women’s Day", City Art Gallery, Hust, Ukraine 2014 - "Verkhovyna (Highlander) Artist" at the Gallery "Impasto", Vinohradiv, Ukraine 2014 - Uzhhorod regional exhibition, Ukraine 2013 - exhibition "Hutsul’s Year", regional exhibition hall of the National Union of Artists, Ivano-Frankivsk, Ukraine 2012 - young artists exhibition, Uzhgorod, Ukraine 2012 - Ukrainian exhibition "Christmas", Kyiv, Uraine

Małgorzata Chodakowska

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

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

Artist:
Małgorzata Chodakowska

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

Education

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

Exhibitions

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

Achievements

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

Lene Kilde

Lene Kilde
Lene Kilde grew up in Rælingen outside Oslo. She has a Master’s degree in Production Design from the Oslo and Akershus College at Kjeller. She also has studied at Einar Granum’s Art School and Asker Art School. Early on, Lene primarily worked with figurative steel wire sculptures.Through the steel wire sculptures, she challenges ideas about the differences between sculpture and drawing. Lene Kilde creates sculptures inspired by children and their emotions. She finds that children’s body language is their purest form of communication. This is visualized by showing very few body parts, usually only hands and feet, which then are placed in proportion to each other with the use of metal mesh. Her intention is to invite the audience to use their own imagination so that they can complete the sculptures and fill in the lines and volume by themselves. The sculptures are made of concrete, metal mesh and air.

Artist:
Lene Kilde

Lene Kilde grew up in Rælingen outside Oslo. She has a Master’s degree in Production Design from the Oslo and Akershus College at Kjeller. She also has studied at Einar Granum’s Art School and Asker Art School. Early on, Lene primarily worked with figurative steel wire sculptures.Through the steel wire sculptures, she challenges ideas about the differences between sculpture and drawing. Lene Kilde creates sculptures inspired by children and their emotions. She finds that children’s body language is their purest form of communication. This is visualized by showing very few body parts, usually only hands and feet, which then are placed in proportion to each other with the use of metal mesh. Her intention is to invite the audience to use their own imagination so that they can complete the sculptures and fill in the lines and volume by themselves. The sculptures are made of concrete, metal mesh and air.
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