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..
SYLC - Dreamlike Journey

SYLC - Dreamlike Journey
SylC paints, draws and sculpts the human figure that invariably is the focus of her researches. She invites us to join her for an initiation journey into its dreamlike, ambivalent and polychrome universe, where the viewer faces a world tinged with sweet illusory realities, where sincerity and artifice suddenly merge to give way to a more subtle reality...

Artist:
SYLC

Born in 1973. Works and lives near Paris. SylC paints, draws and sculpts the human figure that invariably is the focus of her researches. She invites us to join her for an initiation journey into its dreamlike, ambivalent and polychrome universe, where the viewer faces a world tinged with sweet illusory realities, where sincerity and artifice suddenly merge to give way to a more subtle reality... From the beginning of 2010, she devoted much of her work to several thematic projects, often carried out simultaneously; Several series have emerged: Mothers (2011-2013), The Mad Dogs' Round (2013-2015), The Seasons Scent (2013-2015), Human Birds (2013-2016), Osmose(s) (2016-2018) and With or Without a Rider (2018-2019). SylC collaborates with galleries in Europe and in the USA, where her artworks are presented through solo and groups shows. She was invited by public institutions to exhibit her artwork in historical sites such as the Chapel and the Cloister of the White Ladies (City of La Rochelle), the Château d'Eau (City of Bourges), the Chapel of the Jesuits (City of Chaumont) or the Ianchelevici Centre (City of Maisons-Laffitte). Present in private and public collections (City of La Rochelle, City of Le Mans, City of Maisons-Laffitte), SylC have been prizes awarded in Switzerland and France. Four catalogs have been published on her work.

Galina Gomzina

Galina Gomzina
I have always been fascinated by water; in almost all of my works you can see the depicted water with enchanting and elusive reflections of the reality surrounding us. These stories that convey a sense of peace and harmony, at the same time are filled with energy and motion. I always say that: "Water is a genuine creator. Sometimes it creates its masterpieces only for a moment, and then they disappear into oblivion, only for the new ones to appear… and it’s fascinating for an artist to capture and portray these very moments in a picture…" Galina Gomzina

Artist:
Galina Gomzina

Galina Gomzina is a talented watercolor painter possessing a high mastery of watercolor technique. Her masterpieces are widely known both in Russia and abroad. Galina was born in St. Petersburg, in a city of extraordinary beauty, where the majestic Neva River and numerous picturesque canals flow. This was the very thing that has influenced the artist’s creativity; in almost all of her works we see the masterly depicted water with enchanting and elusive reflections of the reality surrounding us. These stories that convey a sense of peace and harmony, at the same time are filled with energy and motion. Galina has always been fascinated by water: “Water is a genuine creator. Sometimes it creates its masterpieces only for a moment, and then they disappear into oblivion, only for the new ones to appear… and it’s fascinating for an artist to capture and portray these very moments in a picture…» Galina has graduated from the Saint Petersburg Stieglitz State Academy, the Department of Design. But as the artist says, she was attracted by a magical watercolor since her childhood, and began to master it only after graduation. It was an exciting and complex process, and, as a result, in 2000, Galina started her work as a professional watercolor painter. Her favorite technique is «A la prima», a one-layer watercolor technique on wet paper. Galina is a member of the Creative Union of Artists of Russia and the Russian Society of Marine Artists. The artist’s creative biography includes more than 10 solo exhibitions both in Russia and abroad, constant participation in international watercolor exhibitions and the biennale (China, England, Italy, Emirates, Albania, Serbia, etc.), and a large number of publications. So, her work was appreciated by both connoisseurs and non-professional artists in Beijing, where her personal exhibition “Two Venice” was held in 2006. Her works are located in private collections in Russia and other countries (England, Italy, Spain, America, China, Serbia, etc.)

The artist’s creative life takes place both in her homeland and abroad, on trips to picturesque places that are often unique, far from tourist routes. Despite her intense exhibition activities, the artist expresses her talent in successful teaching. She conducts watercolor courses, online classes and plein air workshops both in Russia and abroad (Germany, Italy, etc.) Galina is a very energetic, positive and, as her students say, cheerful person who generously shares the secrets of her skills. She is very creative in conducting her classes, so they are always emotional and productive. Some of her students are already participating in international watercolor exhibitions.

Latest exhibition

2015 International exhibition of a watercolor in Fabriano (Italy) 2015 International Watercolor Festival in Albania 2016 1th International Watercolor Exhibition in Moscow 2016 International Watercolor Exhibition IWS Pakistan 2016 International Watercolor Biennale Belgrad-Serbia 2015, 2018 International Watercolor Exhibition «Masters of Watercolor» (St. Petersburg). 2018 First International Watercolor Festival in UAE 2019 Internationale Festival Urbino In Acquerello 2019 International Watercolor Exhibition in Bali, Indonesia 2019 1th International Watercolor Grand Masters Exhibition Iws Sare Gallery, Moscow 2019 1th International Art Festival “World of High Watercolor”, Moscow 2021 2th International Art Festival “World of High Watercolor”, Moscow 2022 Russian exhibition of watercolor artists “In on breath”, Moscow

The most important exhibitions

1992 Collective exhibition in England (Henley-on-Thames) 2003 Personal exhibition in Belgrade (Serbia ) «St. Petersburg 1703-2003» within the international program devoted to the 300 anniversary of St. Petersburg. 2003 Personal exhibition in the Moscow Fund of Culture («Two Venice») 2005 Personal exhibition in The Moscow Fund of Culture (“Carnival of Flowers”) 2006 Personal exhibition in «The forbidden city», in Beijing (China) within year of Russia in China. 2010 Personal exhibition «Coasts of Europe» in the Moscow Fund of Culture within year of France in Russia (Moscow) 2011 Personal exhibition «I catch reflections in the mirrored water…» in the State Exhibition Hall (GD) «Tushino».(Moscow) 2011 XVI Moscow art fair ART ARENA 2011 in the Central Exhibition Hall «Arena» (Moscow). Project «… Celestial » 2012 Personal exhibition in the State Art Gallery «Na Kashirke» (Moscow) 2013 ART SALON in the Central House of Artists (Moscow). Project of the gallery “Na Kashirke» «Graphics landscape».
Veronika Lobareva

Veronika Lobareva
Veronika Lobareva was born in 1969 in the city of Angarsk, Irkutsk region. She studied at the Irkutsk Art College at the department of easel painting. Since 1996 - a free artist. Her main areas of creativity are impressionism and realism. Member of the Union of Artists of Russia and the National Union of Pastels of Russia. Lives and works in Irkutsk. Permanent participant of Russian and foreign exhibitions.

Artist:
Veronika Lobareva

Veronika Lobareva. (1969) She studied at the Irkutsk Art College. Since 1996 - freelance artist. Since 2010 - Member of the Union of Artists of Russia. Since 2021 - Member of the National Union of Pastels of Russia. Lives and works in Russia (Irkutsk - St. Petersburg - Kaliningrad) Her main areas of creativity are impressionism and realism. She mainly paints in oils in the genre of urban landscape and still life. Permanent participant of Russian and foreign exhibitions. Her works are in private collections in Russia, Germany, America, France, China, etc.

Exhibitions

1996 - Personal exhibition, "SibExpoCentre" (Irkutsk) 1997 - Youth exhibition "Third Eye" (Irkutsk) Regional Art Museum (Irkutsk) 1999 - Exhibition of the gallery "Palette" (Irkutsk) 2000 - Exhibition of the gallery "Palette" (Irkutsk) 2000 - Exhibition of the gallery "Palette" (Irkutsk) 2001 - Exhibition of the gallery "Palette" (Irkutsk) 2002 - Exhibition of the gallery "Palette" (Irkutsk) 2003 - Youth exhibition "Results on the way" (Irkutsk) Regional Art Museum (Irkutsk) 2004 - Personal exhibition in the gallery "Palette" (Irkutsk) 2004 - Traveling exhibition, France with the assistance of the gallery "SibArt" 2004 - Exhibition of Russian artists (Carcassonne, France) 2005 - Exhibition of Russian artists (Carcassonne, France) 2005 - Personal exhibition "petite France" (Irkutsk) - gallery "SibArt" 2005 - Traveling exhibition, France with the assistance of the gallery "SibArt" 2007 - Personal exhibition in the gallery "Planetarium" (Irkutsk) 2007 - Personal exhibition "Invitation to travel" House-Museum of Rogal (Irkutsk) 2007 - Exhibition of Irkutsk artists (Manchuria, China) 2008 - "Salon-TSDH-2008" (Moscow) 2008 - Exhibition of Irkutsk artists within the V Baikal Economic Forum (Irkutsk) 2008 - Exhibition "Artesania", Maly Manege, (Moscow) 2008 - Exhibition of Russian artists (Beijing, China) 2008 - Exhibition of Russian artists (Changchun, China) 2008 - Exhibition of Irkutsk artists, (Angarsk, Irkutsk region) 2009 - Exhibition of Russian artists (Beijing, China) 2010 - Exhibition of Russian artists (Beijing, China) 2010 - Personal exhibition (gallery "DiaS"), Bank "Opening", (Irkutsk) 2010 - 21 International Art Society (Irkutsk) 2010 - Exhibition of Irkutsk artists ("DiaS" gallery) Legislative Assembly of the Irkutsk Region (Irkutsk) 2010 - Exhibition of Irkutsk artists ("DiaS" gallery) Regional Administration (Irkutsk)

2011 - Exhibition of Irkutsk artists (gallery "DiaS") Regional Administration (Irkutsk) 2012 - Exhibition of Irkutsk artists (gallery "DiaS") Irkutsk community (Moscow) 2013 - Art Beijing 2013 - Beijing ("DiaS" gallery) 2013 - Art China 2013 - Beijing ("DiaS" gallery) 2013 - Art Canton 2013 - Guangzhou ("DiaS" gallery) 2014 – Art Basel 2014 (gallery "DiaS") 2014 - Exhibition of Irkutsk artists (Russian Cultural Center, Beijing) 2014 - Exhibition "Paints of Olkhon" in the gallery "DiaS" (Irkutsk) 2014 - Exhibition "Neformat" (Irkutsk Regional Art Museum) 2009-2022 - participation in general exhibitions of the gallery "DiaS" (Irkutsk) 2018 - Personal exhibition in the gallery "DiaS" (Irkutsk) 2020 - Personal exhibition in the gallery "DiaS" (Irkutsk) 2021 - Exhibition "Intersections" (NSP, Moscow - 1st place) 2021 - Exhibition "City by the Sea" (SH, St. Petersburg) 2022 - Exhibition "On the sunny side" (SH, St. Petersburg) 2022 - Exhibition "The route is rebuilt" (NSP, Moscow) 2022 - Summer Exhibition (NSP, Moscow - Grand Prix)
Mohamed nouiri by Gallery Luxury Artwork

Mohamed nouiri by Gallery Luxury Artwork

Artist:
Nouiri Mohamed

Nouiri was born in an urban suburb of Rabat capital city of Morocco, during the beginnings of the 1970. His natural leaning towards creating art materialized having been stimulated by comics and the cinema as a child. The mix of peoples in morocco also provided a variety of cultural a visual inspiration. The environment propelled him to be absorbed into the creative mindset. It was when he visited an exhibition by a Brazilian painter that was the final push which gave him the ambition to become a painter that was the final push whish gave him the ambition to become a painter. Between 1988and 1992 Nouiri enrolled at the Tetouan fin artschool, here he focused his talent on expressing himself within a framework of expanding the classical compositions he was introduced to as a part of his “art- training” He also becomes very interested in sculpture, which was to haveasignificance in this artistic development. Nouiri become known in the academic art word in Tetouan by the various awards and participated in number of exhibitions . He then attended the (French institute of art) in Tanager where he further expanded his knowledge as an assistant in the engraving workshop. It was here that he helped established an accomplished seniors artists to translate their work into engravings. Tow artist advised Nouiri about directions that could be pursed in paintings. International artists Claude Viallat and Gerard Titus-Carmel were two of the artists who Nouiri had opportunity to discuss art creation with. Stimulated for knowledge Nouiri examined the work of Antonio Tàpies, Carlos Garcia Muela and Josep Niebla, which deepened his artistic aesthetic. The artist stumbled across a book on Henri Matisse and totally digested Matisse‘s writing on art creation which had an enormous effect on his own work. By 1998 Nouiri gained the opportunity to participate in the Dakar biennial (in 1993 the structure of the biennial transformed and DAK’ART1996 become an exhibition specifically devoted to contemporary African art. The following biennial this structure was consolidated and enlarged). It was at the biennial that Nouiri met the known sculptor Ousman Sow. This chance meeting and the discussions he had with the sculptor had significant influence since that meeting. In 1999 Nouiri spent time in Paris.it was here that the identity grew and as a consequence Nouirispent time in meditation and self-examination. “Between figuration and disfigurement according to the terms of myself, I become torn by a perpetual questioning of the act of painting, as if to affirm my multiple affiliations, Urban, Sub-Saharan, and Mediterranean and it’s spiritual connections”.

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
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.

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
Susan Abbott

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

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

Artist:
Susan Abbott

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

Statement

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

Diana Rosa

Artist:
Diana Rosa

Dream of compelling magic

I am always fascinated with the human story that all of us are living- often untold, sometimes unrecognized, but always significant. My paintings reflect the natural beauty of human emotions. They are a bridge from my imagination to theirs, and although the story I mean to tell may differ from what the viewer ultimately takes away, what is most important is that we have shared the tale. Elegance and sensuality are combined with spirituality in a contemplative surreal environment. I explore the human dimension: themes of the real and virtual world, a nostalgic state of adaptation. Adapting to survive like succulent plants in unfavorable environment and conditions, expecting a change to occur. I strive to draw honest and intriguing lines, to investigate the beautiful, as well as the odd, and to illuminate the common in an environment of graphic symbols and layered patterns. I create a visual dialogue where everything is possible and magic is the queen. Humans, animals, and plants are some of the themes that I use in my drawings, a subtle injection of ambiguity that blurs the gap between the ordinary and the fantastic. The background of this sub-world appears to be transformed into an innocent children’s fantasy that almost looks like a dream. When creating a piece, I take what is most personal and assume it is universal. I use my own experiences and emotional responses, and turns them into a narrative work that suggests to the viewer a peek into their own life. The stories I tell are about inner worlds revealed - the things that we are supposed to talk and feel, about our bodies, our families, and our life’s choices All elements drive my creativity along with a light touch of the paintbrush, feeling of peace and sense of a place. I strive to re-create the peaceful, contemporary landscape in my art to expand upon the beautiful palette that nature provides us. I appreciate the human form and the emotions within, so I explore acrylic mediums to convey the limitless individuality the human form embodies. I think of my drawings as portraits of a soul, not an actual person–pulling from the universal level instead of our clouded worldly view. They are more than their surface, much like us. They are my perspective and appreciation of who I am and what I know: a woman who embraces adaptation in a virtual world.

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
Thomas Ruckstuhl

Thomas Ruckstuhl
Thomas Ruckstuhl was born in 1969 in Mannheim, Germany. In regular art classes at high school his little paintings received quite some attention and many compliments. This kind of work felt so effortless to him that he could hardly understand and acknowledge the great feedback. He never considered art as a hobby, not to speak of a potential profession. Ruckstuhl studied physics and received his PhD degree in 1999. With his work in research in the area of optical microscopy he felt increasingly unfulfilled which culminated in an identity crises in early 2012. This crisis, however, offered him a great opportunity. Finally he took the time to think what he really wanted in his life. It did not take one week from the first idea of becoming a fine art painter to his decision. "The sudden new prospects of seeing myself as an artist in the future was the greatest sensation of my life". It was mainly his structured way of scientific thinking that lead him into the next period: systematically learning about art and how to paint. In June 2012 he bought his first set of oil paints and signed into the Virtual Art Academy, a four year apprentice online program by Barry John Raybould. Ruckstuhl worked himself through the program and also studied under Barry's instruction in the Tuscany.
"I can't stress enough how much Barry Raybould has helped me to become a professional painter and how thankful I am to him". Ruckstuhl has direct and loose style in capturing his perceiption on canvas. Using few economical brushstrokes he suggests the form of his observations instead of painting objects smoothly and with much detail. "I like to invite the viewer onto a journey. The eyes should not just travel across the painting to discover what is there but I ask the viewer to look at my paintings at close and then gradually step back. The abstract color pattern of the brushmarks will step by step fuse into a realistic picture of the scene. I think this change of perspective passes on my perceiption best, along with my joy at finding the beauty in ordinary things."

Artist:
Thomas Ruckstuhl

Thomas Ruckstuhl was born in 1969 in Mannheim, Germany. In regular art classes at high school his little paintings received quite some attention and many compliments. This kind of work felt so effortless to him that he could hardly understand and acknowledge the great feedback. He never considered art as a hobby, not to speak of a potential profession. Ruckstuhl studied physics and received his PhD degree in 1999. With his work in research in the area of optical microscopy he felt increasingly unfulfilled which culminated in an identity crises in early 2012. This crisis, however, offered him a great opportunity. Finally he took the time to think what he really wanted in his life. It did not take one week from the first idea of becoming a fine art painter to his decision. "The sudden new prospects of seeing myself as an artist in the future was the greatest sensation of my life". It was mainly his structured way of scientific thinking that lead him into the next period: systematically learning about art and how to paint. In June 2012 he bought his first set of oil paints and signed into the Virtual Art Academy, a four year apprentice online program by Barry John Raybould. Ruckstuhl worked himself through the program and also studied under Barry's instruction in the Tuscany.

"I can't stress enough how much Barry Raybould has helped me to become a professional painter and how thankful I am to him". Ruckstuhl has direct and loose style in capturing his perceiption on canvas. Using few economical brushstrokes he suggests the form of his observations instead of painting objects smoothly and with much detail. "I like to invite the viewer onto a journey. The eyes should not just travel across the painting to discover what is there but I ask the viewer to look at my paintings at close and then gradually step back. The abstract color pattern of the brushmarks will step by step fuse into a realistic picture of the scene. I think this change of perspective passes on my perceiption best, along with my joy at finding the beauty in ordinary things."
Victor Sheleg

Victor Sheleg
Victor Sheleg is a Russian artist who grew up in Latvia, and who has exhibited his art throughout Moscow. His creative outlook is based on his personal worldview, which explores the conformist culture of the society he experiences before turning it into an intriguing artistic aesthetic. His depictions of female figures, laced with shadow and suggestion, provide an intriguing balance of conformity and freedom, both in form and content. "When creating a picture, I am guided by emotions and energy. Harmony born of chaos of color, stains, lines and splashes." Viktor Sheleg

Artist:
Victor Sheleg

Personal exhibitions

1993 Gallery "TEN", Liepaya, Latvia. 1994 Gallery "Ars Moderna", Riga, Latvia. 1995 Gallery "Ars Moderna", Riga, Latvia. 1996 Gallery "Ars Moderna", Riga, Latvia. 1996 "Business Center" Moscow Chamber Of Commerce and Industry, Moscow, Russia. 1997 Russian Center of Science and Culture, Helsinki, Finland. 1997 Gallery "Ars Moderna", Riga, Latvia. 1998 Gallery "Mara", Daugavpils, Latvia. 1998 Gallery "Centrs", Liepaya, Latvia. 1998 Gallery "Ars Moderna", Riga, Latvia. 1999 Fashion House A.Pavlov, Riga, Latvia. 1999 Gallery "Basteja pasaža", Riga, Latvia. 2000 Gallery "Nellija", Riga, Latvia. 2000 Gallery "Basteja pasaža", Riga, Latvia. 2000 Gallery "Signature of Art", Chicago, USA. 2002 Gallery "Howard Alberts", Chicago, USA. 2003 Gallery "CDH", Moscow, Russia. 2004 Gallery "Le Siants", Prague, Czech Republic. 2005 Gallery «Basteja Pasaža», Riga, Latvia. 2006 Gallery «Moscow House», Riga, Latvia. 2007 Gallery «Moscow House», Riga, Latvia. 2010 Gallery «Slavinsky art", Sankt-Peterburg, Russia. 2010 Gallery "Arthaus Genzel", Vetcslar, Germany. 2011 Gallery «New Form", Geteborg, Sweden. 2011 Gallery «Tornby", Denmark. 2012 Gallery «New Form" Geteborg, Sweden. 2013 Gallery " Timelles",Spain 2014 Gallery " Timelles", Poland 2015 Gallery "Gall'Art Roma", Italy 2016 Gallery "Onessimo", USA 2017 Gallery "901" USA

Group exhibitions and art fairs

Art Ireland, Dublin (2004-2009) Art Zurich International (2004) Art Edinburgh (2005-2008) The Affordable Art Fair, London (Spring Collections 2006-2009) Art Melbourne (2006) Affordable Art Fair, Paris (2008) Chelsea Art Fair, London(2009) Glasgow Art Fair (2009) Edinburgh Art Fair( 2009) Bergamo Arte Fiera (2010) Affordable Art Fair Brussels (2010) The Affordable Art Fair Spring Collection (2010) Glasgow Art Fair (2010) Chelsea Art Fair (2010) AAF NYC Fall (2010) AAF Amsterdam (2010) Edinburgh Art Fair (2010) Affordable Art Fair Milano, ( 2011) Affordable Art Fair Brussels (2011) AAF NYC Fall (2011) Colectiva de Otoño (2011) Edinburgh Art Fair (2011) AAF MILAN (2012) AAF BRUSSELS (2012 GRAND DESIGNS LIVE LONDON (2012)
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
Lara Zankoul Photography

Lara Zankoul Photography
Lara Zankoul, is an interdisciplinary artist based in Beirut, Lebanon. Her work captures everyday human behavior and issues that occur within society through photographic media. The aim is to invite the viewers to come up with their own interpretation and understanding of the photographs and the stories behind them. Her signature work not only stands out in its conceptual identity, but also in its timelessness. As a self-taught photographer, Zankoul’s work is heavily based on experimentation and world building within her photographs in order to create moments and craft them rather than just document them. She has been featured in a number of exhibitions: locally, in group and solo exhibitions in Ayyam Gallery and Art Lounge, Beirut. On an international scale, she has been showcased in the Guy Hepner Gallery in New York and HEIST Gallery in London.

Artist:
Lara Zankoul

Exhibitions

Solo Exhibition, «As cold as a white stone», Ayyam Gallery, Beirut, January 2017 Solo Exhibition, «As cold as a white stone», Ayyam Gallery, Dubai, September 2016 Group exhibition, «ArtxDesign», Gyu Hepner Gallery, Broadway, New York, June 2016 Group exhibition, «Beirut Photo Fair», ARTHEUM, Beirut, Lebanon, October 2015 Group exhibition, «Beirut Art Fair», Heritage of Emotions, “Work in Progress” and Nikki Diana Marquardt, Beirut, Lebanon, September 2015 Auction, Young Collector’s Auction, Ayyam Gallery, Dubai, 10 February 2015 Group exhibition, «The Road To Elysium», HEIST Gallery, London, November 2014 Solo Exhibition, «The Unseen», Ayyam Gallery, Beirut, February 2014 Group exhibition, «Festival Photomed Edition 3», Beirut, Janurary 2014 Auction, Young Collector’s Auction #18, Ayyam Gallery, Dubai January 2014 Group exhibition,«Festival Photomed Edition 3», Sanary-Sur-Mer 2013 Auction, «Modern and Contemporary Arab, Iranian and Turkish Art Part II» , Christie’s, April 2013 Solo Exhibition «Depths», Ayyam Gallery, Beirut, 2013 Auction, Young Collector’s Auction #14, Ayyam Gallery, Dubai 2012 Auction, Young Collector’s Auction #13, Ayyam Gallery, Dubai 2012 Auction, Young Collector’s Auction #12, Ayyam Gallery, Dubai 2012 (made the cover’s catalogue) Group exhibition and competition «Shabab Ayyam Photography», Dubai 2011 (Award recipient) Group exhibition «Woman in Contemporary Art», Art Lounge, Beirut 2011 Group Exhibition «Through Our Lenses», Solar Hotel , Paris 2011 Solo Exhibition «Synopsis», VAPA Association, Beirut 2011
Charlotte Baston - Série Art'd'Corps / Art'd'Corps series

Charlotte Baston - Série Art'd'Corps / Art'd'Corps series
Série de dessins et tableaux aux accents bruts, corps d'hommes et de femmes en prise avec un vivant tumultueux, fort et fragile, violent parfois, corps d'êtres à la sensibilité extrême dans toute leur présence éclatante. Series of drawings and paintings with raw accents, bodies of men and women in contact with a tumultuous, strong and fragile, sometimes violent life, bodies of beings with extreme sensitivity in all their dazzling presence.

Série L'Encore des Corps / L'Encore de Corps series
Série de dessins mais surtout de tableaux où les corps viennent parler une langue frêle, puissante et douce, corps sans visages, paroles de peaux, de bras, d'épaules et de cœur à cœur, l'envie de toucher, ces êtres aux tons terreux et aux textures passées. Series of drawings but above all of paintings where the bodies come to speak a frail, powerful and soft language, bodies without faces, words of skin, arms, shoulders and heart to heart, the desire to touch, these beings in tones earthy and faded textures.

Artist:
Charlotte Baston

L'Encore des Corps

Née en 1977 à Lecco en Italie, Charlotte Baston est très tôt formée à la musique et à la danse, deux arts qu'elle a ensuite longuement pratiqués professionnellement. C'est en 2015 qu'elle débute la peinture de façon autodidacte, art auquel elle consacre tout son temps depuis. "Je travaille avant tout les matières, c'est le commencement de toutes mes œuvres, un essentiel pour moi, le lieu de tous les possibles, et nouveau à chaque fois, où le support lui-même est à réinventer. De ce monde travaillé, vieilli, usé, il semblerait qu'il se cache toujours des corps, j'entrevois leurs formes, et je ne fais que les laisser émerger... Ainsi corps et matière ne font qu'un, un mur, une roche, une fresque... en vérité je ne sais pas, mais ils existent" Le corps est au centre de l'oeuvre de Charlotte Baston, source inépuisable d'inspiration, corps qui dépeignent à merveille, les nuits et les jours des hommes depuis toujours.
Tomoko Momoki

Tomoko Momoki

Artist:
Tomoko Momoki

Biography

Tomoko Momoki, was born in Japan in 1972. In 1993 she completed the general study course of the Academy of Fine Arts in Tokyo, and continued her training at the same Academy, specializing in 1994 in painting techniques. In the same year, and for the following three years, she participated in the Shiun-You-Kai salon in Tokyo and presented her works four times in art galleries in both collective and personal staging. In 1994 she passed the selection that enabled her to stay in the ateliers of the Academy where she continued her specific research on oil painting until 1997. In 1997 she undertook a study trip to Europe with the Academy which will have a decisive influence on her subsequent transfer to Italy. In 1998 he moved to Rome with the aim of studying and absorbing the codes and archetypes of Western and in particular Italian art. For two years she continued to paint by inserting new elements into her painting and in 2000 he exhibited his works in Tokyo. Since 2001 she has added wall painting to easel painting and collaborates on decorative interventions in buildings of historical / artistic importance that keep her busy for the next ten years. The time spent next to original works of the seventeenth, eighteenth and nineteenth centuries, is well spent, these works further enrich not only her technical background, but lead her to reflect on the path made by man in art, and on the profound role that it covers, when it is able to really convey an emotion. In 2013 she returned to deal exclusively with easel painting.

2014 ~ 2015 Collective exhibition “Artisti ai banchi” Rome 2016 ~ 2017 Collective exhibition "Rilievi Contemporaly Art" Rome. 2017 Collective exhibition "Galleria Opera Unica" Rome 2017 ~ 2018 Collective exhibition “Unicorn Gallery Rome” Rome 2018.11 Bipersonal exhibition DIVERGING INCIDENTS “Galleria Francesco Zanuso” Milan 2019.6 Collective exhibition “Secret Art Show” Milan 2019 Collective exhibition "KoArt Gallery" Noto (Catania) 2019.9 He started his collaboration with ArteAtelier in Milan. 2019.10 Art Fair of Parma 2019.11 Bipersonale ESTRI PAINTERS FROM THE EAST "Galleria Spazi Arte" Piacenza 2019.11 Arte Fiera of Padua 2019.12 Collective exhibition “Secret Art Show” London 2021.10 Personare exhibition "Studio rosi" San cesareo (Rome) 2021.12 Two-person “Galleria del Corso” Rome

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.
Gabriel Picart

Gabriel Picart

Artist:
Gabriel Picart

Gabriel Picart was born in Barcelona, Catalonia, Spain, in 1962, where he still lives and works. His family lived in the concierge's pavilion of the world famous Park Güell. Gabriel spent his childhood in the building that the great Catalan architect Antoni Gaudi had designed to emulate the witch's house in Brothers Grimm's fairytale Hansel and Gretel. Within an artistic milieu such as this, he would soon develop an interest in art. By the time he was a teenager, his parents had rented the other pavilion on the opposite side of the main gate, the one with an oddly shaped tower bearing on its top a double cross. This well known building had been Antoni Gaudi's studio during the construction of the park. In the very same room that architect Gaudi executed his designs, Picart set up his first atelier. Not long after deciding to become a professional artist, Picart met the illustrator Enric Torres, famed by his Warren Magazine covers. He invited Gabriel to visit the studio that he shared with Pepe Gonzalez, one of the world's foremost comic artists, known for his comic strips of the super heroine Vampirella. Shortly thereafter, the young Gabriel became the third member of the studio. Picart's career as an illustrator blossomed; he worked on commissions throughout Europe, mainly for Germany, the Netherlands, and the Scandinavian countries. In 1985, Picart made his first trip to New York City. He quickly won assignments from all the major publishing houses in America and Canada, such as Reader's Digest, Bantam Books, Dell Publishing, Harlequin, Pocket Books and Scholastic, to name a few. Gabriel did book covers, promotional advertising, brochures and interior illustrations, all in a representational mode with a fine art treatment. In 1996, he had his first show at the WolfWalker Gallery in Sedona, Arizona. This was quickly followed by his participation in a group show of Catalan artists at Ambassador Gallery in New York, where he was among some of the leading contemporary figurative painters working in Spain at that time. Since then, Picart focused on his own paintings and no longer made illustration commissions. His paintings have been on display at recognized galleries in the US, such as Anderson Galleries in Beverly Hills, and Weinstein Gallery in San Francisco. They are in private collections in Spain, USA, Germany, Canada, China, Taiwan, New Zealand, Mexico, Emirates, Russia, and UK. In the mid-2000s, California publisher Fingerhut Group published and distributed limited editions of some of his paintings, popularizing them among a wider variety of collectors. His work also has been featured worldwide. In 2004, Picart was the first artist from Spain ever featured in International Artist magazine. In 2013, he was the artist featured of the October-November edition of Gulf Connoisseur of Dubai, the premier lifestyle magazine of the Gulf region. In 2012, Gabriel Picart was one of the two International Master Artists specially invited by the organizers of Art Revolution Taipei in its second edition. This event aroused his keen interest in the culture of East Asia, where he has travelled every year since. From 2016 to 2019, Picart has spent most of his time making works of art for The IBEX Collection.
Thuan Le Cu - My oil paintings depict ethnic minorities in northern Vietnam.

Thuan Le Cu - My oil paintings depict ethnic minorities in northern Vietnam.

Artist:
Lê Cù Thuần

LE CU THUAN. Born in 1981 in Tuyen Quang Graduated from Vietnam Viet Bac School of Culture and Arts in 2001 Graduated from Vietnam University of Fine Arts in 2006 Member of Vietnam Association of Arts and Sciences, Member of Association of Vietnamese Ethnic Minorities, Member of Vietnam Fine Arts Association. Reality Team Membership. Writing point of view: Drawing is telling stories. Technique: Draw many classes according to classical master. Exhibition: Regional art exhibition from 2000 to present. 2001 Vietnam Students Exhibition in Hanoi. Exhibition About Tuyen 2010 in Hanoi. Exhibition of works in the collection of Vietnam Fine Arts Association 2011 in Hanoi. Exhibition of Vietnam Fine Arts Association 2011, 2012 in Hanoi. The 2012 Imperial Energy Exhibition in Hue. 2014 National Youth Festival Exhibition in Hanoi. 2014 Back to Top Exhibition at Thanh Trung Gallerry. Exhibition of armed forces and revolutionary war 2014 in Hanoi. Exhibition of works in the collection of Vietnam Fine Arts Association 2014 in Hanoi. Exhibition of Photographic Art on the theme HTVLTTGĐHCM by the Ministry of Culture and Tourism 2015 in Nghe An, 2015 National Exhibition in Hanoi, Contemporary TET Painting Market-TET ART 2015 in Hanoi, TODAY Exhibition in Hanoi 2016, Domino Art Fair in Hanoi 2017, Exhibition of silk paintings and silk products in America 2017, Real Group Exhibition 2015, 2017 at Vietnam Fine Arts Museum. The Reality Group Exhibition at Ho Chi Minh City Museum of Fine Arts 2018. Award: Young author award of the National Committee of the Union of Vietnam Fine Arts Associations 2001. The same prize of Vietnam Fine Arts Association in 2011, 2012. Prize of Vietnam Fine Arts Association 2013. Awards C of the Vietnam Ethnic Minority Association in 2014, C Prize of Photography Fine Arts Exhibition on the topic of Culture, Sports and Tourism of the Ministry of Culture and Tourism in 2015, Consolation Prize of the Association of Ethnic Minorities in the region year: 2015, 2016, 2019 Prize B of the Vietnam Association for Ethnic Minority Studies: 2016, 2019. Contact address: village 4, Trung Mon commune, Yen Son, Tuyen Quang, Viet Nam. Tel: (+84)766300991. Email: lecuthuan81@gmail.com. https://www.instagram.com/lecuthuan81. https://www.facebook.com/lecuthuan81
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
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.

Vladimir Daibov - Once Upon a Time in Russia

Vladimir Daibov - Once Upon a Time in Russia
Vladimir Daibov was born in the Urals region. His creativity evolved in the artistic environment of the late 1970s Leningrad, absorbing the influences of the Russian avant-garde, the German expressionism, and the Leningrad underground culture. While studying at the Serov Art School with fellow artists and future rock stars Georgy Guryanov and Viktor Tsoi, Daibov witnessed the inception of the Leningrad Rock Club and countercultural movement. For him, however, the time of great change was not a period of all-out theatricality, but a chance to concentrate and find his own distinctive style. Like a Buddhist, he escaped the turning wheel of big city life, jumped off the merry-go-round of vanity, stepped off the train in the quiet town of Kursk to get a true feeling of self and the unhurried surroundings. For some, the time in provincial towns seems to have come to a halt, but for Daibov it has distilled and purged itself of any anxiety, emerging as a pure figurative formula. His unpeopled landscapes are filled with the dense substance of contemplation, expressing not the transience, but the permanence of being. Deep significance, plasticity, and generalization are generic to his works. The artist favours thick and pastose strokes, sharply defined shapes, contrasting colour schemes. At the same time, Vladimir Daibov's paintings are not simply visual facts and lucky finds of striking colour combinations manifesting a tried and tested craftsmanship. Rather, they can be seen as metaphysical landscapes, at times equally capable of instilling in the viewers a kind of existential yearning and astonishing them with the unexpected beauty of the everyday.

Artist:
Vladimir Daibov

Once Upon a Time in Russia

Vladimir Daibov was born in the Urals region. His creativity evolved in the artistic environment of the late 1970s Leningrad, absorbing the influences of the Russian avant-garde, the German expressionism, and the Leningrad underground culture. While studying at the Serov Art School with fellow artists and future rock stars Georgy Guryanov and Viktor Tsoi, Daibov witnessed the inception of the Leningrad Rock Club and countercultural movement. For him, however, the time of great change was not a period of all-out theatricality, but a chance to concentrate and find his own distinctive style. Like a Buddhist, he escaped the turning wheel of big city life, jumped off the merry-go-round of vanity, stepped off the train in the quiet town of Kursk to get a true feeling of self and the unhurried surroundings. For some, the time in provincial towns seems to have come to a halt, but for Daibov it has distilled and purged itself of any anxiety, emerging as a pure figurative formula. His unpeopled landscapes are filled with the dense substance of contemplation, expressing not the transience, but the permanence of being. Deep significance, plasticity, and generalization are generic to his works. The artist favours thick and pastose strokes, sharply defined shapes, contrasting colour schemes. At the same time, Vladimir Daibov's paintings are not simply visual facts and lucky finds of striking colour combinations manifesting a tried and tested craftsmanship. Rather, they can be seen as metaphysical landscapes, at times equally capable of instilling in the viewers a kind of existential yearning and astonishing them with the unexpected beauty of the everyday.
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.
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.
Juraj Florek

Juraj Florek
Born 1986 in Slovakia Juraj Florek is 100% urban plein-air painter, his idealism motivates him to reinterpret plein-air painting and adapt it on current post-industrial landscape. He is not shy away from the difficult environment, the selection of locations of dysfunctional “Stalker environments” of industrial architecture, or the seemingly unobtrusive corners of the present-day city, he is a painter seeking their unadorned truth. At the same time his painting represents the honest „celebration of everyday life", which explores the author's social environment and his joy of life in the city.

ARTIST STATEMENT
In general, the city itself is a material for research for me. I am a 100% urban plein-air painter and my idealism motivates me to reinterpret plein-air painting and to adapt it to the current post-industrial landscape. The subject matter is about environments, things and places we can see every day, which acquire a new and fresh angle of view as they are transferred through the medium of oil painting. I do not shy away from difficult environments and often select dysfunctional, ‘Stalker locations’ with industrial architecture, seemingly unobtrusive corners of present-day cities, or examples of current overwhelmingly poor architecture. All these provide inspiration for the painter who is seeking their unadorned truth. At the same time, painting represents an honest celebration of everyday life, explores the author's social environment and is an expression of his enjoyment of life in the city. I like applying the method of plein-air painting to new urban environments. I am also gradually developing the painting of industrial objects – whether functioning, abandoned or converted to a new function – as my favorite sub-genre of Cityscape painting, since they are an integral part of the modern urban landscape.
In painting, I prefer the freshness of an immediate painting record to the perfectionism of veristic painting. The resulting images are intended to invite the viewer to share in an adventure, which open-air painting in an urban environment certainly is. They are also meant to convey the nature of the explorer’s mind, which I transfer to my painting, especially through the search for motives in urbanized countries. Although the main aim is to introduce the viewer to ‘out of comfort zone’ painting action, the choice of topics is usually sophisticated and deals either with some overlooked interesting part of the city, a banality, or thematises the contemporary visual trash of our cities, which are paradoxically all very picturesque. Thus, paintings developed in this way become a living documentation of our times. Plein-air painting is on the periphery in the context of contemporary painting. Among the reasons for this are its inherent difficulties, such as testing the author’s limits while painting outdoors and not being afraid to go against the stream, that is, the mainstream of current major trends in the field of painting. Cityscape plein-air painting seems to be a landscape painting genre that is not outmoded and offers an extensive field for exploring painting themes and technical approaches nowadays. Plein-air painting, however, is reduced to an educational tool in Sunday schools of painting and preparatory courses for art novices. My long-term intention is to raise awareness of the Cityscape painting genre. In the current excess of technically reproducible visual images, authentic, fresh plein-air painting, which does not provide only valuable content, but also fine form, appears to be a good possible direction in which painting can progress. Juraj Florek

Artist:
Juraj Florek

Born 1986 in Slovakia Juraj Florek is 100% urban plein-air painter, his idealism motivates him to reinterpret plein-air painting and adapt it on current post-industrial landscape. He is not shy away from the difficult environment, the selection of locations of dysfunctional “Stalker environments” of industrial architecture, or the seemingly unobtrusive corners of the present-day city, he is a painter seeking their unadorned truth. At the same time his painting represents the honest „celebration of everyday life", which explores the author's social environment and his joy of life in the city.In general, the city itself is a material for research for me. I am a 100% urban plein-air painter and my idealism motivates me to reinterpret plein-air painting and to adapt it to the current post-industrial landscape. The subject matter is about environments, things and places we can see every day, which acquire a new and fresh angle of view as they are transferred through the medium of oil painting. Artist Statement In general, the city itself is a material for research for me. I am a 100% urban plein-air painter and my idealism motivates me to reinterpret plein-air painting and to adapt it to the current post-industrial landscape. The subject matter is about environments, things and places we can see every day, which acquire a new and fresh angle of view as they are transferred through the medium of oil painting. I do not shy away from difficult environments and often select dysfunctional, ‘Stalker locations’ with industrial architecture, seemingly unobtrusive corners of present-day cities, or examples of current overwhelmingly poor architecture. All these provide inspiration for the painter who is seeking their unadorned truth. At the same time, painting represents an honest celebration of everyday life, explores the author's social environment and is an expression of his enjoyment of life in the city. I like applying the method of plein-air painting to new urban environments. I am also gradually developing the painting of industrial objects – whether functioning, abandoned or converted to a new function – as my favorite sub-genre of Cityscape painting, since they are an integral part of the modern urban landscape. In painting, I prefer the freshness of an immediate painting record to the perfectionism of veristic painting. The resulting images are intended to invite the viewer to share in an adventure, which open-air painting in an urban environment certainly is. They are also meant to convey the nature of the explorer’s mind, which I transfer to my painting, especially through the search for motives in urbanized countries. Although the main aim is to introduce the viewer to ‘out of comfort zone’ painting action, the choice of topics is usually sophisticated and deals either with some overlooked interesting part of the city, a banality, or thematises the contemporary visual trash of our cities, which are paradoxically all very picturesque. Thus, paintings developed in this way become a living documentation of our times. Plein-air painting is on the periphery in the context of contemporary painting. Among the reasons for this are its inherent difficulties, such as testing the author’s limits while painting outdoors and not being afraid to go against the stream, that is, the mainstream of current major trends in the field of painting. Cityscape plein-air painting seems to be a landscape painting genre that is not outmoded and offers an extensive field for exploring painting themes and technical approaches nowadays. Plein-air painting, however, is reduced to an educational tool in Sunday schools of painting and preparatory courses for art novices. My long-term intention is to raise awareness of the Cityscape painting genre. In the current excess of technically reproducible visual images, authentic, fresh plein-air painting, which does not provide only valuable content, but also fine form, appears to be a good possible direction in which painting can progress. Juraj Florek

Individual exhibitions

2022 - QUICK PALETTE, CA Contemporary Gallery, Vienna (AT) 2022 - TITLE OF EXHIBITION, GaP – Galerie a Prostor, Znojmo (CZ) 2022 – AIRE LIBRE, Turiec Gallery, Martin (SVK) 2021 - SAN SANO POLIS, Kahán Art Space, Budapest (HU) 2021 – NICE SHADOWS, ČIN ČIN Gallery, Bratislava (SVK) 2021 – NIGHT SHIFT /with J. Toman/, Rimavská Sobota City Gallery, Rimavska Sobota (SVK) 2019 - BATMAN CITY, Galeria APARTE, Iasi (RO) 2019 - KRONSTADT URBAN, NCCA - National centre for contemporary arts, St. Petersburg (RU) 2019 - ORAVSKÝ VÝPRASK /with J. Toman/, Orava Gallery, Dolný Kubín (SVK) 2019 - PETROZAVODSK PLEIN-AIR, Media Center Vykhod, Petrozavodsk (RU) 2019 - MERINA /with J. Toman/ Nová Vlna, Trenčín (SVK) 2019 - OILY ELBOW /with J. Toman/ Industrial Gallery, Ostrava (CZ) 2018 - VIXA URBAN PLEIN-AIR, Vyksa Steel Works History Museum, Vyksa (RU) 2018 - COAL AND EGGS, CSW KRONIKA – Center for Contemporary Art, Bytom (PL) 2017 - CONCRETE AND WEED, DOT. Contemporary Art Gallery, Bratislava (SVK) 2017 - COLOURS OF OSTRAVA PLEIN-AIR /with J. Toman/ Vnitroblock, Prague (CZ) 2017 - SIGNALS OF PRAGUE! /with J. Toman/, Studio PRÁM Gallery, Prague (CZ) 2017 - SIGNALS OF PUCHOV! /with J. Toman/, County House, Púchov (SVK) 2016 - COLOURS OF OSTRAVA PLEIN-AIR / with J. Toman/, Cineport, Ostrava (CZ) 2016 - PILSEN PLEIN-AIR, French Institute, Bratislava (SVK) 2016 - MACHNÁČ BRAŇO A INÉ OBRÁZKY... /with J. Toman/, Nová Vlna, Trenčín (SVK) 2015 - PILSEN PLEIN-AIR, DEPO2015, Pilsen (CZ) 2015 - KAFILÉRIA, MUŠKÁTY, PETER BEHRENS

Group exhibitions

2018 - JOIN THE DOTS / UNITING DISTANCES (Imago mundi), Salone Degli Incante, Trieste (IT) 2018 - TURBOPLENER 1500, Platform 1-12, Topoľčany (SVK) 2017 - URBAN POSITIVE, Latarka Gallery, Budapest (HU) 2017 - ART IN PARK, Nová Vlna, Trenčín (SVK) 2017 - BLUDNÉ PRÚDY II., Manor-house gallery, Sereď (SVK) 2017 - STEEL IS UNLIMITED, Industrial gallery, Ostrava (CZ) 2017 - LILLA DART FEST, L'illa Diagonal, Barcelona (ES) 2017 - JUST RESIDENCE 2017, CMAE - Centro Municipal de Arte y Exposiciones, Avilés (ES) 2017 - JUSTMAD8 AVILÉS, COAM - Colegio Oficial Arquitectos de Madrid, Madrid (ES) 2016 - SLOVENSKÁ. NEW GENERATION, Gallerie d'Italia – Piazza Scala, Milano (IT) 2016 - LIVING PAINTING, Spiš Gallery, Spišská Nová Ves (SVK) 2016 - 10 YEARS OF PAINTING, East Slovak Gallery, Košice (SVK) 2015 - PAINTING BIENNALE V. ? City Gallery, Rimavská Sobota (SVK) 2015 - 10 YEARS OF PAINTING, Bratislava Castle Gallery, Bratislava (SVK) 2015 - 10 YEARS OF PAINTING, Central Slovakian Gallery, Banská Bystrica (SVK) 2015 - DOM, German Cultural House, Bratislava-Rača (SVK) 2015 - SONDA 2015 MAĽBA, Bratislava Castle Gallery, Bratislava (SVK) 2014 - VUB-PAINTING OF THE YEAR, Nedbalka Gallery, Bratislava (SVK) 2014 - NEIGHBORHOOD PLAYGROUNDS, Gallery BB 15, Linz (AT) 2013 - PANEL STORY, Turiec Gallery, Martin (SVK) 2013 - PANEL STORY, Bratislava City Gallery - Palffy Palace , Bratislava (SVK) 2013 - HUCISKO, Galeria Uniwersytecka, Cieszyn (PL) 2010 - KLAMNÝ DOJEM, Vltavin Gallery , Prague (CZ)

Awards and Grants

2014 - Award for Painting for Young Artist 2014 /1. place/ VUB Foundation, Bratislava (SVK) 2018 – Vysegrad Fund, Visual and Sound Arts Residency Grant, Bratislava (SVK) 2019 - The Elizabeth Greenshields Foundation Grant 2019 – 2020, Montreal (CA) 2022 - The Elizabeth Greenshields Foundation Grant 2022 – 2023, 2nd grant, Montreal (CA)
Museum of Art
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