Profiles of Contemporary Art and Artists - Artisspectrum
Profiles of Contemporary Art and Artists - Artisspectrum
Profiles of Contemporary Art and Artists - Artisspectrum
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ARTisSpectrum<br />
Vol. 23, May 2010 The Chelsea Perspective<br />
<strong>Pr<strong>of</strong>iles</strong> <strong>of</strong> <strong>Contemporary</strong> <strong>Art</strong> <strong>and</strong> <strong>Art</strong>ists<br />
P r<strong>of</strong>iles <strong>of</strong> <strong>Contemporary</strong> <strong>Art</strong> <strong>and</strong> <strong>Art</strong>ists<br />
1 <strong>Art</strong>isSpectrum<br />
Making Time to Make <strong>Art</strong><br />
The Aero-Soul Experience<br />
Spotlight on Ruth Gilmore Langs<br />
BRICK by BRICK: The LEGO © Brick Sculpture <strong>of</strong> Nathan Sawaya
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2 <strong>Art</strong>isSpectrum<br />
GIANT OF 20TH-CENTURY SCULPTURE<br />
RADIO TIMES<br />
TATE BRITAIN, LONDON SW1<br />
PIMLICO VAUXHALL<br />
SUPPORTED BY SPONSORED BY<br />
HENRY MOORE RECUMBENT FIGURE (DETAIL) 1938 TATE © REPRODUCED BY PERMISSION OF THE HENRY MOORE FOUNDATION PHOTOGRAPHY BY ROCCO REDONDO<br />
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4/1/10 12:00:06 PM
ARTisSpectrum<br />
Publisher<br />
Agora Gallery<br />
Editor-in-Chief<br />
Angela Di Bello<br />
Assistant Editor<br />
Sabrina Gilbertson<br />
<strong>Art</strong> Director<br />
Julie Wilson<br />
Assistant Editorial Designer<br />
Elodie Lavi<br />
Mario Paulis<br />
Staff Writers<br />
Stephen Bracco<br />
Katie Cercone<br />
Tilla Crowne<br />
Aaron DeL<strong>and</strong><br />
James Lemoine<br />
Laura Monroe<br />
Jeffery Schreier<br />
Theresa Sinclair<br />
Benjamin Sutton<br />
Leah Triplet<br />
Rob Wright<br />
Contributing Writers<br />
Debra Fitzsimmons<br />
David LaBella<br />
Karin Maraney<br />
T. Mikey<br />
Lynda Pogue<br />
Editorial Assistants<br />
Joyce Asper<br />
Dorothee Forster<br />
Karin Maraney<br />
ARTisSpectrum provides a forum for artists <strong>and</strong><br />
art pr<strong>of</strong>essionals. <strong>Art</strong>icles express the opinion <strong>and</strong><br />
knowledge <strong>of</strong> the authors <strong>and</strong> not necessarily that <strong>of</strong><br />
the magazine’s management. <strong>Art</strong>ist pr<strong>of</strong>iles are written<br />
by staff writers or the artists unless otherwise noted.<br />
© All copyrights are reserved by the authors.<br />
The copyrights <strong>of</strong> all published artwork are<br />
retained by the artists. Reproduction <strong>of</strong> any<br />
published material is prohibited without the<br />
written permission <strong>of</strong> the magazine’s publisher.<br />
Suggestions for future articles are welcome.<br />
Any topic submitted in writing by an artist, art<br />
pr<strong>of</strong>essional or pr<strong>of</strong>essionals in the service <strong>of</strong> the<br />
art community will be considered for publication.<br />
Featuring<br />
5<br />
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44<br />
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84<br />
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<strong>Art</strong>ist <strong>Pr<strong>of</strong>iles</strong><br />
BRICK by BRICK: The LEGO ® Brick Sculpture <strong>of</strong> Nathan Sawaya<br />
by Angela Di Bello<br />
Transforming Energy <strong>and</strong> Nature onto Canvas:<br />
Spotlight on Ruth Gilmore Langs<br />
The New York Experience by Karin Maraney<br />
Receptions Around the World<br />
Summer Preview<br />
Making Time to Make <strong>Art</strong> by Debra Fitzsimmons<br />
The Aero-Soul Experience - Interview by T. Mikey<br />
A Requiem for <strong>Art</strong>istic Reportage by David LaBella<br />
Sharing the Experience at Agora Gallery by Karin Maraney<br />
The <strong>Art</strong> <strong>of</strong> Pricing <strong>Art</strong> by Karin Maraney<br />
The Picasso <strong>of</strong> Jazz... Miles Davis by Linda Pogue<br />
ARTisSpectrum Magazine 530 West 25th St., NY, NY 10001 www.ARTisSpectrum.com 212.226.4151 info@ARTisSpectrum.com<br />
3 <strong>Art</strong>isSpectrum
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<strong>Pr<strong>of</strong>iles</strong><br />
If you like to keep up-to-date with the art world <strong>and</strong> enjoy spotting talented<br />
emerging <strong>and</strong> established artists, then artists pr<strong>of</strong>iles are a great way to<br />
do it. These pr<strong>of</strong>iles showcase the work, motivations <strong>and</strong> inspirations <strong>of</strong><br />
exciting new faces on the international art scene.<br />
43<br />
75<br />
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63<br />
7<br />
70<br />
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68<br />
59<br />
77<br />
96<br />
29<br />
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13<br />
43<br />
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56<br />
21<br />
52<br />
69<br />
69<br />
51<br />
98<br />
60<br />
63<br />
75<br />
Adelia Sayeg<br />
Adriana Cora<br />
Andrej Krivda<br />
Angelina McCormick<br />
Annabelle Marquis<br />
Anne D. Gr<strong>and</strong>in<br />
Bonaventura Anson<br />
Carmen Sotuela<br />
Carolyn Rogers<br />
Cary Griffiths<br />
CC Johnson<br />
Christiane Lohrig<br />
Clint Saunders<br />
D. Loren Champlin<br />
David LaBella<br />
Debra Fitzsimmons<br />
Dusanka Kralj<br />
Eleanor Sackett<br />
Elisabeth Guerrier<br />
Ellen Juell<br />
Eric Degos<br />
Greg Larson<br />
Gustavo Rasso<br />
H. Scott Cushing<br />
Hellen Choo<br />
Heryk Tomassini<br />
Hugo Martínez Rapari<br />
Iglessias<br />
Iwasaki Nagi<br />
Jim Lively<br />
Jo Tunmer<br />
John Nieman<br />
Jörg Eydner<br />
Kenji Inoue<br />
Kim Young Geun<br />
Kristina Garon<br />
Laura Flynn Geissel<br />
Laurence Brisson<br />
14<br />
12<br />
7<br />
14<br />
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64<br />
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20<br />
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98<br />
Lee Chabot<br />
Leigh Gordon<br />
Libby Primmer<br />
Lizzy Forrester<br />
Lynda Pogue<br />
Marcelo Pizzolo<br />
María Susana Dos Santos<br />
Mariana Morales<br />
Marty Maehr<br />
Mary Nangah<br />
Mil<strong>and</strong>a De Mont<br />
Pamela Moore<br />
Pari Ravan<br />
Peter Martin<br />
Peter Rademacher<br />
Peter Schulz<br />
Renata Cebular<br />
Ricardo Lowenberg<br />
Rosane Demeterco Bussmann<br />
S<strong>and</strong>ra Mueller-Dick<br />
Shifra<br />
Steven R. Hill<br />
Susan Marx<br />
Symona Colina<br />
Szczepan Pako<br />
T. Mikey<br />
Tania Welz<br />
Thomas Mainardi<br />
Trinidad Pino<br />
Tyice Natasha<br />
Umeko Okano<br />
VéroniKaH<br />
Vladimir Rusinov<br />
Vladimir Shestakov<br />
Wendy Cohen<br />
Xiuzhu Zhang<br />
Yol<strong>and</strong>e Bennett<br />
5 <strong>Art</strong>isSpectrum
Steven R. Hill<br />
First <strong>and</strong> Last Chance Tavern Pastel on Tinted Paper 8” x 12” Winding Down Pastel on Tinted Paper 12” x 19”<br />
Steven in his Studio<br />
Through his melodic use <strong>of</strong> line, shape<br />
<strong>and</strong> color, Steven Hill’s seductive<br />
paintings exist between representation<br />
<strong>and</strong> abstraction. Hill arrived at<br />
representational painting in mid-career,<br />
<strong>and</strong> the harmonious blend <strong>of</strong> objectivity<br />
<strong>and</strong> intangibility has increasingly garnered<br />
critical acclaim. As an emerging artist in<br />
the 1960s <strong>and</strong> 1970s, Hill worked within<br />
the tenants <strong>of</strong> Abstract Expressionism,<br />
but has evolved his visual vocabulary<br />
6 <strong>Art</strong>isSpectrum<br />
in order to depict poetically the beauty<br />
<strong>and</strong> struggles <strong>of</strong> contemporary reality.<br />
In his works, whether pastel drawing or<br />
oil painting, Hill strikes a chord between<br />
the immediate <strong>and</strong> the timeless through<br />
his unique blend <strong>of</strong> fluid abstraction <strong>and</strong><br />
detailed composition. Hill emphatically<br />
states that his style “has to do a lot with<br />
time, <strong>and</strong> place <strong>and</strong> escape from the<br />
frenetic energy that underscores this<br />
modern society <strong>of</strong> ours.” Hill’s works<br />
<strong>of</strong>fer a lyrical reminder <strong>of</strong> the simple<br />
beauties routinely ignored in everyday<br />
life, <strong>of</strong>fering us a s<strong>of</strong>t diversion from the<br />
mundane. Reminiscent <strong>of</strong> the French<br />
Impressionists in both subject matter<br />
<strong>and</strong> style, Hill effectively modernizes<br />
the technique to articulate eloquently<br />
the struggles <strong>and</strong> joys <strong>of</strong> contemporary<br />
life. Like Monet <strong>and</strong> Cassatt before him,<br />
Hill relishes in the inspirational joy <strong>of</strong><br />
plein air painting. The resulting works,<br />
vibrantly rich <strong>and</strong> exuding luminosity,<br />
are a testimony to Hill’s commitment to<br />
finding the exquisite within the ordinary.<br />
Hill’s work compels us to savor the<br />
small, precious pleasures <strong>of</strong> life. With<br />
training in both music <strong>and</strong> fine art, Hill<br />
realizes from experience the importance<br />
<strong>of</strong> appreciating the nuances <strong>of</strong> everyday<br />
life. This realization is urgently sensed<br />
in Hill’s work, through his brazen use <strong>of</strong><br />
color <strong>and</strong> liberated brushstrokes. A native<br />
<strong>of</strong> Idaho, Hill currently lives <strong>and</strong> works<br />
in the San Juan Isl<strong>and</strong>s <strong>of</strong> Washington<br />
State, <strong>and</strong> receives critical attention both<br />
nationally <strong>and</strong> internationally. Recently,<br />
Hill received 2 consecutive first place<br />
awards at the Plein Air Painters <strong>of</strong><br />
Washington – San Juan Preservation<br />
Trust Annual Paint-out, <strong>and</strong> teaches plein<br />
air painting in Croatia every October.<br />
www.windsweptstudios.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Steven_R._Hill.aspx
Annabelle Marquis<br />
The paintings <strong>of</strong> Annabelle Marquis present the viewer with a<br />
dynamic interaction <strong>of</strong> forms, color <strong>and</strong> textures in a hybrid <strong>of</strong> works<br />
that are both organic <strong>and</strong> crystalline. It is this tension that is the main<br />
force <strong>of</strong> her powerful paintings, which display the balance between<br />
fragmentation <strong>and</strong> beauty, a theme which Marquis’ work explores<br />
beyond collage’s usual settings <strong>of</strong> abstraction <strong>and</strong> surrealism. For<br />
Marquis, collage is an opportunity to create a space on the canvas in<br />
which her inventive commitment to visual beauty behind these works<br />
is revealed. Ragged edges <strong>and</strong> torn paper motifs dominate these<br />
collages, which also bring in a wild amalgam <strong>of</strong> textures <strong>and</strong> prints<br />
to come together <strong>and</strong> create kaleidoscopic compositions. Yet they<br />
are always deeply satisfying due to the balance between the collage<br />
<strong>and</strong> her painterly brushwork. Coming from a creative family—her<br />
father was a pr<strong>of</strong>essional photographer—Marquis learned early on<br />
to nurture her appreciation for visual splendor <strong>and</strong> innovation. She<br />
has maintained that fidelity to her creative impulses, <strong>and</strong> is now<br />
able to devote all <strong>of</strong> her time to her painting. With her powerful <strong>and</strong><br />
radical uses <strong>of</strong> collage <strong>and</strong> their unique settings, both abstract <strong>and</strong><br />
representational, she continues to exp<strong>and</strong> her aesthetic range, <strong>and</strong><br />
deepen our appreciation for works that touch <strong>and</strong> challenge us.<br />
www.annabellemarquis.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Annabelle_Marquis.aspx<br />
Libby Primmer’s paintings appeal to the innocent spirit<br />
<strong>of</strong> wonder that has been buried inside many <strong>of</strong> us<br />
by the realities <strong>of</strong> the adult world. Her artworks present<br />
scenes <strong>of</strong> unbridled curiosity, where timeless stories<br />
unfold <strong>and</strong> the possibilities are endless. One picture may<br />
explore a pastoral narrative with horseback riders galloping<br />
around expansive rolling hills cascading towards a setting<br />
sun. Another may feature an exhibition <strong>of</strong> daredevils, an<br />
impromptu musical performance, or a magical kite that<br />
takes us on a journey into the heavens. These are vivid<br />
personalities inhabiting fantastic worlds, their secrets <strong>and</strong><br />
inner wishes are ours to discover <strong>and</strong> explore. “My work<br />
is mostly figurative, narrative art,” she explains. “at times<br />
a whimsical <strong>and</strong> playful observation <strong>of</strong> the relationships<br />
<strong>and</strong> interactions between the ‘characters’ in my paintings.”<br />
Primmer paints with oil on canvas in a distinctive style that<br />
Moonlight Serenade Oil on Canvas 20” x 24”<br />
is fanciful yet engaging to a range <strong>of</strong> audiences. Her lush<br />
tableaux are characterized by pastel skies, opulent greenery, <strong>and</strong> bubbling rivers. Textures such as stone, hair, <strong>and</strong> fabric are<br />
carefully modeled <strong>and</strong> sparkle with playful brushstrokes. Her ideas <strong>and</strong> talent converge to create wonderful, thespian works<br />
<strong>of</strong> art that will tickle your imagination. Libby Primmer has had a nearly two-decade career as a teacher while also running a<br />
successful business selling her paintings online. She lives in Australia.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Libby_Primmer.aspx<br />
Hirondelles Acrylic & Collage on Canvas 48” x 36”<br />
Libby Primmer<br />
7 <strong>Art</strong>isSpectrum
BRICK by BRICK: The LEGO® Brick Sculpture <strong>of</strong> Nathan Sawaya<br />
At the end <strong>of</strong> 2009, Agora Gallery opened its doors to a new exhibition space, adjacent to the main collective exhibition gallery,<br />
at 530 West 25th Street in the center <strong>of</strong> the Chelsea art district in New York City. This beautifully designed <strong>and</strong> spacious<br />
new gallery avails us <strong>of</strong> the opportunity to showcase artists <strong>and</strong> their work in a significant solo exhibition environment.<br />
Our April exhibition featured BRICK by BRICK: The LEGO ® Brick Sculpture <strong>of</strong> Nathan Sawaya www.<strong>Art</strong>-Mine.com/<strong>Art</strong>istpage/<br />
Nathan_Sawaya.aspx. The presentation marks the first solo exhibition by the artist in New York City. Nathan’s remarkable<br />
sculptures, constructed entirely out <strong>of</strong> Lego ® bricks, can be found in public <strong>and</strong> corporate as well as numerous private collections.<br />
His most recent museum show, The <strong>Art</strong> <strong>of</strong> the Brick at the Everhart Museum in Scranton, PA ran from February – May <strong>of</strong><br />
this year. Please visit www.brickartist.com for a complete listing <strong>of</strong> his upcoming museum shows.<br />
The BRICK by BRICK exhibition at Agora Gallery has been a phenomenal success, attracting both national <strong>and</strong> international<br />
media attention. Nathan has been featured on “The Today Show,” “Late Night with David Letterman,” <strong>and</strong> the “The Colbert Report”,<br />
as well as in print <strong>and</strong> online media worldwide.<br />
The artist who developed his skills in drawing, painting <strong>and</strong> sculpting, as a child <strong>and</strong> throughout his early adulthood, rediscovered<br />
Lego ® brinks approximately ten years ago when he was searching for a new medium <strong>and</strong> vision for his creative expression.<br />
The astonishing thing about Lego ® bricks, in the h<strong>and</strong>s <strong>of</strong> a Legomaster, is that working with Legos ® not only fires up the imagination<br />
<strong>of</strong> the artist but also the minds <strong>of</strong> the viewers who imagine for themselves the possibilities that exist in “what is possible”<br />
in all things. Sawaya is able to transform something common into the some <strong>of</strong> the most extraordinary work imaginable. The<br />
artist not only captures action, movement <strong>and</strong> the curvatures <strong>of</strong> the body with ordinary Lego ® bricks, but most remarkably, he<br />
is able to transform these small plastic squares <strong>and</strong> rectangles into something that is much more poignant <strong>and</strong> engaging; he is<br />
able to express human emotion, including; sorrow, joy, humor, compassion <strong>and</strong> much more. This, in my opinion, is the genius<br />
<strong>of</strong> his work.<br />
Please visit www.<strong>Art</strong>-Mine.com/<strong>Art</strong>istpage/Nathan_Sawaya.aspx to view available sculptures.<br />
8 <strong>Art</strong>isSpectrum<br />
The artist’s first solo exhibition at Agora Gallery<br />
by Angela Di Bello<br />
Gray PLastic Bricks 45” x 45” x 15”
Untitled 4 Plastic Bricks 26” x 27” x 14”<br />
The excited art enthusiast, <strong>of</strong> all ages, who waited on line to see Nathan’s awe inspiring LEGO® brick sculpture, made comments<br />
which were in themselves remarkable. The magical thing about LEGO is that it transcends all economic <strong>and</strong> cultural lines<br />
<strong>of</strong> demarcation as social commentary. The young <strong>and</strong> the old can relate to this phenomenal building block <strong>of</strong> plastic on equal<br />
st<strong>and</strong>ing, bringing on smiles that reflect recognition., longing, <strong>and</strong> inspiration. These are some <strong>of</strong> the wonderful comments that<br />
we recorded:<br />
Great exhibit! ▪ Epic sculptures!! Amazing! ▪ Very powerful work. Congratulations ▪ I like the skulls the best ▪ Extraordinary work! ▪ I am<br />
surprised! Wonderful ▪ Incredible! ▪ I love your work ! ▪ I love this exhibit ▪ Fantastic art- Great display ▪ Very creative, quite genius ▪ Super! ▪<br />
Wonderful- Fabulous, was lovely ▪ Phenomenal visibility ▪ Amazing!!! ▪ Excellent. My son loved it ▪ You are my hero ▪ I lllove it ! ▪ Awesome<br />
work! ▪ This is the coolest! ▪ The work is great, great to believe! ▪ Fabulous ▪ Terrific! ▪ We really loved the exhibit ▪ I’m in shock! ▪ Fantastic!<br />
▪ Where did you get the idea for the sculptures <strong>and</strong> why Legos? ▪ I think, what gave you the idea for that one? ▪ AMAZING CREATIVITY! ▪<br />
Unbelievable! Really loved it :-) ▪ Loved it! Lego rules ▪ However did you do it??? ▪ Simply grateful ▪ Curious how much they weigh! ▪ Don’t<br />
go to galleries too <strong>of</strong>ten, but this was worth it ▪ Thanks! ▪ Impressive! ▪ Inspiring ▪ Get me a Lego set now! ▪ Well done! ▪ I have been waiting<br />
to see this for ages ▪ Oooohhhhh! ▪ Marvelous ▪ Bricks awesome ▪ Very Expressive. ▪ Great! ▪ Modern! ▪ Awesome! Makes me wish that I<br />
throw out my legos . . . ▪ Luv your gallery! ▪ Beautiful, innovative <strong>and</strong> original, THANK YOU ! ▪ Great imagination! ▪ WOW, how do you make<br />
it, it looks so natural. I tried to make a head with little people inside but I could not ▪ OMG-how on earth do these people make these? They<br />
really show that you can basically make art out <strong>of</strong> anything !!! ▪ It was pretty cool ▪ Absolutely stunning! ▪ Good Job ▪ This is awesome. The<br />
best thing ever ▪ You are a legomaniac ! ▪ I want to be just like you. ▪ I like your sculptures. I would like to see a Lego Wolverine (age 5) ▪<br />
My boys loved them all! ▪ Amazing inspiration ▪ So happy to view Lego art in person ▪ Red has been my favorite for a while! ▪ So compelling<br />
<strong>and</strong> emotional ▪ Impossible! Great! ▪ #1 is incredible ▪ How long did you take? ▪ Wonderful! You inspired my son ▪ Crazy!!! ▪ Loved this, big<br />
fan!!! ▪ Love it! Love it! Love it! Keep going! ▪ You did my dream ▪ Great job! Congrats, very impressive. I am a Lego freak too ▪ All the way<br />
from New Orleans! Cool! ▪ So much patience! ▪ “ See that’s why Legos are important in life ” ▪ The exhibit is amazing! If only we could have<br />
done what our minds wanted to do! I told my son to get on it!! ▪ This will inspire me to continue to build ▪ Truly fabulous! ▪ Just beautiful ▪ It<br />
boggles my mind to see how one man created such masterpieces! ▪ The details <strong>and</strong> features are so precise ▪ I have never seen really big<br />
things ▪ Very talented artist ▪ Good luck <strong>and</strong> all the best ▪ Brilliant work ▪ Futuristic! ▪ Supercool! ▪ Wow, dynamic tensions ▪ Fascinating ▪<br />
You are incredible! I have been inspired by you, <strong>and</strong> even built a Lego sculpture for you ▪ I am an artist myself, I love Lego. This is the best<br />
art gallery ever. Enjoyed this <strong>Art</strong> ▪ We appreciate this creative destruction ▪ Worth coming inside even with the sun outside! ▪ Pure genius. ▪<br />
Exceptional <strong>and</strong> unique !▪ Inspired me too to get my Lego out <strong>of</strong> retirement ▪ I am amazed by the emotion captured in these pieces. Thank<br />
you! ▪ Hi, me <strong>and</strong> my friends are Lego creators too, loved your work! I am almost 6 <strong>and</strong> my friends are 11 <strong>and</strong> 9 ▪ Great show, congrats! ▪<br />
He really inspired me to be more creative ▪ Congrats on all your success ▪ Epic! ▪ Dear Nathan your work is a masterpiece. ▪ Astonishing!<br />
Any adjective would not be enough to compliment you!!! ▪ This is incredible. You took a childhood love <strong>of</strong> mine <strong>and</strong> found a true passion.<br />
When I get married one day will you construct my arches out <strong>of</strong> Legos?<br />
9 <strong>Art</strong>isSpectrum
NATHAN SAWAYA – BRICK ARTIST<br />
Biography<br />
Nathan Sawaya is a New York-based artist who creates awe-inspiring works out <strong>of</strong> some <strong>of</strong> the most unlikely things. His art<br />
focuses on large-scale sculptures using only toy building blocks: LEGO ® bricks to be exact.<br />
For years, Nathan’s touring exhibit – The <strong>Art</strong> <strong>of</strong> the Brick® – has entertained <strong>and</strong> inspired millions <strong>of</strong> art lovers <strong>and</strong> enthusiasts<br />
around the globe. It is the only exhibition focusing exclusively on LEGO ® as an art medium. The creations, constructed from<br />
nearly one million pieces, were built from st<strong>and</strong>ard bricks beginning as early as 2000.<br />
Born in Colville, Washington <strong>and</strong> raised in Veneta, Oregon, Sawaya’s childhood dreams were always fun. He drew cartoons,<br />
wrote stories, perfected magic tricks <strong>and</strong> also played with LEGO ® . In 1991, Sawaya moved to New York City <strong>and</strong> attended NYU.<br />
After college he rediscovered LEGO ® but not as a toy, but rather as a medium.<br />
Today Sawaya has more than 1.5 million colored bricks in his New York art studio. His work is obsessively <strong>and</strong> painstakingly<br />
crafted <strong>and</strong> is both beautiful <strong>and</strong> playful. Sawaya’s ability to transform LEGO ® bricks into something new, his devotion to scale<br />
<strong>and</strong> color perfection, the way he conceptualizes the action <strong>of</strong> the subject matter, enables him to elevate an ordinary toy to the<br />
status <strong>of</strong> fine art.<br />
According to journalist Scott Jones, “Sawaya is a surrealist mash-up <strong>of</strong> forms <strong>and</strong> artists. Imagine Frank Lloyd Wright crossed<br />
with Ray Harryhausen, or Auguste Rodin crossed with Shigeru Miyamoto, <strong>and</strong> you start to get a sense <strong>of</strong> where Sawaya is<br />
coming from.”<br />
Sawaya’s art form takes shape primarily in 3-dimensional sculptures <strong>and</strong> oversized portraits. He continues to create daily while<br />
accepting commission work from around the world.<br />
10 <strong>Art</strong>isSpectrum<br />
Curriculum Vitae<br />
Upcoming Solo Museum Exhibitions<br />
D’Amour Museum <strong>of</strong> Fine <strong>Art</strong>s, Springfield, MA, 2010<br />
<strong>Art</strong> Museum <strong>of</strong> South Texas, Corpus Christi, TX, 2010<br />
Mulvane <strong>Art</strong> Museum, Wichita, KS, 2011<br />
Upcoming Solo Gallery Exhibitions<br />
Agora Gallery, New York, NY, November 2010<br />
Selected Exhibitions<br />
Agora Gallery, Solo Exhibition, New York, NY 2010<br />
Flinn Gallery, Greenwich, CT, 2009<br />
Kimball <strong>Art</strong> Museum, Park City, UT, 2009<br />
Turtle Bay Museum, Redding, CA, 2009<br />
American Swedish Museum, Philadelphia, PA, 2008<br />
The <strong>Art</strong> & Culture Center, Hollywood, FL, 2008<br />
Stamford Museum, Stamford, CT, 2008<br />
Lancaster Museum <strong>of</strong> <strong>Art</strong>, Lancaster, PA, 2007<br />
Selected Collections<br />
Donald Trump<br />
Pete Wentz <strong>of</strong> Fallout Boy<br />
Neiman Marcus<br />
The New York Times<br />
Wired Magazine<br />
Variety<br />
<strong>and</strong> in numerous private collections<br />
Pr<strong>of</strong>essional Memberships<br />
Member <strong>of</strong> the International Sculpture Center<br />
Education<br />
Bachelor <strong>of</strong> <strong>Art</strong>s, New York University, New York, NY, 1995<br />
magna cum laude
����������������<br />
SATURDAY, JUNE 5, 2010<br />
7–11pm<br />
MOCA members receive an invitation for two <strong>and</strong> may bring up to two additional guests for<br />
$25 each at the door.<br />
JOIN MOCA TODAY! 213/621-1794<br />
MOCA GRAND AVENUE<br />
�����������������������<br />
���������������������<br />
BOCA RATON MUSEUM OF ART<br />
501 Plaza Real, Boca Raton, Florida<br />
April 20 – June 13<br />
561.392.2500<br />
www.bocamuseum.org<br />
MOCA���������������������������������������������<br />
Elvis at 21, Photographs by Alfred Wertheimer was developed by the Smithsonian<br />
Institution Traveling Exhibition Service, Govinda Gallery, <strong>and</strong> the Smithsonian’s<br />
National Portrait Gallery, <strong>and</strong> is made possible through the generous support<br />
<strong>of</strong> HISTORY.<br />
© Alfred Wertheimer. All rights reserved.<br />
Arshile Gorky: A Retrospective is organized by the Philadelphia Museum <strong>of</strong> <strong>Art</strong> in association with Tate Modern, London, <strong>and</strong> The Museum <strong>of</strong> <strong>Contemporary</strong> <strong>Art</strong>, Los Angeles.<br />
The international tour is made possible by the Terra Foundation for American <strong>Art</strong>. The U.S. tour is supported by The Lincy Foundation <strong>and</strong> the National Endowment for the <strong>Art</strong>s, <strong>and</strong> by an indemnity from the Federal Council on the <strong>Art</strong>s <strong>and</strong> the Humanities.<br />
The exhibition at MOCA is presented by The Eli <strong>and</strong> Edythe Broad Foundation. Generous support is provided by Lenore S. <strong>and</strong> Bernard A. Greenberg, Steve Martin, The MOCA Contemporaries, <strong>and</strong> the Pasadena <strong>Art</strong> Alliance. Additional support is provided by the<br />
MOCA Friends <strong>of</strong> Arshile Gorky: Mrs. Joseph H. Stein, Jr. <strong>and</strong> Mrs. Louise Danelian. In-kind media support is provided by Ovation TV, Asbarez Daily Newspaper/Horizon Armenian TV, YEREVAN Magazine, <strong>and</strong> Los Angeles magazine.<br />
Betrothal I, 1947, oil on paper, 51 x 40 in., collection <strong>of</strong> The Museum <strong>of</strong> <strong>Contemporary</strong> <strong>Art</strong>, Los Angeles, The Rita<br />
<strong>and</strong> Taft Schreiber Collection, given in loving memory <strong>of</strong> her husb<strong>and</strong>, Taft Schreiber, by Rita Schreiber, © 2010<br />
Estate <strong>of</strong> Arshile Gorky/<strong>Art</strong>ists Rights Society (ARS), New York<br />
11 <strong>Art</strong>isSpectrum
Leigh Gordon<br />
Clear Water Ebb Tide Acrylic 24” x 30” Turtle Reef Acrylic 24” x 30”<br />
Meticulous in her craft, Leigh Gordon<br />
flourishes in expressive, animated<br />
detail in her rich compositions <strong>of</strong> the<br />
natural world. Effervescent color meets<br />
scrupulously exhaustive representation,<br />
resulting in an intoxicating depiction <strong>of</strong><br />
nature’s poignancy. Symphonic in form<br />
<strong>and</strong> line, Gordon’s works are tender<br />
Leigh in her Studio<br />
reminders to revel <strong>and</strong> delight in the<br />
exquisiteness <strong>of</strong> nature. Through<br />
Gordon’s opulent blend <strong>of</strong> vivacious<br />
expression <strong>and</strong> careful representation,<br />
we are enclosed in a meditative, respiring<br />
world <strong>of</strong> tranquil serenity. For inspiration,<br />
12 <strong>Art</strong>isSpectrum<br />
Gordon looks to the natural light, colors<br />
<strong>and</strong> forms <strong>of</strong> her native Australia.<br />
Gordon inhales these natural elements,<br />
exhaling a uniquely serene hybrid <strong>of</strong><br />
melodious figuration <strong>and</strong> abstraction.<br />
Practiced in precision by an aunt as a<br />
child, Gordon learned to paint not from<br />
her imagination, but from the mystical<br />
splendor <strong>of</strong> reality. Gordon’s diverse <strong>and</strong><br />
dexterous textures speak to this careful,<br />
contemplative study <strong>of</strong> her surroundings,<br />
which in turn reminds us <strong>of</strong> the natural<br />
wonders around us. “I believe my art<br />
is therapeutic,” states Gordon. “This<br />
gives the viewer a sense <strong>of</strong> relaxation<br />
<strong>and</strong> restfulness when they stop to view<br />
one <strong>of</strong> my works. For a few seconds<br />
their minds rest, the breathing slows<br />
<strong>and</strong> a calmness envelops the body.” For<br />
Gordon, her practice serves as a way to<br />
reflect on daily life, finding rejuvenation<br />
in her adeptly harmonious technique.<br />
Gordon committed to becoming a serious<br />
artist only recently, much to the delight<br />
<strong>of</strong> Australian <strong>and</strong> American collectors<br />
alike. Her exceptional paintings are<br />
regularly featured in both solo <strong>and</strong><br />
group shows in galleries in the United<br />
States <strong>and</strong> Australia. A member <strong>of</strong> the<br />
Redcliffe <strong>Art</strong> Society, <strong>Art</strong>ists Afloat <strong>and</strong><br />
several other important artists’ groups,<br />
Gordon flourishes in enthusiastic<br />
artist communities. An internationally<br />
acclaimed artist, Gordon most recently<br />
exhibited in Redcliffe Cultural Centre,<br />
<strong>and</strong> is a Bribie Isl<strong>and</strong> Featured <strong>Art</strong>ist.<br />
Gordon was born in Brisbane, Australia.<br />
www.leighgordonartist.com.au<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Leigh_Gordon.aspx
D. Loren Champlin<br />
The paintings <strong>of</strong> D. Loren Champlin show a deep appreciation for the<br />
figure <strong>and</strong> for l<strong>and</strong>scape, Abstraction <strong>and</strong> representation, Expressionism<br />
<strong>and</strong> also naturalism. This puts Champlin in great artistic company within the<br />
history <strong>of</strong> Modern art.<br />
During the rise <strong>of</strong> Abstraction in the 1950s, many artists did not follow the<br />
dogmatic lead <strong>of</strong> the New York School’s emphasis on pure abstraction<br />
- because they lived <strong>and</strong> worked in either California or Maine, where the<br />
l<strong>and</strong>scape is too beautiful to fully ab<strong>and</strong>on. They mixed figures, abstractions,<br />
<strong>and</strong> the l<strong>and</strong>scape interchangeably. Champlin, a resident <strong>of</strong> Maine, follows<br />
this method within each painting, for apparently many <strong>of</strong> the same reasons.<br />
He lives in an environment with its own inherent beauty. This fact, <strong>and</strong> his<br />
awareness <strong>of</strong> it, allows him to hold onto the vigor <strong>of</strong> paint <strong>and</strong> the vitality <strong>of</strong><br />
natural forms at the same time.<br />
Many <strong>of</strong> Champlin’s paintings, with their fluid streams <strong>of</strong> line, contain a figure<br />
set against water, <strong>of</strong>ten a coastline, or if not, greens <strong>and</strong> blues that still give<br />
a similar feel. Unafraid to lay down bold color, his works strike a balance<br />
between Expressionist paint-h<strong>and</strong>ling <strong>and</strong> a gentle attentiveness to the<br />
people <strong>and</strong> places he loves.<br />
www.champlin-art.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/D._Loren_Champlin.aspx<br />
Escape Oil on Canvas 64” x 52”<br />
Song <strong>of</strong> Play Oil on Linen 36” x 20”<br />
Mary Nangah<br />
With her vibrantly lush color palette <strong>and</strong> suavely sumptuous<br />
brushwork, Mary Nangah challenges notions <strong>of</strong> identity,<br />
culture <strong>and</strong> expression. At the center <strong>of</strong> Nangah’s fascinating<br />
artistic approach are technology <strong>and</strong> human hair. Nangah uses<br />
digital imaging to draft her compositions, which focus on human<br />
hair as a motif for exploring cultural expressions <strong>and</strong> tensions. With<br />
her dexterous strokes, Nangah then drafts her compositions onto<br />
her canvas, imbuing the work with raw, unadulterated passion.<br />
Her embrace, <strong>and</strong> indeed, rephrasing <strong>of</strong> digital imaging, is a<br />
testament to the role that technology increasingly plays in our daily<br />
lives. Through her unique, pulsing lines <strong>and</strong> innovative coloration,<br />
Nangah tests the borders <strong>of</strong> abstraction through her technological<br />
depictions <strong>of</strong> human hair. “Hair is one <strong>of</strong> the basic elements <strong>of</strong> the<br />
human body, yet it is loaded with evidence <strong>of</strong> our individuality,”<br />
states Nangah. “Technology connects us to others, but it is<br />
becoming more intimate than community interactions.” Through<br />
her emphatically fiery compositions <strong>and</strong> bold depictions <strong>of</strong> human<br />
hair, Nangah confronts our cultural <strong>and</strong> individual relationship<br />
with technology in impassioned, seductive abstractions. A native<br />
<strong>of</strong> Cameroon, West Africa, Nangah was first introduced to digital<br />
imagining technology at the University <strong>of</strong> Texas at Dallas. Since<br />
then, Nangah’s works, unparalleled in vivacious color <strong>and</strong> spirited<br />
line, have attracted worldwide critical renown.<br />
www.marynangah.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Mary_Nangah.aspx<br />
13 <strong>Art</strong>isSpectrum
The l<strong>and</strong>scape paintings <strong>of</strong> Lee Chabot<br />
stretch the bounds <strong>of</strong> historic linear<br />
perspective, by rendering a gradation <strong>of</strong><br />
spatial animations influenced by both Cubism<br />
<strong>and</strong> Abstract Expressionism. Wide, flattened<br />
horizons become rich densities <strong>of</strong> abstracted<br />
architecture, providing a treat for the eyes as<br />
well as a focus for the mind.<br />
The Venetian hues <strong>of</strong> red, yellow, <strong>and</strong> blue<br />
dominate these partially invented panoramas<br />
<strong>and</strong> keep the eye in motion with numerous<br />
Mediterranean Port Acrylic on Canvas 26” x 50”<br />
curves <strong>and</strong> darting lines. Think <strong>of</strong> Giorgio de<br />
Cherico’s piazzas seen through the curvilinear<br />
strokes <strong>of</strong> Marc Chagall, who once said “great art picks up where nature ends.” Yet Chabot doesn’t seem to be looking for the<br />
ends <strong>of</strong> nature, only points <strong>of</strong> contact where light <strong>and</strong> surface join, creating a unique <strong>and</strong> distinctive style.<br />
Interior <strong>and</strong> exterior spaces are cracked open <strong>and</strong> pieced back together with an eye for design <strong>and</strong> ingenuity. Inside a Duomo,<br />
above a Mexican village, across an oceanic expanse, the viewer perspective shifts in, out, <strong>and</strong> above the l<strong>and</strong>scape subjects<br />
which the artist refashions with the same delightful sense <strong>of</strong> creativity.<br />
Evidenced in all his work is a love <strong>of</strong> drawing. His Impressionist urges <strong>of</strong> intuitive, modulated color are rebuffed with bold strokes<br />
that divide the picture plane into orchestrations <strong>of</strong> complex movement.<br />
Lee Chabot currently lives <strong>and</strong> works in Rhode Isl<strong>and</strong>, where he has a studio located in the historical city <strong>of</strong> Pawtucket. His work<br />
is exhibited nationwide <strong>and</strong> can be found in numerous private collections.<br />
www.leechabot.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Lee_Chabot.aspx<br />
Lizzy Forrester<br />
Lizzy Forrester’s paintings, seductive in their reverie, are<br />
visual symphonies <strong>of</strong> light <strong>and</strong> color. Her compositions,<br />
preoccupied with the way light colorfully cascades over<br />
l<strong>and</strong>scape, are evocative <strong>of</strong> French Impressionism. Like<br />
Impressionist masters Monet <strong>and</strong> Renoir, Forrester’s expedient<br />
brushwork captures the essence <strong>of</strong> a moment. Still, her style<br />
<strong>and</strong> artistic process resists definition. “I don’t like rigidity <strong>and</strong><br />
will try my h<strong>and</strong> at anything,” states Forrester. “I like style<br />
that is forever changing <strong>and</strong> evolving.” However shifting, the<br />
aesthetic <strong>and</strong> theme <strong>of</strong> her works are nothing if not timeless.<br />
Bright, tenacious colors enliven <strong>and</strong> stimulate her choice <strong>of</strong><br />
classic motifs such as trees, gardens <strong>and</strong> meadows. These<br />
natural phenomena are invigorated through Forrester’s supple,<br />
spiritually informed abstractions. The artist is constantly in the<br />
process <strong>of</strong> reformulating, <strong>and</strong> subsequently, rejuvenating the Abstract Poppy Field Acrylic on Canvas 15” x 18”<br />
l<strong>and</strong>scape through her fresh, radiant compositions. Resisting a<br />
complacent style or process, Forrester <strong>of</strong>fers us an alluring escape into a world where color <strong>and</strong> light jubilantly infuse our<br />
psyches. Sensational in texture <strong>and</strong> tone, her paintings entice us to explore the blissful beauty found in the natural world.<br />
A native <strong>of</strong> Liverpool, Engl<strong>and</strong>, Lizzy Forrester lives <strong>and</strong> works in the Balearic Isl<strong>and</strong>s. Although she has only recently devoted<br />
herself full-time to her art, she has gained worldwide critical acclaim; her latest exhibition was in the Guangzhou International<br />
<strong>Art</strong> Salon in Guangzhou, China.<br />
www.lizzyforrestergallery.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Lizzy_Forrester.aspx<br />
14 <strong>Art</strong>isSpectrum<br />
Lee Chabot
Ricardo Lowenberg<br />
Sonata en Azul Acrylic on Canvas 36” x 43”<br />
natural storyteller, Ricardo<br />
A Lowenberg’s spirited paintings<br />
speak to the essence <strong>of</strong> humanity. The<br />
aesthetic heir <strong>of</strong> masters such as Frida<br />
Kahlo <strong>and</strong> Cezanne, Lowenberg’s<br />
compositions are notable for their<br />
tenaciously dynamic colors. Classical<br />
figurative work meets thriving,<br />
contemporary color in these stunningly<br />
vibrant compositions, yielding delightfully<br />
evocative paintings. Lowenberg<br />
articulates forms <strong>and</strong> figures with an<br />
intense sensitivity, striving to divine the<br />
core <strong>of</strong> his subjects. Opulently playful light<br />
betrays his reverence for Impressionists<br />
such as Monet. His brushwork, at once<br />
immediate <strong>and</strong> meticulous, pays homage<br />
to the Impressionistic sensibility through<br />
his dedication to depicting a fleeting<br />
moment, place or person truthfully.<br />
However, Lowenberg’s skillful works are<br />
tempered with a perspective all his own,<br />
conveying a hopefully jubilant courage.<br />
Of his subjects, Lowenberg emphatically<br />
states that “you can see through their<br />
eyes intriguing stories full <strong>of</strong> symbolisms,<br />
gaiety <strong>and</strong> tribulations. The colors are<br />
so intense <strong>and</strong> the textures so subtle,<br />
but always communicate a sense <strong>of</strong><br />
happiness.” Reminiscent <strong>of</strong> the Mexican<br />
muralist Diego Rivera, Lowenberg’s<br />
fierce forms are vibrant in valor. Among<br />
the artist’s earliest memories are long<br />
walks with his mother around Mexico<br />
City, which emboldened him to search<br />
resolutely for the<br />
beauty to be found in<br />
everyday experience.<br />
With his mother,<br />
young Lowenberg<br />
explored the mystical<br />
intrigues <strong>of</strong> the city<br />
<strong>and</strong> its inhabitants,<br />
including Frida Kahlo,<br />
who cemented in the<br />
budding artist the<br />
vigorous interest in<br />
expressing the beauty<br />
around him. Working<br />
through the narrative<br />
<strong>of</strong> human existence,<br />
L o w e n b e r g ’ s<br />
paintings are<br />
poetically ephemeral<br />
snapshots into Ricardo in his Studio<br />
our reality. Today,<br />
Lowenberg is world-renowned for his<br />
seductively energetic paintings, with<br />
works within important private collections<br />
in the United States, Puerto Rico, Europe,<br />
New Zeal<strong>and</strong> <strong>and</strong> Mexico. In 2007,<br />
Lowenberg showed twenty paintings in<br />
the Monaco—Monte Carlo <strong>Art</strong>s Festival,<br />
honoring Frida Kahlo on her 100th<br />
birthday. Most recently, he was privileged<br />
to act as the Mexican representative for<br />
the 200 year Independence Celebration<br />
at the European Council in Strasbourg,<br />
France. Lowenberg lives in Tampico,<br />
Mexico.<br />
El Narrador Mixed Media on Canvas 39” x 39”<br />
www.ricardolowenberg.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Ricardo_Lowenberg.aspx<br />
15 <strong>Art</strong>isSpectrum
Little Yellow Painting No. 2: Henry Oil on Canvas 40” x 30”<br />
16 <strong>Art</strong>isSpectrum
Transforming Energy <strong>and</strong> Nature onto Canvas:<br />
Spotlight on Ruth Gilmore Langs<br />
How did you develop your distinctive style <strong>of</strong> painting?<br />
My painting style emerges like life as I work. The more I paint the more I grow artistically. By pushing my own boundaries I exp<strong>and</strong><br />
into fresh territory that might have been unfamiliar to me five or ten years earlier. The continuous opportunity to discover<br />
myself as an artist is what makes painting so exciting. With every blank canvas in front <strong>of</strong> me I take a risk <strong>and</strong> this makes the<br />
work so adventurous <strong>and</strong> alive. I must communicate with my painting as I work or nothing happens. My current style as an artist<br />
comes from 35 years <strong>of</strong> exploring my medium in oil. I feel that I am now in territory that took years to reach. My distinctive style<br />
does not come from a choice but from listening to myself at the deepest level <strong>and</strong> trusting my true voice. That is not developing a<br />
style but finding your truth. Then, you must keep exp<strong>and</strong>ing technically so that both instruments are in tune. When the two come<br />
together you can fly as an artist. And, this will show up in the paintings in a pr<strong>of</strong>ound <strong>and</strong> electrifying way.<br />
Why are you drawn to oil paint?<br />
Photograph by: Sydney G. Hoerler<br />
It is luscious, sensuous, smells robust <strong>and</strong> is forgiving. Like my husb<strong>and</strong>. And, so far, it seems to like me back.<br />
Oil paint allows me to paint like a sculptor. I can continue to move <strong>and</strong> shape the paint long after it has been laid down on the<br />
canvas.<br />
17 <strong>Art</strong>isSpectrum
Are there any early influences that had an impact on how you paint now?<br />
I have had supernatural mentors. By supernatural I mean outst<strong>and</strong>ing human beings guiding me on my way. Without my mentors<br />
I would not be the person I have become. But, with them, I have the courage to honestly express myself as a painter.<br />
I have also had bad mentors that still helped to shape me as an artist. For example, my fifth grade art teacher Mrs. Maybe who<br />
said to me in class, “Ruthie Gilmore, YOU will never be an artist.” I will always remember this because I recall what I was making;<br />
it was an abstract collage <strong>and</strong> similar to my work now.<br />
I grew up in a rigid household in the 1960’s. Therefore, I developed my imagination as a means <strong>of</strong> survival. I know that feeling<br />
trapped as a child has created a powerful need in me to break free. This is why abstract expressionism pulls me like a magnet.<br />
The explosive <strong>and</strong> free nature <strong>of</strong> the paint moving in a rebellious way on the canvas fulfills me in a way nothing else can. It is still<br />
an essential part <strong>of</strong> my survival <strong>and</strong> allows me to communicate raw emotions through paint.<br />
How do you combine the<br />
other aspects <strong>of</strong> your life<br />
with your work?<br />
I show up at my daughters’<br />
school covered in paint <strong>and</strong><br />
somewhat altered from my<br />
days work. I have to be<br />
willing to shift a lot! But my<br />
family is another aspect <strong>of</strong><br />
myself that I care deeply<br />
about. My family gives me<br />
the stability <strong>and</strong> the desire<br />
to pursue my dreams. I<br />
have always viewed having<br />
a family <strong>and</strong> a husb<strong>and</strong><br />
as adding to my work as an<br />
artist. I do have to arrange<br />
my schedule around volleyball<br />
<strong>and</strong> baseball, but it is<br />
all good. I turn into that wild<br />
artist lady on Monday mornings<br />
<strong>and</strong> between meals.<br />
How do you go about creating a picture? What kinds <strong>of</strong> thoughts, factors, preparation go into it?<br />
I am always painting in my mind wherever I go <strong>and</strong> whatever I am doing.<br />
I observe <strong>and</strong> concentrate on the aesthetic values in my environment <strong>and</strong><br />
maybe most importantly I feel the energy in places I go. This is especially<br />
apparent at places like Lake Michigan or the Atlantic Ocean but it is also<br />
true for me in the woods or watching a river flow. I am very sensitive to the<br />
energy <strong>of</strong> places <strong>and</strong> people. I am like a sponge. When I am really struck<br />
by a place <strong>and</strong> feel a strong vibe about it, it will stay with me until I can get<br />
back into the studio <strong>and</strong> express this emotion The painting ‘Water Vale<br />
Summer’ is from a week at Lake Michigan. The energy <strong>and</strong> beauty pour-<br />
ing out <strong>of</strong> the lake with the constant waves <strong>and</strong> sunsets <strong>and</strong> the warmth <strong>of</strong> the sun on my skin inspired me deeply <strong>and</strong> I could not<br />
wait to get into the studio <strong>and</strong> paint that painting! I was desperate to lay down all <strong>of</strong> the delight <strong>of</strong> the magnificent, sensuous, <strong>and</strong><br />
pristine beach in late summer. Some <strong>of</strong> my paintings are about my feelings about people. My son Henry, when he was a senior<br />
in High School, pulled some senior prank <strong>and</strong> I got a dreaded phone call from his teacher one morning. I was pissed. Luckily for<br />
him, I was in my studio <strong>and</strong> painted it <strong>of</strong>f. When he came home later that day, I was in a lighter mood <strong>and</strong> dealt with him calmly.<br />
That is now one <strong>of</strong> my favorite paintings.<br />
When you’re ready to begin, what sort <strong>of</strong> atmosphere do you prefer to work in?<br />
I have a studio in my home. I live on an isl<strong>and</strong> <strong>and</strong> the Huron River surrounds my house. I see the constant motion <strong>of</strong> the river<br />
from my windows, always changing <strong>and</strong> staying the same as it passes on by. Henry has stored 4,000 songs on my iPod that I<br />
play while I am painting. Jazz is especially good, but Norah Jones, Tom Petty, Kanye West, Andre Bocelli, The Frey, <strong>and</strong> Mozart<br />
are all a part <strong>of</strong> the atmosphere that helps me to create. The birds in spring are also a welcome sound. Mostly, I need space <strong>and</strong><br />
time to delve into a project deeply. Once there, I can really work.<br />
18 <strong>Art</strong>isSpectrum<br />
Isl<strong>and</strong> Series No. 14: Watervale Summer; Arcadia, Michigan Oil on Canvas 48” x 84”<br />
“I am always painting<br />
in my mind wherever<br />
I go <strong>and</strong> whatever I<br />
am doing.”
Are there differences to the way you work depending on whether you’re in a studio or working en plein air?<br />
No. Except that plein air is delightful <strong>and</strong> cumbersome, because I still use large format canvases whether I am outside or inside.<br />
When painting plein air I can be spontaneous <strong>and</strong> paint what I see in my surroundings at the moment. And, I can make a complete<br />
mess!<br />
Once in California I painted a ten foot piece while it was raining. The piece is called ‘Rainforest’ because it was painted outside<br />
in the rain.<br />
Many <strong>of</strong> your paintings reflect nature in some form. How does the environment affect your work?<br />
Nature is an infinite source <strong>of</strong> all things good in the world. I am humbled <strong>and</strong> opened by nature in all <strong>of</strong> its fantastic forms.<br />
What are your goals as a painter? How do you know if you’re achieving them?<br />
My goal as a painter has been the same since I was sixteen years old, <strong>and</strong> will be to the day I die. It is to be a really good, even<br />
great painter. I know that I am achieving this if I turn out a transformative painting that is impactful <strong>and</strong> mindboggling. It should<br />
express an intangible energy that<br />
provokes a strong emotion. Painting<br />
is Transformation. If I am truly<br />
painting I am transforming energy<br />
<strong>and</strong> nature onto a canvas. I know<br />
when this is happening because<br />
I can feel it. I become merely an<br />
instrument for the lightning <strong>and</strong><br />
thunder to move through. And<br />
this is not only a good thing, but<br />
is also a very good time!<br />
www.Agora-Gallery.com/<strong>Art</strong>ist-<br />
Page/Ruth_Gilmore_Langs.aspx<br />
“Painting is<br />
Transforma-<br />
tion. If I am truly<br />
painting I am<br />
transforming en-<br />
ergy <strong>and</strong> nature<br />
onto a canvas.”<br />
Isl<strong>and</strong> Series No. 7: Blue Lake Oil on Canvas 62” x 49”<br />
19 <strong>Art</strong>isSpectrum
Vladimir Rusinov<br />
Vladimir Rusinov lives <strong>and</strong> works in the Ukraine, carving<br />
secular <strong>and</strong> non-secular works out <strong>of</strong> wood, stone, ivory,<br />
<strong>and</strong> even bone. Pictures, mini-sculptures, icons, <strong>and</strong> cameos<br />
are all captured with a practiced h<strong>and</strong> <strong>and</strong> an attention to<br />
detail, resulting in forms that are both captivating <strong>and</strong> refined.<br />
Rusinov is also known for his interiors, carving fireplaces, door<br />
decoratives, <strong>and</strong> other details to create unique accents that<br />
complement the architectural design.<br />
Blending baroque, rococo, <strong>and</strong> modernist styles, Rusinov<br />
is able to create a stunning three-dimensionality in many <strong>of</strong><br />
his picture carvings while maintaining vistas that are quietly<br />
unassuming in their elegance <strong>and</strong> sophistication. His keen<br />
sense <strong>of</strong> composition brings order <strong>and</strong> balance to the <strong>of</strong>ten<br />
complex scenes he’s portraying. When his subjects are<br />
simpler, his masterful use <strong>of</strong> line produces elegant results. With<br />
their graceful curves <strong>and</strong> delicate lines, Rusinov’s carvings are<br />
elaborate, one-<strong>of</strong>-a-kind pieces that are always engaging <strong>and</strong><br />
remarkably pleasing to the eye.<br />
www.woodcarving.com.ua<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Vladimir_Rusinov.aspx<br />
Birth <strong>of</strong> a Queen Wood 9.5” x 7”<br />
20 <strong>Art</strong>isSpectrum<br />
Visit the museum<br />
that is a masterpiece<br />
T heF r i c k<br />
Collection<br />
1 East 70th Street, NYC<br />
212 288-0700<br />
Frick.org<br />
The Frick Collection’s newly reopened Fragonard Room
Jim Lively<br />
Herding Longhorns Acrylic 40” x 30”<br />
Jim Lively’s paintings examine various<br />
facets <strong>of</strong> our contemporary culture<br />
with a delicious sense <strong>of</strong> irony that<br />
celebrates our society while poking it in<br />
the ribs. Navigating between a figurative<br />
<strong>and</strong> an abstract style he <strong>of</strong>ten revisits<br />
the same theme several times, using<br />
both techniques to “thread” a concept<br />
together. His work cleverly investigates<br />
the opposing influences <strong>of</strong> untamed<br />
nature <strong>and</strong> commercial urbanization.<br />
“I am most influenced by the beautiful,<br />
unattractive <strong>and</strong> sometimes humorous<br />
components <strong>of</strong> contemporary urban<br />
culture,” Lively explains. “Many times,<br />
one painting will reflect all these<br />
components.” The imagery reveals an<br />
artist attuned to both the rhythms <strong>of</strong><br />
nature <strong>and</strong> popular culture. As a native<br />
Texan, we encounter in his works the<br />
ubiquitous longhorn cattle <strong>and</strong> flowing<br />
hills <strong>of</strong> the ranch with accompanying<br />
horseback cowboys. He deftly captures<br />
the incredible splash <strong>of</strong> color across the<br />
sky as the sun radiates its final glow <strong>of</strong><br />
the day. These resplendent agrarian<br />
scenes are tweaked by the juxtaposition<br />
<strong>of</strong> artifacts <strong>of</strong> urbanity conveyed in a<br />
Surrealist mode: a model’s graceful face<br />
Wilderness Advertising Acrylic 30” x 40”<br />
Jim in his Studio<br />
becomes the sky over a l<strong>and</strong>scape, a<br />
zooming airliner herds cattle, or fashion<br />
billboards pock an endless grassy plain.<br />
There is an understated posterization<br />
in Lively’s approach to painting;<br />
l<strong>and</strong>scapes <strong>and</strong> figures are drenched<br />
in a s<strong>of</strong>t, warm atmospheric light,<br />
contrasted by flat strokes <strong>of</strong> shadowy<br />
hues that form a subtle gradient. Other<br />
works remain sparse yet convey a sense<br />
that something significant is happening<br />
just beyond the edge <strong>of</strong> the picture<br />
plane. His abstractions are <strong>of</strong>ten highly<br />
involved, employing complex geometry<br />
<strong>and</strong> advanced comprehension <strong>of</strong> color.<br />
These are the works <strong>of</strong> an artist at play, a<br />
creative mind enjoying the fruits <strong>of</strong> labor<br />
<strong>and</strong> talent. The mass appeal <strong>of</strong> Lively’s<br />
work stems from the fact that he is having<br />
fun right along with us.<br />
Although he has been creating art for<br />
many years, Lively has recently taken<br />
a sabbatical from practicing law in order<br />
to pursue painting full time. He has<br />
exhibited frequently in a brief time in<br />
cities including Los Angeles, Hamburg,<br />
<strong>and</strong> New York. He lives <strong>and</strong> works on his<br />
affectionately named, “Atomic Ranch” in<br />
Dallas, Texas.<br />
www.jimlivelyart.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Jim_Lively.aspx<br />
21 <strong>Art</strong>isSpectrum
Sanctuary<br />
Photo Montage on Textured Fine <strong>Art</strong> Paper, edition <strong>of</strong> 10<br />
30” x 20”<br />
Raised in Montana <strong>and</strong> Wyoming, <strong>and</strong> currently residing in<br />
Wyoming, Clint Saunders has transformed the medium<br />
<strong>of</strong> photography into a truly stunning art form. Always drawn to<br />
art, he has found a home in the art world using photography<br />
much like paint or a pencil, effectively arranging his photos in<br />
montage form as a means to create the images <strong>and</strong> concepts<br />
he sees in his mind. Paying particular attention to light <strong>and</strong><br />
perspective, for each work he painstakingly compiles a number<br />
<strong>of</strong> photos into a singular image, creating photo montages<br />
that are a study <strong>of</strong> composition <strong>and</strong> lighting but also so much<br />
more. Image is layered upon image, in turns manipulating,<br />
distorting, reconfiguring, <strong>and</strong> giving life to form <strong>and</strong> narrative.<br />
The influence <strong>of</strong> his love <strong>of</strong> music is felt here, as he seamlessly<br />
weaves disparate elements to create a synchronous whole.<br />
What results is an image that is cohesive, each piece situated<br />
perfectly, contributing to the overall effect.<br />
Saunders’ unique technique gives birth to endless possibilities<br />
in terms <strong>of</strong> subject <strong>and</strong> tone. Always compelling, the image<br />
is sometimes s<strong>of</strong>t <strong>and</strong> dreamy, <strong>and</strong> at other times sharp <strong>and</strong><br />
gripping as light <strong>and</strong> shadow spar across the page. Whatever<br />
the mood, Saunders again <strong>and</strong> again is able to create a world<br />
that is alive <strong>and</strong> curious, <strong>and</strong> which unfailingly bids us to<br />
enter.<br />
www.opgart.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Clint_Saunders.aspx<br />
22 <strong>Art</strong>isSpectrum<br />
Clint Saunders<br />
JUNE 17 – SEPTEMBER 6<br />
TICKETS ON SALE NOW<br />
CALL 215-235-SHOW<br />
philamuseum.org<br />
This exhibition is organized by the Réunion des Musées Nationaux, the Musée d’Orsay, <strong>and</strong> the<br />
Los Angeles County Museum <strong>of</strong> <strong>Art</strong>, in collaboration with the Philadelphia Museum <strong>of</strong> <strong>Art</strong>.<br />
This exhibition is supported in part by The Annenberg Foundation Fund for Major Exhibitions <strong>and</strong> by<br />
an indemnity from the Federal Council on the <strong>Art</strong>s <strong>and</strong> the Humanities. Major foundation support<br />
for this exhibition is provided by The Pew Charitable Trusts <strong>and</strong> The Robert Lehman Foundation.<br />
Additional support is provided by The Women’s Committee <strong>of</strong> the Philadelphia Museum <strong>of</strong> <strong>Art</strong>;<br />
Mr. <strong>and</strong> Mrs. Leonard Abramson, Barbara B. <strong>and</strong> Theodore R. Aronson, Maude de Schauensee,<br />
Mr. <strong>and</strong> Mrs. Robert E. Linck, Martha Hamilton Morris <strong>and</strong> I. Wistar Morris III, Mr. <strong>and</strong> Mrs. John<br />
M. Thalheimer, Harriet <strong>and</strong> Larry Weiss, <strong>and</strong> other generous contributors to the Renoir Salon; <strong>and</strong><br />
other individual donors. Promotional support is provided by NBC 10 WCAU <strong>and</strong> Amtrak.<br />
Pierre-Auguste Renoir, Self Portrait (detail), 1892, oil on canvas, Private collection<br />
7075-Renoir_<strong>Art</strong>isApectrum_3.625x10.5_v5.indd 1 3/11/10 5:12:51 PM<br />
LaPlacaCohen 212-675-4106 Publication: ARTisSpectrum Insertion date: May 2010
Lynda Pogue<br />
Full <strong>of</strong> Promise Acrylic 36” x 48” Lynda in her studio Variations Acrylic 48” x 48”<br />
Award winning Canadian artist, Lynda<br />
Pogue has had rich experiences<br />
in the arts for many years, <strong>and</strong> she<br />
continues to maintain a devotion to<br />
exp<strong>and</strong>ing her artistic knowledge <strong>and</strong><br />
inspiration. Pogue’s belief that art<br />
may touch <strong>and</strong> enrich every part <strong>of</strong> life<br />
forms a foundation for her style. Her<br />
work possesses a sense <strong>of</strong> immediacy<br />
that forms a direct link between herself<br />
<strong>and</strong> the viewer. She seeks to express<br />
the ineffable, to extend our awareness<br />
beyond the ordinary perception <strong>of</strong> the<br />
world. “I’ve always admired people who<br />
reach beyond their grasp,” she states.<br />
“Passion <strong>and</strong> gutsiness are the hallmarks<br />
<strong>of</strong> innovation.” In order to remain entirely<br />
in the creative moment she favors painting<br />
with encaustic or water-based media.<br />
The divergent quality <strong>of</strong> paint between<br />
encaustics <strong>and</strong> acrylics encourages<br />
different approaches to image making.<br />
Vivid streaks <strong>of</strong> encaustic wax seem to<br />
flow in motion around the canvas with a<br />
texture that beckons to be touched. Her<br />
watercolors are crafted with feathery<br />
washes that produce radiant colors <strong>and</strong><br />
forms, a treatment that pairs well with<br />
her lush floral imagery. In contrast her<br />
acrylics are bold with intense color <strong>and</strong><br />
rich texture.<br />
Pogue is also known to enjoy working<br />
with a variety <strong>of</strong> unusual media like<br />
aluminum, netting, <strong>and</strong> sea shells while<br />
experimenting with various techniques.<br />
Her work is characterized by brilliant<br />
<strong>and</strong> earthy hues, a focus on wonderfully<br />
tactile textures, <strong>and</strong> utilizing simple,<br />
graceful forms to inspire thoughtful pause<br />
<strong>and</strong> introspection in her audience.<br />
Pogue is truly in her element when<br />
exploring timeless or emotional themes.<br />
Her work <strong>of</strong>ten associates poignant or<br />
psychological mind-states with natural<br />
motifs. We find gr<strong>and</strong>iose l<strong>and</strong>scapes<br />
<strong>and</strong> sensitive portraits from nature usually<br />
accompanied by mystical titles. Other<br />
works remain almost entirely abstract;<br />
by casting <strong>of</strong>f objectivity Pogue’s ideas<br />
find their divine elemental form. Many<br />
abstract works feature austere gestural<br />
forms complemented by muscular<br />
textures <strong>of</strong> cracked, smeared, or bubbled<br />
encaustic wax or acrylic paints.<br />
Lynda Pogue’s journey through the<br />
arts has been a life-long affair. She<br />
is a teacher, author, director, artist,<br />
<strong>and</strong> motivational speaker. Pogue is<br />
represented by galleries across the<br />
United States <strong>and</strong> Canada.<br />
Chardonnay... Juicy Light Citrus Taste<br />
Encaustic 24” x 18”<br />
www.lyndapogue.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Lynda_Pogue.aspx<br />
23 <strong>Art</strong>isSpectrum
the<br />
new york<br />
experience<br />
by Karin Maraney<br />
Recently, we thought it would be interesting<br />
to get in touch with some<br />
<strong>of</strong> the artists we have represented in the<br />
past to ask them some questions about<br />
their time in New York, how it felt to them<br />
as artists, <strong>and</strong> to find out whether it had<br />
any sort <strong>of</strong> impact on their careers. We<br />
approached a range <strong>of</strong> artists, including<br />
both those who had been represented by<br />
us some time ago <strong>and</strong> those who have<br />
been more recently involved. The artists<br />
were <strong>of</strong> various nationalities, in keeping<br />
with Agora Gallery’s emphasis on diversity,<br />
<strong>and</strong> our desire to bring work from<br />
around the world to this vibrant city.<br />
The response was overwhelmingly positive,<br />
<strong>and</strong> the comments that different<br />
artists had to make, <strong>and</strong> the similarities<br />
<strong>and</strong> differences in their points <strong>of</strong> view so<br />
fascinating, that we are delighted to be<br />
able to share what we have learned with<br />
our readers.
25 <strong>Art</strong>isSpectrum
One <strong>of</strong> the primary areas we were curious<br />
about was just what it is that draws<br />
so many artists to New York every year,<br />
<strong>and</strong> what it is that makes artists from all<br />
over the world want to show their work<br />
here. After all, many artists said that they<br />
had never even visited the city before<br />
their exhibition, or before their visit to the<br />
gallery prior to their exhibition. What was<br />
it that made them want to come in the<br />
first place?<br />
In the first place, it seems<br />
that it wasn’t down to New<br />
York’s well known attractions<br />
or tourist spots. Whilst they<br />
were here, <strong>of</strong> course, our<br />
artists took full advantage<br />
<strong>of</strong> their stay <strong>and</strong> thoroughly<br />
enjoyed seeing famous sites<br />
like the Empire State Building<br />
or the Statue <strong>of</strong> Liberty,<br />
<strong>and</strong> painters <strong>and</strong> photographers<br />
alike were charmed<br />
by their time in Central Park.<br />
Yet, while these were all<br />
pleasures experienced during<br />
the visit, they were not<br />
among the reasons for the initial desire<br />
to come.<br />
Instead, a primary reason artists gave<br />
for wanting to visit New York as an artist<br />
– <strong>and</strong>, even better, to be able to show<br />
their work there – was the strong associations<br />
New York has with the history <strong>of</strong><br />
the art world. Inspirational artists, such<br />
as Rothko <strong>and</strong> Pollock, were heavily<br />
involved with, influenced by, <strong>and</strong> themselves<br />
impacted on the New York art<br />
scene in their time (<strong>and</strong> now) – the art<br />
world in the city in which they had chosen<br />
to live. <strong>Art</strong>ists also wrote feelingly about<br />
the opportunity to visit the city’s worldrenowned<br />
art museums such as the<br />
Metropolitan Museum, the Museum <strong>of</strong><br />
Modern <strong>Art</strong>, <strong>and</strong> the Guggenheim. There<br />
was a strong sensation that taking part<br />
in the artistic life <strong>of</strong> the city which saw<br />
so much <strong>of</strong> the developments <strong>of</strong> modern<br />
art at firsth<strong>and</strong> was a unique experience,<br />
not to be missed.<br />
In a more up-to-date sense, there was a<br />
clear awareness <strong>of</strong> the liveliness <strong>of</strong> the<br />
current situation in New York – it is, as<br />
Anne Gr<strong>and</strong>in put it, ‘a happening environment.’<br />
Many artists seemed to feel<br />
that although they had trouble reaching<br />
the appropriate audience for their work<br />
where they lived, New York, whose art<br />
26 <strong>Art</strong>isSpectrum<br />
patrons might have more experience<br />
<strong>and</strong> a broader underst<strong>and</strong>ing, would be<br />
a better setting for them to display what<br />
they could do. When it came to the exhibition,<br />
artists spoke <strong>of</strong> their delight in the<br />
reception they received in this new environment<br />
– as John Nieckarz said, the<br />
audience ‘were very knowledgeable <strong>and</strong><br />
truly interested in the art.’<br />
This, in turn, had an impact on how the<br />
artists felt about themselves <strong>and</strong> their<br />
work. New York is known to be a tough<br />
market to get into, so being able to present<br />
artwork in a gallery in the heart <strong>of</strong> the<br />
city’s art district, <strong>and</strong> hearing the positive<br />
responses <strong>of</strong> the gallery visitors, was<br />
an important l<strong>and</strong>mark for some artists.<br />
Katrin Alvarez spoke <strong>of</strong> her renewed<br />
confidence, <strong>and</strong> the strength <strong>and</strong> interest<br />
this gave her in responding to others’<br />
perception <strong>of</strong> her work.<br />
Even artistic identity can be influenced<br />
by the New York experience, it seems. A<br />
number <strong>of</strong> artists spoke <strong>of</strong> the turn their<br />
work had taken after exhibiting at Agora.<br />
Hayley Banteaux began experimenting<br />
with photography <strong>and</strong> sculpture in addition<br />
to painting, a change which has developed<br />
with time into an integral part <strong>of</strong><br />
her work, which she feels is continuing<br />
to blossom. Other artists also described<br />
the experience <strong>of</strong> meeting other artists<br />
from all around the globe at the opening<br />
reception, <strong>and</strong> the way this contributed<br />
to their underst<strong>and</strong>ing <strong>of</strong> the art world.<br />
Luis Montull was intrigued by the different<br />
trends he observed in the exhibition,<br />
<strong>and</strong> described how his work became influenced<br />
by his contact with other artists<br />
there.<br />
There is also the important matter <strong>of</strong> the<br />
impact on the artists’ careers. Although<br />
in some cases exhibiting in New York<br />
can feel like a triumphant climax to a lifetime<br />
in the art world, for most artists it is<br />
only one part (even if a vital <strong>and</strong> exciting<br />
part) <strong>of</strong> their overall career. The artists<br />
described the doors that opened for<br />
them after their New York appearance.<br />
New clients, new collectors <strong>and</strong> new<br />
galleries appeared, some directly from<br />
the exhibition, some later<br />
on impressed by it, others<br />
freshly reachable due to<br />
the newly gained experience<br />
<strong>and</strong> confidence the<br />
artists felt. VéroniKaH mentioned<br />
the greater recognition<br />
she had achieved, <strong>and</strong><br />
the corresponding increase<br />
in her sales. Some artists<br />
also mentioned the pleasure<br />
they took in having a<br />
gallery take the burden <strong>of</strong><br />
publicity <strong>of</strong>f their shoulders,<br />
<strong>and</strong> their pride in seeing<br />
their work advertised <strong>and</strong><br />
valued.<br />
We were thrilled to hear about the artists’<br />
growth, success <strong>and</strong> development,<br />
but there was one other notable recurring<br />
theme in the responses we received<br />
that made us blush. So many <strong>of</strong> the responses<br />
we received talked about the<br />
excellent help <strong>and</strong> attention the artists<br />
had experienced with Agora Gallery staff<br />
that we just had to put it in. Of course we<br />
are aware that when embarking on what<br />
can be an intimidating, if exciting challenge,<br />
artists are bound to need a little<br />
more support than they might do in other<br />
circumstances, but it was very flattering<br />
to realize that this had been noticed <strong>and</strong><br />
appreciated! Our Gallery Director, Angela<br />
Di Bello, came in for special mention<br />
for the personal care <strong>and</strong> interest<br />
she takes, as well as her welcoming personality<br />
which is bound to put artists <strong>and</strong><br />
visitors at ease.<br />
Our thanks to all those who took part,<br />
<strong>and</strong> we can only hope that you enjoyed<br />
writing your responses even half as<br />
much as we enjoyed reading them!
27 <strong>Art</strong>isSpectrum
The work <strong>of</strong> Eric Degos is visually elementary, yet<br />
it is by no means naïve. Living <strong>and</strong> working in<br />
France, Degos has a knowingly measured historical<br />
reach. He reworks the amoebic life forms <strong>of</strong> European<br />
Surealism while using visual elements <strong>of</strong> American<br />
Folk <strong>and</strong> Pop <strong>Art</strong>.<br />
The most striking feature <strong>of</strong> Degos’ paintings, the<br />
element which will be noticed first <strong>and</strong> which has<br />
the greatest impact, is the color. Vivid <strong>and</strong> saturated<br />
cyans <strong>and</strong> cerulean blues knock up against magentas,<br />
The Boat Oil, Acrylic & Mixed Media on Canvas 21” x 35”<br />
greens, <strong>and</strong> reds. The organic forms hovering over<br />
flat expanses recall the physical imaginings <strong>of</strong> Juan<br />
Miro <strong>and</strong> Paul Klee, yet seen through the electric colors <strong>of</strong> American Pop <strong>Art</strong>.<br />
There are curious reoccurrences throughout the paintings. Specific shapes reappear, like characters with their own place in each<br />
scene. Some <strong>of</strong> the shapes are purely abstract, while others are multi-limbed persons st<strong>and</strong>ing with birds <strong>and</strong> plants. Flowers,<br />
heads, leaves, <strong>and</strong> cloud-like platforms are lit <strong>and</strong> set adrift within a rectangular picture plane which is divided once. From the<br />
edges <strong>of</strong> the work intrude block-like forms, poking <strong>and</strong> guiding the playful lives inside.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Eric_Degos.aspx<br />
Rosane Demeterco Bussmann<br />
28 <strong>Art</strong>isSpectrum<br />
Eric Degos<br />
The images created by Rosane Demeterco<br />
Bussmann are visual poetry, each collage inspired<br />
by the human experience <strong>and</strong> imbued with spiritual<br />
meaning. Drawing on a background as a graphic<br />
designer, she employs techniques <strong>of</strong> monoprint,<br />
digital <strong>and</strong> paper lithography, collage, etching <strong>and</strong><br />
linoleum to create images reflecting the feelings <strong>and</strong><br />
dilemmas <strong>of</strong> everyday life. Each technique yields an<br />
unexpected result with distinctive textures, muted<br />
colors <strong>and</strong> a compelling use <strong>of</strong> line, as she explores<br />
the familiar terrains <strong>of</strong> hope, choice, patience,<br />
harmony, life lessons, <strong>and</strong> the inner self. By combining<br />
digital imaging on the computer with printmaking, she<br />
effectively pieces together an artistic puzzle to bring<br />
her inner vision to life.<br />
Born, raised, <strong>and</strong> currently living in Brazil, Bussmann<br />
spent eleven years living in the U.S. You can see this<br />
diversity <strong>of</strong> place reflected in her work as she seeks to<br />
Choices Lithograph 32.5” x 40.5”<br />
uncover <strong>and</strong> explore humanity’s common ground. Her collages are edgy <strong>and</strong> surreal, as she expertly crafts compositions that<br />
compel the viewer to stop <strong>and</strong> contemplate the meanings <strong>and</strong> lessons <strong>of</strong> life. Yet the overall effect <strong>of</strong> her images is surprisingly<br />
balanced, bringing her view <strong>of</strong> the world full circle to demonstrate the common spaces that we all, at one time or another,<br />
inhabit.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Rosane_Demeterco_Bussmann.aspx
German artist Christiane Lohrig relies on her experimental approach<br />
to produce paintings that act as thresholds, allowing the spectator to<br />
experience unbeknownst visions <strong>and</strong> memories. Originally trained as an<br />
architect, Lohrig delved into painting in both oils <strong>and</strong> acrylics as a student.<br />
Lohrig eventually adopted different mediums, including wood <strong>and</strong> rusted<br />
metals as well as paper. Her aesthetic is propelled by bold blocks <strong>of</strong> color<br />
juxtaposed with stenciled lettering, geometric motifs <strong>and</strong> textile patterns that<br />
echo the patterns <strong>of</strong> medieval illuminated manuscripts. Her abstract paintings<br />
are large in scale <strong>and</strong> her methods are highly multifaceted. She uses materials<br />
such as s<strong>and</strong>, collagen, stencils, spray paint, <strong>and</strong> paper rags, <strong>of</strong>ten repainting<br />
details by h<strong>and</strong> to reinforce their significance to the composition. She carves<br />
figures into the wet surface <strong>and</strong> uses her bare h<strong>and</strong>s to paint, creating the<br />
intimate rapport typically reserved for sculpture. In turn, the spectator ventures<br />
into Christiane Lohrig’s own fascinating color-driven subconscious.<br />
www.christiane-lohrig.de<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Christiane_Lohrig.aspx<br />
Peter Schulz<br />
Sunshine<br />
Mixed Media 30” x 22”<br />
Maroc Acrylic on Canvas 31.5” x 31.5”<br />
Like rivers <strong>of</strong> song Peter Schulz’s abstractions are moments <strong>of</strong> celebration,<br />
a pulsing vital life-force <strong>of</strong> pure joy <strong>and</strong> exuberance in paint. The directness<br />
<strong>of</strong> his compositions is at once spontaneous <strong>and</strong> fresh, his sweeping arched<br />
brushstrokes vibrantly filling the page with rippling paths <strong>of</strong> color.<br />
There is a sense <strong>of</strong> immediacy to Schulz’s creations as he quickly works each<br />
piece in watery washes <strong>of</strong> intensely bold hues <strong>and</strong> solid, unmuted black. By<br />
retaining the clean white <strong>of</strong> the underlying paper he allows each piece to<br />
breathe freely, keeping the focus on the fluidity <strong>of</strong> his mark. Working mainly<br />
in thin consistencies <strong>of</strong> acrylic <strong>and</strong> ink on paper, Schulz occasionally brings<br />
elements <strong>of</strong> mixed media <strong>and</strong> collage to his paintings.<br />
Inspired by the beauty <strong>and</strong> wonders <strong>of</strong> Europe, Asia, <strong>and</strong> the Canadian<br />
wilderness Schulz began his artistic career working en plein air <strong>and</strong> with<br />
figurative painting, later bringing the spontaneity <strong>of</strong> these methods into his<br />
current abstract style.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Peter_Schulz.aspx<br />
Hope, suffering, death, sensuality <strong>and</strong> spirituality all coexist with startling yet<br />
mysteriously subtle force in Austrian artist Peter Martin’s paintings. His<br />
subjects are unusual nudes, either angelic or demonic but always <strong>of</strong> this world.<br />
Though Martin cites obvious influence Egon Schiele, there are also likenesses<br />
to Edvard Munch <strong>and</strong> comic book characters in the dramatic postures <strong>and</strong><br />
stances <strong>of</strong> these figures. With their expressionistically exaggerated muscles,<br />
limbs <strong>and</strong> facial features, occasionally covered in blood, it’s <strong>of</strong>ten hard to tell<br />
whether these are heroes or villains.<br />
Once viewers see past the dramatic surrealism <strong>of</strong> his works, though, Martin’s<br />
subjects turn out to be very ambiguously <strong>and</strong> seductively human. Whether<br />
unfurling angel wings or sporting satanic horns – the distinction is surprisingly<br />
difficult to make amidst the dark, smoky gloom the acrylic tableaux are <strong>of</strong>ten<br />
set in – these are characters transfigured by moral conflicts. At once powerful,<br />
helpless, determined <strong>and</strong> undecided, Martin’s demi-gods are our own, with a<br />
message <strong>of</strong> hope for us all.<br />
www.petermartin.at<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Peter_Martin.aspx<br />
Christiane Lohrig<br />
Peter Martin<br />
Scream 59” x 40”<br />
Mixed Media & Acrylic on Canvas<br />
29 <strong>Art</strong>isSpectrum
Agora Gallery II presents<br />
Bloom: Tamar Rosen / solo exhibition<br />
30 <strong>Art</strong>isSpectrum<br />
© Tulips Oil on Canvas 51” x 43”<br />
October 5 - October 26, 6-8pm<br />
Reception: October 7, 2010<br />
530 West 25th Street,<br />
Chelsea, New York, NY 10001<br />
www.Agora-Gallery.com
Memorable Receptions<br />
from Around the World<br />
Melbourne, Australia: Ji Chen in front <strong>of</strong> his work<br />
‘View <strong>of</strong> Dockl<strong>and</strong>s’ at the Victorian <strong>Art</strong>ists Society<br />
Gallery<br />
London, UK: Vladimir Titov at the UK’s Largest<br />
<strong>Art</strong>ist Fair in Chelsea Old Town Hall<br />
Zabrze, Pol<strong>and</strong>: Szczepan Pako (2nd from L) with<br />
owners <strong>of</strong> Off <strong>Art</strong> Studio Gallery at his exhibition<br />
“Homo Fabricus”<br />
Cambridge, UK: Jo Tunmer (R) with co-hosts from<br />
E.P.G.L. <strong>and</strong> Savills at her Lexington House show<br />
Checy, France: Laurence Brisson at her exhibition<br />
at Georges S<strong>and</strong> Center<br />
Bahrain: Indian Ambassador to Bahrain HE<br />
Balkrishna Shetty <strong>and</strong> Ella Prakash with the invited<br />
guests at exhibition in Ella’s Gallery Bahrain<br />
31 <strong>Art</strong>isSpectrum
Toronto, Canada: Bisa Bennett at her solo exhibition<br />
at the Leonardo Galleries<br />
Dubai, UAE: Hamza Bounoua (2nd from R) with<br />
C. Pocock <strong>and</strong> guests at his exhibition, Nov. 2008<br />
Humenne, Slovakia: Andrej Krivda with the curator<br />
<strong>and</strong> director <strong>of</strong> the MKS gallery explaining to<br />
the audience the intricacies <strong>of</strong> large print making<br />
Central Coast, Australia: Yianni Johns at The<br />
Super <strong>Art</strong> Project, Feb. 2009<br />
32 <strong>Art</strong>isSpectrum<br />
Valparadiso, Chile: Carlos Cabán (2nd from R) at<br />
his exhibition “Visitations” at the Paloma Gallery<br />
Bangalore, India: Amitabh Sengupta at his solo<br />
show preview at Time & Space Gallery<br />
New York, USA: Nathan Sawaya at the opening <strong>of</strong><br />
his solo show at Agora Gallery, Brick by Brick: the<br />
LEGO ® Brick sculpture <strong>of</strong> Nathan Sawaya<br />
Florence, Italy: Katrin Alvarez at the Florence<br />
Biennale, 2009<br />
Naas, Irel<strong>and</strong>: Patrick “Pappi” Pearse at his<br />
exhibition “Songster” at The Osprey<br />
Jerusalem, Israel: Eli Matityahu with his wife,<br />
Varda, <strong>and</strong> guests at the Jerusalem Municipality<br />
<strong>Art</strong> Gallery<br />
Vienna, Austria: Peter Martin at his sell out show<br />
at his exhibition at the R2 Gallery<br />
Bilbao, Spain: Maria José Royuela with her<br />
paintings at Galería de <strong>Art</strong>e Siena
Paris, France: Férial Abdallah-Khodja at the<br />
gallery bar “The Sputnik”<br />
Tehran, Iran: Kimia Rahgozar at her exhibition at<br />
Iranian <strong>Art</strong> Museum garden<br />
Montreux, Switzerl<strong>and</strong>: Alex<strong>and</strong>re Plattet at his<br />
exhibition in the <strong>Art</strong> Forum Montreux<br />
Tel-Aviv, Israel: <strong>Art</strong>ist Tamara Rosen (L) with Ms.<br />
Limor Liunat, Minister <strong>of</strong> Culture & Sports (M)<br />
Mina Ticher, Chair <strong>of</strong> the Education Committee <strong>of</strong><br />
the European Mathematical Society (M), <strong>and</strong> Chief<br />
Israeli Scientist, Mr. Charles Dorell (R)<br />
Saarbrücken, Germany: Christiane Lohrig at<br />
her recent exhibition at the Gallery Neuheisel<br />
Saarbrücken<br />
Curitiba, Brazil: Fabrizio Andriani (2nd from<br />
R) with guests at his exhibition at the Center <strong>of</strong><br />
Creativity<br />
Lyon, France: Jérôme Colin (Jeco) (2nd from<br />
L) <strong>and</strong> guests at is exhibition at the “Cité des<br />
antiquaires”<br />
Anvers, Belgium: Anis Dargaa (3th from L) <strong>and</strong><br />
guests at the exhibition <strong>of</strong> <strong>Art</strong> Event Antwerp<br />
Mexico City, Mexico: Adelia Sayeg (L) at<br />
the opening reception <strong>of</strong> her recent exhibition<br />
“Monuments, Symbolos e Icons <strong>of</strong> the<br />
Bicentennial” at Gallery Oscar Roman<br />
Stuttgart, Germany: Simone Berrini at the Sindelfingen<br />
<strong>Art</strong> Fair 2010<br />
Kamakara, Japan: Saori Louise Tatebe (L) <strong>and</strong><br />
Nori Yokoyama at her solo exhibition…<br />
Montevideo City, Uruguay: Hugo Martínez Rapari<br />
(L) receiving “Hecho Acá- Galería MVD” Award<br />
from Mrs.Mercedes Menafra (Former First Lady <strong>of</strong><br />
Uruguay) <strong>and</strong> Mrs. Gabriela Acevedo (Juror)<br />
33 <strong>Art</strong>isSpectrum
Marcelo Pizzolo<br />
Cleopatra Digital Print, edition <strong>of</strong> 5 90” x 60”<br />
With his energetic investigation into digital arts, painter<br />
Marcelo Pizzolo conjures psychedelic images that stun<br />
<strong>and</strong> amaze, as well as works that are sublime <strong>and</strong> contemplative.<br />
He uses digital paint s<strong>of</strong>tware as he would traditional oil pigment<br />
that can be molded fluidly with the use <strong>of</strong> a pressure-sensitive<br />
pen. In addition to his exploration <strong>of</strong> technology, Marcelo says<br />
that his paintings draw their inspiration from real life <strong>and</strong> what<br />
he sees as humanity converging toward an unprecedented<br />
cosmic consciousness <strong>and</strong> spiritual awakening. Marcelo<br />
sculpts the visual realm according to his own personal vision: a<br />
glowing, electric zone <strong>of</strong> iconic images that are moving as well<br />
as aesthetically complex <strong>and</strong> engaging. At times his subjects<br />
seem to be exploding into their very atoms, at other times<br />
there is a merging <strong>of</strong> a diverse group <strong>of</strong> elements. Portraits<br />
<strong>of</strong>ten mutate into surrealist tableaux, <strong>and</strong> this conflation <strong>of</strong><br />
representational form <strong>and</strong> abstraction in Marcelo’s work<br />
echoes his focus on the mysteries <strong>of</strong> human nature, cosmic<br />
connectedness, larger meanings <strong>and</strong> aesthetics. The center<br />
<strong>of</strong> the universe exists within the human eye, Marcelo Pizzolo<br />
seems to be saying, but there is also the enigma <strong>of</strong> the soul,<br />
which <strong>of</strong>ten takes his work on journeys into other universes,<br />
inward <strong>and</strong> outward.<br />
www.marcelopizzolo.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Marcelo_Pizzolo.aspx<br />
34 <strong>Art</strong>isSpectrum
Symona Colina<br />
Blue Sfere Giclee Print on Canvas 47” x 39.5”<br />
Whimsical, visionary, dazzling,<br />
surreal; there are a host <strong>of</strong> words<br />
to describe the paintings by Dutch artist<br />
Symona Colina. Her art will inspire<br />
a range <strong>of</strong> emotions in her audience<br />
because it draws on many <strong>of</strong> our inherent<br />
impulses <strong>of</strong> imagination <strong>and</strong> fantasy.<br />
Our eye is immediately drawn into<br />
this incredible world by deep vortexes<br />
modeled by spiraling checkered, cubed,<br />
or floral patterns. When Colina creates<br />
a l<strong>and</strong>scape painting, it is like no other.<br />
In the same fashion as the inhabitants,<br />
the l<strong>and</strong>scape plays a distinct role<br />
in the storyline as both background<br />
<strong>and</strong> foreground work together as one<br />
organism. Other works remain more<br />
graphic, bending the rules <strong>of</strong> geometry in<br />
the same spirit as M. C. Escher. Colina<br />
fashions slick, interlocking designs that<br />
appear to fold outwards toward the<br />
viewer. Colina’s Technicolor hues in high<br />
contrast gradients further infuse each<br />
piece with a sense <strong>of</strong> depth; dark blue<br />
or violet take us deep into the picture<br />
plane while warm, radiant colors appear<br />
to explode. These spatial relationships<br />
are the hallmark <strong>of</strong> Colina’s style <strong>and</strong><br />
compel her creative spirit to find, as she<br />
explains, “An open space, to shape,<br />
to enter, to explore, to love, to hold…”<br />
Colina’s creative process begins by<br />
drafting several sketches, mapping out<br />
Above Right:<br />
Pl<br />
Oil on Canvas<br />
59” x 59”<br />
Right: Symona in her<br />
studio<br />
a new realm before<br />
a p p r o a c h i n g<br />
the canvas. She<br />
then melds her<br />
renderings into<br />
one picture, using<br />
smooth strokes <strong>of</strong><br />
brilliantly colored<br />
oil paint. At the<br />
base <strong>of</strong> her work<br />
is an undeniable<br />
grasp <strong>of</strong> mathematical principals,<br />
employing radical geometry, a<br />
calculating manipulation <strong>of</strong> perspective,<br />
<strong>and</strong> the golden mean to craft her<br />
conceptual space with a sense <strong>of</strong> order.<br />
Yet the imagery is not hard-edged; we<br />
also find a distinct appreciation for the<br />
power <strong>of</strong> nature as it applies to these<br />
mathematical principles. One may<br />
recognize the natural order <strong>of</strong> Fibonacci<br />
Spirals, whether in the familiar pinecone<br />
form, coiling staircases, or amorphous<br />
fluid spirals. Nature also takes form as<br />
powerful waves, endless azure skies, or<br />
floral inspired designs.<br />
Symona Colina’s paintings are exhibited<br />
frequently in Italy <strong>and</strong> the United States.<br />
She lives <strong>and</strong> works in Rome, Italy.<br />
www.symonacolina.info<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Symona_Colina.aspx<br />
35 <strong>Art</strong>isSpectrum
The 2010 Chelsea International Fine <strong>Art</strong> Competition<br />
©Denny Bond Guardians <strong>of</strong> Time 23.5” x 23.5”<br />
36 <strong>Art</strong>isSpectrum<br />
August 17 - September 7, 2010<br />
Reception: Thursday, August 19, 6 - 8pm<br />
Alina Alex<strong>and</strong>rovna Evi Apostolou Peter Baldinger Roberto Bernardo Denny Bond<br />
Allen Bryan Cassie Clements Gaspare Di Caro Ferdin<strong>and</strong>o Di Maso Horacio Dowbley<br />
Julio Flores Jose A. Gallego Edward Hahn Eily K Jammy Nick Kozak<br />
Stephanie Krist<strong>of</strong>ic Jürgen Lechner Claudia & Davide Luciano Michael May Hally McGehean<br />
Víctor Melia De Alba Franco Monari Losan Piatti Allie Regan Ruth Schreiber<br />
Yea Jin Song Peter Strobos Alec Von Bargen Maryann Worrel Sangeun Yu<br />
530 West 25th Street,<br />
Chelsea, New York, NY 10001<br />
www.Agora-Gallery.com
Tania Welz<br />
The canvases <strong>of</strong> Tania Welz are<br />
powerful visions to behold, complex<br />
allegories <strong>of</strong> human experience brimming<br />
with emotion. Born in Munich, Germany,<br />
for the past 14 years Welz has worked out<br />
<strong>of</strong> her studio in Rome’s fabled Trastevere<br />
district, where the Mediterranean<br />
l<strong>and</strong>scape has fueled her endeavor<br />
to create a more sensual art that goes<br />
beyond the traditional Expressionist<br />
or abstract two-dimensional canvas.<br />
Inspired by the way the s<strong>of</strong>t, warm<br />
light <strong>of</strong> Italy renders an ordinary tree<br />
branch or cobblestone rich in depth <strong>and</strong><br />
extraordinarily complex, she has returned<br />
to an old love affair with fabric in order to<br />
breathe life into her vision.<br />
What results is an exciting combination<br />
<strong>of</strong> textile <strong>and</strong> painting. Traditionally called<br />
arazzi, these wall hangings straddle<br />
the worlds <strong>of</strong> sculpture <strong>and</strong> canvas, as<br />
fabrics are sculpted onto the canvas’s<br />
surface, creating uniquely sensual <strong>and</strong><br />
tactile abstract images. The intersection<br />
<strong>of</strong> fabric <strong>and</strong> paint results in eclectic<br />
forms that explore the inner terrains <strong>of</strong><br />
human emotion <strong>and</strong> experience. Each<br />
Relics <strong>of</strong> a Forest Silk & Bark 39” x 29.5”<br />
fold <strong>of</strong> fabric, each tension, is intrinsic<br />
to the image, <strong>and</strong> her canvases seem<br />
almost to breathe on their own as the<br />
fabric rises from the plane <strong>of</strong> origin <strong>and</strong><br />
wends its way across its parameters. In<br />
effect, the fabric directly challenges the<br />
rigidity <strong>of</strong> that two-dimensional space,<br />
speaking to the futility <strong>of</strong> any endeavor<br />
which seeks to contain emotions <strong>and</strong><br />
experiences.<br />
Welz’s use <strong>of</strong> fire brings the energies<br />
<strong>of</strong> creativity <strong>and</strong> destruction together in<br />
a pr<strong>of</strong>ound approach that explores the<br />
ever-present cycles <strong>of</strong> life <strong>and</strong> death in<br />
new ways. Fabrics that have been burned<br />
are resurrected as she reconfigures<br />
<strong>and</strong> incorporates them into the piece.<br />
Through this process <strong>of</strong> reconstruction,<br />
she infuses the image with a sense <strong>of</strong><br />
healing that works to <strong>of</strong>fset the underlying<br />
theme <strong>of</strong> destruction, a subtext that adds<br />
to the symbolic richness <strong>of</strong> the art form.<br />
Plumbing the depths <strong>of</strong> human emotion,<br />
Welz’s arazzi take us to new human<br />
vistas <strong>and</strong> call into question everything<br />
we thought to be true about art, emotion,<br />
<strong>and</strong> human life.<br />
Welz’s works continue to reach new<br />
<strong>and</strong> appreciative audiences. She is<br />
one <strong>of</strong> the artists selected by Megan<br />
Fontanella, Assistant Curator at the<br />
Solomon R. Guggenheim Museum, in<br />
the 2010 Chelsea International Fine <strong>Art</strong><br />
Competition.<br />
www.taniawelz.com<br />
Tania in her Studio<br />
Big Bang in a Closed System Jute & Latex 73” x 63”<br />
37 <strong>Art</strong>isSpectrum
38 <strong>Art</strong>isSpectrum<br />
AGORA GALLERY<br />
SUMMER PREVIEW<br />
530 W. 25th St., Chelsea, New York, NY 10001<br />
Tues - Sat, 11am - 6pm<br />
www.Agora-Gallery.com<br />
Group Show<br />
Elements <strong>of</strong> Abstraction <strong>and</strong> Enigmatic Realms<br />
opening reception : June 10th, 2010 6-8pm<br />
June 4th - June 25th, 2010<br />
Featured <strong>Art</strong>ists<br />
Thierry Fazian, Kim Young Geun, Naveed Hakim, MOO | Monika Mori, Rio’,<br />
Xan Salas, D. Loren Champlin, Alex Hook, Alej<strong>and</strong>ro M<strong>and</strong>el, Mary Nangah,<br />
Barbara Palka Winek, Terry Wang, Nathalie Weis<br />
www.agora-gallery.com/ExhibitionAnnouncement/6_4_2010.aspx<br />
unitEd in <strong>Art</strong><br />
An Exhibition <strong>of</strong> Fine <strong>Art</strong> from Engl<strong>and</strong>, Wales,<br />
Scotl<strong>and</strong> <strong>and</strong> Irel<strong>and</strong><br />
opening reception : June 10th, 2010 6-8pm<br />
June 4th - June 25th, 2010<br />
Featured <strong>Art</strong>ists<br />
Anika Firouzman, Roisin Fitzpatrick, Maria Onyegbule, Patrick Pearse, Bianca<br />
Pirlog, Ian Scott-Reid, Jo Tunmer<br />
www.agora-gallery.com/ExhibitionAnnouncement/united_6_4_2010.aspx<br />
PAris Here We “<strong>Art</strong>”<br />
by Mecenavie Gallery (in Gallery II)<br />
opening reception : June 10th, 2010 6-8pm<br />
June 4th - June 25th, 2010<br />
Featured <strong>Art</strong>ists<br />
Aymeric NOA, Dominique Andrey , Francis Souchu, Françoise Garret, Gérard<br />
Gantois, Isabelle Meunier, Jasmine Le Nozac’h, Maria Teresa Bertina, Sistebane,<br />
Sonia Lee, Sophie Raine, Stephane Rouxel<br />
www.agora-gallery.com/gallery2/june2010/default.aspx<br />
JonidEl MEndozA, JoSé VíVEnES, AlbErto riErA<br />
(in Gallery II)<br />
opening reception : July 1st, 2010 6-8pm<br />
June 29th - July 20th, 2010<br />
Terry Wang Golden Autumn 34” x 60”<br />
Anika Firouzman Untitled 1 48” x 60”<br />
Françoise Garret<br />
Paris, front de Seine-Living <strong>and</strong> Magic Concrete 29” x 36”
thE FrEnch pErSpEctiVE<br />
<strong>Contemporary</strong> <strong>Art</strong> from France<br />
opening reception : July 1st, 2010 6-8pm<br />
June 29th - July 20th, 2010<br />
Featured <strong>Art</strong>ists<br />
Charles Bignon (BigDiscipline), Laurence Brisson, Anis Dargaa, Eric Degos,<br />
Férial, FLORA, Gabrielle, Elisabeth Guerrier , Jeco, Christine Magré, Thomas<br />
Mainardi, Christine Marie Catherine, Mister Newhalf, Pascale-Nancy, Sylvie<br />
Provost<br />
www.agora-gallery.com/ExhibitionAnnouncement/6_29_2010.aspx<br />
Group Show<br />
A Maze <strong>of</strong> Milieu, Portal to Enigma <strong>and</strong><br />
The Pathway to Abstraction<br />
opening reception : August 5th, 2010 6-8pm<br />
July 23th - August 13th, 2010<br />
Featured <strong>Art</strong>ists<br />
Jenifer Carey, Jörg Eydner, Lizzy Forrester, Steven R. Hill, Truong Ngoc Chinh, Vladimir<br />
Rusinov, Pedro Garcia Socorro, Carmen Sotuela, Molly Wright, Meral Akyuz, Bonaventura<br />
Anson Hamza Bounoua, Virgi Dall’Aglio, Jeff Jackson, Tyice Natasha, Igor Eugen Prokop,<br />
Amitabh SenGupta , Célia Bai Lambert, An Bogdan, Patricia Brintle, Elise Fargnoli, Debra<br />
Fitzsimmons, Kenji Inoue, Trinidad Pino, Vladimir Shestakov<br />
www.agora-gallery.com/ExhibitionAnnouncement/7_23_2010.aspx<br />
Group Show<br />
The 2010 Chelsea International Fine <strong>Art</strong>s Competition<br />
opening reception : August 19th, 2010 6-8pm<br />
August 17th - September 7th, 2010<br />
Featured <strong>Art</strong>ists<br />
Alec Von Bargen, Alina Alex<strong>and</strong>rovna, Allen Bryan, Allie Regan, Cassie Clements, Claudia<br />
& Davide Luciano, Denny Bond, Edward Hahn, Eily K Jammy, Evi Apostolou, Ferdin<strong>and</strong>o<br />
Di Maso, Franco Monari, Gaspare Di Caro, Hally Mcgehean, Horacio Dowbley, Jose A.<br />
Gallego, Julio Flores, Jürgen Lechner, Losan Luca Piatti, Maryann Worrell, Michael May,<br />
Nick Kozak, Peter Baldinger, Peter Strobos, Roberto Bernardo, Ruth Schreiber, Sangeun<br />
Yu, Stephanie Krist<strong>of</strong>ic, Víctor Melia De Alba, Yea Jin Song<br />
www.agora-gallery.com/ExhibitionAnnouncement/the_8_17_2010.aspx<br />
portAl: pAul cotE / Solo Exhibition<br />
(in Gallery ii)<br />
opening reception : August 19th, 2010 6-8pm<br />
August 17th - September 7th, 2010<br />
www.agora-gallery.com/ExhibitionAnnouncement/8_17_2010.aspx<br />
Anis Dargaa Serenitas In Veritas 31.5” x 39.5”<br />
Hamza Bounoua Passage on Arrival 4 47” x 47”<br />
Julio Flores Depleting silence 48” x 60”<br />
Paul Cote Heavens Gate 36” x 40”<br />
39 <strong>Art</strong>isSpectrum
Facts in a Jar Mixed Media on Canvas 27” x 27”<br />
Making Time to Make <strong>Art</strong><br />
by Debra Fitzsimmons<br />
40 <strong>Art</strong>isSpectrum
There are two things <strong>of</strong> primary importance<br />
for a studio artist. First, an<br />
artist must realize an individual direction.<br />
Second, an artist must make time to<br />
make art. This article shares how I work<br />
“idea time” <strong>and</strong> studio time into a busy<br />
schedule. It concludes with a discussion<br />
on my “NARROWED” series which<br />
will be featured at Agora Gallery in July,<br />
2010.<br />
Let Your Fingers Make One H<strong>and</strong><br />
I am a full time high school art teacher, a<br />
school club sponsor, an adjunct college<br />
art education pr<strong>of</strong>essor, <strong>and</strong> a fine arts<br />
curriculum <strong>and</strong> development consultant.<br />
I have a family, friends <strong>and</strong> personal interests.<br />
In short, I am pretty busy. But I<br />
define myself most as an active exhibiting<br />
artist. The question I’m <strong>of</strong>ten asked<br />
is, “Where do you find the time for your<br />
art?” I can’t answer that question as it is<br />
stated. I need to reframe it to, “Where do<br />
you find the time to develop ideas?” My<br />
answer to that is every waking minute,<br />
every day.<br />
My gr<strong>and</strong>mother used to say, “Let Your<br />
Fingers Make One H<strong>and</strong>.” It was a curious<br />
statement that has become one<br />
<strong>of</strong> my guiding philosophies. To me it<br />
means that all parts <strong>of</strong> one’s life are connected.<br />
It is about a frame <strong>of</strong> mind that<br />
does not segment one part <strong>of</strong> life from<br />
another. It is like a Venn diagram where<br />
all the circles are stacked directly on top<br />
<strong>of</strong> each other <strong>and</strong> melted together until<br />
they flow as one liquid.<br />
In my life the intertwin-<br />
ing <strong>of</strong> art <strong>and</strong> social issues<br />
is as constant as<br />
breath.<br />
When I am in the art classroom, I am<br />
thinking about my students <strong>and</strong> their<br />
needs. They have art needs. High school<br />
<strong>and</strong> college students also have social<br />
needs. And they have opinions on everything!<br />
Researchers say, “Anecdote is<br />
the singular <strong>of</strong> data;” I add that personal<br />
issues are the singular <strong>of</strong> social issues.<br />
The situations <strong>and</strong> social conditions my<br />
students face are the same ones that we<br />
adults as a collective society face. When<br />
I teach teachers about teaching art, I<br />
advocate that they teach their students<br />
to communicate viewpoints through art.<br />
Social issues continue to exist outside <strong>of</strong><br />
my pr<strong>of</strong>essional environment. They are<br />
all around me in the media, in discussions<br />
with family <strong>and</strong> friends, <strong>and</strong> in their<br />
daily repercussions on my life. In my life<br />
the intertwining <strong>of</strong> art <strong>and</strong> social issues<br />
is as constant as breath. My art is about<br />
social issues.<br />
Three Ways to Eat an Elephant<br />
How do you eat an elephant? Answer<br />
#1: One bite at a time.<br />
OK animal lovers, don’t be alarmed! It’s<br />
just about another life-guiding philosophy.<br />
To me “one bite at a time” means<br />
do what you can, when you can, <strong>of</strong>ten.<br />
I don’t keep a regular sketchbook. It<br />
would be inconvenient <strong>and</strong> I’d probably<br />
misplace it if I tried to carry it around. Instead<br />
I sketch out or jot down ideas as<br />
they occur to me, or as soon after as I<br />
can, on scrap sheets <strong>of</strong> paper. I put the<br />
scraps <strong>of</strong> paper in Ziploc bags labeled by<br />
idea categories. The bags accumulate<br />
on my studio countertop. I also keep digital<br />
text <strong>and</strong> image files. My background<br />
in academic research helps me to further<br />
develop ideas. As the plastic bags <strong>and</strong><br />
digital file folders begin to fill, they provide<br />
direction for review <strong>of</strong> formal written<br />
research <strong>and</strong> informal internet searches<br />
on a social issue or situation. That information<br />
is analyzed for properties, categorized,<br />
<strong>and</strong> joins the sketches in the<br />
plastic bags or digital folders. An idea<br />
in a bag may “talk” to me right away or<br />
sit for a long, long time. Once an idea<br />
begins to “speak,” I begin to develop<br />
more intentional visual source material.<br />
Depending on the idea’s needs, I<br />
may draw from life, take photographs,<br />
or collage appropriated images. I <strong>of</strong>ten<br />
collect objects related to the idea; for instance,<br />
I collected hundreds <strong>of</strong> expired<br />
credit cards for a series on personal <strong>and</strong><br />
national dept. I seek out what is metaphorically<br />
needed. I searched for weeks<br />
though thrift shops <strong>and</strong> antique shops<br />
for a certain “look” in an old baby doll.<br />
How do you eat an elephant? Answer<br />
#2: With a Friend.<br />
Having an artist friend with mutual artistic<br />
interests is rare <strong>and</strong> valuable. My<br />
artist friend is Dr. Suesi Metcalf. Suesi<br />
works with 3D constructions <strong>and</strong> installations.<br />
Although our artwork is visually<br />
different, we find ourselves pursuing<br />
similar issues. About once a month we<br />
will each have built up enough thoughts<br />
for discussion. We critique each other’s<br />
ideas <strong>and</strong> artworks, <strong>and</strong> work together<br />
to document artwork, <strong>and</strong> investigate<br />
shows, galleries <strong>and</strong> sales. These collaborations<br />
help keep our ideas sharp,<br />
support quality in our techniques, <strong>and</strong><br />
motivate us through the drudgery <strong>of</strong> the<br />
business side <strong>of</strong> art.<br />
How do you eat an elephant? Answer<br />
#3: Bring it to the table <strong>and</strong> sit down.<br />
I don’t always eat dinner, but I usually<br />
do. I don’t always get into my studio<br />
daily, but I try to. As a college student<br />
who had not found inspiration, my pr<strong>of</strong>essor<br />
chided me, “Debra, a good artist<br />
is not one who works when the muse<br />
hits; a good artist is an artist who works<br />
daily.” I have taken that advice to heart.<br />
If you are constantly collecting ideas <strong>and</strong><br />
supportive materials for ideas, you will<br />
always have something to bring to your<br />
art. Even if I am clueless about what I<br />
want to do with any <strong>of</strong> the many ideas in<br />
the bags, I get to work. Just the action<br />
<strong>of</strong> experimenting with media, images<br />
<strong>and</strong> ideas gets my brain going. Once a<br />
direction is solidified, working frequently<br />
keeps the idea <strong>and</strong> imaging concise <strong>and</strong><br />
allows for cohesive progression across a<br />
series <strong>of</strong> artworks. Some workdays, I’m<br />
in the studio only a half hour; but sometimes<br />
I get up early to put in two hours <strong>of</strong><br />
studio time before going to work. Some<br />
weekends I work in the studio all day<br />
long. Sometimes I take a nap after work<br />
<strong>and</strong> then get into the studio from dinner<br />
to bedtime. Some days I veg. out in front<br />
<strong>of</strong> the TV; but guess what? That means<br />
more information on social issues! What<br />
I have found is that over days, over<br />
years, if you let your fingers make one<br />
h<strong>and</strong> <strong>and</strong> have a strategy for eating the<br />
elephant, art happens.<br />
The Narrowed Series<br />
Over the years I have investigated many<br />
topics using this framework for a working<br />
working-artist. My artworks have considered<br />
the isolation <strong>of</strong> women, national<br />
<strong>and</strong> personal dept, data pr<strong>of</strong>iling, DNA,<br />
abortion, <strong>and</strong> No Child Left Behind legislation.<br />
Selections from my 25 painting<br />
series “NARROWED” will be featured<br />
at Agora Gallery, 530 West 25th Street,<br />
Chelsea, New York, July 23 – August 13.<br />
The complete series can be viewed at<br />
Fitzsimmonsarted.com.<br />
“NARROWED” considers the cultural implications<br />
resulting from US educational<br />
policy. How a society defines learning<br />
reflects its core values. Current US educational<br />
policy defines learning by children’s<br />
ability to memorize absolute short<br />
41 <strong>Art</strong>isSpectrum
answers <strong>and</strong> take recite-back tests. Children,<br />
teachers <strong>and</strong> schools are judged<br />
solely on these test scores. But if learning<br />
is disconnected from any application,<br />
depth <strong>of</strong> underst<strong>and</strong>ing <strong>and</strong> shades <strong>of</strong><br />
gray are ignored, <strong>and</strong> the range <strong>of</strong> what<br />
is taught is reduced, will a child grow narrow?<br />
Could a nation <strong>of</strong> people reared according<br />
to this practice become famous<br />
for responding best to short headlines<br />
<strong>and</strong> infamous for ignoring depth? How<br />
will this policy impact our nation’s future?<br />
The “NARROWED” mixed media paintings<br />
were constructed in layers. First,<br />
the stretcher bars were cut slightly uneven,<br />
warped by soaking overnight in a<br />
bathtub, <strong>and</strong> covered over with tight fine<br />
canvas. At first look, the painting formats<br />
seem regular. On a second viewing, it<br />
is clear that something that seems to<br />
be right really is warped. Cut or ripped<br />
multiple choice tests were applied to the<br />
canvas with archival glue. These collaged<br />
materials were visually obscured<br />
by an application <strong>of</strong> stains. At this point<br />
relevant research, experts’ statements or<br />
student responses were written across<br />
42 <strong>Art</strong>isSpectrum<br />
the canvas. Next, images <strong>of</strong> adolescent<br />
faces were abstracted through computer<br />
image compression. These narrowed<br />
images were then printed, h<strong>and</strong> cut <strong>and</strong><br />
arranged on black paper to create the<br />
layout plan for the paintings’ top layers.<br />
Finally, the narrowed, segmented faces<br />
were painted. It was crucial to the concept<br />
that these faces have transparencies<br />
allowing the under- layers to be<br />
seen, <strong>and</strong> opacities that obstruct the information.<br />
There are things about my society which<br />
cause me wonder or to be concerned. I<br />
want to know more about them. I feel<br />
they are important for others to know<br />
Mind is Named from Measure Mixed Media on Canvas 31” x 47”<br />
more about. My goal is to gather <strong>and</strong><br />
share information about factors that influence<br />
individuals <strong>and</strong> collective cultures.<br />
I care about the effects <strong>of</strong> contemporary<br />
social conditions on individual freedoms.<br />
I hope that my art encourages people<br />
to avoid quick takes on issues, to think<br />
about issues more systematically, <strong>and</strong> to<br />
consider repercussions <strong>of</strong> choices <strong>of</strong> direction<br />
with thoughtful, civil, discourse.<br />
If you are constantly<br />
collecting ideas <strong>and</strong><br />
supportive materials<br />
for ideas, you will always<br />
have something<br />
to bring to your art.
David LaBella<br />
self-taught photographer, David LaBella beats the paths<br />
A <strong>and</strong> trails <strong>of</strong> his natural surroundings, allowing the flush<br />
foliage, crisp creeks <strong>and</strong> rolling knolls to dictate his large-format<br />
compositions. Ardently devoted to film photography, LaBella<br />
explores the mystical mysteries <strong>of</strong> the organic world through<br />
his lens. The resulting photographs, unparalleled in passionate<br />
ardor for nature, are a part <strong>of</strong> the larger American tradition <strong>of</strong><br />
l<strong>and</strong>scape painting. Majestically serene, these photographs<br />
gently remind us <strong>of</strong> a natural world quickly becoming tamed by our<br />
cars <strong>and</strong> strip-malls. Influenced by photographers such as Eliot<br />
Porter, Philip Hyde, Carr Clifton <strong>and</strong> David Muench, LaBella’s<br />
photographs exude a striking, innate sensitivity towards the<br />
opulent American l<strong>and</strong>scape. A native <strong>of</strong> Connecticut, LaBella<br />
treks from coast to coast in search <strong>of</strong> uncultivated, wondrous l<strong>and</strong><br />
untainted by industrial development. The resulting photographs<br />
are testaments <strong>of</strong> LaBella’s meticulous technical skill, as well as<br />
his beautifully ardent respect for the American l<strong>and</strong>scape. “It<br />
is my most fervent wish that I might, in some small way, honor<br />
the accomplishments <strong>of</strong> my predecessors <strong>and</strong> contribute to the<br />
appreciation <strong>and</strong> protection <strong>of</strong> the l<strong>and</strong>scape; <strong>and</strong> to shed light<br />
on the distinctly American artistic history that has depicted it<br />
for the past two hundred years,” states LaBella. A member <strong>of</strong><br />
numerous art organizations, David LaBella regularly exhibits his<br />
work throughout the United States.<br />
www.labellaphotographic.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/David_LaBella.aspx<br />
Muuk (Strength) Mixed Media 36” x 36”<br />
Great Smoky Mts. National Park, TN<br />
Archival Inkjet 24” x 20”<br />
Adelia Sayeg<br />
Adelia Sayeg has been deeply influenced by the organic<br />
textures available to her from the natural world, especially<br />
wood, fiber, seed, clay, silk <strong>and</strong> minerals. She weaves these<br />
organic elements into her work to evoke the complexity <strong>of</strong> the<br />
earth, spiritual life <strong>and</strong> the traditions <strong>of</strong> the pottery <strong>and</strong> paintings<br />
<strong>of</strong> early Mexican cultures. She has <strong>of</strong>ten been drawn to the<br />
same earthy, rocky colors <strong>of</strong> the desert, <strong>and</strong> uses shells <strong>and</strong><br />
feathers as incrustations, just as ancient Mexican cultures did.<br />
Blue symbolized the entrance to heaven for these cultures;<br />
Adelia says blue is the place where all worlds communicate<br />
with each other <strong>and</strong> are unified.<br />
Adelia is also a very contemporary artist in her tendency to<br />
look inward at personal impressions <strong>and</strong> emotions as subject<br />
matter for her work. During the creative process, Adelia says<br />
she is deeply connected with the evolving work, <strong>and</strong> that the<br />
experience evokes in her such a joyful state <strong>of</strong> peace <strong>and</strong> light<br />
that she is drawn to share it <strong>and</strong> inspire the viewer to feel the<br />
same serenity.<br />
Adelia’s goal is to create paintings that breath, stimulate <strong>and</strong><br />
exp<strong>and</strong> the space around them. She invites us to travel into<br />
the soul <strong>of</strong> her paintings, <strong>and</strong> share her mystical <strong>and</strong> spiritual<br />
experience.<br />
www.adeliasayeg.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Adelia_Sayeg.aspx<br />
43 <strong>Art</strong>isSpectrum
The<br />
Aero-Soul<br />
Experience<br />
44 <strong>Art</strong>isSpectrum<br />
Interviewed <strong>and</strong> edited by T. Mikey<br />
Phase 2 & Chor Boogie ‘Omega’
P.H.A.S.E.2 – Red<br />
P.H.A.S.E.2 is one <strong>of</strong> the most well known <strong>of</strong> the early New York City aerosol spray artists/writers. Initially active during<br />
the early to late 1970s, P.H.A.S.E.2 is generally credited with originating several <strong>of</strong> the definitive styles <strong>and</strong> techniques<br />
that have come to represent the aerosol spray paint art form. He was also highly influential in the early hip-hop scene<br />
creating the “Funky Nous Deco Flyer” style.<br />
Chor Boogie – Blue<br />
Chor Boogie is one <strong>of</strong> the premier American spray paint artists <strong>and</strong> muralists working today. Based in San Francisco,<br />
California, Chor has been commissioned across the globe for high pr<strong>of</strong>ile clients ranging from motivational speaker<br />
Anthony Robbins to the 2008 Summer Olympics held in Beijing, China.<br />
An y o n e Re A d i n g Th i s ne e d s To Re A l i z e Th AT Ce R-<br />
TA i n Th i n g s Th e y Re A l ly ne e d To Kn o w, AR e RA R e ly<br />
go i n g To Be Fo u n d in An y A Bo o K oR Mo v i e.<br />
To o MA n y so CA l l e d “so u R C e s” eiT h e R hAv e A Th e-<br />
o R y oR opinion oF ou R Re A l i T y Th AT on ly su iT s An<br />
Ag e n d A Th AT ’s Mo R e pe R s o n A l Th A n iT is CR e d iB l e<br />
in Ap p R o p R iAT i n g iT s ‘A’ Th R u ‘z’s.<br />
in so M e sh A p e oR Fo R M i’v e Al w A y s Co n s i d eR e d<br />
My s e l F An AR T i sT An d Al w A y s vi s u A l i z e d A Ce RTA i n<br />
le v e l oF wh AT we did As An AR T Fo R M Th AT wA s<br />
Co n C e p T u A l i z e d As A Re s u lT oF Th e ex i s T e n C e oF<br />
Th i s Cu lT u R e Th AT i Be C A M e A pA R T oF.<br />
TA K i n g le T T e R… Be y o n d iT s BA s i C legiBiliTy An d<br />
Ju s T Co M M u n iC AT i n g viA on e’s iM A g i nAT i o n An d CR e-<br />
AT i v i T y An d TA K i n g iT Be y o n d An y Re A l M Th AT iT hA s<br />
Al R e A d y Be e n in oR Th AT ’s Co M M o n.<br />
Ae R o s o l An d wR iT i n g (wh iC h is wh AT we CA l l e d iF<br />
FR o M dAy on e, Be i n g ou R in T e R p R e TAT i o n oF wR iT-<br />
i n g), hA s Be e n Ad A p T e d By in d i v i d uA l s Ju s T AB o u T<br />
ev e Ry w h e R e on Th e pl A n e T.<br />
de s p i T e wh AT pe o p l e AR e pR e s e n T ly, An d wR o n g-<br />
F u l ly, in s i n uAT i n g, iT s iM M e d iAT e in F l u e n C e s oR<br />
ho w’s An d wh y’s di d n’T AC T u Ally hAv e A sTA R T<br />
FR o M An y w h e R e Bu T ne w yo R K Ci T y An d Th e pA R-<br />
T iC i pA n T s Th e R e i n.<br />
ny C is wiT h o u T A do u B T Th e BiR T h p l A C e oF Th e<br />
Mo d e R n dAy Ae R o s o l Mo v e M e n T An d Th AT ’s wh e R e<br />
Th e so u l An d Th e Bl u e p R i nT we R e Fo R M u l AT e d.<br />
Th AT ’s no T A Big up Th AT ’s Ju s T Re A l i T y.<br />
wh e n i wA s ex p o s e d To Th e Mo v e M e n T iT se e M e d<br />
oB v i o u s Th AT yo u T h li K e us we R e do i n g iT. ev e n<br />
Th o u g h we hA d no id e A wh o Th e y we R e, Bu T Th e<br />
Co n n e C T i o n wA s Th e R e on Th e sp o T.<br />
su R e wh e n yo u AR e yo u n g Th e R e AR e TR e n d s An d<br />
sT y l e s An d so on, Bu T i CA n sAy Th AT Th e Th i n g<br />
is, i we n T wi T h Th e M, Fe e l i n g Th e M An d Fe e l i n g A<br />
Ki n s h i p To Th e M.<br />
so Th AT ’s ho w iT wA s wi T h wR iT i n g.<br />
Th i s Cu lT u R e eM e R g e d FR o M Th e Mi d sT s oF MA J o R<br />
sT R u g g l e.<br />
in A se n s e iT wA s us Ag A i n s T A wo R l d Th AT wA s n’T<br />
Fe e l i n g us. we we R e do i n g ou R ow n Th i n g de-<br />
F i A n T ly Bu T AT Th e sA M e TiM e ph y s i C A l ly we<br />
we R e n’T on A Mi s s i o n oF di s R e s p e C T i n g ev e R T h i n g<br />
in si g hT.<br />
su R e en o u g h we CA u s e d A lo T oF up R o A R in vA nd<br />
A l i z i n g Th e su B wAy s An d i’M no T go i n g To pu T A<br />
Ri g hT on iT, Bu T li K e My MA n Co C o sA i d, Te C h n i-<br />
C A l ly Th AT hA d To hA p p e n in oR d e R Fo R wh AT yo u<br />
se e no w To Be TA K i n g pl A C e.<br />
i’v e Al w A y s dR A w n An d ev e n Be F o R e Th AT i wA s<br />
Al w A y s TR y i n g To TR A n s F o R M My hA n d w R iT i n g Be-<br />
C A u s e i di d n’T FA n C y Th e wAy i wA s TA u g h T To do<br />
iT.<br />
iT wA s nAT u R A l To Be in Th AT Mo v e M e n T As iT<br />
eM e R g e d An d Au T o M AT iC A l ly Me TA M o R p h o s e d An d<br />
To Re C R e AT e Th o s e le T T e R s on Th e TR A i n s. iT<br />
wA s n’T Co n s C i o u s ly pl A n n e d As Mu C h As iT wA s<br />
Ju s T do n e wi T h Th e no T i o n An d Re A l i z AT i o n Th AT<br />
iT Co u l d Be do n e An d so iT hA p p e n e d.<br />
Mo T i vAT e d By Th i n g s se e M i n g ly un R e l AT e d, Bu T iM-<br />
p R e s s i o n A B l e in A wAy Th AT iT CA n spA R K A FiR e oR<br />
BR i n g An id e A To li g hT.<br />
Th e R e we R e Ce RTA i n BA s iC gu i d e l i n e s Th AT MA d e Th e<br />
Cu lT u R e ye T Th e R e wA s sTill A Fo R M AT Th AT wA s Be-<br />
i n g Co n s T R u C T e d By Ch A n C e CA u s e An d eF F e C T<br />
45 <strong>Art</strong>isSpectrum
MA n h AT TA n’s BR o A d wAy wR iT e R s se T Th e sTA g e in<br />
up p e R MA n h AT TA n wi T h sT y l i z e d si g nAT u R e s An d By<br />
To TA l ly Bo M B A R d i n g Th e su B wAy s.<br />
Th e R e wA s Al s o BR o o K ly n Th AT hA d Th e s e Re A l ly<br />
el A B o R AT e hA n d s T y l e s. Th AT wA s Th e ex A M p l e To<br />
se T Me in A diR e C T i o n To TA K e oF F on My ow n<br />
Co n C e p T u A l Jo u R n e y.<br />
Th e TeC h n iC A l As p e C T s AR e A BiT To o lo n g An d<br />
de TA i l e d To el A B o R AT e on Bu T BA s i C A l ly iT’s sig-<br />
n iF iC A n T To sAy Th AT i iniTiAlly pA R T n e R e d wi T h le e<br />
163d! wh o wA s on e oF Th e FiR s T wAv e oF BR o n x<br />
wR iT e R s & Th e FiR s T Ki n g oF Th e BR o n x. we hu n g<br />
ou T on A Re g u l A R BA s i s An d Be i n g AR o u n d hiM Alw<br />
A y s Ch A R g e d Me up.<br />
wi T h wR iT i n g we we R e Te A R i n g iT up An d TA K i n g iT<br />
To A diF F e R e n T le v e l. i’d sAy we we R e Th e on e s<br />
wh o pR iM A R i ly se T Th e TR e n d in Th e BR o n x Be-<br />
C A u s e we we R e pR e T T y CR A z y AT on e TiM e.<br />
on C e The who l e Con C e p T oF only doing sig nA-<br />
T u R e s Be C A M e so R T oF pA s s e An d Th e nA M e s we R e<br />
46 <strong>Art</strong>isSpectrum<br />
Phase 2 ‘Mylon’<br />
Me A n T To Be Bi g g eR, All Th e diF F e R e n T Th i n g s<br />
Th AT dR o v e Me Ju s T Co M B i n e d To BR i n g ou T Ano<br />
T h e R Ap p R o A C h To Th e ex e C u T i o n.<br />
Th e Mo R e i hA n d e d ou T Fl i p p e d An d in i T i AT e d sT y l e s<br />
An d Con C e p T s, Be iT wh AT Th e y CAl l BuB B l e leT- T e R s oR Th e FiR s T sTy l e s To Be dee M e d As wild,<br />
Th e Mo R e A lo T oF wR iT e R s Ad A p T e d iT An d iT Ju s T<br />
sTAy e d As pA R T oF Th e Fo R M AT .<br />
i Ju s T Con T i n u e d To do whAT e v e R i vi s u A l i z e d As<br />
wR iT i n g oR syM B o l i s M As A sC i e nC e, Be y o n d The TR A i n s An d Be y o n d Th e pu R p o s e oF Co M M u n iC AT i n g<br />
viA A wo R d. i Th i nK Th AT iT Too K Me QuiT e soM e<br />
TiM e To ReAl ly gRAs p, Fo R exAM p l e, Th e Mos T<br />
su i TA B l e wAy FoR Me To exe C u T e My ide A s oF A<br />
MAT h wiTh unsp o K e n speA K. nAT u R A l ly AT wAR wi T h MyT h, An d Rolling wiT h A se l e C T Few nex- T R AT e R R e s T R iA l RAwA R R i oR s, in A do M A i n oF eso- T e R iC linguisTiC AR T C h iT e C T u R e.<br />
on e we A p o n oF Ch o iC e Be i n g Th e sp R Ay CA n, Th AT<br />
hA s no w Be e n TR A n s F o R M e d in To An un l iK e ly Te C hn<br />
o l o g iC A l 50-50 Re v o l u T i o nA Ry pA i nT BR u s h An d Be-
C o M e lo u d e R Th A n A Bo M B Th AT CA n’T Be ig noR e d.<br />
Cu R R e n T ly A lo T oF Th e es s e n C e hA s Be e n lo s T<br />
oR ov e R l o o K e d.<br />
pe o p l e MAy Be Ro C K i n g Bu T ev e n wh e R e yo u hAv e<br />
Be A u T y Th e R e CA n Be An ov e R w h e l M i n g ug l i n e s s<br />
Th AT CA n diMinish An d ex T R A C T All Th e su B s TA n C e<br />
Aw A y FR o M iT. iT’s li K e TA K i n g A TR A d iT i o n Th AT is<br />
de e M e d so Fo R Th e ex p R e s s Re A s o n Th AT MA K e s iT<br />
wh AT iT is An d ex e C u T i n g iT in A FA s h i o n Th AT MAy<br />
ex T e R n A l ly sTAy in pl A C e Bu T su C K s All iT s in n e R<br />
so u l An d pu R p o s e FR o M iT.<br />
Be s i d e s Th e FA C T Th AT ev e n in ou R ow n division<br />
we hAv e Th o s e wh o FA i l To Te A C h Th e TR u T h.<br />
pA R T oF Th i s go e s BA C K To Be i n g Th AT A lo T oF<br />
wh AT yo u’v e Be e n ex p o s e d To oR le d To Be l i e v e<br />
AB o u T iT is n’T AC C u R AT e, oR is n’T wR i T T e n si nC e R ely.<br />
To o oF T e n iT is Co n d u C T e d An d do C u M e n T e d By<br />
in d i v i d uA l s wh o CA R e As Mu C h AB o u T Th e TR u T h As<br />
Th e y do AB o u T Th e iR Be i n g de e M e d As Au T h o R iT i e s<br />
oR Co l u M B u s e s Re A l i z i n g ou R wo R T h. oR eQ u AT -<br />
i n g An d Co n C l u d i n g ou R so C i o l o g iC A l MAT h e M AT iC s<br />
To de g R e e s (Th AT we su p p o s e d ly CA n’T) To su B-<br />
s e Q u e n T ly Co M e To A Co n C l u s i o n Th AT hi T s ou R<br />
ex i s T e n C e’s nA i l on Th e he A d.<br />
ulTiM AT e ly A lo T oF eleM e n T s CoMB i n e d wiTh vision And eveR evolv i n g evol u T i o n ARe whAT BR o u g h T The now pop u l A R sTR e e T CulT u R e s To<br />
Th e MA i n s T R e A M.<br />
Cu R R e n T ly wiT h The Ae R o s o l AR T Bei n g so vAs T,<br />
pA R T iC u l A R As p e C T s oF iT hAv e de v e l o p e d An d ex-<br />
T e n d e d wAy Bey o n d wh AT An y phd oR so-CA l l e d<br />
in T e l l e C T u A l CA n lA B e l oR Ap p R o p R i AT e.<br />
Th e R e’s Th e oC C A s i o n An d op p o R T u n iT y To TA K e iT<br />
To oT h e R le v e l s;<br />
wh e R e B y iTs ABiliTy To ex i s T By All Me A n s ne C e ss<br />
A R y, oR Jus T Bei n g wel C o M e d on The Blo C K, is<br />
A Te s T i M o n y To iTs end u R A n C e An d peR s e v e R A n C e<br />
As An in d e F i nA B ly po w e R F u l, si g n iF iC A n T An d TR u ly<br />
AM A z i n g AR T Fo R M.<br />
FR o M iT s hu M B l e Be g i n n i n g s Th AT is An AC h i e v e-<br />
M e n T wiThin iT s e l F. An d Fellows li K e Ch o R AR e A<br />
Te s TA M e n T To Th AT .<br />
I was introduced to the wonders <strong>of</strong> spray paint art<br />
from local areas in the city <strong>of</strong> San Diego, which is<br />
where I’m originally from. I had artistic influences<br />
such as the great masters like Gustav Klimt, Dali,<br />
Michelangelo, Da Vinci… you know, the highlights<br />
<strong>of</strong> modern art… To contemporary spray paint artists<br />
such as... P.H.A.S.E.2, Vulcan, Coma, Sake,<br />
Apex, Slick, Hex,...<br />
I felt within this medium I had to bring something<br />
to the table, <strong>and</strong> that something would be an original<br />
approach to the spray paint medium that you<br />
have not seen before…<br />
It’s definitely a deeper philosophy behind the<br />
work... an underst<strong>and</strong>ing…<br />
My work is what it is... ARTGAZMZ…<br />
Even the term ‘Legal’ should not be in the conversation<br />
simply because I use a spray paint to<br />
create art.<br />
It does not make sense ... but the connotations<br />
behind ‘the can’ have definitely taken a perspective<br />
<strong>of</strong> what is right <strong>and</strong> wrong.<br />
My artwork is an abstract expression <strong>of</strong> a romantic<br />
voodoo within an emotional l<strong>and</strong>scape <strong>of</strong> a<br />
melodic symphony through color therapy. There<br />
is a significant meaning tying together my style,<br />
originality, composition, line, color, light, which is<br />
50% mind + 50% heart = 100% body + 100% soul<br />
= 200% spirit then add an infinite universe... it’s<br />
just the blood, sweat, tears, fears, <strong>and</strong> years we<br />
put into this ..<br />
I consider it color therapy…<br />
I believe that colors have healing aspects, or attributes<br />
that have healing effects subconsciously or<br />
consciously whether you like it or not… we tend<br />
to just take it in like breathing air or drinking water.<br />
A magnetic attraction, which sparks a chemical<br />
reaction within the brain, that leads to the rest <strong>of</strong><br />
the body.<br />
If we acknowledged the facts that colors can produce<br />
healing effects on problems within the heart,<br />
mind, body, <strong>and</strong> soul… tying color therapy with<br />
my work is more <strong>of</strong> an original concept simply because<br />
it has its healing approach.<br />
47 <strong>Art</strong>isSpectrum
An example <strong>of</strong> the public reaction <strong>of</strong> this; a large<br />
scale mural I was painting in San Francisco on<br />
Market St. about 100 ft long called, “The Perception<br />
<strong>of</strong> Color Therapy...” Well, to make a long story<br />
short I was painting <strong>and</strong> it was a lovely day <strong>and</strong><br />
I notice a shadow next to me <strong>and</strong> it was a man<br />
who was just staring at the mural… I paid it no<br />
mind because there are patrons spectating all the<br />
time... And went back to work…<br />
I take another look <strong>and</strong> the guy starts crying.<br />
He’s bawling, saying the work <strong>and</strong> the colors are<br />
just so beautiful… Which amazed me… So I patted<br />
him on the back <strong>and</strong> said, “Thank you, what a<br />
compliment…”<br />
48 <strong>Art</strong>isSpectrum<br />
Chor Boogie ‘Magnetics’<br />
I have been blessed <strong>and</strong> have been fortunate to<br />
have everything come to me through the laws <strong>of</strong><br />
attraction from my work... which I’m grateful for.<br />
I’m involved with a non pr<strong>of</strong>it called ALBUS CA-<br />
VUS from Washington DC… <strong>and</strong> their approach<br />
is more education-related, tying in the artistic relevance<br />
<strong>of</strong> this medium along with many other artistic<br />
mediums. Reeducating the masses on the<br />
positive perspectives <strong>of</strong> how to perceive this medium<br />
in a fashionable manner.<br />
I also believe if there were more artistic communities<br />
<strong>and</strong> outlets for individuals to express
themselves then things would be great… but the<br />
government sees this as big business… There<br />
is a lot <strong>of</strong> money involved in the eradication <strong>of</strong><br />
[what they consider v<strong>and</strong>alism] yearly paid by<br />
the tax payers money… we are talking millions<br />
<strong>and</strong> millions <strong>of</strong> dollars... If they used a fraction <strong>of</strong><br />
that cost <strong>and</strong> aimed it towards art programs or an<br />
aimed plan to help the problem then I can see a<br />
decrease in v<strong>and</strong>alism. I wouldn’t say that would<br />
cure the problem... but it’s good because it gives<br />
the ones who are serious about the craft an avenue<br />
to change… to attract aspiring artists to be<br />
creative.<br />
It also leaves room for a new meaning <strong>and</strong> a new<br />
underst<strong>and</strong>ing for this medium… spray paint art...<br />
the aerosol experience…<br />
*Chor Boogie would like to thank his sponsors at<br />
Montana Colors North America.<br />
Next Issue: The Future Applications <strong>and</strong> Global<br />
Practices <strong>of</strong> Aerosol <strong>Art</strong><br />
49 <strong>Art</strong>isSpectrum
50 <strong>Art</strong>isSpectrum<br />
www.tmikey.com<br />
www.<strong>Art</strong>-Mine.com/<strong>Art</strong>istPage/T._Mikey.aspx
Kenji Inoue<br />
There’s nothing subtle about the surreal <strong>and</strong> <strong>of</strong>ten cartoonlike<br />
worlds <strong>of</strong> Japanese artist Kenji Inoue. Always bold <strong>and</strong><br />
intriguing, Inoue’s mysterious <strong>and</strong> otherworldly forms fill the<br />
canvas with their swirling dances.<br />
In his series <strong>of</strong> large scale paintings Inoue playfully mixes<br />
abstraction with representation, his canvases surging with a wild<br />
explosion <strong>of</strong> energy <strong>and</strong> imagery. Against a chaotic backdrop<br />
Inoue’s highly expressive human-like figures float <strong>and</strong> wriggle,<br />
w<strong>and</strong>ering together in an alien l<strong>and</strong>.<br />
Despite their animated appearance a feeling <strong>of</strong> tension is present<br />
in many <strong>of</strong> Inoue’s paintings. In some pieces, the figures seem far<br />
removed from one another, each caught up in their own internal<br />
<strong>and</strong> external dramas, while other works are more peaceful, <strong>and</strong><br />
his forms become meditative, sensual, <strong>and</strong> introspective.<br />
Wherever Inoue’s compositions take him, color remains a key<br />
feature. Working skillfully in acrylic on canvas, Inoue uses a s<strong>of</strong>t<br />
h<strong>and</strong> while applying rich hues, his boldly vibrant layers blending<br />
<strong>and</strong> mixing with the luminosity <strong>of</strong> an oil slick shimmering in<br />
sunlight.<br />
Inoue draws inspiration from a variety <strong>of</strong> sources. While one<br />
cannot help but find the influences <strong>of</strong> pop culture in his imagery<br />
there is also an appreciation for the dynamism <strong>and</strong> frequently<br />
violent forces <strong>of</strong> science <strong>and</strong> nature. Inoue’s works are at once<br />
active <strong>and</strong> intimate, atmospheric <strong>and</strong> expansive, his style purely<br />
his own.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Kenji_Inoue.aspx<br />
L<strong>and</strong>scapes <strong>of</strong> the Mind VI Oil on Canvas 48” x 48”<br />
Key in Me Acrylic on Canvas 46” x 36”<br />
S<strong>and</strong>ra Mueller-Dick<br />
Deeply sensitive to the dynamism <strong>of</strong> her subjects, S<strong>and</strong>ra<br />
Mueller-Dick’s works, supple in color <strong>and</strong> shape, touch<br />
the essence <strong>of</strong> a place or object. Whether depicting a fruit,<br />
skyline or building, Mueller-Dick imbues her compositions with<br />
a rich sense <strong>of</strong> her reflective, nuanced emotional relationship<br />
with the tangible world. In her work, we recognize the familiar,<br />
<strong>and</strong> are stirred to realize the ethereal soul <strong>of</strong> the everyday.<br />
Influenced by Georgia O’Keeffe’s plush, vivacious coloration<br />
<strong>and</strong> shape, Mueller-Dick’s are opulently abstract escapes from<br />
the ordinary. “By using strong color contrasts <strong>and</strong> shapes, my<br />
goal is to create rhythmic patterns throughout the painting,<br />
inviting viewers to make their own emotional response,” states<br />
Mueller-Dick. “I aim to evoke an expression in my painting<br />
that sometimes might be mysterious <strong>and</strong> other times dreamlike.”<br />
With her s<strong>of</strong>t, dexterous brushwork, reminiscent <strong>of</strong> Jean-<br />
Baptiste-Siméon Chardin, Mueller-Dick invites us to explore the<br />
secrets <strong>of</strong> our surroundings in order to become reacquainted<br />
with the joys <strong>of</strong> daily life. A Pennsylvania native, S<strong>and</strong>ra<br />
Mueller-Dick currently resides in Brookline, Massachusetts.<br />
With an MFA from Boston University, Mueller-Dick works as<br />
a Gallery Instructor at the Museum <strong>of</strong> Fine <strong>Art</strong>s, Boston. Her<br />
artwork can be found in many important private <strong>and</strong> corporate<br />
collections.<br />
www.mueller-dick.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/S<strong>and</strong>ra_Mueller-Dick.aspx<br />
51 <strong>Art</strong>isSpectrum
In the freeh<strong>and</strong> drawings <strong>of</strong> Renata Cebular<br />
one can find purely expressed simplicity <strong>and</strong><br />
careful complexity working together. Her intricate<br />
geometric compositions form organically, the lines<br />
dictated by the freeh<strong>and</strong> arcs <strong>of</strong> both h<strong>and</strong>s in<br />
motion, the lines intersecting at will, allowing the<br />
work an authenticity that premeditation can destroy.<br />
Working primarily with coloured pencils, she uses<br />
ballpoint pen or felt-tip to draw the lines, giving the<br />
works a boldness <strong>and</strong> sense <strong>of</strong> dynamic movement.<br />
Cebular builds up the negative spaces between the<br />
lines, filling the void with intense color <strong>and</strong> pattern.<br />
In this way she links the smaller autonomous units,<br />
bringing them together to form a cohesive whole.<br />
The color mosaic she creates can range from<br />
Colours in Play Ball Point Pen, Colored Pencil 8.5” x 11.5”<br />
monochrome to the psychedelic <strong>and</strong> - depending<br />
on the lay <strong>of</strong> the lines – can form warped 3D forms<br />
or flat planes that shimmer at their surface. Cebular is particularly drawn to the idea <strong>of</strong> expressing complexity out <strong>of</strong> simplicity.<br />
It is also important for her that the works are produced without any templates, preparatory sketches or aids. Through her work,<br />
Cebular leads the viewer towards the beauty <strong>and</strong> harmony <strong>of</strong> existence <strong>and</strong> to a deeper underst<strong>and</strong>ing <strong>of</strong> themselves.<br />
Renata Cebular is a Swiss/Croatian artist, currently living <strong>and</strong> working in Switzerl<strong>and</strong>. Her work extends beyond paintings<br />
through to silk scarves <strong>and</strong> modernist chairs.<br />
www.artbycebular.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Renata_Cebular.aspx<br />
Jo Tunmer<br />
With a keen sensitivity to light <strong>and</strong> atmosphere, Jo Tunmer<br />
depicts l<strong>and</strong>scape with a brilliantly bright palette <strong>and</strong> s<strong>of</strong>tly<br />
melodious forms. Startlingly serene in color, Tunmer’s works<br />
stir the viewer into a meditation on their natural surroundings.<br />
Tunmer relishes in the painting process, sweeping her oil paints<br />
onto the canvas in thin, broad strokes then scraping them away<br />
while they are drying. In doing so, Tunmer reveals vibrantly<br />
multihued layers that speak to the varied colors <strong>and</strong> shades<br />
found within nature. “The layering <strong>of</strong> thin layers <strong>of</strong> paint <strong>and</strong><br />
glazing to obtain depth is what drives me daily,” states Tunmer.<br />
Deeply meticulous in her artistic approach, Tunmer savors<br />
the direct observation <strong>of</strong> her primary subject, nature. Through<br />
patient, pensive inspection <strong>of</strong> the environs that enthuse her,<br />
Tunmer teases out the sentimental sensations <strong>of</strong> the trees, hills<br />
<strong>and</strong> greenery <strong>of</strong> her surroundings. With technical training in<br />
textiles from the London College <strong>of</strong> Furniture, Tunmer lived for<br />
many years in San Diego where she found pr<strong>of</strong>ound formal <strong>and</strong><br />
thematic inspiration in the works <strong>of</strong> Wayne Thiebaud, Richard<br />
Diebenkorn <strong>and</strong> David Hockney. Jo Tunmer says <strong>of</strong> them<br />
that “I learn something every time I see their work.” Widely<br />
collected in both the United States <strong>and</strong> the United Kingdom,<br />
her astonishing paintings are exhibited internationally.<br />
http://web.mac.com/jotunmer<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/jo_tunmer.aspx<br />
52 <strong>Art</strong>isSpectrum<br />
Renata Cebular<br />
Summer Heat Oil on Linen 39” x 39”
Wendy Cohen<br />
Let the Sunshine In Mixed Media 48” x 36”<br />
The world <strong>of</strong> Wendy Cohen’s paintings is a mythical space<br />
<strong>of</strong> ethereal spirits <strong>and</strong> floating energies in a constant state<br />
<strong>of</strong> kaleidoscopic flux, which she harnesses <strong>and</strong> channels with<br />
the stroke <strong>of</strong> a paintbrush. Born <strong>and</strong> raised in South Africa,<br />
<strong>and</strong> based in Sydney, Australia for ten years now, she draws<br />
inspiration both from the indigenous visual cultures <strong>of</strong> the<br />
places she has lived, <strong>and</strong> from Modern primitivists like Picasso,<br />
Jackson Pollock <strong>and</strong> Willem de Kooning. Each <strong>of</strong> her mixed<br />
media canvases broils with bright hues <strong>and</strong> dynamic forms,<br />
some <strong>of</strong> which suggest objects or human bodies, <strong>and</strong> others<br />
that are pure geometry.<br />
Cubism is an influence clearly present in Cohen’s works,<br />
whose multiple faces <strong>and</strong> bodies are <strong>of</strong>ten blurred, fragmented<br />
<strong>and</strong> folded back on one another as if they are in fact multiple<br />
representations <strong>of</strong> the same thing. But her color palette <strong>and</strong><br />
the striking vigor <strong>of</strong> each composition testify to more than<br />
solely contemporary sensitivities. She explores the effects<br />
<strong>of</strong> contrasts between angular <strong>and</strong> curvilinear forms; bright,<br />
neon colors <strong>and</strong> deep, rich hues; smoothed areas <strong>of</strong> color <strong>and</strong><br />
ridged, textured buildups <strong>of</strong> paint <strong>and</strong> other media; <strong>and</strong> spaces<br />
<strong>of</strong> figuration <strong>and</strong> total abstraction. Wendy Cohen’s paintings<br />
are works <strong>of</strong> infinite energy <strong>and</strong> possibility, fixed for a beautiful<br />
moment before leaping jovially onwards.<br />
www.wendycohen.com.au<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Wendy_Cohen.aspx<br />
Mariana Morales<br />
30 Mixed Media on Canvas 47” x 71”<br />
Deeply influenced by the masters Monet, K<strong>and</strong>insky, Miro,<br />
<strong>and</strong> Kupka, Mariana Morales creates dynamic abstract<br />
images, luminous <strong>and</strong> supple, hallmarked by majestic vistas <strong>of</strong><br />
color <strong>and</strong> light. Hues are rich, if somewhat understated, giving<br />
substance to the gently pulsing rhythm <strong>and</strong> movement that<br />
graces the canvas. The stunning interplay <strong>of</strong> light <strong>and</strong> shadow<br />
adds a dimensionality to the view, <strong>and</strong> the sense <strong>of</strong> texture<br />
produced by the skillful way the paint is applied to the canvas<br />
only enriches this unique sense <strong>of</strong> depth. Born in Argentina<br />
<strong>and</strong> an art restorer by trade, Morales’ keen attention to detail<br />
results in a sense <strong>of</strong> cohesiveness, as she masterfully pulls<br />
all the variations <strong>of</strong> form, color, <strong>and</strong> texture together, creating<br />
a series <strong>of</strong> delightful new worlds that the viewer is invited to<br />
explore.<br />
What is so magical about Morales’ paintings is that you can<br />
literally get lost in them. The more you sit <strong>and</strong> contemplate the<br />
canvas, the more endless the possibilities become, as world<br />
upon world re-forms right before your eyes. Yet the overarching<br />
balance inherent in her work keeps you grounded, creating a<br />
soothing, tranquil element to the forms. As is her intention, it is<br />
here, in Morales’ sumptuous worlds, that imagination can truly<br />
take flight.<br />
www.ateliermorales.com.ar<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Mariana_Morales.aspx<br />
53 <strong>Art</strong>isSpectrum
In his vigorously animated paintings, Marty<br />
Maehr’s mesmerizing coloration erupts from<br />
his canvases, stunning the viewer into a vibrant<br />
visual trance. Gently abstracted forms pulse with<br />
energy as Maehr’s supple brushwork eases our<br />
eyes around lyrically vivacious l<strong>and</strong>scapes <strong>and</strong><br />
still lifes. Largely self-taught, Maehr underst<strong>and</strong>s<br />
the timelessly spiritual quality <strong>of</strong> art <strong>and</strong> artistry,<br />
endeavoring to communicate these ideas through<br />
his courageous colors <strong>and</strong> feisty forms. Radiating<br />
from his emphatically flushed colors is a palpable<br />
freedom <strong>of</strong> mind <strong>and</strong> emotion. “What I appreciate<br />
most about art is its ability to cut across divisions <strong>of</strong><br />
race, gender, politics, religion, age <strong>and</strong> nationality,”<br />
states Maehr. “The color spectrum is universal <strong>and</strong><br />
common to all, <strong>and</strong> my hope is to find a true blue,<br />
Sophia, Sower <strong>of</strong> Light (The Sower) Oil on Canvas 36” x 48”<br />
a deep red, a heartfelt orange.” Maehr’s seductive,<br />
sincere abstractions resound like a blissful symphony <strong>of</strong> color to the viewer, encouraging a liberated autonomy through thoughtful<br />
mediation. Letting his brush guide his spirit, Maehr exudes an exceptional spirituality, resonating with us emotionally <strong>and</strong> visually.<br />
Growing up in Champaign-Urbana, Illinois, as a child Maehr spent a year in Tehran, Iran with his family. This exhilarating<br />
experience inspired his deep interest in diverse cultures <strong>and</strong> traditions. Maehr lives <strong>and</strong> works in Ann Arbor, Michigan. His work<br />
has been exhibited throughout the Mid-West, as well as New York City.<br />
www.maehrcreations.net<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Marty_Maehr.aspx<br />
María Susana Dos Santos<br />
54 <strong>Art</strong>isSpectrum<br />
Marty Maehr<br />
María Susana Dos Santos’ paintings passionately investigate<br />
the interaction <strong>of</strong> varying forms to create works that draw the<br />
viewer’s gaze across the canvas, following a dramatic visual flow.<br />
Often composed <strong>of</strong> lines woven among a painterly array <strong>of</strong> porous,<br />
interrelated shapes, María’s works reveal an obvious love <strong>of</strong> visual<br />
juxtaposition. The criss-crossing lines <strong>of</strong> different thicknesses play<br />
a vital part in this dynamic, like pieces <strong>of</strong> a puzzle, with swirls <strong>and</strong><br />
bursts <strong>of</strong> colors blooming amidst the textured grids.<br />
Her paintings achieve the rare feat <strong>of</strong> maintaining clarity as well as<br />
spontaneity. Such explorations in the visual arts have characterized<br />
all her artistic work. The early influence <strong>of</strong> Impressionism gave<br />
l<strong>and</strong>scapes a prominent place in María’s first works, focusing as she<br />
did on the observation <strong>of</strong> colors in the natural world, especially the<br />
intensity <strong>of</strong> the sky. She later added lines in geometric arrangements,<br />
without ab<strong>and</strong>oning her passion for color as well as experimenting<br />
with textures <strong>and</strong> media. She uses oils, inks, pigments, watercolor,<br />
pencil <strong>and</strong> acrylics.<br />
Sin Titulo 103 Watercolor <strong>and</strong> Acrylic 31” x 31”<br />
María Susana Dos Santos’ unique art mixes the tradition <strong>of</strong><br />
conventional painting with edgy, contemporary surges <strong>of</strong> color. A mix <strong>of</strong> multi-textured abstractions, her work takes identifiable<br />
shapes, such as spheres, stripes <strong>and</strong> sunbursts, <strong>and</strong> then twists, tweaks <strong>and</strong> redefines them in new contexts. She <strong>of</strong>fers us<br />
stunning studies in light, shadow <strong>and</strong> form.<br />
www.susanadossantos.com.ar<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/María_Susana_Dos_Santos.aspx
Vladimir Shestakov<br />
The world <strong>of</strong> Vladimir Shestakov’s canvases is a swirling,<br />
symphonic dance <strong>of</strong> bright, practically neon tones <strong>and</strong> frenetic<br />
forms, a gripping encounter between past <strong>and</strong> future set in a<br />
fleeting present. The Russian artist, who divides his time between<br />
his homel<strong>and</strong> <strong>and</strong> a studio in the south <strong>of</strong> France, plays a musical<br />
game <strong>of</strong> rhythm <strong>and</strong> improvisation: the constitutive elements <strong>of</strong> his<br />
acrylic <strong>and</strong> mixed media compositions are a grid-like latticework<br />
that provides structure, <strong>and</strong> bounding, uncontainable brushstrokes<br />
<strong>of</strong> color that leap over lines <strong>and</strong> logic. Like Picasso, Shestakov’s<br />
preferred subjects are dancers, actors <strong>and</strong> musicians, whose<br />
shimmering, kaleidoscopic costumes lead them into tempestuous<br />
performances that seem to burst right out <strong>of</strong> the frame with<br />
synesthetic harmony.<br />
This expressionist, carnivalesque aesthetic is hardly retro, though,<br />
as Shestakov renders figures that evoke Raoul Duffy or Toulouse-<br />
Lautrec with a boldly contemporary Pop art palette <strong>and</strong> hints <strong>of</strong><br />
graffiti typography embedded into the frenzied play <strong>of</strong> overlapping<br />
textures <strong>and</strong> hues. The overarching impression in his works is one<br />
<strong>of</strong> play: between styles <strong>and</strong> periods from post-impressionism to<br />
Cubism <strong>and</strong> even neo-figurativism; with the shedding <strong>and</strong> putting<br />
on <strong>of</strong> identities, as figures constantly remove <strong>and</strong> don new masks<br />
<strong>and</strong> disguises; between layers <strong>of</strong> paint, color <strong>and</strong> meaning. In<br />
Shestakov’s pageant everything is perpetually evolving <strong>and</strong><br />
anything is possible.<br />
www.shestakov-art.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Vladimir_Shestakov.aspx<br />
Mil<strong>and</strong>a De Mont’s enamel paintings<br />
exemplify her ideas <strong>of</strong> artistic<br />
expression as a means <strong>of</strong> liberation. Her<br />
fluid brushstrokes exhibit a vibrancy <strong>and</strong><br />
life <strong>of</strong> their own. Inspired by the energies<br />
<strong>and</strong> movement <strong>of</strong> nature, De Mont is able<br />
to personify these energies through colors,<br />
lines <strong>and</strong> forms that transform the canvas<br />
into a unified living image. Describing her<br />
process as energetic <strong>and</strong> spontaneous De<br />
Mont states, “I let myself be carried away<br />
without resistance while my entire being<br />
Bright Moment Enamel on Canvas 35” x 66”<br />
is dedicated to the free-flowing expression<br />
<strong>of</strong> line, color <strong>and</strong> form as it coalesces into<br />
living imagery.” Influenced by the physical urges <strong>of</strong> Abstract Expressionism, her paintings unleash the fury <strong>of</strong> Franz Kline with<br />
the colorful lyricism <strong>of</strong> Helen Frankenthaler. Each painting sustains its own unity while at the same time encompassing a vivid,<br />
distinct, abstract expression that is universally appealing. De Mont’s appeal lies in her ability to express relationships that<br />
exist between nature <strong>and</strong> mankind. The abstract forms De Mont creates express a unification <strong>of</strong> these natural <strong>and</strong> humanistic<br />
elements. Her artwork creates a visual dialogue <strong>and</strong> artistry, synthesizing her observations in her lifelong artistic career as<br />
painter <strong>and</strong> world traveler, truly embracing a global consciousness. Mil<strong>and</strong>a de Mont is an Australian Armenian artist also<br />
working in performance, dance, <strong>and</strong> music. She lives in Sydney, Australia <strong>and</strong> Mainz, Germany.<br />
www.mil<strong>and</strong>ademont.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Mil<strong>and</strong>a_de_Mont.aspx<br />
Clown with Mask<br />
Mixed Media & Acrylic on Canvas 39” x 31”<br />
Mil<strong>and</strong>a De Mont<br />
55 <strong>Art</strong>isSpectrum
Japanese watercolorist, Iwasaki Nagi, finds<br />
inspiration in his association with the sea.<br />
The subject <strong>of</strong> the sea is <strong>of</strong>ten displayed<br />
in Nagi’s compositions <strong>of</strong> daily life, painted<br />
with a stylized impressionistic quality. Nagi<br />
answers the question, “What should I paint?”<br />
by making the connection between daily life<br />
<strong>and</strong> contemporary art. Nagi’s style reflects<br />
Pop <strong>Art</strong> qualities that give a playfulness <strong>and</strong><br />
whimsicality to everyday life subjects. Using<br />
rich, bold color, Nagi creates compositions<br />
<strong>and</strong> textures that give his work an illustrative<br />
quality, which reflect a certain nostalgia.<br />
Nagi’s skillful use <strong>of</strong> contrasting colors <strong>and</strong><br />
his creative use <strong>of</strong> strong highlights <strong>and</strong><br />
shadows fill his works with an enthusiasm<br />
Kobe Safe Biscuits (KSB) Watercolor on Paper 25” x 35.5”<br />
for life, which parallels his ideas that<br />
contemporary art should reflect an ordinary<br />
world full <strong>of</strong> its own mysteries <strong>and</strong> secrets. Nagi’s humble scenes <strong>of</strong> everyday life remind the viewer that something greater<br />
may be waiting behind what may, at first, seem mundane. Iwasaki Nagi lives <strong>and</strong> works in Kobe-shi Hyogo, Japan.<br />
http://iwasaki-nagi.blog.so-net.ne.jp<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Iwasaki_Nagi.aspx<br />
Hellen Choo<br />
Hellen Choo’s paintings move like a joyful jig, or a<br />
playful romp. Filled with me<strong>and</strong>ering marks that swell<br />
into plump fruits, musical instruments or prancing figures,<br />
her oeuvre showcases an intense introspection<br />
<strong>and</strong> a detailed, private register <strong>of</strong> symbols <strong>and</strong> calligraphy.<br />
This is evidence <strong>of</strong> the extensive technical training<br />
Choo received in her home country, Korea. Rendered<br />
in jewel tones, Choo’s frenetic marriage <strong>of</strong> acrylic <strong>and</strong><br />
oil stick, in addition to the dreamlike quality <strong>of</strong> her imagery,<br />
registers a distinct sense <strong>of</strong> movement <strong>and</strong> aesthetic<br />
piquancy. Her less figurative works swing into<br />
orgiastic abstraction – crescendos, dips, pleas <strong>and</strong><br />
peristaltic arches <strong>of</strong> pigment ramp up a strong musical<br />
association in a gleeful homage to tempo <strong>and</strong> the thrall Lady Gaga Acrylic & Oil Stick on Canvas 35” x 51”<br />
<strong>of</strong> glorious multi-sensory experience. Hellen Choo received<br />
her BFA from the Rhode Isl<strong>and</strong> School <strong>of</strong> Design <strong>and</strong> her MA degree from IDAS(International Design School <strong>of</strong> Advanced<br />
Studies), Hongik University in Seoul, Korea . Although she spent time in the UK when she was growing up, Choo currently lives<br />
<strong>and</strong> works in her native Korea.<br />
www.hellenchoo.blogspot.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Hellen_Choo.aspx<br />
56 <strong>Art</strong>isSpectrum<br />
Iwasaki Nagi
Shifra<br />
Urban Growth<br />
Photographic Print, edition <strong>of</strong> 5 39.5” x 27.5”<br />
Shifra is an urban photographer<br />
with a perceptive artistic spirit<br />
that thrives on the hustle <strong>and</strong> bustle<br />
<strong>of</strong> the city. With camera in h<strong>and</strong> she<br />
explores the l<strong>and</strong>scape <strong>of</strong> steel, glass,<br />
<strong>and</strong> concrete, sensing the effects <strong>of</strong><br />
her surroundings while endeavoring to<br />
capture the essence <strong>of</strong> the experience.<br />
Her style is unique <strong>and</strong> captivating. The<br />
works display a characteristic flattening<br />
<strong>of</strong> space into a colorful plastic vision <strong>of</strong><br />
the urban l<strong>and</strong>scape. Through these<br />
oversized photographs we discover a<br />
city that hums with energy, evidenced<br />
in her images by the movement she<br />
achieves through blurring the edges <strong>of</strong><br />
hard forms or casting dazzling light onto<br />
them. Reflection also plays a big role in<br />
Shifra’s compositions. Capturing images<br />
through large rain-spattered windows<br />
creates a beautiful layering effect while<br />
photographs <strong>of</strong> innocuous puddles<br />
become shimmering inverse impressions<br />
<strong>of</strong> the cityscape, full <strong>of</strong> insight <strong>and</strong><br />
energy. Through her art, Shifra seeks<br />
to share her experiences <strong>of</strong> the city with<br />
others. “The city is the starting point for<br />
my work,” she explains. “In it I find colors<br />
<strong>and</strong> forms, abstracts <strong>and</strong> minimalism. As<br />
I work, each <strong>of</strong> those styles expresses<br />
my moods.” Shifra has been exhibiting<br />
her work, in solo <strong>and</strong> group shows, since<br />
the late 1970s in Israel <strong>and</strong> the United<br />
Shifra in her Studio<br />
Digital Solutions<br />
Photographic Print, edition <strong>of</strong> 5 39.5” x 27.5”<br />
States, <strong>and</strong> her photographs have been<br />
published in a book. She lives in Israel.<br />
www.shifrart.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Shifra.aspx<br />
57 <strong>Art</strong>isSpectrum
De Nuvols I Estaques 3 Methacrylate 24” x 18.5” x 13”<br />
IGOR EUGEN<br />
PROKOP<br />
Nature’s Flow<br />
Mixed Technic on canvas 2009<br />
Butterfly’s Birth<br />
Mixed Technic on canvas 2009<br />
58 <strong>Art</strong>isSpectrum<br />
www.pr<strong>of</strong>usingart.com<br />
prokopi@hu.inter.net<br />
JULY 23, 2010 - AUGUST 13, 2010<br />
Reception: Thursday,August 05,2010<br />
Gallery Location: 530 West 25th St,Chelsea,New York<br />
The last parrot in the jungle <strong>of</strong> Amazonas<br />
Brass Glass Panel Painting 2009<br />
Bonaventura Anson<br />
Bonaventura Anson’s methacrylate sculptures transcend the<br />
limitations <strong>of</strong> their artificial composition <strong>and</strong> become living<br />
organisms. His sculptural aesthetic is biomorphic <strong>and</strong> reminiscent<br />
<strong>of</strong> the <strong>Art</strong> Nouveau forms that have become synonymous with his<br />
Catalan predecessor, Antonio Gaudí. Having spent much time living<br />
near the Mediterranean coast, his sculptures are comparable to<br />
aquatic flora <strong>and</strong> perhaps serve as a personal token <strong>of</strong> his former<br />
environment.<br />
His freest<strong>and</strong>ing sculptures seem to rise from a primordial space<br />
beneath the visible floor, evading any prevailing austerity <strong>and</strong><br />
growing in a multitude <strong>of</strong> directions, all the while acquiring a balance<br />
comparable to the contrapposto <strong>of</strong> Greco-Roman sculpture. His<br />
forms exp<strong>and</strong> <strong>and</strong> reach out into their immediate space, almost as if<br />
to break <strong>and</strong> surpass a boundary surrounding them. As they break<br />
this unseen barrier, his forms move in a sinuous <strong>and</strong> delicate manner<br />
towards an unfamiliar form <strong>of</strong> physical freedom. In doing so, his<br />
sculptures bend light <strong>and</strong> cast shadows that willingly coexist with our<br />
own. The transparent nature <strong>of</strong> the methacrylate imparts an ethereal<br />
<strong>and</strong> serene character to his works <strong>and</strong> forces the spectator to focus<br />
on its seemingly autonomous <strong>and</strong> curvilinear contours. His sculptures<br />
eagerly traverse cultural boundaries, adhering to Bonaventura<br />
Anson’s vision <strong>of</strong> art <strong>and</strong> catalyzing universal dialogue.<br />
www.anson.cat<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/bonaventura_anson.aspx<br />
Step by step mystery-solving <strong>of</strong> Mr. Vertigo<br />
Mixed media on canvas 15.8” x 19.7”<br />
Dr. Lusine Breitscheidel<br />
Born in Yerevan, to an<br />
Armenian-Russian<br />
family, former graduate<br />
<strong>of</strong> the State University <strong>of</strong><br />
New York, currently living<br />
in Munich, Dr. Lusine<br />
Breitscheidel developed<br />
into a cosmopolitan<br />
individual. She works<br />
as a clinical research<br />
scientist by day <strong>and</strong> as<br />
an artist by night. She is<br />
fluent in many languages,<br />
perceives things beyond<br />
what the eye sees <strong>and</strong><br />
explores worlds that<br />
usually are hidden to the<br />
most <strong>of</strong> us. In her paintings, she highlights areas where these<br />
parallels intersect with our world like Venn diagrams. Each <strong>of</strong><br />
her paintings tells a different story, ranging from humorous<br />
“Works Council Meeting” to the mysterious “Real-life online<br />
dating”. Her first collective exhibition entitled “<strong>Contemporary</strong><br />
German <strong>Art</strong>: The New York Experience” is taking place in the<br />
Chelsea’s Agora Gallery from 23 March until 13 April 2010.<br />
www.lbreitscheidel.de<br />
www.Agora-Gallery.com/artistpage/Dr._Lusine_Breitscheidel.aspx
Carolyn Rogers<br />
Springtime Platinum/Palladium Photograph 4” x 5” Solitude Platinum/Palladium Photograph 4” x 5”<br />
With an eye for scenes that create a calming,<br />
peaceful effect on the viewer, Carolyn<br />
Rogers is able to capture in her photographs<br />
the simple beauty inherent in everyday life —<br />
the commonplace vistas all around us that we<br />
so <strong>of</strong>ten pass by. Her images contain a strong<br />
sense <strong>of</strong> composition <strong>and</strong> design, as manmade<br />
structures are juxtaposed against natural<br />
elements in a way that is surprisingly harmonious,<br />
revealing a sense <strong>of</strong> balance seldom realized<br />
in our modern world. Using a time-intensive<br />
platinum/palladium printing process, whose<br />
hallmark is a rich tonal scale, she’s able to create<br />
a s<strong>of</strong>t painterly effect that lends a poetic quality<br />
to her images. Simultaneously, her masterful<br />
use <strong>of</strong> light guides the eye, defining the textures<br />
<strong>and</strong> forms that make up our contemporary<br />
l<strong>and</strong>scapes.<br />
Rogers’ images have been widely exhibited<br />
<strong>and</strong> her work <strong>of</strong>ten reflects the metropolitan<br />
surroundings <strong>of</strong> her home in Washington DC.<br />
A former student <strong>of</strong> the Corcoran School <strong>of</strong> <strong>Art</strong>,<br />
her photographs challenge us to reconsider how<br />
we view our own modernity, drawing us away<br />
from the archetype <strong>of</strong> urban jungle <strong>and</strong> into a<br />
more comprehensive, universal interpretation<br />
<strong>of</strong> our present-day backdrop. The photographs<br />
<strong>of</strong> Carolyn Rogers <strong>of</strong>fer us rare moments <strong>of</strong><br />
solitude, space for reflection, <strong>and</strong> a reminder <strong>of</strong><br />
the beauty <strong>and</strong> serenity surrounding us.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Carolyn_<br />
Rogers.aspx<br />
West Potomac Park Platinum/Palladium Photograph 5” x 4”<br />
59 <strong>Art</strong>isSpectrum
Kristina Garon<br />
To encounter a painting by Kristina<br />
Garon is to be drawn into a multilayered<br />
experience <strong>of</strong> vivid colors <strong>and</strong><br />
delicate forms coming to life through<br />
motion. Born <strong>and</strong> raised in Lithuania<br />
<strong>and</strong> currently living <strong>and</strong> working in the<br />
Eastern U.S., her work reflects the<br />
breadth <strong>of</strong> her experiences, drawing<br />
on her formalist roots <strong>and</strong> embracing<br />
the energy <strong>and</strong> movement that are<br />
characteristic <strong>of</strong> American urbanity. As<br />
an artist, Garon had moved away from<br />
her traditional training at the Academy<br />
<strong>of</strong> <strong>Art</strong> in Vilnius toward an abstract<br />
expressionist style, only to revisit her<br />
prior training via the figurative details<br />
that have recently emerged in her<br />
paintings. A closer look at her more<br />
recent canvases reveals images full<br />
<strong>of</strong> intricate details to be found in <strong>and</strong><br />
among the bold, vivid brushstrokes that<br />
characterize the more abstract elements<br />
<strong>of</strong> her work.<br />
For Garon, the possibilities are endless<br />
in the approach she has developed to<br />
her art, allowing her to test the limits<br />
<strong>of</strong> composition, juxtaposing swirling<br />
shapes <strong>and</strong> colors against familiar<br />
forms. Vibrant colors are boldly<br />
applied to the canvas using deliberate<br />
Improvisations Acrylic on Canvas 16” x 16”<br />
60 <strong>Art</strong>isSpectrum<br />
brushstrokes that speak <strong>of</strong> rhythm,<br />
inherent movement, <strong>and</strong> the heartbeat<br />
<strong>of</strong> life, only to be interrupted by small<br />
delicate strokes carefully depicting<br />
figurative details <strong>and</strong> forms. In the<br />
abstractness <strong>of</strong> her work, she’s able<br />
to express her creativity without the<br />
limitations <strong>of</strong> theme, subject, or style.<br />
Yet simultaneously, there are threads<br />
running through many <strong>of</strong> her images<br />
that explore how people’s choices <strong>and</strong><br />
decisions have a positive or negative<br />
impact on their lives.<br />
What truly causes Garon to st<strong>and</strong> out<br />
among current abstract expressionists,<br />
however, is the emotionality in the<br />
way the paint is applied to canvas, an<br />
element that is only exp<strong>and</strong>ed by the<br />
detailed images one encounters along<br />
the way. Everything that is happening in<br />
the canvas is infused with the energy<br />
<strong>and</strong> joy that are the hallmarks <strong>of</strong> her<br />
work. What results is a colorful glimpse<br />
<strong>of</strong> human life <strong>and</strong> experience that<br />
delights the senses, exp<strong>and</strong>s the mind,<br />
<strong>and</strong> lifts the heart.<br />
www.kristinagaronart.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Kristina_Garon.aspx<br />
Kristina in her Studio<br />
Emotions Beyond the Reach <strong>of</strong> Ordinary<br />
Acrylic on Canvas 48” x 36”
Gustavo Rasso<br />
Self-Portrait with Maria Callas’ Eyes<br />
Digital Print 88.5” x 78”<br />
It was approximately twenty years<br />
ago that Gustavo Rasso showed me<br />
some wooden religious icons he had<br />
made. With a perfection reminiscent<br />
<strong>of</strong> thous<strong>and</strong> year old icons, <strong>and</strong> in the<br />
purest Romanesque-Gothic style, the<br />
dedication <strong>and</strong> dexterity that dominated<br />
his iconographic technique amazed me.<br />
Years later, upon returning to the easel,<br />
he invited me to his studio to see some<br />
fabrics that were more than ten feet wide,<br />
painted with an obsessive perfection<br />
-- exactly like his icons -- <strong>and</strong> I saw in<br />
him a resounding change that had led<br />
him to take on a project <strong>of</strong> such great<br />
scale. In our chat, he told me that each<br />
painting dem<strong>and</strong>ed <strong>of</strong> him no less than<br />
one year, <strong>and</strong> that, analyzing it cooly, he<br />
would need two lifetimes to be able to<br />
express the works that he had already<br />
thought out. It was as if a switch had<br />
gone <strong>of</strong>f in his head <strong>and</strong> he discovered<br />
that, by using current technology <strong>and</strong> the<br />
computer as paintbrush, he could enrich<br />
his projects <strong>and</strong> multiply the possibilities.<br />
In this way, he decided to invest, not just<br />
economically in the latest generation <strong>of</strong><br />
graphic design equipment, but rather all<br />
the hours <strong>of</strong> his existence, to learn the<br />
secrets <strong>of</strong> the digital world in order to<br />
ultimately give flight to his inner world.<br />
Three years ago I returned to his studio<br />
<strong>and</strong> my amazement <strong>and</strong> perplexity were<br />
Gustavo in his Studio<br />
only increased because <strong>of</strong><br />
the results he had obtained.<br />
His paintings had become a<br />
powerfully active expressive<br />
force. Though some <strong>of</strong> them<br />
are excessively complex<br />
<strong>and</strong> almost baroque, in all <strong>of</strong><br />
them he maintains a lyricism,<br />
<strong>and</strong> at times a note <strong>of</strong> irony,<br />
that forces the spectator to<br />
meditate <strong>and</strong> see himself as if<br />
through a two-way mirror such<br />
that questioning becomes an<br />
incisive <strong>and</strong> perceptive selfstudy.<br />
His paintings walk the line<br />
between the symbolic <strong>and</strong> the<br />
unreal, yet they are not quite<br />
surrealist. They have a great<br />
magical expressive force that<br />
has never been seen before,<br />
not in any “ism” or in any<br />
previous school.<br />
The discovery Gustavo Rasso has made<br />
in joining the digital universe with his<br />
unequalled personal images points to<br />
the creative recognition <strong>of</strong> a twenty-first<br />
century artist who has a mastery <strong>of</strong> an<br />
older era.<br />
Woman Digital Print 75” x 64”<br />
Written by Pr<strong>of</strong>. César Fioravanti<br />
César Fioravanti, founder <strong>and</strong> former<br />
director <strong>of</strong> the Luis Perlotti Museum, is<br />
one <strong>of</strong> the most prestigious contemporary<br />
Argentinean sculptors.<br />
Translation by Jordana Viuker<br />
Photograph byAlberto Montero<br />
www.gustavo-rasso.com.ar<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Gustavo_Rasso.aspx<br />
61 <strong>Art</strong>isSpectrum
A self-taught artist, Lara Nasr’s lyrical<br />
compositions are the expressions <strong>of</strong><br />
intuitive, raw emotions. Nasr’s melodic<br />
lines are the traces <strong>of</strong> a mood,<br />
be it sadness or joy, <strong>and</strong> are at once<br />
deeply personal <strong>and</strong> universal. Regardless<br />
<strong>of</strong> medium, line <strong>and</strong> shape<br />
come alive in Nasr’s works, forming<br />
symphonies <strong>of</strong> passionate visual sensation.<br />
Fiercely rhythmic, Nasr’s works<br />
remind us that we are all indeed<br />
human, <strong>and</strong> therefore share in the<br />
joys <strong>and</strong> sorrows <strong>of</strong> life. Whether<br />
working with charcoal, oils or acrylics,<br />
Nasr is true to her instinctive feelings.<br />
Technique is secondary to the power<br />
<strong>of</strong> Nasr’s range <strong>of</strong> emotions, from despair<br />
to bliss. “I am always developing<br />
new techniques that are the product<br />
<strong>of</strong> new ideas which in turn are the<br />
product <strong>of</strong> forever developing <strong>and</strong><br />
changing feelings to be expressed,”<br />
states Nasr. She refuses to limit herself<br />
to medium or style, committed instead<br />
to exploring the sea <strong>of</strong> human emotion<br />
through any <strong>and</strong> every technique<br />
necessary.<br />
“Burdens Of Life” 72 x 92 cm, Acrylic on canvas. “Flowers On Fire” 16 x 131 cm, Oil on canvas<br />
62 <strong>Art</strong>isSpectrum<br />
Debra Fitzsimmons<br />
We Measure from Ourselves<br />
Mixed Media on Canvas 31” x 31”<br />
born educator, Debra Fitzsimmons explores myriad<br />
A contemporary social <strong>and</strong> political issues through her<br />
rigorously illuminating paintings. Fitzsimmons uses a<br />
beautiful hybrid <strong>of</strong> traditional materials, such as oils <strong>and</strong><br />
encaustic waxes, with dynamically contemporary methods<br />
such as meticulously patterned collage in order to provoke<br />
contemplation. Fitzsimmons relishes <strong>and</strong> flourishes in<br />
process art, which she terms “researched-art.” In her<br />
smoothly juxtaposed figures <strong>and</strong> forms, Fitzsimmons<br />
implores us to consider <strong>and</strong> reconsider what we hold as<br />
true or certain. The resulting compositions gently, <strong>and</strong><br />
magnificently, expose <strong>and</strong> reflect on the nuanced condition <strong>of</strong><br />
contemporary life. Fitzsimmons teases out the beauty in the<br />
complex, convoluted troubles that plague our lives, reminding<br />
us <strong>of</strong> the plethora <strong>of</strong> rich pleasures that life <strong>of</strong>fers. “A great<br />
challenge is to encourage people away from quick takes<br />
on issues, to think about social issues more systematically,<br />
<strong>and</strong> to consider repercussions <strong>of</strong> choices <strong>of</strong> direction with<br />
thoughtful, civil, discourse,” emphatically states Fitzsimmons.<br />
“I am challenged to attract viewers through initial image<br />
comfort <strong>and</strong> still communicate controversial issues in a civil<br />
way.” Fitzsimmons, who is a doctor <strong>of</strong> education, accepts this<br />
challenge, creating pensively poignant compositions.<br />
A Chicago native, Fitzsimmons lives <strong>and</strong> works north <strong>of</strong> the<br />
city. Fitzsimmons is a renowned educator <strong>and</strong> education<br />
consultant, <strong>and</strong> her work is regularly included in noted juried<br />
exhibitions.<br />
www.fitzsimmonsarted.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Debra_Fitzsimmons.aspx
Angelina McCormick<br />
Euphorbia Pulcherrima<br />
Inkjet Print on Fine <strong>Art</strong> Paper, edition <strong>of</strong> 25 11” x 11”<br />
Through her wholly compelling series <strong>of</strong> intense<br />
photographic images, Angelina McCormick explores<br />
domesticity, femininity, beauty <strong>and</strong> mortality. The images are<br />
striking yet sensitively observed; their fine balance <strong>of</strong> light <strong>and</strong><br />
shade <strong>and</strong> the intensity <strong>of</strong> color giving them a painterly feel.<br />
Her subjects are those <strong>of</strong> the Old Masters – still lifes <strong>of</strong> flowers,<br />
portraits <strong>of</strong> women <strong>and</strong> self-portraits. McCormick takes these<br />
<strong>and</strong> transforms them into something extraordinary. A second<br />
glance at the perfect flowers shows them to be fakes – manmade<br />
simulacra <strong>of</strong> silk <strong>and</strong> wax – an echo <strong>of</strong> our relationship<br />
with the reality <strong>of</strong> the natural world. Perhaps most striking<br />
are photographs from McCormick’s Fiore series. Flowers are<br />
shot in states <strong>of</strong> decay, their petals dried <strong>and</strong> shriveled, stems<br />
stiffened. On stark white, their faded colors <strong>and</strong> complex<br />
brittle surfaces give <strong>of</strong>f an air <strong>of</strong> once regal splendor sucked<br />
dry. McCormick’s art turns on contradictions, <strong>and</strong> her works<br />
deal with these in a disarmingly direct manner. The concerns<br />
<strong>of</strong> her art are personal <strong>and</strong> drawn from the long process <strong>of</strong><br />
self-definition <strong>and</strong> expression that first led her on her artistic<br />
journey.<br />
Angelina McCormick currently lives <strong>and</strong> works in her native<br />
Ottawa, in Ontario, Canada. In addition to her art, she also<br />
teaches at The School <strong>of</strong> the Photographic <strong>Art</strong>s: Ottawa.<br />
www.amccormick.ca<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Angelina_McCormick.aspx<br />
Fossil Fields #14<br />
Acrylic on Canvas 23” x 37”<br />
Heryk Tomassini’s<br />
work is deeply inspired<br />
by his Puerto Rican<br />
roots <strong>and</strong> influenced<br />
by Expressionist Abstract<br />
artists. Tomassini<br />
refers to his work as<br />
a “species <strong>of</strong> fields” or<br />
“archeological finds.” Each work or “object,” as Tomassini prefers<br />
to call them, demonstrates a harmonious blend <strong>of</strong> rich color<br />
<strong>and</strong> thick crosshatched textures. Inspired by the people <strong>and</strong><br />
spirit <strong>of</strong> his Puerto Rican heritage, Tomassini’s work seems to<br />
embody the agricultural aspects <strong>of</strong> his native l<strong>and</strong>. Through<br />
his work, process <strong>and</strong> techniques, Tomassini’s abstract representations<br />
invite the viewer into an imaginary l<strong>and</strong>scape<br />
full <strong>of</strong> mingling colors <strong>and</strong> strong directional textures. In each<br />
work, Tomassini uncovers a harmonious blend <strong>of</strong> vivid color,<br />
deeply lined textures <strong>and</strong> abstract forms. Like Tomassini’s native<br />
country, his expressive l<strong>and</strong>scapes incorporate a lucid<br />
network <strong>of</strong> colors <strong>and</strong> a fusion <strong>of</strong> textures. Heryk Tomassini<br />
resides <strong>and</strong> works in Puerto Rico <strong>and</strong> studied architecture at<br />
The New School <strong>of</strong> Architecture <strong>of</strong> the Polytechnic University<br />
in Puerto Rico.<br />
www.wix.com/heryktomassini/heryktomassini<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Heryk_Tomassini.aspx<br />
Meadow at Evening<br />
Pastel on Paper 18” x 24”<br />
Heryk<br />
Tomassini<br />
Laura Flynn<br />
Geissel<br />
Laura Flynn Geissel’s<br />
expressive natural<br />
l<strong>and</strong>scapes show a<br />
sensitivity <strong>of</strong> perception,<br />
a deft h<strong>and</strong>ling<br />
<strong>of</strong> materials <strong>and</strong> deep<br />
empathy for her subject<br />
matter. As she<br />
states: “My images<br />
seem to communicate<br />
the essence <strong>of</strong> a thing, expressing what is eternal in the human<br />
experience. At the same time, it possesses a fragile, almost<br />
existential quality that is accomplished through the mingling <strong>of</strong><br />
light <strong>and</strong> shadow.” Geissel aims to bring out the psychological<br />
ground <strong>of</strong> her art. She works on this aspect through her engagement<br />
with muted, dark colors <strong>and</strong> tonal effects. However,<br />
the works are not melancholic – light emerges from the ground<br />
<strong>of</strong> darkness, conveying a feeling <strong>of</strong> victory <strong>and</strong> inspiration. It<br />
suffuses the works with an intense contained energy, making<br />
the surface seem as if it glows from within. Realized in pastels,<br />
Geissel’s luminous paintings perfectly capture the complex interplay<br />
<strong>of</strong> light <strong>and</strong> mood. Born in Baltimore, MD, Geissel is<br />
inspired by the diverse l<strong>and</strong>scapes she has lived in.<br />
http://gallerytoday.com/index.php-categ_id-1-subcateg-301.html<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Laura_Flynn_Geissel.aspx<br />
63 <strong>Art</strong>isSpectrum
The figures in Umeko Okano’s evocative works<br />
inhabit a beautiful yet strangely transient,<br />
almost ghostly world. Attracted by interesting light<br />
effects, forms <strong>and</strong> colors, Okano paints light that<br />
slants down between buildings in the haze <strong>of</strong> a<br />
late summer afternoon or shimmers in an early<br />
dusk. Shadows lengthen, colors intensify <strong>and</strong> the<br />
figures journey on towards the horizon. Okano<br />
envisions life as a journey, an ephemeral <strong>and</strong> fluid<br />
thing. It is a motif evident throughout her work, a<br />
symbolic marker. The work is also an expression<br />
<strong>of</strong> Okano’s inner world <strong>and</strong> vision, influenced<br />
in part by Japanese culture <strong>and</strong> Buddhist<br />
philosophy. Using oils, she paints with delicately<br />
stippled brushstrokes. The paintings are built up<br />
Road to the Horizon Oil on Canvas 21” x 29”<br />
<strong>and</strong> worked on for several months, adding details<br />
from memory, exp<strong>and</strong>ing <strong>and</strong> deepening the painting little by little until she reaches the desired effect. This gestation time allows<br />
the works to mature <strong>and</strong> there is an immense subtlety <strong>and</strong> elegance to them. Okano’s palette incorporates wonderfully vibrant<br />
hues, yet she manages to retain in her paintings a restrained, almost muted feel without once compromising the integrity <strong>of</strong> the<br />
colors. Her h<strong>and</strong>ling is masterful, a true testament to her teachers <strong>and</strong> her vision.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Umeko_Okano.aspx<br />
Greg Larson<br />
Greg Larson’s poetic, whimsical l<strong>and</strong>scapes recall fable,<br />
magic <strong>and</strong> spirituality. His paintings in oil depict with<br />
atmospheric abundance the resplendent l<strong>and</strong>scape Larson<br />
has experienced while traveling extensively in the United<br />
States <strong>and</strong> abroad. Frosty mountains, cloudy tundras <strong>and</strong><br />
icy pyramids share the stage with spiraling river basins <strong>and</strong><br />
celestial calligraphy; each earthscape filtered through a s<strong>of</strong>t<br />
lens that verges on impressionistic but keeps its symbols<br />
intact. Influenced by the work <strong>of</strong> American Modernist<br />
L<strong>and</strong>scape painters as well as traditional Japanese<br />
brushwork, Larson’s silken strokes, curling tendrils <strong>and</strong><br />
blooming skyways – rendered in a muted palette <strong>of</strong> grey,<br />
brown, silver, indigo <strong>and</strong> pale blue - suggest discovery,<br />
journey <strong>and</strong> spiritual epiphany. Larson’s pliable forms blend<br />
the emotional impact <strong>of</strong> lawless abstraction with the startling<br />
symmetry <strong>of</strong> geometric forms. His scrupulous gestures<br />
imbue each painted environment – from the most majestic<br />
mountaintop to a simple strip <strong>of</strong> highway – with an ethereal<br />
aura. As a body <strong>of</strong> work his cosmological blueprints evoke Divine Calligraphy Oil on Canvas 28” x 30”<br />
the dualities <strong>of</strong> mind/body, dream/reality, East/West <strong>and</strong><br />
man/nature. Connecting all his work, Larson’s spiritual domain looms large above the horizon <strong>and</strong> sinks deep into the earth.<br />
A native <strong>of</strong> the Midwest, Greg Larson received his BA from the University <strong>of</strong> California Santa Cruz in 1985. He spent 15 years in<br />
Japan <strong>and</strong> is c<strong>of</strong>ounder <strong>of</strong> Orphan Press, a non-pr<strong>of</strong>it entity dedicated to the publication <strong>of</strong> art <strong>and</strong> literary books.<br />
www.greglarson.net<br />
64 <strong>Art</strong>isSpectrum<br />
Umeko Okano
A Requiem for <strong>Art</strong>istic Reportage<br />
<strong>Art</strong> has been a vital part <strong>of</strong> our collective<br />
social conscience since the earliest<br />
beginnings <strong>of</strong> human history. Visual<br />
<strong>and</strong> performing arts have highlighted<br />
events that range from heroic to uplifting<br />
to dastardly <strong>and</strong> murderous. Many <strong>of</strong><br />
the most famous works created in any<br />
medium have dealt with the manner in<br />
which interactions between individuals<br />
<strong>and</strong> nations have transformed history<br />
<strong>and</strong> colored the narrative <strong>of</strong> the human<br />
experience; some allowing an insight<br />
by David J. LaBella<br />
677 Acadia National Park, ME Digital Print on Paper 20” x 16”<br />
into happenings that defy our ability to<br />
put into words our feelings toward the<br />
excesses <strong>of</strong> ambition <strong>and</strong> emotion to<br />
which we are capable <strong>of</strong> succumbing.<br />
In the years before photography <strong>and</strong><br />
electronic media, the arts, particularly<br />
painting, served as the conduit through<br />
which ideas, opinions, <strong>and</strong> interpretations<br />
<strong>of</strong> the march <strong>of</strong> history through the<br />
ages flowed from the creative impulses<br />
<strong>of</strong> the artists to their audience. The bet-<br />
ter-known among the artistic community,<br />
dependent on the patronage <strong>and</strong> favor<br />
<strong>of</strong> the ruling elites for commissions <strong>and</strong><br />
exhibition space, would routinely depict<br />
the wars <strong>and</strong> other newsworthy ventures<br />
<strong>of</strong> their homel<strong>and</strong>s in a manner<br />
that would assert the moral <strong>and</strong> institutional<br />
character <strong>of</strong> the leadership that<br />
directed the fortunes <strong>of</strong> the nation/states<br />
to which they belonged; it was, therefore,<br />
unusual that the paintings they produced<br />
did anything that stepped beyond<br />
65 <strong>Art</strong>isSpectrum
the bounds <strong>of</strong> their allegiance to the ruling<br />
class <strong>and</strong> to the values <strong>and</strong> ideology<br />
that promoted their interests. Their work<br />
is hardly what one might consider to be<br />
a documentary summary <strong>of</strong> the battles<br />
<strong>and</strong> seminal events that earmarked the<br />
historical record <strong>of</strong> their nation - their<br />
executions represent the occasion in an<br />
idealized manner that rarely owed anything<br />
to factual record. Nevertheless, by<br />
the Romantic Age the work <strong>of</strong> many <strong>of</strong><br />
the European <strong>and</strong>, later, American painters<br />
began to reflect a growing social consciousness<br />
that dem<strong>and</strong>ed a more openminded<br />
interpretation <strong>of</strong> the political <strong>and</strong><br />
military l<strong>and</strong>scape; the eighteenth <strong>and</strong><br />
nineteenth centuries were marked by<br />
a rising tide <strong>of</strong> popular revolutions <strong>and</strong><br />
widespread unrest that drew together<br />
all social <strong>and</strong> economic classes <strong>and</strong> affected<br />
virtually every one <strong>of</strong> the Western<br />
nations. Gradually, instead <strong>of</strong> depicting<br />
only the events that their patrons wished<br />
to commit to canvass, artists painted<br />
scenes drawn from the seemingly endless<br />
series <strong>of</strong> revolutions that convulsed<br />
Europe throughout the years following<br />
the American War <strong>of</strong> Independence. The<br />
middle <strong>and</strong> lower classes <strong>of</strong> the heret<strong>of</strong>ore<br />
rigidly stratified European societies<br />
sought to break down the limitations<br />
imposed on them by their rulers <strong>and</strong><br />
achieve for themselves a measure <strong>of</strong><br />
the freedoms that American democracy<br />
espoused.<br />
<strong>Art</strong> has been a vital part<br />
<strong>of</strong> our collective social<br />
conscience since the<br />
earliest beginnings <strong>of</strong><br />
human history.<br />
Paintings that captured the chaos <strong>and</strong><br />
desperation <strong>of</strong> the French Revolution<br />
appeared almost as quickly as the<br />
events themselves unfolded. Reactionary<br />
monarchists <strong>and</strong> loyalists to the status<br />
quo vied with anarchists, socialists,<br />
<strong>and</strong> revolutionaries who cherished rights<br />
<strong>and</strong> concepts that would liberate them<br />
from their hereditary disadvantages.<br />
Whilst royalty succeeded in seating itself<br />
in the halls <strong>of</strong> power for some time, the<br />
ensuing months would see them toppled<br />
from their thrones <strong>and</strong> replaced by coalitions<br />
<strong>of</strong> fractious, distrustful alliances<br />
<strong>of</strong> revolutionaries that would prove unfit<br />
to govern <strong>and</strong> would fall once again. All<br />
66 <strong>Art</strong>isSpectrum<br />
the while, artists recorded the ebb <strong>and</strong><br />
flow <strong>of</strong> the fortunes <strong>of</strong> the upper classes<br />
<strong>and</strong> the downtrodden alike, <strong>and</strong> some <strong>of</strong><br />
the most moving artwork <strong>of</strong> the Romantic<br />
Age has come down to us from those<br />
turbulent years, as has the tradition <strong>of</strong><br />
the artist as social commentator - unable<br />
to deny or turn away from the churning<br />
train <strong>of</strong> events that characterized the<br />
nineteenth century, painters assumed<br />
the role <strong>of</strong> journalists documenting what<br />
they saw in the streets. The fact that they<br />
did this remains even if their works still<br />
fell prey to the excesses <strong>of</strong> technique<br />
<strong>and</strong> allegorical baggage that clouded<br />
their ability to depict reality <strong>and</strong> allowed<br />
their political inclinations to express<br />
themselves in the works they produced.<br />
A well-known example <strong>of</strong> this idealized<br />
documentary-art is “Liberty Leading the<br />
People” by Delacroix (1830). Done in the<br />
florid, vivid style that sprang from the sensibilities<br />
<strong>of</strong> late Romanticism, the painting<br />
depicts a heroic montage in which<br />
Parisians, leading an armed insurrection<br />
against the monarchist King Charles X,<br />
rise to the banner <strong>of</strong> liberty, equality, <strong>and</strong><br />
fraternity. Passionate figures reflect the<br />
will for liberty that moved the spirit <strong>and</strong><br />
character <strong>of</strong> the people, rather than representing<br />
an accurate record <strong>of</strong> any actual<br />
events; so much so that the government,<br />
fearing the incendiary message<br />
that appeared to glorify the anarchistic<br />
tendencies <strong>of</strong> the Paris mob, bought the<br />
painting but kept it hidden from public<br />
display, where it remained until the passing<br />
<strong>of</strong> the reign <strong>of</strong> Louis-Philippe in 1848.<br />
The scene juxtaposes the brutality <strong>of</strong> the<br />
insensitive regime with the aggressive<br />
humanism that had brought revolution to<br />
France only three decades before, <strong>and</strong><br />
skews reality toward the fantastic in its<br />
use <strong>of</strong> allegorical references to express<br />
its point <strong>of</strong> view.<br />
The late nineteenth century <strong>and</strong> the<br />
early years <strong>of</strong> the twentieth century<br />
<strong>and</strong> the evolution <strong>of</strong> Expressionism into<br />
the myriad forms <strong>of</strong> Abstraction that<br />
spawned Modern <strong>Art</strong> witnessed a series<br />
<strong>of</strong> changes that affected the relationship<br />
between art <strong>and</strong> the events that marked<br />
the transition <strong>of</strong> the Industrial Revolution<br />
era into the modern age <strong>of</strong> the twentieth<br />
century. Radical technological advances<br />
affected the lives <strong>of</strong> everyone in the industrialized<br />
nations <strong>of</strong> the West. Many<br />
<strong>of</strong> these changes liberated people from<br />
the dreadful toil <strong>and</strong> desperate poverty<br />
they had known as their only birthright<br />
throughout the previous years <strong>of</strong> the<br />
industrial economy, but other forces at<br />
work within the social <strong>and</strong> political fabric<br />
<strong>of</strong> some <strong>of</strong> the most advanced nations<br />
foreshadowed the horrors <strong>and</strong> tragedies<br />
that the new century would soon unleash<br />
across the globe. Mass production <strong>and</strong><br />
mechanization combined with imperialism<br />
<strong>and</strong> exceptionalism permeated the<br />
ideology <strong>of</strong> the rising Western powers.<br />
Nationalism, pretensions to racial <strong>and</strong><br />
cultural superiority, <strong>and</strong> industrial growth<br />
provided a great deal <strong>of</strong> the impetus <strong>of</strong><br />
the series <strong>of</strong> wars that punctuated international<br />
affairs in the late nineteenth<br />
<strong>and</strong> early twentieth centuries, beginning<br />
with the Crimean War <strong>and</strong> culminating<br />
in the two World Wars. Mankind’s ability<br />
to unleash ever more efficient means <strong>of</strong><br />
destruction <strong>and</strong> genocide threatened the<br />
very fabric <strong>of</strong> civilization.<br />
Visual <strong>and</strong> performing<br />
arts have highlighted<br />
events that range from<br />
heroic to uplifting to<br />
dastardly <strong>and</strong> murderous<br />
Once again, there were artists witnessing<br />
the double-edged sword <strong>of</strong> modernity<br />
<strong>and</strong> the horrors that technological advancement<br />
<strong>and</strong> unchecked ambition set<br />
loose upon nations. Foremost among<br />
them were the pioneers <strong>of</strong> Modern <strong>Art</strong>,<br />
creating graphic representations <strong>of</strong> the<br />
unprecedented events that unfolded<br />
before their eyes. The German terrorbombing<br />
<strong>of</strong> the Spanish town <strong>of</strong> Guernica<br />
during the Spanish Civil War was<br />
portrayed by Picasso in an unforgettable<br />
style that combined the shocking<br />
moral depravity <strong>of</strong> the episode with the<br />
impersonal, detached ease that military<br />
aviation brought to modern warfare; the<br />
canvas still provides a gripping memorial<br />
to the passing <strong>of</strong> the age <strong>of</strong> “gentleman’s<br />
warfare,” where campaigns were<br />
fought according to rules between forces<br />
in close contact with one another. Murder<br />
rendered antiseptic <strong>and</strong> convenient<br />
would soon become appalling even to<br />
the generations that had lived through<br />
the horrors <strong>of</strong> the First World War, which<br />
had settled nothing at the cost <strong>of</strong> millions<br />
<strong>of</strong> lives just two decades before.<br />
Beginning with Roger Fenton during the<br />
Crimean War <strong>and</strong> Mathew Brady during<br />
the American Civil War, photographers
in the field began to render wartime<br />
scenes on film. The Great Depression<br />
was trenchantly captured by Dorothea<br />
Lange <strong>and</strong> others - documentary photography<br />
began to assume the role that<br />
painting had served for so many years<br />
for recording the physical details <strong>and</strong> human<br />
dimensions <strong>of</strong> newsworthy historical<br />
events. And, to be sure, the twentieth<br />
century was a watershed on the dark<br />
timeline <strong>of</strong> man’s age-old affinity for selfdestruction<br />
<strong>and</strong> mass killing. Well over<br />
one hundred million people met violent<br />
deaths at the h<strong>and</strong>s <strong>of</strong> others or were left<br />
to die in man-made famines caused by<br />
warfare or nationalist intentions - in the<br />
two World Wars, in the Stalinist purges<br />
<strong>and</strong> in the paranoid cleansing <strong>of</strong> Mao’s<br />
People’s Republic <strong>of</strong> China, in the killing<br />
fields <strong>of</strong> Cambodia, in Korea <strong>and</strong><br />
Vietnam, in Rw<strong>and</strong>a <strong>and</strong> the Balkans, in<br />
Biafra <strong>and</strong> Darfur <strong>and</strong> Ethiopia, in the orchestrated<br />
depravity <strong>of</strong> the Holocaust, in<br />
the endlessly volatile Middle East, in the<br />
vast reaches <strong>of</strong> Latin America, <strong>and</strong> in a<br />
heart-rending roll-call <strong>of</strong> locations where<br />
the events have passed nearly beyond<br />
our awareness into bitter memories <strong>and</strong><br />
forgotten tragedies. Yet, despite all this,<br />
we are unable to recall any widely-known<br />
works <strong>of</strong> art that commemorate what<br />
transpired - it is as if, with the advent<br />
<strong>of</strong> electronic journalism, art gave up its<br />
honorable tradition <strong>of</strong> documenting such<br />
things.<br />
It is true, no doubt, that in each <strong>of</strong> these<br />
cases there were <strong>and</strong> are still great<br />
works <strong>of</strong> art created that capture the<br />
moment in some form; it matters not at<br />
all if the technique <strong>and</strong> vocabulary <strong>of</strong><br />
the works are in the modern form or in<br />
a more traditional form - they are there.<br />
But we do not know them, they do not<br />
have the notoriety that Delacroix <strong>and</strong><br />
Picasso <strong>and</strong> so many others enjoyed;<br />
the works are lost in the blinding glare <strong>of</strong><br />
CNN <strong>and</strong> its eager <strong>of</strong>fspring, the online<br />
sources, <strong>and</strong> in the overwhelming glut <strong>of</strong><br />
news-on-dem<strong>and</strong> that we are bombarded<br />
with, if we choose to look. We have<br />
desensitized our most horrific human<br />
behavior, <strong>and</strong> that trend can be traced<br />
back to the live, dinner-time reporting <strong>of</strong><br />
the Vietnam War. Previously to Vietnam,<br />
reporters <strong>and</strong> photographers, while embedded<br />
with forces on active duty at the<br />
front, were required to submit their work<br />
for censorship before it was released<br />
to the public (not unlike the censorship<br />
under which painters had toiled at the<br />
h<strong>and</strong>s <strong>of</strong> their royal patrons in past cen-<br />
w1352 Hunter Beach, Acadia National Park, ME<br />
Digital Print on Paper 20” x 16”<br />
turies). In Vietnam, that all changed, <strong>and</strong><br />
live news reporting dominated the airwaves<br />
<strong>and</strong> set the stage for the dizzying<br />
array <strong>of</strong> media sources that compete for<br />
our attention with images <strong>and</strong> dialogue<br />
captured at the point <strong>of</strong> death itself. This<br />
is precisely the role that artists had occupied<br />
for so many years, <strong>and</strong> while it<br />
is certainly true that their works were<br />
passed down to us through the prism<br />
<strong>of</strong> their sensibilities, mores, <strong>and</strong> values<br />
in a fashion that would inevitably alter<br />
the version <strong>of</strong> the true course <strong>of</strong> events<br />
that had taken place, it is also true that<br />
our over-exposure to reality has bred a<br />
callousness <strong>and</strong> a dismissive attitude<br />
toward violence <strong>and</strong> evil. We see it, we<br />
recoil in horror or empathize with those<br />
left behind, we even move to perhaps<br />
alleviate some <strong>of</strong> the suffering in the aftermath,<br />
<strong>and</strong> we move on until the next<br />
time we are faced with the darkness that<br />
blinds the eyes <strong>of</strong> human judgment <strong>and</strong><br />
behavior. The twentieth century made<br />
us lose any means to account for our<br />
capacity to inflict harm on one another,<br />
<strong>and</strong> the final dissolution <strong>of</strong> empires <strong>and</strong><br />
spheres <strong>of</strong> influence let loose centuries<br />
<strong>of</strong> pent-up regional, ethnic, religious,<br />
<strong>and</strong> personal animosities. One could<br />
never find a way to blame for this a Picasso<br />
or a Delacroix. Could we not find<br />
a compelling argument that would fix at<br />
least some <strong>of</strong> the blame on our appetite<br />
for electronic reality?<br />
67 <strong>Art</strong>isSpectrum
Bonaventura Anson - DE Nuvols I Estaques 1 24.5” x 12” x 11”<br />
Portals to Enigma<br />
July 23, 2010 - August 13, 2010<br />
Reception: Thursday, August 05, 6-8pm<br />
Meral Akyuz<br />
Bonaventura Anson<br />
Hamza Bounoua<br />
Virgi Dall’Aglio<br />
Jeff Jackson<br />
Tyice Natasha<br />
Igor Eugen Prokop<br />
Amitabh SenGupta<br />
530 West 25th Street,<br />
Chelsea, New York, NY 10001<br />
www.Agora-Gallery.com<br />
68 <strong>Art</strong>isSpectrum<br />
Carmen Sotuela<br />
Ayuntamiento Málaga Oil on Canvas 18” x 24”<br />
Carmen Sotuela’s modestly sized paintings in oil depict<br />
the l<strong>and</strong>scape <strong>and</strong> cultural life <strong>of</strong> her native territory <strong>of</strong><br />
Andalusia with quiet harmony <strong>and</strong> ornamental charm. Sotuela<br />
began painting as a small child <strong>and</strong> has worked with such<br />
diverse mediums as oil, watercolor, wax, pencil <strong>and</strong> charcoal<br />
to fashion sweetly rendered poetic l<strong>and</strong>scapes informed<br />
by her truly luscious sense <strong>of</strong> light, texture <strong>and</strong> form. Her<br />
particular locations <strong>of</strong> interest include the Iron Bridge <strong>and</strong><br />
the Castle <strong>of</strong> the Templars in Ponferrada, the UNESCO<br />
World Heritage site Las Médulas, Galician granaries, the<br />
San Clodio Valley in Quiroga <strong>and</strong> many scenes <strong>of</strong> Málaga,<br />
where she resettled in 1979. She portrays trees bursting with<br />
fall color, plump fruits <strong>and</strong> delicate foliage fashioning idyllic<br />
scenes in the garden, the countryside <strong>and</strong> occasionally, vivid<br />
depictions <strong>of</strong> a more metaphysical <strong>and</strong> cultural terrain verging<br />
on surrealist splendor. Doves, flowers, fields, waterways, the<br />
moon <strong>and</strong> ritual imagery <strong>of</strong> Easter Holy week spring to life<br />
as poignant symbols in a compelling narrative about human<br />
suffering, coexistance, transformation <strong>and</strong> renewal.<br />
A dedicated painter, humanitarian <strong>and</strong> respected teacher <strong>of</strong><br />
art in Málaga, where she still resides, Sotuela was awarded<br />
the Town Council’s first prize for outst<strong>and</strong>ing achievement in<br />
the creative arts in 2000.<br />
www.carmensotuela.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Carmen_Sotuela.aspx
John Nieman<br />
John Nieman relishes in discovering <strong>and</strong><br />
celebrating contrasts within contemporary<br />
society. Decadently photo-realist in style, Nieman<br />
juxtaposes his neat, direct aesthetic with his<br />
sardonically playful imagery, thus gently critiquing<br />
contemporary American life. Nieman’s cheerfully<br />
spirited colors compliment ascetic, black block<br />
letters, imparting an absorbingly caustic message<br />
on how <strong>and</strong> what we value most in life. Engrossed<br />
stylistically with what he terms “visual riddles,”<br />
Nieman coalesces his love <strong>of</strong> the written word <strong>and</strong><br />
visual forms, composing sumptuously seductive<br />
<strong>and</strong> lavishly acerbic paintings. Derivative <strong>of</strong> pop<br />
artists such as Andy Warhol <strong>and</strong> Tom Wesselmann,<br />
Nieman’s ideas are piercingly current, <strong>and</strong> mirror Nice Pipes Mixed Media on Paper 21” x 28.5”<br />
the layered complexity <strong>of</strong> American existence in<br />
this century, as well as the last. “The most important part <strong>of</strong> any piece is to make a pleasing, positive first impression,” states<br />
Nieman. “But I particularly enjoy the paintings that provide residual rewards. The more one looks <strong>and</strong> studies the total story,<br />
the more satisfying the piece becomes.” A natural storyteller, Nieman grew up in the Mid-West before moving to New York City<br />
in order to pursue a career on stage <strong>and</strong> in advertising. Nieman quit advertising after September 11, 2001, instead picking up<br />
the paintbrush as his sword. Subject to much critical acclaim, Nieman’s paintings are included in exhibitions across the United<br />
States.<br />
www.johnnieman.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/John_Nieman.aspx<br />
Truth truly is beauty in Jörg Eydner’s l<strong>and</strong>scapes.<br />
Inspired by the grace <strong>and</strong> wonder<br />
<strong>of</strong> the countryside <strong>and</strong> coast, Eydner strives to<br />
distill an accurate reflection <strong>of</strong> nature’s beauty<br />
in his work, through the medium <strong>of</strong> his surfaces.<br />
With oil paint <strong>and</strong> pastel, Eydner preserves<br />
these moments in time so that others can also<br />
discover <strong>and</strong> appreciate these remarkable vistas.<br />
Eydner’s compositions frequently center<br />
on water, exploring the balance between earth<br />
<strong>and</strong> sky, water <strong>and</strong> air in plein air studies <strong>of</strong> serene<br />
lakes, peaceful riversides, <strong>and</strong> still ocean<br />
shores. Whether pulling in upon the s<strong>and</strong> with<br />
long b<strong>and</strong>s <strong>of</strong> rolling waves or mutely mirroring<br />
the calm sky along the horizon line, water finds<br />
West beach <strong>of</strong> Darß (Baltic Sea) Oil on Wood 10” x 15”<br />
its way into many <strong>of</strong> Eydner’s works, a reminder<br />
<strong>of</strong> both the changing nature <strong>and</strong> the deceptive<br />
constancy <strong>of</strong> the natural world. Raised in the Ore Mountains <strong>of</strong> East Germany, artist <strong>and</strong> musician Jörg Eydner’s works have<br />
appeared in exhibits in both Germany <strong>and</strong> Switzerl<strong>and</strong>.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Jorg_Eydner.aspx<br />
Jörg Eydner<br />
69 <strong>Art</strong>isSpectrum
Anne Gr<strong>and</strong>in<br />
Stroncone Oil on Canvas 30” x 40” Anne in her Studio<br />
Rich, opulent earth tones reverberate<br />
in sinuous, sensual forms in Anne<br />
D. Gr<strong>and</strong>in’s paintings. In her work,<br />
Gr<strong>and</strong>in fluently uses oils, acrylics,<br />
house <strong>and</strong> spray paint to imbue a sense<br />
<strong>of</strong> spirituality in her rhythmic, lithe<br />
depictions <strong>of</strong> the natural l<strong>and</strong>scape.<br />
Color <strong>and</strong> form radiate <strong>of</strong>f Gr<strong>and</strong>in’s<br />
canvases, encouraging us to search<br />
for a harmonious, fruitful relationship<br />
between our inner selves <strong>and</strong> our external<br />
surroundings. Aggressive yellows <strong>and</strong><br />
reds break through gentle, meditative<br />
blues <strong>and</strong> browns in rounded, melodic<br />
abstractions <strong>of</strong> the natural world, urging<br />
us to pursue equilibrium in all that we<br />
do. Formally reminiscent <strong>of</strong> Georgia<br />
O’Keeffe, Gr<strong>and</strong>in’s cadenced forms<br />
are inspired by the Native American<br />
spiritual belief in the all-encompassing<br />
circle <strong>of</strong> life. “In the circle <strong>of</strong> life, all<br />
life exists <strong>and</strong> all elements <strong>of</strong> nature<br />
depend on each other <strong>and</strong> relate to<br />
one another in harmony <strong>and</strong> balance,”<br />
states Gr<strong>and</strong>in. “We must preserve <strong>and</strong><br />
care for nature <strong>and</strong> the balance that<br />
exists within the living circle.” Through<br />
brushwork that is at once calculated<br />
<strong>and</strong> emollient, coupled with a brazenly<br />
earthy palette, Gr<strong>and</strong>in seeks to<br />
emulate this tranquil accord between<br />
daily life <strong>and</strong> nature. Her efforts result<br />
in sumptuous, courageously mellow<br />
compositions that stun the viewer into<br />
a meditative, affecting trance on their<br />
emotional <strong>and</strong> physical relationship<br />
with the natural world. At the core<br />
70 <strong>Art</strong>isSpectrum<br />
Spoleto Oil on Board 24” x 48”<br />
<strong>of</strong> Gr<strong>and</strong>in’s artistic practice is her<br />
fervent wish that through her elegantly<br />
organic forms <strong>and</strong> colors, her work<br />
will act as a conduit <strong>of</strong> underst<strong>and</strong>ing<br />
between human beings <strong>and</strong> their<br />
natural surroundings. An Associate<br />
<strong>Art</strong> Member <strong>of</strong> the Copley Society in<br />
Boston, Massachusetts, Gr<strong>and</strong>in’s work<br />
can be found in important contemporary<br />
art collections at home <strong>and</strong> abroad.<br />
Anne D. Gr<strong>and</strong>in holds a MFA in <strong>Art</strong><br />
Education from Boston University, <strong>and</strong><br />
recently completed an eighteen-foot<br />
mural project in Ug<strong>and</strong>a with students<br />
from Beacon <strong>of</strong> Hope College.<br />
www.gr<strong>and</strong>inart.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/<br />
Anne_D._Gr<strong>and</strong>in.aspx<br />
Rowes Wharf<br />
Oil on Wood 36” x 24” x 6”
Tyice Natasha<br />
Rebirth Acrylic & Mixed Media on Canvas 35.5” x 30”<br />
Tyice Natasha’s acrylic <strong>and</strong> pastel<br />
paintings are composed <strong>of</strong> detailed<br />
layers <strong>of</strong> varying forms <strong>and</strong> textures that<br />
mix <strong>and</strong> tug at each other with a unique<br />
visual rhythm. Tyice says that painting<br />
these lyrical works moves her into a space<br />
<strong>of</strong> creative stillness--an expression <strong>of</strong> a<br />
need in her soul to paint, which inspired<br />
her to add poetic phrases to pieces that<br />
she is painting. She was deeply influenced<br />
by the purely non-representational works<br />
that she uncovered in Japanese <strong>and</strong><br />
South Korean art. She characterizes<br />
her ongoing body <strong>of</strong> work, which relies<br />
heavily on improvisation, as conceptual<br />
expressionism. She <strong>of</strong>ten arrays painterly<br />
swathes <strong>of</strong> color with thin yet dramatic<br />
lines, both <strong>of</strong> which seem to oscillate<br />
between background <strong>and</strong> foreground.<br />
This dance <strong>of</strong> textures, motifs <strong>and</strong><br />
moods pushes her work up <strong>and</strong> across<br />
her canvases with power <strong>and</strong> sensitivity.<br />
The intermingling <strong>of</strong> lines supported<br />
by (<strong>and</strong> supporting) the wider shapes<br />
creates visual patterns that speak <strong>of</strong> the<br />
spontaneous dynamic <strong>of</strong> her creative<br />
process. This vibrant mix sends the<br />
paintings into a unique realm where<br />
they are both abstract interplays <strong>of</strong> color<br />
<strong>and</strong> shape as well as depictions <strong>of</strong> real<br />
subjects embraced by<br />
gentle <strong>and</strong> confident<br />
otherworldly lines.<br />
There is a dramatic,<br />
almost narrative<br />
motion to her<br />
canvases, a sensation<br />
enhanced by the<br />
strategically placed<br />
text.<br />
Tyice discovers her<br />
patterns by copying<br />
onto her canvas the<br />
shapes that result<br />
when pouring a small<br />
amount <strong>of</strong> color into<br />
water. The engaging<br />
ballets that she creates<br />
from this are stunning<br />
manifestations <strong>of</strong><br />
Tyice’s ability to<br />
capture the beauty<br />
<strong>of</strong> raw nature. She<br />
has described her<br />
paintings as a means<br />
<strong>of</strong> inspiring viewers to discover something<br />
beautiful hidden within themselves.<br />
Through this means <strong>of</strong> intimate<br />
communication, Tyice’s paintings are<br />
the manifestation <strong>of</strong> one soul speaking<br />
The World <strong>of</strong> 10,000 Things Acrylic & Pastel on Canvas 35.5” x 30”<br />
The Bliss <strong>of</strong> Being Acrylic & Mixed Media on Canvas 24” x 24”<br />
through the medium <strong>of</strong> the canvas. When<br />
we take them in, we feel the unique<br />
power <strong>and</strong> the aesthetic faith that lies at<br />
their core.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Tyice_<br />
Natasha.aspx<br />
71 <strong>Art</strong>isSpectrum
Noches Acrylic & Ink on Canvas 30” x 30”<br />
Continually formulating <strong>and</strong> re-formulating her world<br />
through moving poetic color <strong>and</strong> form, VéroniKaH<br />
connects with those around her through her melodic<br />
paintings. More than just a pleasurable pastime, VéroniKaH’s<br />
artistic practice is a therapeutic way to survive. However, her<br />
paintings consistently manage to evade solemn seriousness.<br />
Instead, she embraces a passionate palette <strong>of</strong> ruby, gold,<br />
<strong>and</strong> emerald, her paintings sparkling in their celebration <strong>of</strong><br />
life. Playful in their zealous gusto for both the pleasures <strong>and</strong><br />
perils <strong>of</strong> existence, VéroniKaH’s paintings are effervescent in<br />
color <strong>and</strong> transfixing in form. A self-taught artist, VéroniKaH’s<br />
works strike a poignant chord in all <strong>of</strong> us, mesmerizing us in<br />
their mystical fantasy <strong>and</strong> speaking to something pr<strong>of</strong>ound<br />
<strong>and</strong> shared in our collective existence. Gleefully spontaneous<br />
in her painting, VéroniKaH reminds us to seek out <strong>and</strong> realize<br />
the elements <strong>of</strong> magical whimsy hidden throughout our lives.<br />
These serenely blazing paintings urge us to value our own<br />
unique viewpoint. “Most <strong>of</strong> the time I let my intuition decide<br />
what to do without really thinking about it,” states VéroniKaH.<br />
“My technique is a continuous research <strong>of</strong> new visual effects<br />
never seen before.” Born in Agen, France, VéroniKaH<br />
currently lives <strong>and</strong> works in Montreal, Quebec. Her captivating<br />
paintings are exhibited <strong>and</strong> collected throughout Canada, as<br />
well as in the United States.<br />
www.veronikah.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/VéroniKaH.aspx<br />
72 <strong>Art</strong>isSpectrum<br />
VéroniKaH<br />
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Benjaporn Ngarmkrerkchote or “Apple Cox” is a deliciously fun<br />
artist whose artwork has delighted audiences around the world<br />
with her recognizable style. Her artwork appeared at Nordstrom,<br />
Pottery Barn, Starbucks at Barnes & Noble, Washington State<br />
History Museum, Traditional Home Magazine & many major<br />
retail outlets applied to a range <strong>of</strong> products including dinner &<br />
kitchenwares, gifts, store designs & education materials. Born in<br />
Bangkok,Thail<strong>and</strong>. Apple currently lives in Washington State.<br />
check for more Apple’s artwork at Agora gallery, New York<br />
also at www.<strong>Art</strong>-Mine.com <strong>and</strong> www.appleportfolio.com<br />
PHOTO : FLORA CASTALDI FLORA
New York City<br />
www.Agora-Gallery.com<br />
Agora Gallery<br />
presents<br />
Mecenavie Gallery <strong>Art</strong>ists<br />
P A R I S<br />
www.mecenavie.com<br />
in<br />
Paris - New York<br />
Here we art"<br />
Exhibiting in Gallery II<br />
June 4 - June 25, 2010<br />
Reception : June 10, 6-8pm<br />
530 West 25th St. Chelsea<br />
Aymeric NOA • Dominique Andrey • Francis Souchu<br />
Françoise Garret • Gérard Gantois • Isabelle Meunier<br />
Jasmine Le Nozac'h • Maria Teresa Bertina • Sistebane<br />
Sonia Lee • Sophie Raine • Stephane Rouxel<br />
"<br />
Inc<strong>and</strong>escent<br />
Digigraphie, edition <strong>of</strong> 5 35” x 47”<br />
Iglessias<br />
There is a mysticism to<br />
Iglessias’ works, inspired<br />
by his vision <strong>of</strong> an elegant<br />
universe where the realms<br />
<strong>of</strong> science <strong>and</strong> spirituality<br />
join together. Inner l<strong>and</strong>scapes<br />
<strong>of</strong> myth <strong>and</strong> the<br />
subconscious surround<br />
his peacefully illuminated<br />
figures under the electric<br />
dance <strong>of</strong> lights. His models become tranquil goddesses resting<br />
under the Aurora Borealis, the cool indigos, blues, violets, <strong>and</strong><br />
greens rippling as if seen underwater. Iglessias brings forth<br />
an intimate <strong>and</strong> sensual vision <strong>of</strong> the female form in dark <strong>and</strong><br />
light. His nudes lie dreamlike in their repose, emerging from<br />
the blackness that surrounds them in an inc<strong>and</strong>escent glow <strong>of</strong><br />
neon in the night. Iglessias’ dynamic, staged scenes are printed<br />
just as they are shot using a slower shutter speed on his<br />
digital camera <strong>and</strong> are never retouched or altered. Although<br />
completely self-taught, Iglessias has become noted for his fine<br />
art <strong>and</strong> fashion photography both internationally <strong>and</strong> in his native<br />
Spain.<br />
www.iglessias.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Iglessias.aspx<br />
Pamela<br />
Moore<br />
Pamela Moore describes<br />
her work as<br />
intuitive <strong>and</strong> dreamlike,<br />
<strong>and</strong> as such she<br />
calls her style “lyrical<br />
expressionism”. Working<br />
primarily with oil on<br />
Solitary Man Oil on Canvas 30” x 40” canvas, Moore creates<br />
images that reflect her<br />
experiences in foreign l<strong>and</strong>s. Deeply inspired by the places<br />
she has visited <strong>and</strong> traveled, Moore creates expressionist l<strong>and</strong>scapes<br />
that convey intriguing narratives. Each work is composed<br />
<strong>of</strong> pensive details <strong>and</strong> illustrates Moore’s imaginative<br />
placement <strong>of</strong> complementary colors. Moore’s sensitive locating<br />
<strong>of</strong> her subjects within each l<strong>and</strong>scape creates a rhythmic<br />
evolution <strong>and</strong> allows the viewer’s eye to travel along each work<br />
<strong>of</strong> art. The contrast <strong>of</strong> earthy values <strong>and</strong> bright punches <strong>of</strong> color<br />
contribute to the cadenced <strong>and</strong> dreamy nature <strong>of</strong> Moore’s<br />
work. The chosen hue also determines the overall mood <strong>of</strong><br />
each work. Sometimes dark <strong>and</strong> lush, <strong>and</strong> at other times light<br />
<strong>and</strong> airy, Moore’s lyrical expressions are more than representational<br />
exteriors, they express a veiled sentiment, unseen,<br />
concealed within each captured moment. Pamela Moore was<br />
born in New York but currently resides in Bozeman, Montana,<br />
USA.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Pamela_Moore.aspx<br />
73 <strong>Art</strong>isSpectrum
Susan Marx<br />
Painter Susan Marx’s devotion to startlingly<br />
jubilant color is contagious. Inspired by the<br />
French masters, such as Monet, Van Gogh<br />
<strong>and</strong> Matisse, Marx invigorates her canvases in<br />
dynamically immediate brushstrokes. Sparkling<br />
in vivacious tones, Marx’s motifs, such as lush<br />
flora or opulent oceans, are whispered through<br />
expressive, lyrical lines. Pastoral scenes are<br />
poetically textured with spirited energy, evoking<br />
a robust connection with the past. Marx’s<br />
effervescent use <strong>of</strong> light pierces through her<br />
canvases, stunning us into a sensual appreciation<br />
<strong>of</strong> our natural world. Ardently devoted to painting<br />
en plein air, or out <strong>of</strong> doors, Marx’s dedication to<br />
nature is lithe with her own personal emotions.<br />
Sensuous patterns, tempered with vigorous color,<br />
breathe life into Marx’s personal, yet ageless, Cabrits, Dominica, January 4, 2010 Acrylic on Masonite 16” x 20”<br />
compositions. “Color, the use <strong>of</strong> warm <strong>and</strong> cool<br />
colors <strong>and</strong> their combinations are <strong>of</strong> extreme importance, as are my vibrant dynamic brushstrokes, my personal h<strong>and</strong>writing,”<br />
explains Marx. “There is angst in the shapes <strong>and</strong> the line as the visual experience is turned into paint.” Perpetually questing<br />
for artistic inspiration, Marx received her Bachelor <strong>of</strong> Fine <strong>Art</strong>s at Boston University, eventually traveling to Giverny, Trouville,<br />
Honfleur, Etretat, Rouen, Arles <strong>and</strong> St. Remy to paint in the places <strong>of</strong> Monet <strong>and</strong> Van Gogh. Marx’s works are in many important<br />
private collections in the United States, Israel, France <strong>and</strong> Switzerl<strong>and</strong>. Susan Marx lives <strong>and</strong> works in Orange, New Jersey.<br />
www.susanmarxartist.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Susan_Marx.aspx<br />
Orgasmic Pain Acrylic on Canvas 30” x 20”<br />
74 <strong>Art</strong>isSpectrum<br />
Thomas Mainardi<br />
Thomas Mainardi’s paintings are a hybrid <strong>of</strong> subjective impressions<br />
<strong>and</strong> pop culture images that evoke myriad moods, including eroticism,<br />
melancholy <strong>and</strong> deeply felt longing. His work, which he calls Pop<br />
Expressionism, <strong>of</strong>ten appropriates already extant pictures <strong>of</strong> women or<br />
well-known cultural figures. Thomas adds layers <strong>of</strong> aesthetic resonance<br />
to the images, as well as his own motifs. He reveals the unspoken themes<br />
that inherently cling to our fantasies <strong>of</strong> sexuality <strong>and</strong> glamour. There is a<br />
darker realm beneath this glam imagery; Thomas’s paintings seem to be<br />
saying, as his work straddles the line between portrait <strong>and</strong> psychedelia.<br />
Thomas has said that the work process <strong>of</strong> painting constitutes a privileged<br />
universe <strong>of</strong> the “chromatic fields” which move him. For Thomas, art is a<br />
necessary subversion <strong>of</strong> normative social constraints which enables him<br />
to access a liberated sensuality <strong>and</strong> an exploration <strong>of</strong> fantasy. The result,<br />
his work, is a realm in which a glance, a posture, or a situation disturbs <strong>and</strong><br />
irresistibly draws the attention. Thomas attempts to explore the contrast<br />
<strong>of</strong> moods which his work conjures as well as female iconography <strong>and</strong> its<br />
codes <strong>of</strong> seduction which permeate our society. His paintings, with their<br />
enigmatic titles <strong>and</strong> contemporary sirens, open up whole new worlds for<br />
us.<br />
www.thomasmainardi.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Thomas_Mainardi.aspx
Laurence Brisson<br />
Laurence Brisson’s sculptures exhibit oriental stylized<br />
human forms that reflect the charming combination<br />
<strong>of</strong> both an old world feeling <strong>and</strong> a whimsical spontaneity.<br />
Working primarily with recycled paper, Brisson’s<br />
sculptures reflect strong curved forms <strong>and</strong> sinuous<br />
spherical shapes, juxtaposed by detailed facial features or<br />
painted patterns. The dominant bulbous forms create the<br />
movement within each piece as well as providing the work<br />
with rich highlights <strong>and</strong> deep shadows. Using a modified<br />
papier maché technique, Brisson’s work feels grounded,<br />
having a strong connection to the earth, yet manifests a<br />
light airiness through each rounded form. The contrasts<br />
created by each <strong>of</strong> these elements give Brisson’s artwork<br />
a modern yet primeval quality. Brisson states, about her<br />
work, “From these objects I feel a powerful indefinite force<br />
which gives me great serenity.” Brisson’s inspiration comes<br />
primarily from lacquered objects, masks, <strong>and</strong> statuettes<br />
from China, Japan, <strong>and</strong> Mexico. Laurence Brisson lives<br />
<strong>and</strong> works in Orleans, France.<br />
www.laurencebrisson.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Laurence_Brisson.aspx<br />
Red Roses 02<br />
Mixed Media on Canvas 24” x 48”<br />
With plush, vivacious colors, Adriana<br />
Cora’s work continually confronts beauty<br />
<strong>and</strong> identity in contemporary life. Using the<br />
female figure as her primary motif, Cora<br />
repeats, manipulates <strong>and</strong> reformulates<br />
this form in order to rethink <strong>and</strong> reinterpret<br />
beauty’s influence on identity. According<br />
to Cora, beauty is “identity based on<br />
collective foreign values, <strong>and</strong> paradoxically<br />
the interaction <strong>of</strong> these factors leads into<br />
introspection, dialogue.” Color, in its pure,<br />
unadulterated state, is paramount in Cora’s<br />
paintings. Brazen reds challenge brash<br />
blacks <strong>and</strong> whites in Cora’s seductive,<br />
patterned compositions. Prior to dedicating herself to painting, Cora trained in fashion design, which is evident in her intoxicating<br />
combinations <strong>of</strong> pattern, color <strong>and</strong> form. Largely self-taught in the tenants <strong>of</strong> painting <strong>and</strong> printmaking, Cora relies on inner<br />
contemplation for aesthetic direction. Born <strong>and</strong> raised in Buenos Aires, Argentina, Cora is world-renowned for her valiant, colorsaturated<br />
works. Adriana Cora has exhibited her works in Miami, Buenos Aires, Colombia, New York <strong>and</strong> Milan, Italy.<br />
www.adriana-cora.blogspot.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Adriana_Cora.aspx<br />
Timeless Paper 16” x 14”<br />
Adriana Cora<br />
75 <strong>Art</strong>isSpectrum
T. Mikey<br />
Wild Flowers - Lilac<br />
Ink <strong>and</strong> Enamel on Reverse Transparency 42” x 24”<br />
Endowing his works with an<br />
infectious, expressive energy, T.<br />
Mikey’s innovative artistic process is<br />
distinctly unique. Dramatic in poignant<br />
theme, color <strong>and</strong> form, Mikey’s newest<br />
technique, which he terms “Ink <strong>and</strong><br />
Enamel on Reverse Transparency,”<br />
enhances the work’s perceivable color<br />
gamut through an innovative process<br />
utilizing film, ink <strong>and</strong> enamel paints.<br />
At once refreshingly contemporary<br />
<strong>and</strong> stoically classic, Mikey’s newest<br />
technique is derivative <strong>of</strong> classic stained<br />
glass <strong>and</strong> painted glass techniques.<br />
However pioneering, Mikey’s “Ink <strong>and</strong><br />
Enamel on Reverse Transparency”<br />
is ultimately a vehicle for his larger<br />
altruistic thematic concerns. Like a<br />
true aesthete, Mikey’s passion for<br />
artistic creation is born out <strong>of</strong> his urge<br />
to beautify the vast stores <strong>of</strong> sadness<br />
around him. Mikey’s works are gasps<br />
<strong>of</strong> comforting charm in a harsh reality,<br />
his colors <strong>and</strong> forms exquisite respites<br />
<strong>of</strong> unadulterated, pleasurable beauty.<br />
Inhaling the immense, multi-faceted,<br />
76 <strong>Art</strong>isSpectrum<br />
cruel incongruence <strong>of</strong> the world, Mikey<br />
exhales exquisitely cosmic colors <strong>and</strong><br />
forms on flat surfaces, therefore acting<br />
as a herald <strong>of</strong> life’s majestic joys, which<br />
lurk behind every sorrow. Strongly<br />
defined by a quest for the bliss <strong>of</strong> true<br />
beauty, Mikey’s works remind us <strong>of</strong> the<br />
risk <strong>of</strong> hubris that we run due to life’s<br />
elegantly unpredictable events. In his<br />
works, Mikey seeks to make sense <strong>of</strong><br />
the nonsensical brutalities <strong>of</strong> our modern<br />
lives through celebratory, vivacious<br />
color <strong>and</strong> spirited, zealous forms.<br />
Therapeutic in complexity <strong>and</strong> serenely<br />
courageous in color, Mikey puts a visual<br />
voice to our most heartfelt stresses <strong>and</strong><br />
adversities. “The world just seems to<br />
need someone to give it flowers at the<br />
moment,” Mikey states about his artistic<br />
intent. “It is my hope that the Wildflowers<br />
series has brightened your day… even<br />
just a little.” Reckoning with darkness,<br />
Mikey intoxicates his viewers with<br />
evocative, fluidly tranquil compositions.<br />
An ardent explorer <strong>of</strong> art <strong>and</strong> creations<br />
since a child, Mikey was born <strong>and</strong> raised<br />
Wild Flowers - Tulip<br />
Ink <strong>and</strong> Enamel on Reverse Transparency 42” x 24”<br />
in Massachusetts, USA. T. Mikey is<br />
critically acclaimed <strong>and</strong> widely collected<br />
throughout the United States.<br />
www.tmikey.com<br />
michaeltracy@alum.risd.edu<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/T._<br />
Mikey.aspx
Cary Griffiths confronts the idea <strong>of</strong><br />
“art for art’s sake” in his dynamically<br />
melodic compositions. Griffiths believes<br />
that art should be incorporated into every<br />
aspect <strong>of</strong> daily life. This belief is fervently<br />
felt upon seeing Griffiths’ explosive,<br />
electrifying paintings. In these works,<br />
Griffiths allows the viewer to follow his<br />
pouring <strong>and</strong> dripping <strong>of</strong> paint into a colorful,<br />
fantastical world <strong>of</strong> sensuous color. In this<br />
sumptuous realm, the viewer is free to<br />
Midnight Circus Acrylic on Canvas 24” x 48”<br />
explore the essence <strong>of</strong> a thing, place or<br />
person. Griffiths doesn’t attempt to represent an object, but, as he states, the “reality <strong>of</strong> the force that the thing contains.” This<br />
energy is immediately palpable to the viewer through Griffiths’ dynamic, diverse color palette, which is applied in a vigorous,<br />
spirited harmony. Griffiths works primarily with acrylic paints, a medium which matches his focus on direct, quick underst<strong>and</strong>ing<br />
<strong>of</strong> the heart <strong>of</strong> a thing or being through lyrical abstraction. In his work, Griffiths incorporates aspects <strong>of</strong> the accidental or<br />
coincidental into his process, which results in a stimulating, evolving declaration <strong>of</strong> Griffiths’ emotive underst<strong>and</strong>ing <strong>of</strong> reality.<br />
Above all else, Griffiths’ passion to create is continually evident, encouraging the viewer to incorporate art into their everyday<br />
lives. Born in Salt Lake City, Utah, Cary Griffiths’ work receives critical acclaim both at home <strong>and</strong> abroad.<br />
www.carygriffithsart.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Cary_Griffiths.aspx<br />
Peter Rademacher<br />
German artist Peter Rademacher brings forth artworks<br />
that are immeasurably expressive <strong>and</strong> just as<br />
provocative with respect to subject matter, despite their<br />
<strong>of</strong>ten-diminutive scale. His works are largely on paper <strong>and</strong><br />
<strong>of</strong>ten recall the works <strong>of</strong> the Austrian Expressionist painter<br />
Egon Schiele, especially in his interpretations <strong>of</strong> human<br />
interaction – Rademacher blurs <strong>and</strong> readily crosses the line<br />
between figurative <strong>and</strong> abstract. Despite currently being a<br />
practicing physician, Rademacher experiments readily with<br />
printing <strong>and</strong> graphic techniques. He draws inspiration from<br />
unanticipated moments, encounters, <strong>and</strong> visual cues that,<br />
in turn, conjure up images within the inner workings <strong>of</strong> his<br />
mind. He then uses a variety <strong>of</strong> materials, including chalk,<br />
watercolor, ink, <strong>and</strong> charcoal, to translate his mental imagery<br />
onto a physically tangible medium.<br />
The inherent portability <strong>of</strong> paper allows Rademacher to create<br />
his spontaneous yet rhythmic compositions, reinforcing the<br />
idea <strong>of</strong> art as a means <strong>of</strong> capturing the complex array <strong>of</strong><br />
emotions <strong>of</strong> a particular moment in time. His use <strong>of</strong> wood-block<br />
printing techniques allows Rademacher to create multiple<br />
reproductions <strong>of</strong> a particular subject, yet he differentiates<br />
these reproductions by introducing different geometric forms.<br />
The existing contrasts between his materials add palpable<br />
tension to his works; the aggressive charcoal lines that <strong>of</strong>ten<br />
pervade his compositions seem to compete eagerly with the<br />
smooth <strong>and</strong> wide brushstrokes <strong>of</strong> watercolor <strong>and</strong> gouache.<br />
www.gallery-peter-rademacher.net<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Peter_Rademacher.aspx<br />
Cary Griffiths<br />
Torso II Watercolor & Gouache on Paper 16” x 12”<br />
77 <strong>Art</strong>isSpectrum
Andrej Krivda<br />
Midnight Ambers #1 Inkjet Print on Canvas, edition <strong>of</strong> 100 24” x 39.5”<br />
When confronted by a painting by Slovakian artist,<br />
Andrej Krivda, audiences may admire the wondrous<br />
color schemes, unusual stylization, <strong>and</strong> large scale. They<br />
may move in closer to examine the piece for brushstrokes,<br />
but to no avail. As moments pass <strong>and</strong> the eye travels around<br />
the canvas, down the slick vertical bars, <strong>and</strong> through the<br />
pr<strong>of</strong>usion <strong>of</strong> variegated tones, particular emotions begin<br />
to wash over the senses. At this moment the viewer<br />
experiences meaning devoid <strong>of</strong> language; emotional<br />
content without pictorial realism. This perfect accord <strong>of</strong><br />
color <strong>and</strong> pattern speak to one’s innate awareness.<br />
Since early in life, Krivda has been consumed by abstract<br />
painting. Over time he developed a unique approach to art<br />
making which coincided with his mathematical sensibilities<br />
<strong>and</strong> career in engineering. Krivda’s work st<strong>and</strong>s out because<br />
<strong>of</strong> the use <strong>of</strong> a ubiquitous consumer product not <strong>of</strong>ten used<br />
for creating original paintings: the personal computer. This<br />
began as a chance encounter with a computer virus. But<br />
with nearly endless choices <strong>of</strong> color <strong>and</strong> minute gradations<br />
in tone, for Krivda this is a flawless symbiosis between<br />
man <strong>and</strong> machine. As he explains, “These images are<br />
not generated by a computer, they are a result <strong>of</strong> endless<br />
search for a ‘harmonious’ pattern.”<br />
78 <strong>Art</strong>isSpectrum<br />
Visually speaking, Krivda was influenced by mid-20th<br />
century Abstract Expressionist greats, such as Barnett<br />
Newman <strong>and</strong>, especially, Gene Davis, who worked with<br />
a variety <strong>of</strong> new media in addition to painting. Krivda<br />
picks up the torch, employing his personal computer <strong>and</strong><br />
inkjet printers to create breathtaking images on oversized<br />
canvases. Krivda speaks to us in a language <strong>of</strong> color <strong>and</strong><br />
pattern. The sheer variety <strong>of</strong> tints <strong>and</strong> hues are spellbinding<br />
in their own right, but it is his mastery <strong>of</strong> subtle cues that<br />
our emotions receive from pattern <strong>and</strong> color that makes<br />
the art unforgettable. These messages transcend language<br />
<strong>and</strong> cultural barriers. As a way to bridge the gap between<br />
man <strong>and</strong> machine, Krivda “signs” each work in a Faustian<br />
manner with his own DNA, either a droplet <strong>of</strong> blood or a<br />
small str<strong>and</strong> <strong>of</strong> hair.<br />
Although he began creating this style <strong>of</strong> work only recently,<br />
the art world has taken notice. Private sales have been swift<br />
<strong>and</strong> he has exhibited in Italy, Canada, Slovakia, Austria,<br />
Switzerl<strong>and</strong> <strong>and</strong> the United States. Krivda lives <strong>and</strong> works<br />
in Wettingen, Switzerl<strong>and</strong>.<br />
www.krivda.com<br />
www.<strong>Art</strong>-Mine.com/<strong>Art</strong>istPage/Andrej_Krivda.aspx
As moments pass <strong>and</strong><br />
the eye travels around<br />
the canvas, down the<br />
slick vertical bars, <strong>and</strong><br />
through the pr<strong>of</strong>usion<br />
<strong>of</strong> variegated tones,<br />
particular emotions<br />
begin to wash over the<br />
senses.<br />
Andrej in his Studio<br />
The sheer variety <strong>of</strong><br />
tints <strong>and</strong> hues are<br />
spellbinding in their<br />
own right, but it is his<br />
mastery <strong>of</strong> subtle cues<br />
that our emotions<br />
receive from pattern<br />
<strong>and</strong> color that makes<br />
the art unforgettable.<br />
Nirvana #1 Inkjet Print on Canvas, edition <strong>of</strong> 100 24” x 39.5”<br />
“These images<br />
are not generated<br />
by a computer,<br />
they are a result<br />
<strong>of</strong> endless search<br />
for a ‘harmonious’<br />
pattern.”<br />
Frankensteins Revenge Inkjet Print on Canvas, edition <strong>of</strong> 100 24” x 39.5”<br />
79 <strong>Art</strong>isSpectrum
Xiuzhu Zhang<br />
As Time Goes By - Theatrical Life No.02 Oil on Canvas 63” x 47” Zhang in his Studio<br />
To encounter a Zhang Xiuzhu painting is to enter a world<br />
that openly celebrates the wonder <strong>of</strong> the human ego. His<br />
oil paintings <strong>of</strong> abstract <strong>and</strong> semi-abstract expressionism<br />
are visually stunning, beckoning the viewer to drink in the<br />
breathtaking vistas <strong>of</strong> his subjects as color masterfully<br />
intersects with form. Here, the paint is laid on thickly, with<br />
recognizable brushstrokes that only add to the sense <strong>of</strong><br />
motion <strong>and</strong> vitality on the canvas. Each stroke hums with<br />
life, creating a symphony <strong>of</strong> hue <strong>and</strong> movement that seems<br />
to capture the very life essence <strong>of</strong> the figures he seeks to<br />
portray.<br />
One <strong>of</strong> the greatest contemporary artists in China, Zhang<br />
Xiuzhu began his career as a traditional Chinese painter.<br />
This background forms the basis for his more recent<br />
work, where his technique reflects the traditional spiritual<br />
expressions <strong>of</strong> the Chinese style most readily recognizable<br />
in the Eastern ink wash. You can see this influence in his<br />
exceptionally balanced sense <strong>of</strong> composition, where forms<br />
are carefully arranged to convey a sense <strong>of</strong> harmony <strong>and</strong><br />
poise. But there is an energy here as well that renders his<br />
work anything but traditional. Essentially, he is able freely <strong>and</strong><br />
naturally to transform that Eastern spirit <strong>of</strong> representation<br />
<strong>and</strong> technique into a contemporary expression that is all<br />
his own.<br />
80 <strong>Art</strong>isSpectrum<br />
Zhang Xiuzhu works in a multitude <strong>of</strong> mediums other than oil<br />
painting, including ink washes <strong>and</strong> sculpture. His two most<br />
recent series, “Dreamscape” <strong>and</strong> “As Time Goes By,” infuse<br />
his subjects, contemporary Eastern women, with distinctive<br />
personality, psychic structure, <strong>and</strong> individual life experience.<br />
The figures show the archetypal delicate <strong>and</strong> charming<br />
manner that so <strong>of</strong>ten characterizes representations <strong>of</strong><br />
Oriental women overlaid with a fuzziness or haziness which<br />
conveys the complexity that stems from the mental <strong>and</strong><br />
spiritual realms <strong>of</strong> the human ego. What results is a glimpse<br />
into the true character <strong>of</strong> his subjects.<br />
Ultimately, Zhang Xiuzhu seeks to move beyond postmodernism<br />
to a liberated humanity that promotes the free<br />
development <strong>of</strong> personality <strong>and</strong> a harmonious society. For<br />
him, harmony necessarily builds up “a people’s jointly living<br />
order <strong>of</strong> tolerance <strong>and</strong> balance, which <strong>of</strong> course comprises<br />
respect to personality <strong>and</strong> tolerance.” His quest to promote<br />
this freedom <strong>of</strong> personality drives his artistic expression<br />
<strong>and</strong> results in work that lends invaluable insight into the<br />
complexities <strong>of</strong> the human self.<br />
www.z-arts.net<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Zhang_Xiuzhu.aspx
As Time Goes By - Theatrical Life No.10 Oil on Canvas 79” x 59”<br />
81 <strong>Art</strong>isSpectrum
Hugo Martínez Rapari<br />
Award-winning artist Hugo Martínez Rapari is a painter<br />
whose work examines the opposing aesthetic notions<br />
<strong>of</strong> dimensionality <strong>and</strong> flatness. His creativity is bound by a<br />
strong philosophical nature, the lasting quest to breathe in<br />
life <strong>and</strong> explore every treasure to be found.<br />
He has developed a unique visual method <strong>of</strong> sharing these<br />
daily insights. In a style that is decidedly bold, graphic,<br />
<strong>and</strong> colorful, Martinez Rapari paints sprawling seashores,<br />
lively tableaux <strong>of</strong> flotsam, <strong>and</strong> glittering cityscapes in acrylic<br />
on wood panel. His approach pairs solid areas <strong>of</strong> color<br />
outlined in a bold yet distinctly h<strong>and</strong>crafted strokes. The<br />
linework wiggles around the panel, infusing the work with<br />
movement <strong>and</strong> energy. The imagery is beautiful in its own<br />
right, but Martinez Rapari takes it to another level by using<br />
overlapping or juxtaposed panels floated within a light box<br />
frame. This treatment gives the smooth, vibrant application<br />
<strong>of</strong> paint a new sense <strong>of</strong> dimensionality, as strong overhead<br />
gallery lighting casts dark outlines directly onto the other<br />
panels. Space, absence <strong>of</strong> form, <strong>and</strong> shadow become<br />
shifting elements <strong>of</strong> the composition. Overlapping panels<br />
create new visual realities as the viewer shifts from one<br />
perspective to another. Much like one <strong>of</strong> his favorite<br />
subjects, the seaside, Martinez Rapari’s art is subject to<br />
powerful elemental movements. This means much to his<br />
Pradera de Otoño (Autumn Prairie) Acrylic on Wooden Plate 26” x 41” x 3”<br />
82 <strong>Art</strong>isSpectrum<br />
design, for nature is his muse <strong>and</strong> its influence rests at the<br />
core <strong>of</strong> his being with no pretense <strong>and</strong> no ego. Nature has<br />
“imperfect <strong>and</strong> complete beauty that needs no beautifiers,<br />
labels or identities in order to be,” he explains. “It simply is<br />
<strong>and</strong> unfolds before our eyes.” This naturalness can be found<br />
in each <strong>of</strong> his paintings where flowers or ocean currents<br />
radiate with power.<br />
To Martinez Rapari, the natural <strong>and</strong> man-made worlds are<br />
two sides <strong>of</strong> the same coin. His approach bestows the same<br />
significance to a lowly shell on the beach as to a towering<br />
skyscraper; either is a remarkable form to be explored <strong>and</strong><br />
appreciated both visually <strong>and</strong> philosophically. This charming<br />
sensibility is the impulse behind much <strong>of</strong> Martinez Rapari’s<br />
creative life <strong>and</strong> leaves him open to whatever crosses his<br />
path.<br />
Martinez Rapari exhibits his paintings frequently in Uruguay,<br />
Argentina, <strong>and</strong> the United States but he is not limited to<br />
painting. Hugo Martinez Rapari is also a successful framer,<br />
sculptor, <strong>and</strong> jewelry maker, using his talent with glass to<br />
create his sculptures <strong>and</strong> jewelry. He lives <strong>and</strong> works in<br />
Montevideo, Uruguay.<br />
www.themvdstudio.com<br />
www.<strong>Art</strong>-Mine.com/<strong>Art</strong>istPage/Hugo_Martínez_Rapari.aspx
Rebelión de las cometas (Rise <strong>of</strong> the Kites) Acrylic on Wooden Plate 26” x 42” x 3”<br />
Arena y Cielo de Tranquildad (S<strong>and</strong> <strong>and</strong> Sky <strong>of</strong> Calmness) Acrylic on Wooden Plate 26” x 42” x 3”<br />
83 <strong>Art</strong>isSpectrum
Sharing the experience<br />
at Agora Gallery<br />
by Karin Maraney<br />
How much do we really need to know? This question is one<br />
that is well-known <strong>and</strong> much debated in the arts, <strong>and</strong> which<br />
reaches the core <strong>of</strong> different ways <strong>of</strong> looking at <strong>and</strong> appreciating<br />
work. There is ongoing discussion over whether it is<br />
valuable to be able to know facts about the life <strong>of</strong> an artist, or<br />
whether it is, on the contrary, irrelevant – whether the work<br />
itself is all that is needed, <strong>and</strong> that further information is a distraction<br />
<strong>and</strong> a source <strong>of</strong> unnecessary confusion rather than <strong>of</strong><br />
enlightenment.<br />
Similar questions do arise in other fields – even in mathematics,<br />
one finds that a personal element added to a problem can animate<br />
interest <strong>and</strong> effort where a purely technical question may<br />
not have been able to; at least some <strong>of</strong> the fascination through<br />
the centuries with Fermat’s Last Theorem came from the circumstances<br />
<strong>of</strong> Fermat’s life <strong>and</strong> the teasing way in which he<br />
posed the problem. Similarly, we love to discover details about<br />
great discoveries or brilliant scientists. Yet although this level<br />
<strong>of</strong> inquiry can be fascinating, <strong>and</strong> can contribute to a fuller<br />
84 <strong>Art</strong>isSpectrum<br />
picture <strong>of</strong> how something happened, very <strong>of</strong>ten it does not add<br />
to our underst<strong>and</strong>ing <strong>of</strong> the most crucial thing <strong>of</strong> all – the actual<br />
solution or discovery, which we can use, apply <strong>and</strong> discuss<br />
without any idea about the lives <strong>of</strong> those involved.<br />
It is different when it comes to the arts. Yes, the work may<br />
have pr<strong>of</strong>ound depth all on its own, but the intensely personal<br />
aspect <strong>of</strong> much <strong>of</strong> creativity <strong>and</strong> creative output means that<br />
there is <strong>of</strong>ten a complex connection between artists’ personal<br />
stories <strong>and</strong> their work. Scholars investigate the life <strong>and</strong> times<br />
<strong>of</strong> Shakespeare not simply because they are interested, but<br />
because they hope it will add to the level <strong>of</strong> meaning we can<br />
discover in his lines. We are intrigued by the mystery <strong>of</strong> Van<br />
Gogh’s ear not only because it is a good story, but because<br />
the event clearly had an impact on the artist’s work, <strong>and</strong> underst<strong>and</strong>ing<br />
what happened <strong>and</strong> perhaps what it meant to him<br />
may enable us to better underst<strong>and</strong> the work itself.<br />
Of course, with the rise <strong>of</strong> increasingly easy ways to share <strong>and</strong>
ecord information, there are new ways to add this extra level<br />
to the experience <strong>of</strong> art. One method Agora Gallery has recently<br />
begun experimenting with is using video to allow artists<br />
to express their thoughts, <strong>and</strong> explain their methods <strong>and</strong> motivations,<br />
helped by the clarity <strong>of</strong> visual images added to their<br />
works. For those who do prefer to know more, rather than less,<br />
this is an interesting resource – accessible from the Agora Gallery<br />
website (www.Agora-Gallery.com).<br />
Related to the desire to share experiences <strong>of</strong> the work <strong>of</strong> our<br />
talented artists, we have also begun creating videos <strong>of</strong> the<br />
opening receptions that accompany every exhibition. Now you<br />
can share in the feeling <strong>of</strong> excitement <strong>and</strong> enjoy the sights <strong>of</strong><br />
an exhibition on opening night, as well as hear from artists regarding<br />
their emotions <strong>and</strong> ideas. Those who were there can<br />
relive fond memories <strong>and</strong> show their friends what it was like.<br />
The videos can be viewed on our site or our Facebook page<br />
(www.facebook.com/AgoraGalleryNY) <strong>and</strong> the innovation has<br />
already received a host <strong>of</strong> enthusiastic comments from our<br />
many wonderful fans. In this case, it seems that people feel<br />
that more information makes for an even better experience.<br />
Where Sky Meets Earth:<br />
The Luminous L<strong>and</strong>scapes<br />
<strong>of</strong> Victoria Adams<br />
July 10, 2010 – October 3, 2010<br />
Upcoming Exhibitions:<br />
Edo to Tacoma:<br />
Japanese Woodblock Prints<br />
September 4, 2010 – February 13, 2011<br />
Sitting for History:<br />
Portraiture from the Collection<br />
opens October 21, 2010<br />
Mighty Tacoma:<br />
Photographic Portrait 2010<br />
opens October 21, 2010<br />
American Chronicles:<br />
The <strong>Art</strong> <strong>of</strong> Norman Rockwell<br />
February 26, 2011 – May 30, 2011<br />
253.272.4258<br />
www.Tacoma<strong>Art</strong>Museum.org<br />
Victoria Adams, Morning Shimmer, 2003. Oil on linen, 57 ¼ × 70 inches.<br />
Tacoma <strong>Art</strong> Museum, Gift <strong>of</strong> the artist in honor <strong>of</strong> Janeanne Upp, courtesy<br />
<strong>of</strong> Winston Wächter Fine <strong>Art</strong>, Seattle <strong>and</strong> New York. Photo: Richard Nicol.<br />
85 <strong>Art</strong>isSpectrum
Pari Ravan<br />
Night <strong>of</strong> the South Acrylic & Oil on Canvas 53” x 43”<br />
Gracefully serene in form <strong>and</strong> subtly<br />
brisk in color, Pari Ravan’s paintings<br />
are ecstatically romantic in subject. With<br />
piercingly smooth brushwork, Ravan<br />
depicts her subjects, largely tranquil <strong>and</strong><br />
dreamlike in nature, with a quixotic sense<br />
<strong>of</strong> drama. Light effervesces through her<br />
compositions, reaching the viewer in<br />
delicately lit waves. Buoyant, vivacious<br />
blossoms <strong>and</strong> clouds mingle with calm,<br />
azure waters, intoxicating us with the<br />
marvel <strong>of</strong> our natural world. Reminiscent<br />
<strong>of</strong> Surrealism in style, Ravan’s paintings<br />
are derivative <strong>of</strong> the Old Masters, linking<br />
the art <strong>of</strong> today with the art <strong>of</strong> the past.<br />
However, this work resists thematic<br />
or stylistic categorization. Instead,<br />
for Ravan, her painting’s meaning or<br />
message rests with the viewer, who<br />
must imbue her exquisitely accessible<br />
works with their own underst<strong>and</strong>ing.<br />
Ravan uses poetically suggestive titles,<br />
nudging the viewer into the experience<br />
<strong>of</strong> her sublimely fantastical paintings.<br />
From these lyrical names, we enter into<br />
Ravan’s delicately wondrous paintings,<br />
unearthing our own personal truths<br />
<strong>and</strong> narratives in the process. “My art<br />
should guide the spectator to his own<br />
86 <strong>Art</strong>isSpectrum<br />
emotions <strong>and</strong> experience <strong>and</strong> results.<br />
There are many possibilities to come to<br />
as conclusions,” states Ravan. Indeed,<br />
Ravan explores the vicissitudes <strong>of</strong> the<br />
human psyche on her canvases, deftly<br />
connecting her viewers with the people<br />
around them. Ravan, with pr<strong>of</strong>essional<br />
piloting experience, spirits us away on<br />
soulful, charming adventures <strong>of</strong> our own<br />
hearts. Born in Abadan, Iran, Ravan is a<br />
self-proclaimed “w<strong>and</strong>erer,” inquisitively<br />
roaming through places <strong>and</strong> our<br />
essences in her work <strong>and</strong> life. Now an<br />
internationally critically acclaimed artist,<br />
Ravan began painting <strong>and</strong> drawing as<br />
a child, <strong>and</strong> won her first painting prize<br />
at age fourteen. Ravan lives <strong>and</strong> works<br />
in Germany, <strong>and</strong> in 2009 won the Gold<br />
Medal for Painting <strong>of</strong> the MCA in Cannes,<br />
France. Most recently, Ravan exhibited<br />
in the Chapelle des Pénitents Blancs<br />
in Vence, France <strong>and</strong> the Biennale<br />
Internationale dell’<strong>Art</strong>e Contemporanea<br />
in Florence, Italy. Pari Ravan’s paintings<br />
are to be found in important private<br />
collections worldwide.<br />
www.pariravan.de<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Pari_<br />
Ravan.aspx<br />
Happiness Acrylic & Oil on Canvas 53” x 43”<br />
Pari in her Studio
Ellen Juell<br />
Ellen Juell’s impressionistic acrylic paintings capture a colorful<br />
expression <strong>of</strong> the human capacity for curiosity <strong>and</strong> our search for<br />
harmony <strong>and</strong> fulfillment. Juell is inspired by the human figure <strong>and</strong> facial<br />
expressions. Her focus on these particular details parallels her belief,<br />
<strong>and</strong> the ideas surrounding it, that art is a communicative endeavor<br />
whether it is a form <strong>of</strong> verbal or non-verbal communication. Juell’s use<br />
<strong>of</strong> bold, vibrant, <strong>and</strong> complementary colors give her works a “freshness”<br />
<strong>and</strong> help communicate her feeling that art should be used as a vehicle<br />
to spread optimism <strong>and</strong> inspire others. Working with quick, rapid<br />
brushstrokes gives Juell’s work a strong sense <strong>of</strong> movement <strong>and</strong> her<br />
cropped compositions bring the viewer into a more intimate relationship<br />
with her images. All <strong>of</strong> these elements facilitate Juell’s view that art can<br />
express more than what is visible <strong>and</strong> can communicate a buoyancy <strong>of</strong><br />
life through various forms <strong>of</strong> human expression. Ellen Juell is currently<br />
living <strong>and</strong> working in Oslo, Norway.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Ellen_Juell.aspx<br />
Violence Acrylic on Canvas 48” x 36”<br />
Activity <strong>and</strong> Strength <strong>of</strong> Women<br />
Acrylic on Canvas 20” x 16”<br />
Trinidad Pino<br />
Trinidad Pino’s intriguing expressions <strong>of</strong> nature transport each viewer<br />
into a vivacious, playful, <strong>and</strong> exciting world full <strong>of</strong> organic forms <strong>and</strong><br />
shapes. Each work is a quirky <strong>and</strong> intelligent exploration <strong>of</strong> natural forms.<br />
Pino’s illustrative <strong>and</strong> abstract style gives her work a dreamy quality<br />
that sends the imagination into a whole other world that is waiting for<br />
discovery. Working primarily with oils, Pino’s work emphasizes ingenious<br />
organic shapes composed with a unique deftness. These qualities, along<br />
with a creative contrast <strong>of</strong> muted <strong>and</strong> vibrant colors, make her work<br />
resonate emotionally. Pino captures unique compositional arrangements<br />
by cropping certain details <strong>of</strong> each natural subject. Pino states that she<br />
paints in a vigorous, spontaneous manner. Her expressionistic style<br />
matches her process <strong>and</strong> her search for the creative <strong>and</strong> invigorating<br />
power <strong>of</strong> nature. Each <strong>of</strong> Pino’s images conveys a consciousness that<br />
implores us to seek out the details <strong>and</strong> subtleties <strong>of</strong> nature <strong>and</strong> explore<br />
our relationship with it. Trinidad Pino currently lives <strong>and</strong> works in Miami,<br />
Florida.<br />
www.trinidadpino.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Trinidad_Pino.aspx<br />
87 <strong>Art</strong>isSpectrum
Eleanor Sackett<br />
native <strong>of</strong> New York City, Eleanor Sackett grew up immersed in<br />
A art, music, <strong>and</strong> theater, a classical background that she brings to<br />
her portraitures. Working in oils, she uses representational strategies<br />
<strong>of</strong> proportion, tonality, color <strong>and</strong> composition in order to infuse life <strong>and</strong><br />
beauty into her renditions <strong>of</strong> those individuals who sit for her. Her portraits<br />
go beyond photorealism to reflect the human emotion <strong>and</strong> soul that lie<br />
behind the face. Relying exclusively on natural light, her accomplished<br />
use <strong>of</strong> light <strong>and</strong> shadow contributes to the emotional poignancy inherent<br />
in her work.<br />
A student <strong>of</strong> Paul Ingbretson, Sackett applies tremendous technical<br />
skill <strong>and</strong> excellent draftsmanship to her portraits, complemented by her<br />
sophisticated use <strong>of</strong> color, keen sense <strong>of</strong> composition <strong>and</strong> eye for detail.<br />
But what makes her work so striking is the honesty <strong>and</strong> expressiveness<br />
in the faces she paints. Men, women, <strong>and</strong> children are vibrant <strong>and</strong><br />
alive, their eyes full <strong>of</strong> hope <strong>and</strong> curiosity, laughter <strong>and</strong> pensiveness,<br />
confidence <strong>and</strong> doubt. By considering the portrait, the viewer can begin<br />
to underst<strong>and</strong> <strong>and</strong> perhaps even relate to the many stories behind the<br />
face. In the end, Sackett brings warmth <strong>and</strong> humanity to her images,<br />
creating portraits <strong>of</strong> interest <strong>and</strong> beauty that are both relevant <strong>and</strong><br />
timeless.<br />
www.eleanorsackett.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Eleanor_Sackett.aspx<br />
Psyche Series, Analytic Dyad<br />
Acrylic on Paper 30” x 22”<br />
88 <strong>Art</strong>isSpectrum<br />
Philip Mould Oil on Canvas 25” x 20”<br />
Dusanka Kralj<br />
Once the layers <strong>of</strong> paint dry, Dusanka Kralj’s work is only half<br />
finished. Beginning from the inside out before delving back in,<br />
she builds up successive levels <strong>of</strong> color–<strong>of</strong>ten proceeding from bolder<br />
shades to subdued ones–then scrapes <strong>and</strong> s<strong>and</strong>s through to reveal hues<br />
concealed beneath. Visually, the effect evokes Abstract Expressionists<br />
like Mark Rothko or Helen Frankenthaler (whom Kralj cites as a major<br />
influence), though each canvas has a distinct sculptural quality that is<br />
very much unique. Peeling back the layers <strong>of</strong> her own work, she invites<br />
viewers into her pieces by fostering a palpable air <strong>of</strong> excitement <strong>and</strong><br />
possibility.<br />
Kralj, whose parents emigrated to the U.S. from Slovenia <strong>and</strong> who<br />
studied art <strong>and</strong> art history at the University <strong>of</strong> Wisconsin <strong>and</strong> in Europe,<br />
starts from formal compositions <strong>of</strong> color <strong>and</strong> geometry. With rectilinear<br />
swaths <strong>of</strong> color piled atop one another, she makes irregular incisions<br />
<strong>and</strong> dissolutions that come as dashes <strong>of</strong> whimsy, wildly expressive<br />
slices into larger compositions that appear so carefully plotted <strong>and</strong> filled<br />
out. The resulting tensions–between surface <strong>and</strong> depth, poise <strong>and</strong><br />
exhilaration, calm <strong>and</strong> uncertainty–make Kralj’s paintings thrilling <strong>and</strong><br />
very rewarding to explore. Gentle gradients from one hue to the next<br />
are punctuated with unexpected bursts <strong>of</strong> color <strong>and</strong> texture, proving<br />
that anything is possible at any time.<br />
www.dusankakralj.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Dusanka_Kralj.aspx
Th e Ar T<br />
o f Pricing Ar T<br />
by Karin Maraney<br />
Recently there was a fascinating discussion<br />
on the Agora Gallery Facebook<br />
wall about the methods that different<br />
artists use to price their artwork.<br />
<strong>Art</strong>ists from all over the world joined<br />
in the debate, <strong>and</strong> a number <strong>of</strong> different<br />
issues <strong>and</strong> factors were raised <strong>and</strong><br />
argued over. There was, however, an<br />
overall trend by which certain considerations<br />
came up again <strong>and</strong> again, from a<br />
variety <strong>of</strong> different artists. Four things in<br />
particular kept coming up. In this article<br />
we’ll take a look at each <strong>of</strong> these, <strong>and</strong><br />
compare them to the elements taken into<br />
consideration by those with pr<strong>of</strong>essional<br />
experience in pricing, such as gallery directors<br />
or agents.<br />
The first factor that artists mentioned frequently<br />
was size, which seems to strike<br />
many artists as important. Drini Ohara’s<br />
comment seemed to sum up the feeling<br />
<strong>of</strong> many on this issue; “For me it’s obvious<br />
that the bigger the painting the higher<br />
the cost.” Some artists simply come at<br />
the pricing question with a tape measure<br />
in h<strong>and</strong>, most match size with other factors<br />
they deem important.<br />
This is not an unreasonable preoccupation<br />
– larger pieces take up more<br />
studio space, <strong>and</strong> <strong>of</strong>ten more time, <strong>and</strong><br />
can have a more imposing aspect, so<br />
it seems as though they ought to be<br />
worth more. But this isn’t really the case<br />
– some <strong>of</strong> the greatest works in history<br />
are surprisingly small in size, though not<br />
in beauty or influence; a comment <strong>of</strong>ten<br />
made by people seeing the Mona Lisa<br />
for the first time.<br />
The second main consideration for many<br />
artists was the cost <strong>of</strong> the materials used<br />
– something that seems fairly intuitive.<br />
After all, the amount spent on materials<br />
was a direct expense undertaken by the<br />
artist on behalf <strong>of</strong> the work which result-<br />
ed from it, <strong>and</strong> if they used diamonds as<br />
part <strong>of</strong> the piece (as in Damien Hirst’s<br />
famous gem-encrusted skull, ‘For the<br />
Love <strong>of</strong> God’) then they might expect<br />
more from the work in terms <strong>of</strong> price than<br />
if they had used, say, colored sequins.<br />
The trouble with this<br />
logic is that buyers<br />
are not necessarily<br />
concerned with<br />
which materials you<br />
wanted to explore, or<br />
felt would best suit a<br />
piece, <strong>and</strong> might not<br />
be interested in paying<br />
more, even for a<br />
piece they much admire,<br />
because you<br />
used gold rather than<br />
gold-colored paint.<br />
Damien Hirst’s skull<br />
was unveiled with the<br />
price tag <strong>of</strong> ₤50 million,<br />
which translates<br />
as over $75 million.<br />
Of course this is an<br />
extreme example,<br />
but it highlights the<br />
point that this sort<br />
<strong>of</strong> accounting is the<br />
kind you should only<br />
attempt if you’re extremely<br />
confident in<br />
having an audience<br />
to match it.<br />
Thirdly, many artists mentioned the time<br />
that went into the work. Once more, this<br />
seems like a very obvious thing to factor<br />
in, on the basis that time is money<br />
<strong>and</strong> that the time spent producing that<br />
painting was the time you spent working<br />
at your job, your career –time that<br />
could equally have been spent differently.<br />
There’s also the energy expended<br />
during that time, which tends to be more<br />
when the whole process took longer.<br />
Yet again, though, there is a problem<br />
with this instinctive way <strong>of</strong> doing things.<br />
Concentrating on time blocks the fact<br />
that sometimes it takes time because <strong>of</strong><br />
Dusanka Kralj’s work is built up over a considerable period <strong>of</strong> time,<br />
with every piece the result <strong>of</strong> careful layering which means that each<br />
individual work is returned to many times in a patient, painstaking<br />
process.<br />
lack <strong>of</strong> experience or expertise; someone<br />
who has been painting for ten years<br />
might be able to create a similar piece<br />
much faster than someone who has<br />
been painting for only a year or two simply<br />
because <strong>of</strong> their greater experience. If it’s<br />
a new style that you’re trying out, it’s likely<br />
to take far longer than if you’d created<br />
a painting using techniques with which<br />
you’re already familiar. If you think about<br />
it, it’s not fair to price according to something<br />
which can be affected in this way.<br />
89 <strong>Art</strong>isSpectrum
The large scale <strong>of</strong> Ji Chen’s paintings adds to their strength <strong>and</strong> appeal as colors <strong>and</strong> atmosphere combine with size to form arresting works.<br />
The fourth <strong>and</strong> last factor that came up<br />
many times was the level <strong>of</strong> attachment<br />
the artist feels to the painting – how proud<br />
they are <strong>of</strong> it, how much they loved painting<br />
it, how hard it will be to let it go. Eva<br />
Dincher mentioned ‘the intensity <strong>of</strong> the<br />
thoughts’ she had when she was painting,<br />
<strong>and</strong> it’s easy to see why this seems<br />
relevant. As Eva said, it is hard work! Besides,<br />
a close relationship can be formed<br />
between artist <strong>and</strong> piece during the intense<br />
creative process, <strong>and</strong> breaking<br />
that <strong>of</strong>f enough to sell the work can be<br />
emotionally difficult, something on which<br />
many artists made moving comments.<br />
On the other h<strong>and</strong>, this pr<strong>of</strong>oundly subjective<br />
matter is not a sound basis on<br />
which to decide the pricing <strong>of</strong> your work.<br />
A piece may have great meaning for you<br />
because <strong>of</strong> the place or people it records,<br />
the time in your life when you created it,<br />
the techniques you were perfecting or<br />
experimenting with at that point – none<br />
<strong>of</strong> which impact how others view it, or<br />
what they are willing to pay for it. These<br />
things are not a part <strong>of</strong> the piece itself.<br />
As we have seen, there are significant<br />
90 <strong>Art</strong>isSpectrum<br />
problems with the pricing methods that<br />
many artists use – although they appear<br />
intuitive, even logical, they may lead to<br />
misleading results by which an artist can<br />
end up either far overvaluing their work,<br />
or grossly undervaluing it. This isn’t to<br />
say you should entirely disregard your<br />
instincts – if it is a painting for which you<br />
The bold, expressive paintings <strong>of</strong> Canadian artist VéroniKaH are filled with the artist’s own love <strong>of</strong><br />
life, the emotions <strong>of</strong> the works reflecting their creator’s feelings <strong>and</strong> communicating themselves to<br />
the viewer.
have a deep affection, which perhaps<br />
has strong emotional significance for you<br />
as an artist, then you can keep it back a<br />
little, <strong>and</strong> agree to sell it only if the price<br />
really does seem enough to overcome<br />
that. These instincts do have a place, but<br />
the important point is that they cannot be<br />
used consistently or reliably to price your<br />
work on a regular basis.<br />
The pr<strong>of</strong>essionals <strong>of</strong> the art world rely<br />
on different factors, <strong>and</strong> they are able to<br />
use them consistently to arrive at comparable<br />
pricing structures which reflect<br />
the reality <strong>of</strong> the art world. There are a<br />
number <strong>of</strong> elements that they take into<br />
account, <strong>and</strong> to an extent the process<br />
will be affected by the individual’s pr<strong>of</strong>essional<br />
experience, <strong>and</strong> their proximity to<br />
a center <strong>of</strong> the international art world. Of<br />
the many things they take into account,<br />
we will discuss a few here that are particularly<br />
useful for artists themselves to<br />
bear in mind.<br />
One major consideration can be the<br />
level <strong>of</strong> public recognition the artist has<br />
received, such as participation in exhibitions<br />
<strong>and</strong> competitions, awards <strong>and</strong><br />
honorable mentions. Whether or not the<br />
artist has been published may also be a<br />
matter <strong>of</strong> interest, <strong>and</strong> if so, which publications<br />
<strong>and</strong> regarding what sorts <strong>of</strong> issues,<br />
or in what capacity. These sorts <strong>of</strong><br />
things represent tangible evidence that<br />
the artist plays a dynamic, recognized<br />
role in the art world, something that is<br />
clearly <strong>of</strong> relevance when considering<br />
pricing.<br />
Somewhat controversial, but nevertheless<br />
significant, is the level <strong>of</strong> art education<br />
the artist possesses. This is not to<br />
deny that self-taught artists can produce<br />
work that is powerful <strong>and</strong> valuable, but<br />
when thinking about this it is important<br />
to bear in mind that art is a career, in<br />
some respects like any other. Lawyers,<br />
teachers <strong>and</strong> so on can reasonably expect<br />
that their prospects will be improved<br />
by gaining an additional degree – <strong>and</strong> in<br />
many pr<strong>of</strong>essions a first degree is a requirement<br />
for even entry level positions.<br />
<strong>Art</strong> education is relevant, in the added<br />
awareness <strong>of</strong> history, genres <strong>and</strong> so on<br />
that it brings to an artist <strong>and</strong> their work.<br />
That said, it is only one <strong>of</strong> many factors<br />
– one that can be balanced out by other<br />
things.<br />
Another important issue is the artist’s<br />
level <strong>of</strong> experience, both in the art world<br />
generally <strong>and</strong> in the particular medium<br />
they are currently favoring. This is partly<br />
for the simple reason that experience<br />
tends to increase skill <strong>and</strong> expertise,<br />
<strong>and</strong> thus directly adds value to finished<br />
works. Another part <strong>of</strong> it, though, is that<br />
an artist who has been successful in one<br />
medium might have trouble reproducing<br />
that success if they take on a new <strong>and</strong><br />
different medium – <strong>of</strong>ten it takes time for<br />
enthusiasm to build up after a change,<br />
even among established buyers. The job<br />
<strong>of</strong> the pr<strong>of</strong>essional is, in part, to determine<br />
a reasonable price that people will<br />
be willing to pay in order to own the art,<br />
making anything that impacts on how established<br />
an artist is extremely relevant.<br />
A key factor, which is related to many <strong>of</strong><br />
those above, is the artist’s past history <strong>of</strong><br />
sales. It is vital to know whether an artist<br />
has a secure following <strong>of</strong> regular buyers,<br />
or if they are regularly successful in<br />
selling work when they participate in art<br />
fairs, or even if they are well known <strong>and</strong><br />
popular within a particular area or genre.<br />
This makes obvious practical sense –<br />
pricing is directly related to what people<br />
are willing to pay, <strong>and</strong> whether they are<br />
willing to pay, <strong>and</strong> down-to-earth practicalities<br />
are important when dealing with<br />
the sensitive area <strong>of</strong> pricing.<br />
The conclusion is, ultimately, that pricing<br />
art accurately <strong>and</strong> reasonably is a challenging<br />
<strong>and</strong> complex task. It is difficult<br />
to find the right balance between pricing<br />
yourself beyond what buyers are wiling to<br />
pay, <strong>and</strong> undervaluing your work through<br />
lack <strong>of</strong> confidence or experience. The<br />
help <strong>of</strong> art world pr<strong>of</strong>essionals can be<br />
valuable, as is bearing in mind the tips<br />
in this article – both which factors you<br />
should add to the equation, <strong>and</strong> which<br />
ones you shouldn’t rely on too heavily. In<br />
the end, though, it’s your work, so make<br />
sure that you’re comfortable with the decisions<br />
you have reached.<br />
R<strong>and</strong>y Covey creates unusual sculptures in a process that begins with paper, continues with wax,<br />
<strong>and</strong> ends in metal, highly polished to enable the piece to interact with its environment through the<br />
reflections.<br />
91 <strong>Art</strong>isSpectrum
The Picasso <strong>of</strong> Jazz... Miles Davis<br />
by Lynda Pogue<br />
Who knew?<br />
Research for this article has been unfolding for several<br />
months.<br />
Every time I asked someone the question “Did you know that<br />
when he could physically no longer blow his horn the way he<br />
wanted to, that Miles Davis turned all that genius into painting?”…<br />
each person expressed a somewhat surprised look on<br />
his or her face <strong>and</strong> replied “No. I didn’t know that.”<br />
Millions are aware <strong>of</strong> Miles Davis’ story as THE master <strong>of</strong> ‘cool<br />
jazz’ … however, few <strong>of</strong> those dedicated <strong>and</strong> adoring jazz fans<br />
are aware <strong>of</strong> Miles’ equally brilliant talent as a painter.<br />
You, dear reader, might be an opera fan, or you love blues… or<br />
rock ‘n roll… or rap… or may secretly / boldly listen to country.<br />
You may not love or even like jazz however let’s take a moment<br />
to consider a couple <strong>of</strong> things about the jazz <strong>of</strong> Miles Davis.<br />
As the <strong>of</strong>ficial Miles Davis website (http://www.milesdavis.com/<br />
art.asp) says:<br />
Miles Davis was the “Picasso <strong>of</strong> Jazz,” reinventing himself<br />
<strong>and</strong> his sound endlessly in his musical quest. He was an artist<br />
that defied (<strong>and</strong> despised) categorization, yet he was the forerunner<br />
<strong>and</strong> innovator <strong>of</strong> many distinct <strong>and</strong> important musical<br />
movements.<br />
Why say Miles is Picasso-like? Because the master <strong>of</strong> cubism,<br />
Picasso, continually reinvented / created new visions for himself.<br />
His whole way <strong>of</strong> approaching his art was pure jazz. His<br />
paintings, like Davis’ jazz, were all about complete synergy.<br />
Complicated simplicity.<br />
Miles said: I always listen to what I can leave out. And Picasso<br />
said: <strong>Art</strong> is the elimination <strong>of</strong> the unnecessary... I begin with<br />
an idea <strong>and</strong> then it becomes something else... Why do two<br />
colors, put one next to the other, sing? Can one really explain<br />
this? No.<br />
92 <strong>Art</strong>isSpectrum<br />
Miles Davis painting in his Central Park South Studio<br />
© The Miles Davis Estate<br />
Pure jazz.<br />
If you’re interested in seeing as well as hearing the music<br />
that’s had musicians talking for over 50 years, watch Herbie<br />
Hancock on YouTube discussing the inimitable approach Miles<br />
took to creating his music: “He would put people with one style<br />
together with people who played a different style… or maybe<br />
a contrasting style. Most people wouldn’t dare do this because<br />
they think that’s not gonna work. But Miles would put all these<br />
elements together because he would trust the honesty <strong>of</strong> the<br />
people he was working with… he wanted to capture the spirit<br />
<strong>of</strong> discovery. His touch was so gorgeous… his swing was relaxed<br />
<strong>and</strong> yet in the pocket.”<br />
Untitled by Miles Davis<br />
© The Miles Davis Estate
There’s a great deal to be emulated from this way <strong>of</strong> approaching<br />
your life’s work… trusting your instincts to know the exact<br />
moment when to enter, the exact moment when to join in, <strong>and</strong>,<br />
the exact moment when to stop.<br />
In 1980, after a stroke, Miles began to seriously exp<strong>and</strong> his<br />
talent in yet another new direction by seeking expression <strong>and</strong><br />
inventiveness through visual art. Just like you can see color<br />
when you listen to his music, you can hear his trumpet when<br />
you view his art.<br />
Miles was interviewed by Mike Zwerin (www.culturekiosque.<br />
com) <strong>and</strong> said “The guy who looks after my house in California,<br />
Mike, he calls me Chief. I say ‘Mike, how do you like this?’<br />
He says, ‘I liked it, Chief...just before you finished it.’ So he<br />
thinks I spoiled it by making too much. I have to learn to stop.<br />
I know how to stop with music, but you have this problem <strong>of</strong><br />
balance with paint <strong>and</strong> it’s different.”<br />
He discovered when to stop <strong>and</strong> he established himself as a<br />
tremendously accomplished painter who applied bold, vibrant<br />
color <strong>and</strong> movement to his canvases, reflecting the consistently<br />
changing moods <strong>and</strong> tempos <strong>of</strong> his musical compositions.<br />
His scarcity <strong>of</strong> notes <strong>and</strong> <strong>of</strong> colors goes h<strong>and</strong> in h<strong>and</strong>. As in<br />
anything in life, the lesson is: Don’t force it.<br />
When asked by Zwerin: “Do you approach a canvas like a musical<br />
composition, with some form in mind? Or do you improvise<br />
it like a solo as you go along?”<br />
Miles replied: “The color. I get the color first. Then all the rest<br />
I improvise. Lines <strong>and</strong> circles. Maybe I’ll want to wiggle the<br />
lines; maybe I’ll draw a breast <strong>and</strong> an eye. I work from the subconscious,<br />
like music. It has to do something to me. I couldn’t<br />
write a piece <strong>of</strong> music that doesn’t make me tap my foot or<br />
make me feel something inside. Once the form is there, it’s like<br />
an arrangement with openings for solos. It’s a matter <strong>of</strong> balance.<br />
You can’t have too much black. Like you can’t have too<br />
much saxophone. Supposing there’s a composition <strong>and</strong> the<br />
saxophone player can’t get the style. You have to get another<br />
guy to fit in there. Like another color. Don’t force it.”<br />
Miles’ art, since his death, had been largely under wraps with<br />
only a h<strong>and</strong>ful <strong>of</strong> one-<strong>of</strong>f shows showcasing these fabulous<br />
works. Celebrities such as Quincy Jones, Prince, Phil Collins<br />
<strong>and</strong> Diana Ross own work from previous collections.<br />
Jonathan Poole acquired the exclusive European rights to<br />
Miles’ artworks at his gallery, Compton Cassey Gallery in the<br />
UK. Poole says that “in contrast to his rich formal education<br />
as a musician, Miles as an artist was mostly self-taught. As<br />
his work matured his direction changed with integrating, swirling<br />
abstracts. He transformed his world <strong>of</strong> sound into shapes<br />
<strong>and</strong> colors <strong>and</strong> worked primarily with acrylic, pastels, pencil<br />
<strong>and</strong> markers, especially favoring large canvases with ample<br />
space.”<br />
It’s always an exciting surprise when you find that someone<br />
you know to be a master <strong>of</strong> one craft is also a master <strong>of</strong> another.<br />
Although you might wonder… why is it such a big surprise?<br />
Tony Bennett’s a fabulous painter. Bryan Adams is an<br />
exceptional photographer. Anthony Quinn was an amazing<br />
sculptor. Sir Paul’s a talented painter as is Grace Slick <strong>and</strong><br />
Ronnie Wood.<br />
Haiti by Miles Davis<br />
© The Miles Davis Estate<br />
What can artists or anyone else learn from this?<br />
That behind the talent you know you have is another hidden<br />
<strong>and</strong> sometimes dormant talent. Your innate abilities are transferable<br />
to another medium / pathway in your life.<br />
Let loose <strong>and</strong> give a free rein to it. Who knew?<br />
Note:<br />
There are 21,600,000 Miles Davis sites on Google.<br />
If you look up “cool” in the dictionary, the definition should<br />
be: Miles Davis.<br />
Miles’ Kind Of Blue is the best-selling jazz album ever. Soulful<br />
to the bone.<br />
Thanks to Compton Cassey Gallery for giving ARTisSpectrum<br />
the rights to showcasing Miles Davis’ painting <strong>and</strong> photo.<br />
(http://www.jonathanpoole.co.uk/)<br />
Lynda Pogue is an award-winning Canadian artist, speaker<br />
<strong>and</strong> writer who lives near Toronto, Ontario. She is represented<br />
by Phar<strong>and</strong>◊<strong>Art</strong> <strong>and</strong> FAD Fine <strong>Art</strong> Gallery in Canada <strong>and</strong> she<br />
invites you to visit her website at lyndapogue.com.<br />
93 <strong>Art</strong>isSpectrum
©Alex Hook Sound <strong>of</strong> Paradise 32” x 39”<br />
94 <strong>Art</strong>isSpectrum<br />
D. Loren Champlin<br />
Alex Hook<br />
Alej<strong>and</strong>ro M<strong>and</strong>el<br />
Mary Nangah<br />
Barbara Palka Winek<br />
Terry Wang<br />
Nathalie Weis<br />
June 4 - 25, 2010<br />
Reception: Thursday, June 10, 6-8pm<br />
Enigmatic Realms<br />
530 West 25th Street,<br />
Chelsea, New York, NY 10001<br />
www.Agora-Gallery.com
Elisabeth Guerrier<br />
The clutter <strong>and</strong> waste <strong>of</strong> the contemporary world finds a voice in<br />
Elisabeth Guerrier’s works. Capturing the interest in the everyday,<br />
her photographs transcend their common roots becoming still lifes <strong>of</strong><br />
modern existence, showing the unexpected beauty in the mundane.<br />
The flexibility <strong>of</strong> her digital medium allows Guerrier to sculpt the images<br />
to her inner vision. Surprising busts <strong>of</strong> pure color hues emerge from<br />
heaped metal, as a subtle arch <strong>of</strong> tangled material appears to sprout<br />
<strong>and</strong> grow in her camera’s gaze.<br />
Guerrier’s disjunctive titles are ironically tongue in cheek, calling to<br />
mind scenes <strong>of</strong> flowers <strong>and</strong> nature far removed from the urbanized<br />
studies <strong>of</strong> rust <strong>and</strong> debris captured throughout her photos.<br />
While Guerrier has been developing as an artist for over 20 years her<br />
works have only begun appearing publicly during the past year. An exciting<br />
newcomer to the art world Elisabeth Guerrier’s work has been<br />
particularly well received in both New York <strong>and</strong> her native France.<br />
www.guerrierart.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Elisabeth_Guerrier.aspx<br />
H. Scott Cushing focuses his gaze on one <strong>of</strong><br />
the more changeable <strong>and</strong> intriguing features <strong>of</strong><br />
nature, the sky. By digitally altering cloud formulations<br />
into mirrored oppositions, he transforms<br />
them into a single ethereal object. Clouds are<br />
melded together to achieve a permanence <strong>of</strong><br />
shape that undermines the transient nature <strong>of</strong><br />
atmosphere itself. Clouds have always <strong>of</strong>fered a<br />
surface onto which we project imaginary objects,<br />
<strong>of</strong>ten animals, as we lay on our backs on the<br />
beach or a field. Cushing’s digital transfigurations<br />
redirect the scope <strong>of</strong> our psychological options.<br />
By forcing pictorial parallels, he forces the object<br />
In the Beginning Digital Print on Paper, edition <strong>of</strong> 5 25” x 40”<br />
into frontal view. We see it, so to speak, face-t<strong>of</strong>ace.<br />
Some artists claim to invite viewer participation,<br />
but Cushing’s work dem<strong>and</strong>s it. These Rorschach patterns ask <strong>of</strong> us a psychological introspection, that when verbalized, is<br />
able to tell us about ourselves. H. Scott Cushing has been photographing skies <strong>and</strong> beaches for 30 years.<br />
www.hscushing.com<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/H._Scott_Cushing.aspx<br />
Asparagus 31.5” x 24” Digital Print on Fine <strong>Art</strong> Paper<br />
H. Scott Cushing<br />
95 <strong>Art</strong>isSpectrum
HF II Egg Tempera on Canvas 47” x 47”<br />
CC Johnson<br />
To encounter a CC Johnson painting is to enter a dazzling surreal<br />
world <strong>of</strong> interacting forms <strong>and</strong> colors that transform everyday<br />
subjects into timeless icons <strong>of</strong> pure emotion <strong>and</strong> experience. Working<br />
in oil <strong>and</strong> watercolor, her multi-level conceptual images are dreamlike<br />
yet vibrate with an intensity <strong>of</strong> color <strong>and</strong> form seldom seen in painting.<br />
Here, representational elements arise unexpectedly out <strong>of</strong> abstract<br />
structures. The people, buildings, <strong>and</strong> other subjects that emerge<br />
from her paintings move to a palpable rhythm unique to that image,<br />
whether it is a cadence <strong>of</strong> a fractured intensity or fluid liquidity. Her<br />
free-spirited use <strong>of</strong> composition draws us further into that movement,<br />
while her abstract backgrounds work to set the emotional tone.<br />
Further adding to the sensory experience, Johnson’s images <strong>of</strong>ten<br />
linger under the ever-present moon that is a regular motif in her work,<br />
creating a sparkling dance <strong>of</strong> color <strong>and</strong> light.<br />
A Swedish national currently living in Germany, Johnson has created<br />
a whole new language <strong>of</strong> form <strong>and</strong> color in her paintings. Drawing on<br />
her diverse life experience, where she has lived for extended periods<br />
in various countries such as Mexico <strong>and</strong> the U.S., she presents a<br />
multicultural tableau in her work meant to reflect the ever-changing<br />
world in which we live.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/CC_Johnson.aspx<br />
96 <strong>Art</strong>isSpectrum<br />
Szczepan Pako<br />
narrative energy bursts through Szczepan Pako’s<br />
A paintings. There are stories in these enigmatic tableaux,<br />
Szczepan is telling us, but there is also the unknown territory <strong>of</strong><br />
abstraction. Szczepan’s abstract work exudes powerful moods<br />
like melancholy <strong>and</strong> erotic longing, so entwined is it with the<br />
artist’s humanist impulses. His subjects meld with their painterly<br />
environment. His colors explode <strong>and</strong> simultaneously flame <strong>and</strong><br />
drip as they surround his subjects. They wink in <strong>and</strong> out <strong>of</strong> focus,<br />
the artist’s ghosts.<br />
Before he begins work on a painting, Szczepan contemplates<br />
the core <strong>of</strong> his subject in order to choose the best technique for<br />
it. His favorite is egg tempera, which he says has “the subtle<br />
charm <strong>of</strong> matte suede.” Szczepan strives in his art to rouse<br />
complex reactions in the viewer: His paintings are engaging<br />
to the eye yet strangely unsettling to the imagination. There is<br />
turmoil but also transcendence.<br />
<strong>Art</strong> is, for Szczepan, a deep form <strong>of</strong> communication, an invitation<br />
<strong>and</strong> challenge to the viewer. He has said that he wants his<br />
paintings to inspire the imagination <strong>and</strong> explore new horizons<br />
within himself <strong>and</strong> the viewer. Szczepan Pako is able to use the<br />
canvas as a means <strong>of</strong> communicating not only the beauty <strong>of</strong><br />
what he sees, but also the sensations he felt in the moment <strong>of</strong><br />
experiencing them.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Szczepan_Pako.aspx<br />
The Moon in the Old City Oil on Canvas 39” x 30”
Yol<strong>and</strong>e Bennett<br />
Sinuous, crisply fashioned lines lead us into the world <strong>of</strong> Yol<strong>and</strong>e<br />
Bennett. With a background in both calligraphy <strong>and</strong> interior<br />
design, Bennett outlines the contours <strong>of</strong> people <strong>and</strong> places, giving<br />
them a ghostly, translucent quality. This is an unusual <strong>and</strong> evocative<br />
treatment <strong>of</strong> her subjects, leaving out flesh <strong>and</strong> stone so that<br />
we might imagine the fragility <strong>of</strong> our own perceptions. Beneath<br />
these meticulous guises we see an artist at play, with animated<br />
brushwork <strong>and</strong> the fortuitous drips <strong>and</strong> splashes <strong>of</strong> paint. “The<br />
usage <strong>of</strong> paint is implied as a metaphor for imperfection <strong>of</strong> the<br />
individual by method <strong>of</strong> staining the canvas,” she explains.<br />
Though exhibiting a robust approach with color there remains<br />
a delicate sensibility to Bennett’s work; some forms appear to<br />
recede into the background while others spring forth. This is a<br />
marker <strong>of</strong> Bennett’s creative process, which transports her to a<br />
personal realm <strong>of</strong> awareness. Likewise, her art suggests these<br />
dual realities, that <strong>of</strong> the physical <strong>and</strong> psychic worlds coexisting<br />
alongside one another. Bennett exhibits her work frequently<br />
throughout Australia.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Yol<strong>and</strong>e_Bennett.aspx<br />
The Truth in a Thous<strong>and</strong> Year 09-17<br />
Acrylic on Canvas 30” x 24”<br />
Portrait Series On Broadway NYC<br />
Oil & Acrylic on Canvas 48” x 36”<br />
Kim Young Geun<br />
Kim Young Geun, or Young Kim, explores the intricacies<br />
<strong>of</strong> human eroticism through abstracted flora-like forms. His<br />
large-scale acrylic paintings are characterized by biomorphic<br />
<strong>and</strong> curvilinear forms that interact aggressively with one another.<br />
Young Kim knows no bounds with respect to color, using a<br />
seemingly endless variety <strong>of</strong> tones, shades, <strong>and</strong> tints at his own<br />
discretion. Despite his lack <strong>of</strong> formal training, Young Kim clearly<br />
drew inspiration from Western painting; his oeuvre bears a striking<br />
resemblance to the works <strong>of</strong> Vincent van Gogh’s Saint-Rémy<br />
period. Interestingly, just as van Gogh looked to the cypress trees<br />
that dotted Saint-Rémy, Young Kim looks to pine trees – these<br />
trees are Young Kim’s own intimate aides-memoires. However,<br />
what separates Young Kim from Dutch Post-Impressionist is his<br />
ability to anthropomorphize these pine trees, turning them into<br />
sexual beings that embody <strong>and</strong> carry out humanity’s intrinsic truth.<br />
Young Kim hopes the spectator is able to absorb this valuable<br />
insight through his colorfully rendered erotic imagery.<br />
www.Agora-Gallery.com/<strong>Art</strong>istPage/Kim_Young_Geun.aspx<br />
97 <strong>Art</strong>isSpectrum
Morton Br<strong>of</strong>fman, Dr. King And Coretta Scott King Leading Marchers, Montgomery, Alabama, 1965<br />
MARCH 28, 2010 - AUGUST 11, 2010<br />
Open House: March 28, 2010, 12:00pm - 6:00pm<br />
ROAD TO FREEDOM:<br />
Photographs <strong>of</strong> the Civil Rights Movement, 1956–1968<br />
AFTER 1968:<br />
<strong>Contemporary</strong> <strong>Art</strong>ists <strong>and</strong> the Civil Rights legacy<br />
Road to Freedom: Photographs <strong>of</strong> the Civil Rights Movement 1956-1968 is organized by the High Museum <strong>of</strong> <strong>Art</strong>, Atlanta. This exhibition is<br />
supported by the Robert Mapplethorpe Foundation <strong>and</strong> an award from the National Endowment for the <strong>Art</strong>s, which believes that a great<br />
nation deserves great art. After 1968: <strong>Contemporary</strong> <strong>Art</strong>ists <strong>and</strong> the Civil Rights Legacy is organized by the High Museum<br />
“The Bronx Museum <strong>of</strong> the <strong>Art</strong>s’ presentation <strong>of</strong> these exhibitions is made possible by American Express <strong>and</strong> Bloomberg. Additional support<br />
has been provided by The Robert Mapplethorpe Foundation, Cher Lewis, The O’Grady Foundation, George Mills, Robert <strong>and</strong> Joyce Menschel<br />
Family Foundation <strong>and</strong> an anonymous supporter.”<br />
98 <strong>Art</strong>isSpectrum<br />
ALSO ON VIEW<br />
MARCH 28, 2010 - JANUARY 2, 2011<br />
URBAN ARCHIVES: HAPPY TOGETHER<br />
Asian And Asian-American <strong>Art</strong> From The Permanent Collection: Tomie Arai, Xu Bing, Paul Chan,<br />
Tseng Kwong Chi, Zhang Hongtu, Dinh Q Lê, Nikki S. Lee, Chihcheng Peng, Carol Sun, Martin<br />
Wong, Lynne Yamamoto. Additional archival material presented by Alex<strong>and</strong>ra Chang.<br />
1040 Gr<strong>and</strong> Concourse, Bronx, New York 10456<br />
(718) 681-6000 www.bronxmuseum.org
Heart Attack Acrylic on Canvas 36” x 48”<br />
530 West 25th Street,<br />
Chelsea, New York, NY 10001<br />
www.Agora-Gallery.com<br />
Agora Gallery II presents<br />
Jonidel Mendoza<br />
José Vívenes<br />
Alberto Riera<br />
June 29 - August 13, 2010<br />
Reception: Thursday, July 1, 6-8 pm<br />
530 West 25th Street,<br />
Chelsea, New York, NY 10001<br />
www.Agora-Gallery.com<br />
Agora Gallery II presents<br />
Portal: Paul Cote<br />
solo exhibition<br />
August 17 - September 7, 2010<br />
Reception: Thursday, August 19, 6-8pm<br />
99 <strong>Art</strong>isSpectrum
$ 7.95 US
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