bluebee magazine - volume 5 - Hyancinth

Issue Nº 5 - Hyacinth

Emerging Artists Art Collectors Art Curators

12

Art investor Marta Areny gives advise

on how to invest smartly in

contemporary art .

21

Painter Eve Smith reflects on the

inevitable metamorphosis that

happens with beauty with the lapse of

time.

58

Sculptor Wasim Zaid Habashneh pays

tribute to generations and generations

who embrace their natural hair.

www.bluebeegallery.com

bluebee

•Magazine•

©Blue Bee Gallery

BlueBeeGallery.com

Editor:

Creative Director:

Design Director:

Editorial team:

Contributor:

Cover Art:

Marketing Director:

Contact:

Printer:

Stefan Finsinger

Angy Avendaño

Jean Mora

Elena Isaeva

Mónica Müller-Witte

Malin Alexandra Evertsz Mendez

Veronika Hykova

Maddi Crease

Fragment of Canvas by Iness Rychlik

Stefan Finsinger

Stefan@BlueBeeGallery.com

Youloveprint

bluebee is available as digital magazine on

BlueBeeGallery.com or as printed version for £21.

The magazine was printed on fully recycled paper to

reduce the impact on the environment.

Editorial material and opinions expressed in the

magazine do not necessarily reflect the views of Blue

Bee Gallery or the publisher. Blue Bee Gallery and

bluebee magazine do not accept responsibility for the

advertising content. Paid for promotions are clearly

highlighted with the phrase “Featured Artwork” or

similar. Please email Stefan@BlueBeeGallery.com for

any comments or complaints.

4 bluebee •Magazine•

Stefan Finsinger - Photography Jean Mora & Karin Stöttinger

Editor’s letter

It is now over one year ago that we published the first edition of bluebee magazine. A lot has

happened in this year and we are very thankful for all the support we have received along the road.

bluebee magazine is now read worldwide, from Seoul to Buenos Aires, San Francisco to Cape Town,

Prague to Melbourne. Ministries of Culture from countries around the globe have endorsed us and

more and more art collectors, curators and artists are immersing themselves in our world of brilliant

aspiring and emerging artists.

Having received over 650 submissions for the current issue, it’s not always easy to reduce to the

number that we show. The seemingly endless discussions of our editorial staff about the blurred

fine line between meaningless creative experiments and revolutionary artistic expressions have

sometimes been fruitless and needed to be revisited several times.

I hope that the selected artworks spark some new thoughts in you, some new experiences, and

some new ways of looking at the world. We at bluebee encourage you to explore the artworks

further and look twice before you make your mind up. Sometimes, the easily overlooked hidden

meanings are very powerful. It can change the course of your experience with the artworks and drift

your opinion about them in a completely new direction.

A reminder for the artists who haven’t been selected. This doesn’t mean that we didn’t appreciate

and like your artwork and think that you don’t have anything to express! It’s just not meant for this

issue, but please do try again for the next issue with other works. Keep on making art, I think the

world needs more great artists.

In the following pages we only give you a glimpse to a perhaps wonderful and immersive world of so

far unknown thoughts.

Go and explore. Art is fun.

Stefan Finsinger

Editor in chief

bluebee •Magazine• 5

Index

9

bluebee Meetups

10

Anna Franek

12

Marta Areny

14

Yupica

17

bluebee Artists Feature

18

Georgia Theologou

29

Hafsa Riaz

19

ms DYU

30

Jose Cruzio

20

Jill Tegan Doherty

31

Leila Hichri

21

Eve Smith

32

João Sousa Pinto

22

Khushboo Jain

33

Rachel Clarke

23

Joyce Camilleri

34

alesha

24

Dawei Wang

35

Kinza Arif

25

Yaroslav Leonets

36

Van O

26

Andrea Guzzetta

38

Mj|tM

27

Harriet Shankster

44

Alaric Hobbs

28

Fabio Coruzzi

48

Jiwon Kwak

89

bluebee Something Else

90

Maddi Crease

47

Adrián Duchateau

67

Xiaoli O. Chang 常

78

Samantha Sadik

48

Rui Sha

68

Eunmi Mimi Kim

79

Eileen Lunecke

50

Show Kawabata & Takuto Usami

69

Ana Pereira

80

Meri Miller

52

Irina Greciuhina

70

Denise Greco

81

Pawel Pacholec

54

Valentin Bakardjiev

71

Eleonora Geortsiaki

82

Valeria Secchi

56

Doug Winter

72

Athina Masoura

83

Petra Bajić

58

Wasim Zaid Habashneh

73

David Magila

84

Sarthak Talreja

60

Stephanie Hüllmann

74

Vian Borchert

86

zAck LeBeau

62

Iness Rychlik

75

Andrea M. Weiss

64

Sandra van der Meulen

76

Zainab Aziz

66

Neil Anton Dumas

77

Lorraine Cooke


bluebee

Meetups

bluebee is always keen to hear what people in the

art world have to say. It doesn’t matter if it’s art

curators, collectors, critics, artists or just art lovers.

Everyone has something to say, but most people

won’t listen to them.

We met three brilliant minds. They may be not well

known globally yet, but this makes their advise even

more intriguing. Here they share some of their

thoughts and opinions on the art market and give

advises for emerging artists.


Anna Franek

bluebee magazine met Anna Franek from

Anna25 to talk about a Post-Covid19 art

world and how younger art collectors

navigate the market.

Text by Veronika Hykova

What´s the focus of your gallery?

What sort of artwork do you look

for or represent?

My focus is on finding new

alternatives, which are away from

the mainstream art market. I want

to discover, support and grow

with my artists, collectors and the

gallery itself.

The Covid-19 seemed to accelerate

a digital shift in the art gallery

sector. How has your gallery dealt

with the shift?

Even before Covid-19 my gallery

was already very digital having

various videos, live streaming

and interviews with artists. So the

content got just more intense and

enhanced with other ideas such as

Zoom-Opening, exclusive online

tours etc.

Based on your experience of the

recent and current post Covid-19

situation, do you think that the

significance of a physical space

of an art gallery will decrease or

remain unchanged?

Personal contact is very important.

An artwork IRL has another

atmosphere than a picture of it. If

you do not know the artist’s work

it is difficult to imagine how an

artwork works. On top of that to

offer all mentioned online benefits

you need a physical space.

What is your experience in terms

of collectors? Do you have more

experienced collectors with

established collections than new

collectors who are just starting

their collections?

I mostly have fresh collectors who

are starting their collection. They

like an artist or an artwork, they

trust my opinion and we have more

common ground. Regarding the

experienced collectors it is always

a little bit more difficult, because


they have their favourite artists and

galleries they trust, so it’s harder to

build a relationship.

What about the age factor of the

collectors? Do you think that

average collectors in their mid 30’s

can have mature collections, or do

they just start their collections in

their 30’s ?

It depends on your background and

your interest. Sammlung Jakob is a

great example of a young collector

who started at the age of 16. Of

course that is a rare case because

you have to have a financial

background before you start buying

art. For example, a lot of collectors

start with prints or editions when

they are younger. That is a great

way to initiate your collection too. I

aim more at the collectors who start

in their 30’s or want to expand and

support emerging artists.

In general, particularly the

new collectors struggle with

transparency regarding prices

of the artworks. However the

Covid-19 situation forced many

even big galleries to put their

prices out in public which lowered

the number of secret deals in a

backroom or pdfs sent to selected

lucky ones. How does your gallery

deal with transparency and

how do the potential clients or

collectors get to know the prices?

Apart from being on Artsy where

the prices are public, in my gallery

I have always shown publicly

the prices alongside with the

artworks. The “lucky” ones get their

special deal whether the prices

are online or not. To be honest,

at the beginning I also had my

doubts whether to show the prices

publicly or not. However, at the

end I have decided that it is much

better to show the prices openly,

because this works as a price radar

for everyone who wants to start

collecting. Moreover, people can

also see that it is not that expensive

as they might have thought.

What kind of price range can the

collectors expect in your gallery?

From 50 € - 20.000 €

Are you approached by new

collectors? If yes, how do you

guide them through the process of

acquiring an artwork?

Yes. First of all we talk about what

kind of artwork they are looking

for and where they want it to be

located. Then I prepare a PDF or

a link to a website with selected

works which could fit the vision of

the collector, and then I organise

a private viewing at the gallery

or a visit to the artist’s studio. It

depends on what the collector

desires.

Do you think that price is the

decisive factor for the art

collectors to buy or to not buy an

artwork?

Yes and no. If you have a budget

then you maybe can not afford

every artwork, and maybe won’t

ask me to find a solution. However,

due to the option of split payments,

I was able to sell some artworks to

collectors who liked the painting,

but they were over their budgets.

Unfortunately, most of the time the

younger collectors do not approach

me on their own to find another

way to deal with the payment. Let

me say that every artist and every

gallery is happy to make a sale,

even if it is not paid in one go.

Can you see if the taste of your

collectors has changed over the

years?

Most of the time the taste changes

with the development of the artist.

The artist and his artworks evolve

like the taste of the collector. I have

also noticed that the taste of my

collectors resembles the program of

the gallery.

Can you tell us a little bit more

about your upcoming projects?

The next exhibition is a solo show

“Körper und Glied (Body and Limb)”

by Pham Thai Ho. In four groups of

works Pham Thai Ho deals with the

field of tension between tattoos, art

and society. The last show of the

year is going to be an affordable

Anna25 exhibition where every

artwork will be under 2000 €, so one

can gift art for Christmas.


Marta Areny

Bluebee met Marta Areny to learn how to invest

in contemporary art smartly and to get some

advice for the emergent artists and collectors

striving to conquer the market.

Text by Elena Isaeva

Marta is a director of the Day Star

company, set up by her partner

Jaume Torres in 2012. Together

with him, she managed their first

investment fund, Day Star Fine Art,

working with the masterpieces of

the 20th century, which was active

until the end of 2017. Thereafter they

founded the Day Star Collection,

focused exclusively on the

contemporary art market.

Having a background in business

administration and economics,

Marta is convinced that the paths

of finance and art have lots of

intersections and common rules.

The Day Star project was born

exactly from the idea to connect

these two seemingly uncrossing

fields. The fund sees its mission

in the support and promotion of

contemporary artists and provides

them business contacts with the

gallerists, museums, and other

dealers.

Day Star Collection invests in the

three categories of contemporary

artists: those who already have

recognition; the promising emergent

artists with good references; and the

beginning, yet unknown talents.

The fund owns a collection of about

40 pieces. It primarily consists

of works on canvas and some

sculptures. Paintings prevail because

they are much more compact and

easily transportable. Later, the

fund leases the pieces to hotels,

conference halls and other private

spaces. When organizing a big

exposition, it prefers the format of

pop-up events.


The collection includes some pieces

specially created for children. Slightly

adapted, these compositions aim

to train the children’s taste and

instigate their interest in modern

art. “They are often requested as the

decoration for infant spaces but look

pretty good for the adults as well”,

Marta explains.

Day Star Collection is always

in touch with the artists, their

managers, and galleries. This fact

allows it to establish a much closer

relationship with them: “Before

buying a new piece, we talk with

the artist personally, visit his or her

studio, check all the references,

follow the online publications. Good

contact and the right feeling are very

important for us”.

Another thing Marta pays attention

to when choosing the next work for

the collection is the quality of the

art material. “We always calculate

the maintenance expenses of the

acquired piece. It should not be very

fragile”, she explains.

Marta uses numerous instruments

to discover the new names and stay

informed about the latest art trends:

she visits International fairs and

gallery shows, reads professional

literature, and follows interesting

profiles on social media. “Your

magazine is also a very good source

for this purpose”, she smiles.

For Marta, the most inspiring part

of her job is communication with

the artists: “I always learn a lot from

them!”

She is convinced that even after the

Covid, that boosted the growth of

various online events, the real-life

contact with the artists and their

works will never lose weight: “It is

important to check that the piece

looks harmonious in both formats”. It

might attract attention on the screen

because of the smart editing but be

absolutely bleak on the wall.

Marta confesses that she finds lots

of new talents in Southeast Europe,

Latin America and in the last years

in Africa, but the contemporary

art mecca of nowadays is London

without any doubt. Berlin and

Amsterdam also have lots of good

possibilities for the emergent artists

and their career growth. Another

promising place is Zug in Switzerland

that has a high purchasing power

among the population and boasts an

increasing number of quality artistic

initiatives.

“It is complicated to define what art

is “, she says, meanwhile showing

on her phone one of the Lucio

Fontana’s characteristic works

with the punctured surface, “but

when you see something like this,

it just makes you feel good”. Marta

enjoys discovering the new pieces

that emanate some inexplicable

strong energy. She has a personal

story related to La Menina by

Alfonso Alzamora, that set up the

beginning of her own art collection:

“Remembering that it is my first

piece, I always dedicate the whole

wall to this painting, whenever I

move. As an homage to it, I never

hang any other work nearby!”

Marta’s advice to the emergent

artists is to find a good art manager

and concentrate exclusively on the

creation process. “It is a mistake

when the artists try to do everything

on their own: to produce, to

promote, to organize expositions”.

Her other tip is to choose one

good gallery and to not expose

sporadically wherever and whenever

you can. The elements of exclusivity

and mystery are very important in

the art world.

As an experienced economist, she

reminds that the art field follows the

same rules of the market: “The more

pieces are produced, the less value

they have”. The secret is to maintain

a good balance between the demand

and supply. She discourages the

artists from painting repetitive plots

in larger quantities even if they used

to sell well: “It often plays a bad joke

as the quality and originality of the

work decrease”.

Investing in contemporary art is

as risky as the stock market game.

Choosing wisely, you may see your

piece rising in value significantly with

lapse of time. A general advantage of

acquiring art works is their relatively

low volatility, especially important

during the crisis. Marta’s main advice

to the collectors is not to be afraid

of making an error. “One of the

important things is to buy what you

really like. If the piece attracts you

aesthetically, it is already a good

purchase”.


Yupica - Photography by Studio Chirika

A filmmaker from Tokyo who has become a multimedia

artist in Mexico… Doesn’t the synopsis sound intriguing?

Bluebee met Yupica to talk about his story of entering

the world of art, the principles of dealing with creative

projects, inspiration, and his vision of success.

Text by Elena Isaeva

Yupica studied cinema in his native

city, Tokyo. Later, he travelled the

world to develop his filmmaking

career and lived in such legendary

places as Toronto, Montreal, Paris,

Taiwan, London, and New York.

In 2013 Yupica settled down in

Mexico City, where he founded

the multidisciplinary art collective

ChaMeshiJi and started realizing

conceptual installations on the verge

of video, sculpture, and art.

Yupica’s credo is to keep on widening

horizons and say yes to things that

make him grow. That is why a switch

from cinema to art was an absolutely

natural decision for him: “It is normal

to extend beyond your background

and form unexpected creative

connections. There is no separation

between know-how and specialty.

All depends on your own curiosity

to deepen the specific subject and

sharpen skills in each discipline”.

When working in the film industry,

Yupica always was amazed by how

people of different professions and

personalities collaborated together.

Now managing the art team, he

applies identical philosophy. Yupica

chooses not to control but to direct

the other creatives and is open to

the unpredictable results that might

surpass his own imagination. For

the same reason, he does not like to

link his projects with a determined


message. “Instead, I prefer to let my

instincts flow”.

Yupica finds major inspiration in

the ideas of animism, nature, and

metaphysics. “Our works are living.

They emit the vibration of chi”,

declares the artist. For him, art is an

exercise about the energy that he

can give to a piece to make it alive.

This vision is rooted in Japanese

Shintoism and reiki practice.

In the field of contemporary art,

Yupica names Ann Hamilton as one

of his big influencers. “I spent six

hours at her installation “The Event

of the Thread”. It was absolutely

powerful for my artistic vision!”

When Yupica started travelling

the world, he inevitably had

some situations of cultural

misunderstandings. “Once I

made a short movie with a talking

flower as a protagonist. The idea

seemed strange to all my European

colleagues, although it would be an

absolutely ordinary personage in

Japan”. Still, the artist confesses that

he never had to adapt to the new

cultures consciously. “The whole new

world started opening harmoniously

in front of me when I just set about

studying new languages”, recalls

Yupica, who speaks Spanish, English

and French.

It was in Mexico where the artist

surprisingly discovered the strongest

connection to his childhood

memories and felt most comfortable

to settle down. “More than focusing

on the differences between the

countries, I am intrigued to find their

cultural similarities. For example,

in the celebration of the Japanese

O-bon and the Mexican Day of the

Dead”, he says.

Yupica appreciates the moments

of introspection when he can

create alone. At the same time, it is

equally important for him to work

with people and exchange ideas.

“Besides the place of residence, it

is the collective you work with that

always influences you deeply”. As

Yupica had lots of collaborations

with architects, they formed his

specific manner to use space, light,

and shade.

Yupica is convinced that art

schools are not an absolute must

to become a professional artist:

some people need them, some

do not. “Nevertheless, I don’t say

a categorical no to them because

many artists make a living out of

teaching”, he jokes.

The galleries of art, focused only

on selling (the so called ¨galleryshops¨),

do not appeal to Yupica:

they give no opportunity to learn

from such a collaboration. Those that

perform as “artist agencies” are, on

the contrary, a big luck. “They are like

a happy marriage. But I personally

haven’t experienced it yet”.

The majority of Yupica’s clients are

from Mexico. Despite a number of

successful projects in this country, he

still considers himself an emergent

artist. Moreover, his team cannot live

only off their art work. To make ends

meet, they have another company

that deals with video production. “If

you do not have enough money, you

should search for the possibilities

to apply your artistic knowledge

in another field. Thus, you will find

resources for your desired project”.

One of Yupica’s principles is to think

outside the box and avoid what

the other people do massively. For

example, he advices to use creatively

the way you can talk about yourself

and promote your work: “Besides

Instagram, there are a lot of other

interesting strategies. Social media

are good, but do not focus only on

them”.

When reflecting on whether an artist

should find his clients by himself, or

hire a specialist, Yupica again recalls

his experience with the cinema

industry: “The director can never be

a good producer. That is why our

crew divide these two jobs”.

“It is wise to be selective with new

projects. But at the same time, do

not be afraid to accept offers that

can enrich your experience and open

new prospects”, Yupica advices the

young artists.

When making choices in profession

and life, the artist fears to repent of

what he has already done. And if

you ask him how to reach success,

first, think what this concept means

exactly for you. Do you aim to make

a living out of art, to become famous

or to create what you believe in? As

for Yupica, he does not know the

right answer. Success has never been

his special goal - his main pillars are

to keep on questioning things, be in

harmony with himself and follow the

flow!



bluebee

Artists Feature

We travelled the world to discover new talents, but

feel that we still only scratched the surface of the

industry.

Every artist is as individual as a snowflake, with

their style and urge to artistically transport their

message to the wider audience. We tried to give

a glimpse of their thought processes, but as

mentioned before, we always encourage you to

explore them further.

The following artists are only a small selection of

our creative director and editorial board. Some

of the included artworks may be controversial,

however other brilliant minds may not have made

the shortcut for this issue.


How to Disappear Completely - 2020 - Oil and acrylic on canvas

Size of artwork: 30 x 40 cm

Georgia Theologou

Athens, Greece

Georgia’s whimsical compositions

have an inclination towards

surrealism stylistics and psychoanalysis.

She graduated from Athens

school of fine arts.

She works primarily in oil and

acrylic techniques, later adding

some dynamic pastel strokes to

highlight the ephemeral feelings,

inner instincts and charisma of her

subjects. Georgia explores female

sexuality, hidden fears and desires,

and other situations on the merge of

conscious and subconscious.


Speaking Of Bothersome Reality - 2020 - Digital oil paint


ms DYU

Dubai, United Arab Emirates

We live in the best time in the

entire history of mankind, but we

suffer from inner experiences and

social problems that torment us

and make us feel insignificant,

unworthy. The works are painted

in bright colours, emphasizing the

external comfort and well-being of

the life of a modern person.

In a series of works, the artists

recorded the experience of small

everyday situations that hurt

feelings. We do not pay attention

to things that are really important

due to unwillingness or minor

circumstances. Whatever the

reason, the moment passed.


Deaf Mute - 2019 - Oil on canvas

Size of artwork: 160x 140 cm

Jill Tegan Doherty

British artist, lives and works

in Berlin, Germany

Jill’s paintings balance between

surrealism and realism. The artist

explores the space between the

conscious and subconscious states

of mind, reflecting on our process of

decision-making, inner fears and the

reasons for being.

Jill often uses images of nature

and animals as an allegory. It

is influenced by her childhood

memories of the house she grew

up in, filled with her father’s huge

collection of Taxidermy, skeletons

and insects.

This painting (a part of the

“Hungry Lungs” series) illustrates

the moment of change. It talks

about that breaking point between

what is familiar and the unknown

future, how we chose to deal with

sudden shifts, whether we seek an

escape or move on and accept new

challenges.


Rose - 2019 - Oil on canvas


Eve Smith

Norwich, UK

Through her paintings, Eve

explores the ways of returning

to nature and escaping from the

modern reality of urban life, that

often brings us stress and mental

disorders. Her images, influenced

by the romantic movement of the

19th century, transmit an aura of

fragile aesthetical harmony and a

slightly melancholic mood.

The artist says that nature is often

overlooked when it begins to

shrivel and decay. This close-up

is her reflection on the inevitable

metamorphosis happening with

beauty during the lapse of time

and an attempt to capture the

moment between life and death.


Exodus & Fright - 2020 - Acrylics on paper

Size of artwork: 29.9 x 41.9 cm

Khushboo Jain

Jaipur India

While social distancing and the

lockdown persist, so does the fright

of the pandemic. In this flaming

piece, Khushboo responds to the

blow of covid in India.

In the painting, a group of migrants

wearing masks walk to their

hometowns. Hovering above

them is a white light that looks like

human figures. The light bounces

upward, mimicking the gestures of

people in despair, some with arms

outstretched and others with their

hands to their heads.

Behind them, nothing is discernible

except for a grand yellow-orangish

fog. Like the fog, the migrants’

faces are indiscernible. This air of

anonymity expresses a common

frustration with mismanaged

governance. We also have the

pressure of social distancing causing

disarray in the community.

We invite you to follow the scene

from the ground up, to realize

further the urgency to break from

the fog- or the fright. But despite

being masked in uncertainty,

Exodus & Fright compels us to shed

our despair.


Ogram et Nigrum - 2019 - Mixed media on paper

Size of artwork: 118 X 70 cm

Joyce Camilleri

Valletta, Malta

In each panel, we find something

different. Strong ochre accents

and bold negative spaces channel

movement. Organic forms jump

from one panel to the next,

drawing us closer to a whole.

Joyce’s commitment to the

contemporary art genre is

gracefully declared in this piece.

As an educator and artist, Joyce

renews her pedagogy through

constant redirection. Ogra et

Nigrum rests in the pit of graphic

design. What Ogra et Nigrum “is”

from a material sense is a print

and drawing. But it is also a hybrid

that embodies the process of

research- Joyce’s research into the

relationship between ideas and

method.


Eclipse - 2018 - Mixed media on canvas


Dawei Wang

Chinese artist, lives and works

in New York, USA

Originally from Shanghai, nowadays

Wang has been living and working

in New York. Being a foreigner and

an experienced megalopolis dweller,

the artist explores the topics of

alienation, loneliness and identity

loss in a big city.

In this painting, Wang captures

a typical scene in an urban park.

One person is sitting still, another

one is sleeping. The third one has

just arrived and, after unfolding his

towel, will take the same position as

his neighbours. Everyone follows the

same scenario. There is nothing eyecatching

in the greyish landscape.

People remain distant and selfconcentrated.

Isn’t it a precise illustration of a

metropolitan routine?


Live Island - 2019 - Oil and acrylic on canvas


Yaroslav Leonets

Kiev, Ukraine

Live Island portrays a couple

sitting on a bed of darkened

etched grass and a dim sunset in

the background. We are brought

to a seemingly different period. In

this homage to the late Ukrainian

painter Repin, Yaroslav adopts the

charm of the realism genre.

For Yaroslav, art is a vehicle meant

to reveal feelings and engage with

reality and psychology. We are

invited to focus on the figures’

facial physiognomy. Together, they

evoke a union between nurturance

and sorrow.

Yaroslav enjoys experimenting with

graphics and sculpture and offers

a soft modern twist, rendering a

subliminal edge to Live Island.


Does This Pineapple Make Me Look Sexy? - 2019 - Oil on panel

Size of artwork: 15.2 x 15.2cm

Andrea Guzzetta

Los Angeles, USA

Andrea is a professional sculptor

and stained-glass designer, who

paints hot pink images in her spare

time. She ironically calls her artwork

‘Lisa Frank without her Xanax’ and

explores the themes of intimacy and

hidden magic of small moments.

This image is a part of Andrea’s

thirty-piece experimental series

where she represents her daily life

in a tiny studio-apartment. Trying to

find inspiration within such a limited

space, Andrea delves deeply into the

symbolism of everyday objects. The

series is a reflection of her home and

all the fears and hopes about the

future that take on greater meaning

in the time of quarantine.


Reverie - 2019 - Oil on canvas


Harriet Shankster

Milton Keynes, UK

‘I want to paint the contemporary,

and digital culture is just that. We

seek to connect and understand

each other within this modern

world and I want my paintings to

relate to the isolation we can feel

while trying to do so.’

The underpinning themes within

her work are gender, pattern,

floral and the digital. Within her

painting she tries to create a

‘flawed digital image’ with the use

of Photoshop, deviating between

the natural images of flowers

alongside machine-made glitches.

With mistakes only made by an

automated machine that uses

pixels and presenting it in the

tangible, physical form of a painting

‘renders’ interesting anomalies.

‘To me, this constructs a powerful

duality in the juxtaposition between

physical, psychological and digital.’


Giant Donut in Inglewood #21 - 2019 - Mixed media on paper


Fabio Coruzzi

Italian artist, lives and works

in Los Angeles, USA

“I am trying to use my art as a tool to

vandalize, to spoil the fake beauty,

the fake symbols, the fake principles,

the fake values of contemporary

society”, declares Fabio. The artist

works with mixed media because

that reflects his vision of the world,

where all differences are connected

and create a unique texture.

Through his bright-coloured

compositions, Fabio explores the

human habitat and everyday urban

environment. He proves that even

the most obvious and overseen

reality (e.g., some provincial shop

with a kitschy donut on the roof)

is worth attention as a motif for a

poetic modern fine-art masterpiece.


“Loog jama hote hain aik hi baat hoti hay” It’s All the Same When People Gather Together -

2020 - Oil on archival paper


Hafsa Riaz

Lahore, Pakistan

Hafsa has a background in

printmaking and finds constant

inspiration in Zarina Hashmi’s

artwork. Her own style is

characterized by a focus on intrinsic

details in combination with the

simplicity of the whole image.

She studies the cultural

phenomenon of how the Pakistani

commemorate both happiness and

mourning, and searches for the

common elements in these two

seemingly opposite events.

By representing this set of chairs,

Hafsa wonders how many grieving

relatives must have sat on them and

how many celebrations they must

have facilitated. Her conclusion

is that any inornate object of

our life might have a dual nature

and provoke extremely polarized

associations.


[NOTES TO SELF’s Project]_number eighty_five_on Katerina Tsakiri’s work - 2018 - Photography


[NOTES TO SELF’s Project]_Carlos Vidal’s work_number_fifty five - 2018 - Photography


Jose Cruzio

Portugal

Quiet and immersed, both photos

feel like a journal entry with

volumes of emotions and narrative

possibilities. The scenes are tonally

withdrawn from its setting and

slowly isolated. We are then directly

pulled to a newly transposed scene.

The photographer- in shadow form-

enters.

Jose’s background in scene

photography, installation, and

multidisciplinary flair shine through.

In this vein, Jose works with

concepts and uses sensations to

draw us in.

...No wonder this series daringly

seizes on the occurrence of

subtleties!


Momentum - 2019 - Photography

Size of artwork: 5,184px x 2,989px

Leila Hichri

Italian artist, lives and works

in Bamberg, Germany

“Momentum”. That’s the perfect

description of one of the headspinning

moments of every human

being’s life. A moment that can

be captured by a photo, which

may be in some way linked to that

moment, even if that moment does

not portray it. And then you stand

there looking at it, in the hope that

everything will go back to be as it

was in that image.

Leila considers photography as

stories in a language without words;

she loves to produce emotions

through her pictures. The camera

is a good companion, it opens up a

new vision in the daily life.


Head - 2020 - Acrylic on paper


João Sousa Pinto

Porto, Portugal

Curvy, buoyant, and malleable, the

contours and shadows of Head

work seamlessly. The simple colour

blocking of this piece offers a soft

optic into the deceivingly firm built of

the subject. Or is it an object? Head

invites you to explore its identityas

the object dives further into

subjectivity.

João is an illustrator, photographer,

and installation artist. Head gives us

a taste of his close observation of

objects.


Displaced- 2020 - Acrylic and oil paint


Rachel Clarke

Dublin, Ireland

Originally from Ireland, Rachel’s

work is largely concerned with

the human condition. Taking an

empathetic view, she uses paint as

her primary medium.

“ I’m interested in the amalgamation

of person and space within an

emotional context - the atmosphere

that envelops our being as a

result of our condition. I also

ascribe visuals to indecipherable

experiences. I attempt to empathize

with the human condition

and rationalize the myriad of

experiences and emotions that

course through our stream of

consciousness. “ She declares.


alesha

Saint - Petersburg, Russia

‘Beautifully disturbing’ is how

alesha describes his style,

characterised by dynamism,

spontaneity and lots of colourful

paint layers. As if created in

an instant of affection, his

compositions aim to capture

rhythms and movements, inner

thoughts and feelings. They

combine elements of street art,

abstract expressionism and

surrealism techniques.

On a piece of canvas - 2019 - Mixed media on canvas

Size of artwork: 27 x 53.5 cm


Kinza Arif

Lahore, Pakistan

The Dancing Girl II - 2017 - Oil on canvas


Known for using the impasto

technique and rendering the female

figure through foreshortening, Kinza

dives into the expressionist style.

Untitled presents a subject that

stands tall like a pillar. The painting

carries complex flesh tones and

tints with curvy contours. It also

embraces the modern accent of

negative space. The body is isolated

from the background, revealing

Kinza’s concern for the corporeal

belonging of the subject.

We are mostly drawn to the circles

and volumes of the subject’s body.

These shapes alone provide a raw

image of the female form. Carefully

notice the face, how it (dis)engages

with us- it appears sunken and

distorted. Therein lies a ghostly

emphasis of the subject’s anatomical

features, an almost undoing of

expression. Yet, we also see the

soft and subtle lines of the arm,

breast, and thigh. These elements

deceivingly clash but ultimately work

in harmony.

Kinza has managed to surprise us by

offering distinct first impressions.


Ophelia - 2014 - Print



Van O

Moscow, Russia

“Ophelia” is part of the ‘Werewolves’

series and is a homage to the

famous painting with the same

name by Sir John Everett Millais. He

painted Elizabeth Siddall lying in

the bath, but Van O surrounded her

not with field flowers, but with more

modern materials. The graphics

printed on a transparent membrane

allowed to enter into the picture

diagrams of the structure of animals

and technical drawings, they help

to achieve the effect of collage, an

unexpected transition from volume

to plane.

The heroes of the series

“Werewolves” are mythological,

religious and art characters bearing

distinctive proteistic features. The

constant metamorphoses, loss

and finding of themselves and the

change of physical appearance

become the defining principles

in their biography. Historical and

social roles form around them,

changing them in a fluid, game

reality.


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...gradus ad Parnassum, for those who might like to learn.

...is not addressed to those who have arrived at full

knowledge of the subject,

without knowing the facts...

Ezra Pound. ABC of Reading.

An artist statement should describe the interests of its author.

It should talk about why, how, where and when. It should

describe reasons, methods, locations and rhythms...

My statement could talk about literature, cinema, narrativity,

fragmentations, hypertexts. About letters making up words,

words making up sentences, sentences making up paragraphs,

paragraphs making up chapters, which tell us a story.

About myths, legends, stories, histories, hysterias, fictions,

frictions, obsessions and persistences. About protasis,

epitasis, catastrophes which disintegrate in order to get a

rhizomatic structure with a new meaning.

It could include some philosophical quotes, some of those that

keep us awake. It could talk about simulations, spectacles and

puncta. About topics that, even if we want to avoid them, are

always in our minds, words and thoughts.

It could talk about my working process; perhaps too

methodical, too obsessive, too absurd. It could try to define,

probably in vain, my deconstruction and reconstruction

processes, using texts based on images and images based on

texts.

It could explain that I use literature, photography, video or

net art. It could explain that actually, the medium is simply a

tool. It could tell these things and many more.

Maybe different ones, more appropriate for a statement.

bluebee •Magazine•

39

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41

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[Curriculum Vitae on My Own Words]

There is no Reality | Until You Create One.

Art is my way to conciliate with

reality. In some cases, I can bring it closer to

my standards. And psychoanalysis too. Both of

them are hopeless. It is a try to put an order in

the hectic world around and inside me. To value

better what had happened and possibly what is

happening, at least a part of it. It is a lost war.

Before I can understand what had happened in

reality, or at least what I perceive as reality, the

latter flips and turns to something else. I ‘m a

witness, an eye witness. I revise meticulously

what it is around me. I examine, select, collect,

put in order emotions. Stating what is important

and what is not, what could be regarded as

beautiful, or ugly, what would be funny or sad.

If I can’t change it, I can barely transform it,

good enough in order to compromise with it.

Sometimes the attempt is successful, sometimes

it isn’t.

...

I ‘m urban. I like nature but I feel comfortable

only in the city. It is my

battlefield. Especially, the afterhours, when

everybody sleeps so I can walk

quietly in the streets and hear the sounds. My

paints they are made for me, but in reality

they refer to others. It is an attempt; to speak

enough for me but not in a verbal way. What

is entitled inside the frame, presuppose my

aesthetic

viewpoint. But what they produce is beyond my

control. I exist in both of them. It is a miracle,

when it happens. Unfortunately isn‘t an everyday

experience. Or, I believe so.

...

My Reality | Ιn Halftones. My work is an

exploration of paradoxes and

contrasts which are torturous and utopian, wild

and serene but definitely resilient. As my reality

is in halftones, I capture fragments of life often

ignored or forgotten.

...

My art echo’s the unease and mixes it with the

uncomfortable reality of

continuous transformations of the urban

environment in which I live. Faces,

pseudo familiar situations, characters belonging

to various walks of life… they all inject emotions

with such a warm identity to characterize the

experience of

ordinary people, those people who would say and

tell through the eyes their own existence.

...

Ι represent ordinary people; those actors

unaware of being protagonists of

present days and to represent them in spite of a

reality in half-tone that

essentially results a kind of summary, which, in

the end, is life! An arrested

motion in time.

...

In arresting motion there is a reality so subtle

that it becomes more real than

reality, so I don’t arrest motion in time. I make

it. I love my subjects although Idon’t know

them. I mean, they’re my friends. I’ve never

meat any of them or Idon’t know them at all, yet

I live through them, or I can’t live without them.

They constitute my curriculum vitae.


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43

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Tree of Life - 2020 - Spray Paint And Pen on Paper.


Alaric Hobbs

Berlin, Germany

Alaric portrays hand-drawn

illustrations in geometric forms

that have been influenced from

something he finds fascinating in

the world; such as tribal symbols,

ancient alphabets, symbols of belief

and the beauty of the natural world.

He feels art should be aesthetically

pleasing and also convey deeper

thought.


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Geology Rocks - 2019 - Spray Paint And Pen on Paper.



45

Jiwon Kwak

South Korean artist, lives and

works between London, UK

& Seoul,South Korea

Jiwon gets inspiration from the

hip hop movement that creatively

blends the elements of different

regions and cultures. Through his

installations the artist also studies

how the unexpected combinations

might give birth to something new.

For Jiwon, life and development

mean fusion, constant collision of

things and experimentation.

This sculpture portrays the mixed

feelings of people who fear of the

yet unknown world but at the same

time want to explore it despite any

danger. Jiwon is mesmerized by

the innate curiosity of humankind.

Although sometimes it leads to

disappointment, it also serves as a

motor of progress and happiness.

Untitled (Bread Man) - 2020 - Paint on resin

Size of artwork: 60 x 60 x 90 cm


Adrián Duchateau

México City , México

Humanity suffers from a “disposability

syndrome”. For many years the

economy of massive consumption

has nurtured our comfort with the

convenient implementation of single

use objects. As soon as its fleeting

purpose is fulfilled, every one of these

objects lose its original function, it’s

in that meaningless state that they’ll

remain for many, many years to come;

polluting without reason. Their value

has only meaning in our illusion of

comfort, comfort which of course will

be depleted year after year (at least

for the vast majority) as the resources

get scarcer and the earth gets more

and more polluted.

Item. 45- 2019 - Cardboard boxes and plastic straw (Digital Photography)


With this project Adrián is aiming

to create the illusion of something

grand and beautiful in its simplicity,

when in fact, what we are seeing, are

meaningless objects that represent

the complex systemic imperfection

of our daily consumption. Therefore,

confronting the viewer with

something that’s not intrinsically

aesthetic but, in the right conditions,

can acquire aesthetic value. This line

of work pretends to point out that our

trash should be recycled, reused and

in a better case, not produced at all.


Catching the Moonlight - 2019 - Wood, acrylic, ceramic, thread, water

Size of artwork: 93.98 x 20.32 x 45.72 cm

Catching the Moonlight (Detail) - 2019 - Wood, acrylic, ceramic, thread, water

Size of artwork: 93.98 x 20.32 x 45.72 cm


Rui Sha

Chinese artist, lives and works

in Chicago, USA

Rui explores the acoustics of nature

by pulling out the sensory attributes

of objects. In Catching the Moonlight,

the frame is no longer a frame. Its tiles

have their respective strings which

are hung above them. Here, the idea

of catching or reaching becomes

unbound by the figurative or literal.

The activity of Rui’s kinetic sculptures

cannot wholly be imagined, as they are

best seen and listened to. But these

photographs certainly provide an

introduction. Rui wants us to see how

natural materials evoke emotional

vitality. During the creation, the

materials shed objectivity and enter

into a specified context. As carriers or

siphons, they project Rui’s personal

point of view. We are invited to read its

subtle subtexts and resignify the given

sensory elements. Let us catch the

moonlight, together.


Noise;nse - 2016 - Cloth, plant, artificial flower, styrofoam, stainless, wood, LED

Size of artwork: Ø 40 cm

Noise;nse (detail) - 2016 - Cloth, plant, artificial flower, styrofoam, stainless, wood, LED

Size of artwork: Ø 40 cm


Show Kawabata

& Takuto Usami

Japan

“Noise;nse” is a work for recognizing

various aspects of reality through

changes caused by visual noise. But

isn’t there a world of noise that only

technology can know?

In this work, Show added light

direction, distance and colour to two

cloths. It shows how the pattern of

plants is transformed by generating

visual noise. There are moire stripes

around the cloth, but different

patterns occur on the plants

sandwiched between the cloths.

This is a change in noise caused

by unevenness peculiar to plants.

Plants are displayed by interlacing

fresh flowers and artificial flowers.

You notice that the change in noise

differs between living things and

substances.


Shifting the Schizo-pole or gorgeous product that you can sell - 2018

- Acrylic on canvas



Irina Greciuhina

Chisinau, Moldova

In her artistic practice, Irina is

interested in recording and showing

the diversity and ambiguity of

human nature as well as the mystery

of all aspects of human personality.

The main theme of her art is a study

of the archetypes of a woman. Irina

keeps wondering how personality

and world perception of a woman

can be affected by the external

factors such as giving birth to a child,

building a family or even changing

the gender roles. The choice of this

subject is stipulated by a continuous

self-study, as an artist and as a

woman, thus perceiving it as the

most interesting and the dearest

topic to her.

Depicting female figures in a

particular manner, Irina places

them in the most unusual settings

that arise from the depth of her

subconsciousness. Surrealism and

interpretation of dreams, became

strong references for her. But she

expresses them in a post-modern

way, mixing bright colors, catchy

poses from the posters, decorative

elements and patterns with the

typical elements of pop art. Full of

peculiar details, her artworks invite

the viewer to wonder who these

women on the canvas are and what

their stories are.


LGB The Butterfly Effect CB1B - 2019 -

Collage technique, corn leafs, natural pigments



Valentin Bakardjiev

Amsterdam, The Netherlands

LGB The Butterfly Effect CG2B - 2020 -

Collage technique, corn leafs, natural pigments


A flap of a butterfly wing in one part

of the world could be the cause

of a tornado in a different part of

the world. In other words a small

change now could have a big effect

in our lives later. In chaos theory

the butterfly effect is the sensitive

dependence on initial conditions in

which a small change in one state

of a deterministic nonlinear system

can result in large differences in

a later state. All our actions have

consequences, and we need to take

our responsibilities, especially when

it comes to our beautiful planet.

With ‘The Butterfly Effect’, Valentin is

framing nature, focusing onnature,

and reminding us we are part of

nature, creating awareness on the

importance of keeping the planet

clean. This project is the next step

to bring us closer to our planet.

Like the movement ‘Arte Povera’, he

chose a very common material, the

corn leaves, as a building material

to create the finest structure of

zoomed-in butterfly wings. Valentin

uses natural pigments and inks like

indigo, nettle leaf, avocado peel and

seeds to stay true to his ideas and

convictions whilst creating these

series of art works. His aim is to show

the hidden beauty and richness of

organic structures.



North East Day - 2020 - Photography


Doug Winter

Elk Grove, USA

Doug is famous for his large-scale

abstract images that emanate a

unique meditative aura thanks to

the skilful play with light and blurred

colours. Some of the artist’s major

influences are Elaine DeKooning and

the Starn Twins.

While caring for his father Harry,

Doug asked him to describe in detail

what he saw, measuring if his father’s

sight was better or worse depending

on the day. It served Doug as an

inspiration for his latest photo

series. ‘North East Day,’ an image in

the series, reflects on the power of

human eyesight and how it forms

one’s memories, perception and

personal reality.



Inevitable “LIVING” - 2020 - Human hair, wood and crystal glass

Size of artwork: Diam 120 cm


Amman, Jordan

Habashneh identifies as a

conceptual artist with a background

in architecture.

This large annulus sculpture

pays tribute to generations and

generations who embrace their

natural hair. Much like the precise

union from hair fiber to hair fiber,

this annulus emulates hair’s organic

form. Its longevity and legacy (via

the succession of hair strands)

speak directly to us. Each hair strand

in the annulus is different, some

have highlights, are curly, wavy, or

straight. Through this reimagined

unit, Habashneh has echoed a vision

for human cohesion.

Drawing from local material,

Habashneh prompts conversations

that break down a meaningful

narrative. They provide tangible and

conceptual stimulus that responds

to Habashneh’s environment and

encounters.

We are invited to find in our

generation a material that mirrors

human spirit and social cohesion.

We are invited to engage in a

practice of reinventing new

epistemic directions, much like the

circular heed of Inevitable.


One Day at the Beach - 2019 - Mixed media



Stephanie Hüllmann

Winsen Luhe, Germany

One Day at the Beach (detail) - 2019 - Mixed media


By giving things of everyday life and

those that are usually overlooked a

stage and by putting them into new

contexts, details become visible,

changes can be seen and even

absurdities might become obvious.

Repetition is her most powerful

tool through which even seemingly

insignificant things get a strong

impact and tiny differences and

individualities in seemingly identical

objects become apparent. Stephanie

very often assembles the things in

the shape of a circle. No beginning,

no end. Her circles might not always

be in the center, since so much is not

centered anymore.

What fascinates Stephanie

increasingly is the understanding

that transition dominates all and

everything. Nothing stays the same as

time goes by. Transition is naturally

with us and it is the only constant.

Why does it scare us so much that

everything changes when it is the

most normal thing!?

“One day at the Beach” shows not

only how things but also how our

beaches changed. By making change

visible and by showing that the tiniest

parts in nature are all unique, she

hopes to open up our eyes to what

surrounds us.


The Sacrifice - 2018 - Photography

Size of artwork: 3,552 px x 5,328 px


Canvas - 2019 - Photography


Iness Rychlik

Polish artist, lives and works in UK

Iness is a self-portrait

photographer, who uses her

own body as a canvas to explore

the themes of solitude and

objectification. Through her

conceptual images, fulfilled with

an aura of erotism, she transforms

hidden pain into art. Iness

finds inspiration in the ideas of

Frida Kahlo, the Pre-Raphaelite

aesthetics and the historical

drama.

Her work is deeply personal - the

artist suffers from a hyper-sensitive

skin condition, that she has learnt

to see as a medium of expression,

rather than an ugly inconvenience.

Iness shows her scars overtly,

employing antique garments to

compare her experiences with

women’s inferiority in Victorian

Britain.



Middelburg, Netherlands

Ink and ricepaper, bold gestures

and tiny delicate lines, text,

transparency, oppositions, those are

the main characteristics of Sandra’s

artwork. With these elements she

tries to express her ideas about

life and interconnectedness. The

plainness and pureness of the

materials are essential. Graphic

elements, such as text and

characters, form an integral part of

the works; they are fundamental

both to content and composition.

Sandra’s artworks relates to a quote

from Fernando Pessoa:

“Everything man exposes or

expresses is a note in the margin of

a completely erased text. From the

sense of the note, more or less, we

can extract the gist of what must

have been in the text, but there’s

always a doubt, and there are so

many possible meanings”.

(F. Pessoa, The Book of Disquiet)


universe #2 - 2018 - ink, ricepaper, acrylics, transfer, thread, yarn, a.o.



Syncope - 2019 - Photography


Neil Anton Dumas

French - Canadian artist, lives and works

in Montreal, Canada

On his Instagram, Neil defines

himself as a “dreamer” and

“INFP”. Absolutely to the point!

Introversion, intuition, feelings and

his own perception of reality are the

key elements of the artist’s unique

photo perspective. Neil creates

deeply psychological images,

reflecting on the humans’ inner

battle with the negative emotions

and disclosing the bizarre beauty of

this process.

“Syncope” belongs to the series

“Melancholia” and explores our

relationship with death: even

though we are afraid of it, it can

sometimes be a relief to even think

about it. This photo Is a research

about how the scary can become

desirable.


Is it true that I’m rootless? - 2019 - Photography

Size of artwork: 42 x 29.7 cm

Xiaoli O. Chang 常

London, UK & Stockholm, Sweden

“I’m ethnically in one place, but

culturally in another. I know one

mother-tongue, it’s the same as

theirs—and yet they speak to me in

another.”

Surrounded by people of similar

colour—whereas the one single

person with dark hair represents

the artist and their own experience.

The one who is just as much part of

this country, of this culture, as they

are, but whom they will continue to

pass, thinking they don’t belong

In a world full of screaming voices;

whisper, because sometimes you

don’t need force to be powerful.

The visual is a quiet, sometimes

silent argument; but as influential

as a debate between two human

beings. In mostly video and

performance art Xiaoli tries to raise

their voice, and put emphasis on

issues society needs to become

more aware of. It is in disguise of

beauty that many ugly things hide.

It is violence in hiding, the one we

turn a blind eye to.


Me-Time(4.0) : mindfulness - introspection - void - 2018 - Conceptual Performance |

Experiential Experimental Research | A Multi-Channel Video Installation

Eunmi Mimi Kim

South Korean artist, lives and works

in London, UK

<Me-Time(4.0): mindfulnessintrospection-void

2018> is a part

of the self-experiment series that

focus on sensory isolation in order

to explore atypical, eccentric,

but rather introspective methods

that enable Eunmi to establish a

diverse spectrum within her own

comfort zone, to get away from

the overwhelming external world.

To counter her vulnerability, her

artistic research project aims

to align the mind and body

back into balance by reducing

sensory stimuli: REST (Restricted

Environmental Stimulation Therapy)

while experiencing and expanding

awareness of the self.

‘As people become more and more

concerned with the psychological

ramification of an overwhelming

digital world, we may finally be

ready to explore the real benefits of

taking-a-vacation from the senses.’

— Meehan Crist, Postcards from the

edge of consciousness


Glorious Decay - 2019 - Photography

Ana Pereira

Porto, Portugal

Ana has background in audio-visual

communication and documentary

cinema. The artist’s portfolio

represents her huge experience

with commercial, theatre and fineart

photography.

Ana describes her style as “the

poetry of the banal”. She finds

inspiration in photojournalism,

portraiture, literature and the

aesthetics of the 19th century.

Ana often accompanies her

images with a stream of personal

thoughts and open philosophic

questions, similar to the verses of

the modernist epoch. “The Glorious

Decay” series is not an exception.

Through it, Ana reflects on the

moments of stagnation in modern

cities, “time that doesn’t want to

grow”, and the verge between hope

and hopelessness.


Particular infinity - 2018 - Photography

Size of artwork: 12,592px x 3,872px

Denise Greco

Buzios, Brazil

Denise is mesmerized by the

beauty and fragility of the

underwater world and calls

it ‘a box of surprises’ for those

dedicated to marine photography.

She names David Doubilet, Alex

Mustard, and Paul Nicklen her

major influences in this field.

Denise explains that the final

result - e.g., this fractal-like

mysterious image - is never known

beforehand. The whole shooting

process is an improvisation and a

literal search in the dark. A diver

doesn’t see the proper colours

of the objects (everything looks

monochromatically blue in the

deep water) and has to choose

the pieces for his close-up just by

intuition!


No. 25, BE series - 2020 - Plaster, plaster gauze, dried moss and lichens


Eleonora Geortsiaki

Athens & Thessaloniki, Greece

Eleonora experiments with all

types of mediums and flows

between techniques such as

casting, engraving, watercolour,

and digital art. Eleonora is a

sculptor and performer who

is driven by the desire to give

materiality to personal feelings.

Accordingly, the feeling determines

the material.

In this sculpture, Eleonora exposes

the malleability of the material

and its relationship to its maker.

If you look closely, you’ll find

palm and finger marks that are

carefully smoothed. Throughout,

the sculpture sheds a shadow

cast onto the resting surface,

giving a sense of depth and

movement. Small foliage delivers

an unexpected frame.


Melted Ice-cream - 2019 - Neon light, acrylic paint


Athina Masoura

Greek artist, lives and works

in Paris, France

Athina Masoura is a

multidisciplinary artist and her

work testifies her fascination for

perception, sensory experience,

as well as the spectator’s physical

and psychological engagement.

Using a variety of media including

installations, she searches to

model a universe that erases

our automatisms, forcing us to

reconsider the aesthetic reception.

« What interests me most is

to shift the viewer’s attention

of the autonomous object to

a sensory situation where the

work is being experienced in an

immediate, dynamic, sensitive and

phenomenological way » .


Frequent false conclusions 47 - 2019 - Mixed media on canvas


David Magila

São Paulo, Brazil

David’s compositions balance

between figurative and abstract

art. They represent a cocktail of

intense and faded colours, gestural

and fluid brushstrokes, clear and

blurred lines.

David’s painting style is directly

linked to architecture and the

urban peripheral landscape.

This image belongs to his series

‘Frequent False Conclusions’,

where the artist depicts pieces of

furniture and other elements in

the environment, based on the

photographs he took while walking

around the city.

The fragmentary nature of his

compositions does not give us an

exact knowledge about the whole

context and reality. All we can do is

make a guess but, without much

experience, our conclusion might

be wrong.


Highway - 2020 - Acrylic on canvas


Vian Borchert

Maryland, USA

Highway is a part of Vian’s

Reflection series. It strongly

presents an abstract and modern

take on landscapes. Vian treats

her art like poetry and pursues an

expressionist spin to an otherwise

representational take on landscape.

We are intrigued by the alter

realm incited by Highway. It feels

submerged in deep blues, stark

blacks, and chalky whites. Vian is not

afraid to dive into her subconscious

and produce balanced and

punctuated interpretations of nature.

While Highway presents shadows

and ambiguous focal points, it still

conveys a contemplative lightness.


Blind 1 - 2018 - Acrylic on canvas


Andrea M. Weiss

Bremen, Germany

Andrea’s colourful compositions

are etched in memory

immediately. They are like riddles,

that wake up our curiosity and

provoke guessings about the

implied meanings.

This painting belongs to the Flash

for Empathy series and represents

a human head with eyes blocked

by abstract black stripes. Is it a

metaphor of our world where

everyone has lost their ability to

listen properly? Is it a portrait of a

modern person who sees nothing

but his own shiny smartphone

screen and advertisements?

Andrea allows us freedom of

interpretation.


Trust - 2020 - Oil on canvas


Zainab Aziz

Lahore, Pakistan

In this cathartic piece, Zainab

prompts us to reflect on the

meaning of trust. Does it bring

solace? Is it unconditional,

indefinite, or impossible? The

latter is bravely explored in Trust.

Zainab sustains this question by

illustrating the self-determination

of women.

The woman hugs an individual

whose body blends with the

negative space behind her. With

one hand firmly holding the

figure, the other surprises us as it

enhances the middle finger. These

opposing gestures communicate a

high tension between both figures.

It asks who is offering and who is

receiving trust? In the same breath,

Zainab shows us through Trust that

trust is not conclusive. It simply

presents the possibility of trust’s

permeability.


Emergence II - 2017 -Acrylic and mixed media on canvas


Lorraine Cooke

British artist, lives and works

in Paphos, Cyprus & Norwich, UK

Lorraine uses ‘landscape’ as a

subject to explore aspects of

the human relationship with the

environment, addressing the

importance of landscape painting

within contemporary visual culture;

centring on notions of ‘inscape’. The

term ‘inscape’ has been applied to

aesthetically varied artworks but

commonly conveys some feeling of

representing the artist’s psyche as

a kind of interior landscape and so

emphasizes the human condition.

Her drawing processes are

responsive to landscapes through

the combined variety of lines and

marks made in the creation of

imagery, to include the printed,

scratched, erased, scissor-cut, and

painted lines/ marks and the spaces

between them. The traces of marks

removed during the image making

are as important in the expression

of the subject matter as the more

definite lines.


Greg - 2020 - Mixed media


Samantha Sadik

Perth, Australia

Here is Greg. In this highly textured

piece, Sadik assigns mood and

emotional depth to Greg. See for

yourself the patches of yellows,

navys, and cream coloured

blues. The piece is the opposite

of seamless and technically

adventurous.

Up close, you’ll find highly textured

details determined by the potency

of primary colours. Sadik creates

egg-shaped contours. The framed

face isolates the body, drawing

our focus to Greg’s expression.

At the same time, Greg appears

masked… almost as if there are

two faces to uncover and discover

simultaneously.

Sadik intends to rebuild and

reconstruct a particular mood,

ultimately embracing the diversity

of mixed mediums. Beyond the

gestural strokes, the portrait

reaches a closure, almost saying:

yes, this is Greg. Greg2 challenges

the compromise of mirroring the

medium’s exact function, instead

breaks away to offer a dynamically

textured persona.


Maravillosa realidad - 2019 - Acrylic on canvas


Eileen Lunecke

Valdivia, Chile

Eileen was born with creative

energy in her veins: as a kid

she was constantly drawing on

napkins, then she chose the fine

art career, now she dedicates her

life to what she likes the most – art.

Eileen calls herself “a collector of

places and moments” and finds

inspiration in her personal travel

experiences. She works in realistic

manner with inclination to pop

art. Eileen’s pieces remind the

snapshots taken in motion and

later edited in some contemporary

smartphone filter. Her style is

characterized by dynamism and

saturated colours. Edward Hopper,

James Rosenquist and David

Hockney are her mayor artistic

influences.


Self-isolation - 2020 - Acrylic, computer graphics


Meri Miller

Moscow, Russia

In self-isolation, the subject

appears to be a human-cyborg.

This subject poses behind a

digitalized keyboard and encoded

tally marks. These elements are

all suggestive of a computerized

realm. The striking muted colours

intend to disprove the bright colour

charm of a perfect modern city.

Meri deconstructs the metropolis

to create a new iteration of urban

living called “PsychoUrbanik.” In

this melancholy alternative system,

technology is delivered to humans!

With this in mind, Meri wants us to

feel the tension of modernity. In it

lies the inevitable isolation,

pixellation, or fragmentation of

the self.

Self-isolation is saturated with

covid. Like the subject, we start to

wonder ourselves, are we present

or receding in this dull interface? Is

it a glitch?


Earth Resources - 2020 - Collage

Size of artwork: 29.7 x 42 cm

Pawel Pacholec

Gdansk, Poland

‘I prefer prose over poetry’, says

Pawel about his highly graphic,

logical and mathematically

calculated art style. He works

with collage technique, bringing a

second life to the archives of old

illustrations. Kurt Schwitters, Robert

Rauschenberg and Georges Braque

are some of his main influences.

Pawel’s compositions are inclined

to Dadaist stylistics with some

retrofuturistic, almost surreal

touches. The artist often creates

randomly looking typography

and lettering inspired in the

periods of industrialisation and

constructivism. Through them, he

draws parallels with the relevant

social reality and problems

- economy of energy sources,

consumerism and war of human

ambitions.


Don’t trust the imitations - 2019 - Photography

Valeria Secchi

Italian artist, works and lives

in Berlin, Germany

In ‘Don’t trust the imitations’ Valeria

wanted to discuss the homologation

process on social media. The era of

beauty filters that give the social user

the same sculpted nose, the same

fleshy lips and the same fawn eyes,

is ironically shown through the use

of two inflatable dolls, stereotypes of

the female body.

The attention to identity and

language lead Valeria’s most recent

research into virtual reality analysis.

In this process she was highly

influenced by online trends and by

how people respond to them. Her

work derives from the observation

of the behaviours and aesthetics

embraced by web users.

Video and photography are the

media by which the artist articulates

her projects: digital reproduction

and manipulation cooperate in

the staging of hyper-characterized

situations and figures who struggle

with the challenges, expectations,

fears of our time


The queen without a crown - 2019 - Acrylic on canvas


Petra Bajić

Radenci, Slovenia

Living in a bold gradient, this queen

stares inquisitively at us. Watch

closely as the queen’s blue hands

transform into feathers. They open

to reveal a deep psychological

reality about gender fluidity.

In this piece, Petra honors feminist

art by applying an erotic, gestural,

and expressionist edge. As an

observer, it is precisely our relation

to the queen that motivates Petra

to dig into contemporary art

wherein society becomes a site

to investigate marginalized and

underrepresented identities.

The queen may not adorn a

“crown”, but we are to accept that

a crown does not definitely define

a queen. Petra revises our idea of

femininity by replacing the crown

with subtle elements. Both the

pinks and blues here break away

from the heteronormative pillars of

gender (as a matter of fact). Instead,

they gracefully accent the queen

into a celebration of nonbinary

belonging.


Beautiful Series- 2020 - Pen and ink

Size of artwork: 45.72 x 61cm

Sarthak Talreja

New Delhi/India

Sarthak is a 22-year-old artist,

based in New Delhi. These two

images belong to his ‘Beautiful’

series, proclaiming the ideas of

body positivism. It was inspired by

work of the modern photographer

Julia SH - especially by her

‘Moving’ shot, that captures a very

obese naked model.

The artist criticizes our social

media behaviour and the human

obsession with having an ideal

body, that should necessarily

coincide with some imposed

paragons of attractive look.

In this series, Sarthak inks people

in the positions that highlight the

parts of the body they are usually

judged for, aiming to embrace their

natural beauty and strength.


Beautiful Series- 2020 - Pen and ink

Size of artwork: 45.72 x 61cm


Etwa 5 Minuten später, f rom the series Späti- 2020 & 2016 -

Epson Premium Photoluster Paper, Black wood frame.



zAck LeBeau

Bogotá, Colombia

This project focuses on the

importance of convenience stores

in daily life and the local imaginary.

It is an analysis of the temporary

experience during the beginning

of 2020 in the city of Cologne,

Germany and the relationship of

its inhabitants with the Kiosks.

They are also called Späti, which

is a friendly term for grocery store.

In times when there are very few

hours of light and low temperatures

significantly reduce pedestrian

flow, regular shops close in the

early hours, after which these sites

become protagonists of the night,

their colorful neon lighting spreads

through the dark and cold streets,

becoming a meeting point for

people and enriching nighttime

social dynamics.



bluebee

Something else

While visual artworks engage with the beholder

in a dialog of substance and interpretation, the

written word invites us to a completely different

dimension.

Visual art can be viewed for as long as the beholder

wishes. Stories hold the reader hostage until their

final words have been said. The final message has

been communicated and the reader has the full

picture of what the artist wanted to express.

But this also makes it interesting, no two people

will experience the world they enter through

reading alike.


Maddi Crease

Essex, UK.

Maddi Crease is an Essex-based

poet and abstract artist. She writes

predominantly on themes of

mental health, as well as equality

and diversity - plus the odd poem

on whatever takes her fancy! The

above poems centre in on two very

different themes: the first, a piece

on the frustrations of the perception

that ‘art is just a silly hobby’; the

second is about her lived experience

of emotionally unstable personality

disorder.


Artist

To be a great portrait artist,

You must first understand human biology-

The maps of bone and muscle,

The contours that fit around them.

Then, master the degrees of the face and body-

The maths.

You see,

Art isn’t as whimsical as we make it out to be.

To be an artist of any kind is to be an expert of deception,

Of making hard work look effortless,

Of making determination look weightless.

Art is not a life of whimsy deflection of responsibilities, but rather

Taking on the great responsibility of upholding the facade.

So when I say I am an artist -

A poet,

An abstract painter,

An

Artist -

Do not tell me that

Some of us have other commitments.

I have other commitments.

But my art, too, is

Commitment.


The Well

I’ve been so empty,

Real empty,

The empty of throwing a coin into a well,

Expecting a quiet splash and instead wincing

As the metal collides with hard stone,

Echoing around the curvature of

Gone.

I make a wish, more out of

Internalised pressure and expectation than belief,

But anyway.

I wish for the waters to return,

For the well to be full again.

And when they do?

Oh,

When they do,

It’s so exciting.

There’s a rush of adrenaline as I feel myself filling up once more-

It doesn’t matter if it’s angry or sad or dangerous euphoria,

I’m full!

Until I’m overflowing.

The water from the well is

Lapping at my feet,

Sloshing over the sides,

Masses of pennies carry themselves on the tides.

Wishes, that now are coming for me.

I try to throw them back,

But they have been set free.

‘Why did you ask for this?’

‘Don’t you know we were warm in your pocket?

You threw us, we were cold and now we are colder!’

I guess they are right.

In my pocket I hold the world,


I hold the potential to be full,

Or empty,

Or overflowing,

So I must too have the potential to be

Water levels steady,

Not fluctuating-

My anger is a tsunami,

My happy is a drought.

My sad is varied, unpredictable,

The riptide that pulls you out.

Balance is a thing my well has rarely seen,

But maybe.

Maybe if I were to stop throwing pennies,

Throwing away pieces of myself,

In the hope that I could get in return

The opposite of whatever I am feeling at the time,

Maybe!

I could have a well half-full.

Or maybe.

Just maybe.

I could do away with the whole damned thing.

Tear down the brick and let my emotion foster

A lake,

Instead.

But the water soaks into the ground as I ponder,

And the well is empty again.

Forgetful,

I reach deep into my pocket,

Pull out

Three round coins, slightly dulled,

And throw them all inside.


Artists contact

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Anna Franek

www.anna25.de

@galerieanna25

Marta Areny

www.daystarpartners.net

@marta_areny

Yupica

www.yupica.com

yupica_com

Georgia Theologou

georgiatheologou.com

@georgiatheologou_art

ms DYU

www.msdyu.com

@diary_of_one_artist

Jill Tegan Doherty

www.jilltegandoherty.com

@jilltegandoherty

Eve Smith

artshow.lboro.ac.uk/students/eve-smith/

@eve_juliet_art

Khushboo Jain

@khushboo.jain__

Joyce Camilleri

www.joycamilleri.wordpress.com

@joyce.camilleri.art

Dawei Wang

www.daweiwangart.com

@wangdawei_109

Yaroslav Leonets

www.artconnect.com/profile

/yaroslav-leonets

@jaroslavleonetsart

Andrea Guzzetta

www.andreaguzzetta.com

@andreaguzzetta

Harriet Shankster

www.harrietshanksterartist.co.uk

@harrietbeth_art

Fabio Coruzzi

www.fabiocoruzzi.com

@fabiocoruzzi

Hafsa Riaz

@hafsanama

Jose Cruzio

www.cargocollective.com/josecruzio

@josecruzio

Leila Hichri

www.leilahichri.com

@leilahichriphotography

João Sousa Pinto

joaosousapinto.weebly.com/

@joaosousapinto

Rachel Clarke

www.rachelclarke.ie

@rachelclarke.ie

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alesha

thealeshaart.com

@thealeshaart

Kinza Arif

@kinzaarifpaints

Van O

vanoart.wix.com/photo

Mj|tM

www.losotros.eu/mj-tom

@losotros.mjtom

Alaric Hobbs

www.alarichobbs.com

@alarichobbsartist

Jiwon Kwak

jiwonkwak.com

@g1kwak

Adrian Duchateau

adrianduchateau.com

@notordinarygarbage

Rui Sha

ruiisa.com

@rui_rrrs

Show kawabata & Takuto Usami

showkawabata.net

Irina Greciuhina

www.greciuhina.art

@irina.greciuhina

Valentin Bakardjiev

artbakard.com/

@valentinbakardjiev

Doug Winter

sensory.dougwinterstudio.com

@doug_winter_studio


www.wasimzaid.com/

@wasimzaid.official

Stephanie Hüllmann

www.stephanie-huellmann.com

@stephaniehuellmann

Iness Rychlik

www.inessrychlik.com

@inessrychlik


www.sandravdmeulen.nl

@sandravdmeulen_artist

Neil Anton Dumas

www.neilantondumas.com

@neilantondumas

Xiaoli O. Chang

@milkchaos

Eunmi Mimi Kim

www.4mimism.xyz

@4mimism

Ana Pereira

anapereira.wordpress.com

@mademoisellephotopt

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Denise Greco

www.denisegrecophoto.com

@denisegrecophoto_

Eleonora Geortsiaki

eleonorageortsiakiartworks.wordpress.com

@eleonorageortsiaki

Athina Masoura

athinamasoura.com

@athinamasoura

David Magila

www.davidmagila.com

@davidmagila

Vian Borchert

www.vianborchert.com

@vianborchert

Andrea M. Weiss

www.andrea-m-weiss.de

@andrea_m_weiss

Zainab Aziz

@zainab.aziz1628

Lorraine Cooke

aa2a.biz/network/user/lorraine

@lorraine_cooke1

Samantha Sadik

www.desilleryarts.com

@sadikstitch

Eileen Lunecke

www.eileenlunecke.com

@arte.eileen.lunecke

Meri Miller

www.artmillerm.com.ru

@miller2art

Pawel Pacholec

www.behance.net/pacholec-pawel

@paul.piotrowicz

Valeria Secchi

@valeria_secchi

Petra Bajić

petrabajic.com

@petrabajic.art

Sarthak Talreja

@ sarthaktalreja

zAck LeBeau

zacklebeau.com

@z4cklebeau

Maddi Crease

@poetry_raw_mc

Elena Isaeva

www.boredbutsuddenly.wordpress.com/

@boredbutsuddenly

Malin Alexandra Evertsz Mendez

www.mendezmalin.wixsite.com/

beetleeyedmalina

@beetleeyedmalina

Veronika Hykova

@hykovaveronika

bluebee magazine - volume 5 - Hyancinth

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