Nicollage

"Striving for the purity of the ineffable or rather, for the transcendent, I am guided by irrational forces and intuition, myths, dreams and mystery, in order to build an endless labyrinth in which even I may get lost. My art practice feels like a perennial exploration of the inner universe."

Reflecting on Immortality - Digital collage 80 x 50 cm

Nikola Gocic (born in Nis, 1980) is an architect by profession and a film reviewer, collage artist and film festival curator by passion. He has frequently and successfully collaborated on film-related articles with Rouzbeh Rashidi – the Iranian-Irish filmmaker and founder of the Dublin-based company Experimental Film Society, with five of his essays published in the book Luminous Void: Twenty Years of Experimental Film Society (Dublin, 2020). 

As a collage artist, Gocic has created numerous promotional images for NYC-based underground artist Martin Del Carpio. For Hungarian avant-garde filmmaker Péter Lichter, he designed the poster for a found-footage feature, Empty Horses, which was shown at the 2020 edition of the International Film Festival Rotterdam. He has also worked alongside German composer and film director Martin Gerigk on his animated shorts Otonashi (2021), Once I Passed (2022) and Demi-Gods (2022), which have been screened on more than 100 festivals around the globe. Their fourth collaborative effort, Demi-Goddesses, released in 2023.

Four of his solo exhibitions were presented in 2019, 2020, 2021 and 2022, and by the end of 2019, he co-curated the inaugural edition of the International festival of analog experimental cinema Kinoskop in Belgrade, where some of his collages were shown at the closing ceremony. Two of his short comics; ‘Exhausted Peace’ and ‘F Mode’ were exhibited at the Belgrade International Comics Festival in 2018 and 2019. His collage ‘Ultrafantasia: The Spirits Gathering’ was selected as one of the 10 finalists for the Artbox.Project Venezia 1.0 exhibition held in Tana Art Space, Venice, during May of 2022. Following were two group exhibitions – Kaos, international festival of modern collage in Slovenia, and ‘Collage 2022’ at John B. Aird Gallery (online) based in Canada. As a semi-finalist, his 2023 piece ‘The Axis of Imagination’ was a part of Artbox.Project New York 2.0 exhibition (April 17-26, 2023).

Stolen Divinity - Digital collage 40 x 50 cm
When I Become a Ghost (of Misconception) - Digital collage 40 x 50 cm
In the Limbo of Your Left Eye - Digital collage 40 x 50 cm
The Portrait of Elpis - Digital collage 40 x 50 cm
Seventh Day of the Full Moon - Digital collage 40 x 50 cm
La Viscosità dello Spazio - Digital collage 30 x 40 cm
Primavera Rubata (Degustazione del Vuoto) - Digital collage 60 x 40 cm
The Axis of Imagination - Digital collage 50 x 70 cm
Third Soul of a Butterfly - Digital collage 40 x 50 cm

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Franchesca’s Art

“As Franchesca Ocampo Swartzberg, I blend diverse techniques to provoke contemplation on global challenges. Inspired by renowned artists, I infuse dynamism and diversity into my creations, urging reflection on technology's impact and conveying a dramatic, futuristic message.”

1 The artist with her work Virtual Prison - 36”x 24. Cellphone Sculpture, Multi-mediums, acrylics, oil paint. Metalique paint, metal paint, color clay, polymer clay, ceramic clay, gesso paint, Epoxy Resin.

Franchesca Ocampo Swartzberg, born on June 3, 1974, is an artist from Bogota, Colombia. In 1996, she embarked on a journey to Atlanta, GA, USA, to pursue her artistic aspirations, initiating a disciplined practice of canvas painting. Through the exploration of various techniques and the playful integration of diverse materials and styles, she has honed her proficiency across multiple mediums, establishing a robust presence in the realm of decorative art.

Subsequently, inspired by renowned artists, she embarked on a journey infused with a sense of drama and allure. Among the esteemed figures who fueled her admiration were Liliana Porter, Mike Winkelnann, and Gerald Garouste.

Her aspirations extend to ensuring that her art is witnessed by a broad audience capable of grasping the depth of her message—provoking contemplation and analysis of the challenges facing our current and future planet.

Franchesca’s artistic journey is characterized by empirical and experimental exploration. As a self-taught artist, often referred to as an "invisible artist" in a society that overlooks and neglects those without formal opportunities, she has adeptly seized chances to garner recognition and project her achievements thus far.

Known among her clients, acquaintances, and patrons as an outgoing artist, she infuses dynamism and intriguing diversity into her work. Her creations showcase a diverse world, incorporating a myriad of elements and standing out for the profound message aimed at guiding future generations through insightful reflection on the issues plaguing our contemporary world.

I-Pollen, 36”x 24. Cellphone Sculpture, Multi-mediums, acrylics, oil paint. Metalique paint, metal paint, color clay, polymer clay, ceramic clay, gesso paint. plastic figurines, Epoxy Resin.
Close Up I=Pollen, 36”x 24. Cellphone Sculpture, Multi-mediums, acrylics, oil paint. Metalique paint, metal paint, color clay, polymer clay, ceramic clay, gesso paint, Epoxy Resin.
In the I-Clouds, 36”x 24. Cellphone Sculpture, Multi-mediums, acrylics, oil paint. Metalique paint, metal paint, color clay, polymer clay, ceramic clay, gesso paint, Epoxy Resin.
Close Up In the I-Clouds, 36”x 24. Cellphone Sculpture, Multi-mediums, acrylics, oil paint. Metalique paint, metal paint, color clay, polymer clay, ceramic clay, gesso paint, Epoxy Resin.

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Benoît Tremblay

"As a self-taught artist, I do still concentrate on studying the postwar artistic avant-garde as well as the political and social life that surrounds us. For me, abstract art doesn't mean that it is abstracted by our day by day living, but that it goes beyond to reach a biggest dream."

Who's degenerated now? - Collage on paper 11.6 x 17,4 x 0.1 in.

Multidisciplinary artist, Benoît Tremblay aka Bent was born in Montreal’s Southwest Borough in 1975. An autodidact, he never studied art in an institution and he happily sees himself as an anti-academic artist. His influences are as wide as a 1000 colours you might place on a palette at the same time.

From Pollock to Basquiat, via Asger Jorn, Lee Krasner, Georg Baselitz or Gil Joseph Wolman and Guy Debord, the painter Bent tries his best to create visual reflections that can disturb life. Since 2004, he has had over 10 solo exhibitions and participated in 7 group art shows. He loves to travel and he sometimes creates work abroad that he finishes in the comfort of his workshop in his garage in Montreal.

Cut dead inside me - Acrylic, paper and ink on canvas 36 x 36 x 2 in.
À propos du soleil de minuit - Acrylic, tempera and ink on canvas 24 x 30 x 2 in.
Saouler l'ennuie aux abords des vides - Acrylic and charcoal on canvas 24 x 30 x 2 in.
These unknown roads - Acrylic, enamel, charcoal and ink on canvas 40 x 48 x 1 in.

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Bernd Reichert

"I have always been interested in surrealist art and magic realism. The figurative aspect is important there. Coming from printmaking, I started out with using existing imagery, but more and more I have been combining collages with painted elements up to the point where the painting takes full control."

La Belle Machiniste - Acrylic and collage 70 x 70 cm

“I was born behind the Iron Curtain in East Germany. I am now living on the surreal shores of Belgium. I studied printmaking in Germany (Berlin, Magdeburg) and Ireland. After many years of producing limited edition prints in all forms, I stopped for a few years my art production and traveled the world extensively. Now I have moved my area of interest to collages and paintings. I like to see myself as a kind of surrealist artist in the tradition of Leonor Fini, Eileen Agar and the likes.

My collages are a juxtaposition of elements, images, and objects incoherent to each other, thereby exercising a de-contextualizing form of violence on language and image alike. They contain a kind of strangeness, a disturbing element disquieting the spectator/reader who is confronted with a series of elements taken from one's everyday life which, being put one next to each other, provoke, suddenly, an incoherent situation, a source of obscurity and vagueness. Working with text and images, I like to encourage the viewer to oscillate between reading and looking. It is about reusing, recycling and re-contextualizing the over-abundance of images and information we can choose from Time, the various cultural influences of the placed I traveled to and a Babel-like plethora of different languages are recurring aspects of my work.

The artwork is telling stories, influenced by my travels, but also often containing autobiographical elements."

 

Select Solo Exhibitions

Gallery Kaire-Desine, Vilnius (LT), 2005

Gallery Meno, Cultural Centre Jonava (LT) , 2005

Musée de l’Art Spontané, Brussels (BE), 2008

Gallery 89, London (UK), 2010

Kunstwerkstatt, Magdeburg (GE), 2010 and 2013

Gallery ORT, Birmingham (UK), 2012

Cultural Centre, Minden (GE), 2014

L’Apparition - Acrylic and collage 70 x 70 cm
Merz N°2 - Collage 15 x 10 cm
Waiting - Acrylic 70 x 70 cm
Heize Elektrisch! - Collage 30 x 21 cm

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Fay Wood

“I’m inspired by the materials I work with (usually found objects); the touch, feel and intensity of them. The pleasure of working with a beautiful piece of wood, the visual impact of applied color, and the textures of fabrics; how I can imagine the ways to use them is intensely moving.”

Bird in Flight - Collage 20 x 20 in.

“Art using found objects has attracted me since 1965, when I was living in the San Francisco Bay Area, and saw large sculptures by local artists made from detritus on the Bay shore. They were fantastic, noisy, beautiful works with great humor and form - I never have forgotten them. As an art student at Massachusetts College of Art in Boston, Mass. I began studying painting, but later, when I was attending a life drawing group, a sculptor encouraged me to carve directly in wood. This began what has become a deep love for sculpture and, later found object assemblage.

In 1992, when I finally had a permanent studio in the Hudson Valley of New York State, I began combining found objects with the cherry wood carvings I had been doing and continue to do so; adding found rag paper, wire, and paint to the mix.

I have also continued to paint, draw, and create tapestries and, recently I have completed an 18 piece portfolio of collages. I have an extensive exhibition history, including The Proskauer prize from the National Sculpture Society, exhibitions at Brookgreen Gardens, S. Carolina, Biennale Dell Arte Contemporanea, Florence, Italy, where I have been invited again in 2019, as well as many solo, group and invitational exhibitions in the USA. I will also be a featured artist with Artrepreneur, a website assisting artists to further their careers, in a film on PBS worldwide in April 2019.”

Reunion - Found object sculpture 44 x 42 x 44 in.
Mantis - Found object sculpture 60 x 16 x 18 in.
I Thought I Stood - Collage 28 x 21.5 in.
Goddess of Light Work - Found object sculpture 62 x 23 x 47 in.

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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