Patrizia Martiradonna

"My painting is best defined by the painting process itself. I look for a single fixed moment in time in which primary , natural elements transform themselves into substance and form. The images I make are not intentional symbols nor representations of a known physical world."

Until then, Mixed media, 36 x 24 in. $5,000

Patrizia Martiradonna is an Italian artist from Rome (born 1969) now based in California. After moving to Los Angeles in 1992, Patrizia studied fine arts in college and then went on the road. She traveled cross-country making American landscape photography, capturing the contrast between the overpowering, silent expanses of the West and the day-to-day busy mapping of small-town human existence.

Once focusing on the blank canvas, Patrizia found the appeal of the abstract irresistible in painting what realism could only document. Her narrative turned away from familiar forms to the interior, shapeless search for unfamiliar emotional, quiet meaning.

Like a child suddenly in the center of a medieval cloister gone Sci-Fi, Patrizia plays with timeless and unique tones rather than representing the defined or the decodable. Her work, which invites extended viewing, paints shape-shifting spirit with signature color palettes.

Patrizia’s work has been used by production designers in well-known Hollywood film productions and is widely collected. These days she works out of her studio in Marina del Rey.

Let's dance, Mixed media, 36 x 36 in. $6,000
Delighted, Mixed media, 24 x 24 in. $4,000
Sacro, Mixed media, 36 x 36 in. $6,000
Art matters, Mixed media, 20 x 20 in. $3,000

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


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Veronica Shimanovskaya

“According to Joseph Beuys, art is a science of freedom. Not only that but it's a different reality that requires slowing down and looking. Just as a ray of light falls askance at some well-known object, and makes it look different.”

Alphabet Yes - Performance, Digital Photograph 180x78 cm

Dr. Veronica Shimanovskaya is a St. Petersburg-born, New York-based, multidisciplinary, award-winning artist with advanced degrees in art, architecture, and theatre.

Grounded in classical training, Shimanovskaya adeptly navigates the realms of painting, sculpture, sound, and video. While expanding her practice to include conceptual art, installation, and moving image, she remains steadfast in her commitment to painting. Veronica's exploration of mixed-media installation flourished during her pursuit of a Professional Doctorate degree at UEL, under the guidance of avant-garde filmmaker Professor John Smith and Turner Prize-winning sculptor Grenville Davey.

Drawing from metaphysics, Veronica endeavors to capture the pure subjectivity at the intersection of the personal and societal. Her artistic experiments involve the interplay of materials to construct the reality of her fictional worlds.

Since the 1990s, Shimanovskaya has exhibited internationally, gracing museums and galleries in Japan, Finland, the UK, France, Italy, Russia, and Mexico. Key highlights include her participation in the 57th, 58th, and 59th Venice Biennale, Thessaloniki Art Week 2018, London Art Week 2016, and World Art Dubai 2022. Notable accolades include the 2019 Mayor of Kobe Art Award and Certificates of Merit from the Luxembourg Art Award in 2021 and 2022. Her works find a place in both private and institutional collections.

Beyond her canvas pursuits, Veronica is a curator, designer, playback theatre actor, and a poet member of the British Haiku Society. She is the founder of EphemerEye, an online video art showcasing platform that provided live exhibiting opportunities for time-based media from 2017 to 2023.

Vicissitudes - Painting, Sculpture, Video, Installation 4x8m
Dreaming of Andy and the Times Changed - Still from Digital Video
Waiting - Multimedia Installation 5x10m
Befogged - Digital Photograph 36x24 in.

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Ana Backhaus

“I try to capture the human experience, the relationship between my subjects and their environment, with a blend of depth, quirkiness, and meticulous attention to detail. I embrace ambiguity and like to ignite curiosity, leaving room for interpretation. I delve into subtle nuances, leading to introspection.”

Graceful Simplicity - Digital File, €250

Ana Backhaus, a Portuguese photographer specializing in documentary, family, and wedding photography, is currently based in Dubai. Her passion for the art of photography is deeply intertwined with her love for artistic expression and the entire photographic process, driving her to consistently seek ways to enhance her creative insight.

As a devoted visual artist, Ana excels in the intricate tasks of capturing and editing images with meticulous attention to detail. Firmly believing that every individual possesses a unique story, she is wholeheartedly dedicated to creatively conveying these narratives through her work.

Through the lens of her camera, Ana endeavors to immortalize genuine moments, emotions, and connections, highlighting the distinctive qualities of each subject. Her ultimate aim is to craft timeless images that not only artistically showcase the beauty of real-life moments but also evoke a profound sense of nostalgia and authenticity.

Ana is proud to be acknowledged as an award-winning photographer and expresses gratitude for the opportunities that have allowed her to showcase her talent. Leveraging a combination of technical expertise and artistic vision, she strives to produce images that deeply resonate with viewers, leaving a lasting impression.

Throughout her artistic journey, Ana derives joy from the process of capturing moments and transforming them into a cherished archive of memories.

The Flowy Hair - Digital File, €250
The Girl and The Bucket - Digital File, €250
Elevating Joy - Digital File, €250
The Blue Umbrella - Digital File, €250

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Weiting Wei

"Transitioning from girl to mother feels like the moment that we acquire our protective layers, our feathers, scales and armor. But our interior becomes softer, more sensitive with the love and bond we develop for our children. So in some ways, we are weaker should something pierce through our armor."

Seed - Polymer clay 5 x 12 x 5 in.

Weiting Wei received her MFA in visual art from Columbus College of Art & Design in 2018. She is a multimedia artist creating works out of paper, wax, clay, and soap. 

In her work, Wei sculpts air-dry and resin clay to represent the struggles of a new mom; helpless but hopeful, sensitive but peaceful, exhausted but beautiful...

Other aspects of her work include the use of white porcelain to represent pregnancy, and the use of tinct rice paper to represent the muscle state around the cesarean incision. Her sculpture uses traditional elements to explore very personal, yet universal, experiences of motherhood.

Light sleeper - Polymer clay 14 x 11 x 3.5 in.
Armor - Polymer clay 12 x 12 x 3 in.
My Armor - Polymer clay 24 x 6 x 1 in.
Armor - Polymer clay 22 x 36 x 2 in.

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Jeffrey M Brackett


"My drawing process is simple: I put pen to paper and make a line, followed by thousands of more lines that morph into unique artworks. Much of my emphasis on patterns and precision comes from having Asperger Syndrome, which presents itself as an ability to do repetitive line work for hours on end."

Arrowhead - Ink on paper 30 x 22 in.

In late 2020, Jeff learned of his Asperger Syndrome profile. For Jeff, Asperger’s presents itself as an ability for extreme focus, which translates into the skill to do long stints of repetitive line-work, and a fierce dedication to continual refinement of his artistic tendencies.

Jeff's recent solo art exhibition was at Gordy Fine Art (Indiana, USA), the same gallery that now represents his art. That solo exhibition included several Buddhist-themed pieces, all of which integrated his academic research with his personal artistic and spiritual practice. Hence, it is no surprise that Jeff is working on a book tentatively titled, "Zen and the Artful Buddhist: Asperger’s, Art, and Academia."

A native of Southern California with a BA in Religious Studies from UCSB, an MDiv from Princeton Theological Seminary, and a PhD from the University of Pittsburgh, Jeff Brackett has a long history of studying the intersections of religious and spiritual practices. He was an art major for a year, but he soon took up another passion: the academic study of religion, which landed him in India for three years during graduate school. He went on to win the highest teaching award at Ball State University (Muncie, Indiana), where he taught courses about Hinduism, Buddhism, World Religions, and Religion and Pop Culture until he retired (early) in May 2022.

Jeff's transition to art began in October 2016, when he began an intensive daily-drawing practice. By 2017, he started showing his work in local and national juried art shows. Since then, he has won a number of awards and had his work published in several art magazines.

Dancing Lines - Ink on paper 22 x 30 in.
Trikaya - Ink on paper 36 x 60 in.
Happy Hour - Ink on paper 36 x 60 in.
Forgetting the Ox - Ink on paper 36 x 60 in.

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Bea Last

“I am a professional contemporary artist. My creative practice is process-based and currently, I am exploring drawing in its broadest sense, creating sculptural drawings and art installations. The materials I use are either recycled or upcycled, from plastics to newspaper, found objects & fabrics.”

The Anatomy Lesson 2022 - Revisited, Recycled, Altered Plastics, Rusty Nails

"Based in Scotland, U.K., my creative practice is process-led. Currently, I am exploring drawing in its broadest sense, creating sculptural drawing installations using salvaged, recycled materials, and found objects such as plastics, paper, fabric, iron, and wood.

Installations depend on location, space, and environment and are created or reinvented according to that space. Both a reaction to or a statement of, my installations and sculptural drawings engage via dialogue and conversation on very current global and societal issues. Relationship, Conversation, Connection, Community, Placement, Humanity, and current global issues are my focused interest.

They are subtle and challenging, a contrast between fragility and strength. They have been referred to as both monumental and fragile at the same time.

My creative practice looks at what it is to be human, the fragility, the strength, and is demonstrated in the materials I use. However, salvaged or found though, the aesthetics, the craft that is art is vital to me, allowing me to continually move my practice forward.

My perceptions and relationship to both inner and outer landscapes, I believe, are attributed to this sense of not belonging to – and yet belonging everywhere. It contributes to an outward-looking and broader approach to our global community and to inspiration and connection.

Initially a painter, the creative process has led me to where I am presently merging drawing/painting into sculptural forms, and I am excited to see where this process will also lead me.

Creativity and all its attributes are important to me. Part of my creative practice is through mentoring and educating. I have facilitated the Widening Participation Open Studio tutor for Glasgow School of Art (2016-2020) and for Weareupland.com VASS project, including creative drawing workshops and as a visiting creative practitioner for Better Lives - a UK-based autism support charity."

Untitled Site Specific Installation 2023 - Found (onsite) materials, Pottery and Petals , Size variable. NFS
The Red Bags 2023 - 600 hand crafted red bags, repurposed red waterproof canvas, bullet holes, size variable depending on location £10,000
The Red Bags 2022 - 300 hand crafted red bags, Repurposed waterproof canvas, Bullet Holes, Size variable depending on space, £8,000
he Black Scrolls 2019 - Salvaged Lining Paper, Emulsion, Graphite, PVA, Gold Trim. 5'' x 22m each scroll. £4,000

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Marc Aronson

“My process relies on the redoing of an image, destroying and restoring. This rephrasing produces a work that is rife with references of the history of its own making. Through the layers of paint an internal light is produced. It is this imagined light that is my memories of a particular place.”

The Dawn of Awakening - Oil paint, iridescent, and metallic pigments on canvas 46.25 x 57 in. $6,200

Solo Exhibitions:

2020: i. e., Edison, WA
2009: O.K. Harris Works of Art, New York, NY
1974: Warren Benedek Gallery, New York, NY

 

Select Group Exhibitions:

2021: London Art Beinnale, London, UK
2021: i.e., Edison, WA
2020: The Art of Planetary Science, Lunar and Planetary Laboratory, University of Arizona, Tucson, AZ
2019: Mighty Tieton Warehouse "10 x 10 x 10 Show," Tieton, WA
2017: London Pop Up Art Fair, Sunny Art Centre, London, UK
2012: 80 WSE, New York University, New York, NY
2009: OK Harris Works of Art, New York, NY
2008: Chung Ang University, Three Person Exhibition, Seoul, South Korea
2000: National Competition Finalists' Exhibition, Provincetown Art Association and Museum, Provincetown, MA
1996: Art of the Northeast USA, Silvermine Guild Arts Center, New Canaan, CT
1995: Small Works Exhibition, 80 Washington Square East Galleries, New York, NY
1992: America 500, Centro Cultural Recoleta, Buenos Aires, Argentina
1991: National Midyear Exhibition, Butler Institute of American Art, Youngstown, OH
1980: Foster White Gallery, Seattle, WA
1978: Aldrich Museum of Contemporary Art, Ridgefield, CT
1977: Organization for Independent Artists, Federal Courthouse, Brooklyn, NY
1974: Warren Benedek Gallery, New York, NY
1971: Seattle Art Museum Pavilion, Seattle, WA

 

Select Collections:

Time Warner Inc., New York, NY
Norman Chan, Hong Kong
Perry and Mary Walker, Memphis, TN
King County Library System Foundation, Burien, WA
Mikyeong Kim, Seoul, Korea

 

Grants - Fellowships:

1980: Fellowship, New York Foundation for the Arts
1976: Fellowship, National Endowment for the Arts

 

Selected Bibliography:

1975: Arts Magazine, Noel Frackman

Under Another Star - Oil paint, iridescent, and metallic pigments on canvas 25 x 30 in. $3,500
Double Bluff - Oil paint, iridescent, and metallic pigments on canvas 36 x 38 in. $5,000
Mojave, Outer Vegas - Oil paint, iridescent, and metallic pigments on canvas 21 x 25 in. $3,000
Marine Layer - Oil paint, iridescent, and metallic pigments on canvas 35 x 36 in. $5,000

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Daniella Batsheva

Born in: 1989, Philadelphia, PA
Lives in: Between US, UK, and Israel
Education: Bachelor of Fine Arts in Illustration from The University of the Arts, Philadelphia, PA.
Describe your art in 3 words: haunting, spicy, magical
See More Work: daniellabatsheva.com

Sleep Paralysis - Ink, coloured pencil, tipex on found object, 9x12 in. (SOLD)

Daniella Batsheva is a self-proclaimed “Illustrator with a design habit” whose aesthetic straddles the line between underground fine art and the mainstream. Her work has been displayed in numerous galleries such as The Hive Gallery, Gabba Gallery, Art Expo NY, and her most recent solo exhibition, "Skirting Spectres" at the Crypt Gallery. She has illustrated for Paris Jackson, Kerrang!, Revolve Agency, Pizza Girl, and drawn numerous show posters, which have become well-known in London.

What themes does your current work involve?
The themes often involve a blend of urban legends, symbolism from many different cultures, and femininity. The stylistic approach is a fusion between retro punk show posters and children's book illustration with a heavy Victorian flair. Being commissioned to illustrate pieces with completely different topics ends up being tons of fun because I get to process the subject matter through that mental lens. Lately I've been including a lot more humour in my pieces which adds a more relatable, human element that's received a lot of positive responses.
Describe your creative process.
My process is extremely traditional and it always starts with a massive amount of research. Depending on the topic, I might head to a library. Then lots of thumbnailing and sketching. Once I find the right imagery and composition, I roughly draw out the full-sized piece on bristol. This is where my friends say I'm a grandpa - I'll pull out tracing paper, redraw and refine certain elements, and transfer it to the paper, so everything is ready for me to begin inking. Sometimes I'll keep a drawing black and white, other times I'll scan it in and colour it digitally. Most of my work is commissioned, so the client usually only requires a file and I get to stash away the original like a happy little gremlin.
What influences your work? What inspires you? Why do you make art?
I've always felt obsessively compelled to make art. It was my chosen method of communication as an awkward child. I tell people that it's really all I know how to do! These days, I find myself drawing more in defiance of the alarming trends towards AI and the devaluation of artists, but my creations are mostly out of love and a need for mental clarity. My work is heavily influenced by illuminated manuscripts, Victorian era children's books, and horror films. I love taking the naivete and innocence of early illustrations and pairing it with a modern narrative. I generally choose to not rely on a shock-factor or fan-art. I want people to appreciate the artwork, not for its gore or nudity, but for its quality, character, and symbolism.
What are your goals and plans as an artist in 2023?
I'm currently working on an exhibition called "Skirting Spectres" with my friend Susan Slaughter (Ghost Hunters Int., Paranormal Caught on Camera). It's a week long supernatural pop-up show that's taking place at The Crypt Gallery in London from April 25-30. There will be never before seen illustrations on display, along with accompanying stories, lectures, a Q&A session with Susan and I, and live drawing sessions on the weekdays. I also have artwork on display at ArtExpo New York this weekend. I'm continuing to work with my clients, both as an illustrator and designer. Other than that, I'm trying to spend as much time in nature as possible. There's nothing I love more than walking around in the park or woods on a gloomy day.
How do recent advancements in technology affect your art practice? How may recent developments in Artificial Intelligence (image generator software) affect the definition of fine art?
AI hasn't affected my work on a personal level, but seeing artists attacked as "unnessecary" or "gatekeepers" is gaslighting of the worst degree. Artists are not privileged and we are not gatekeeping anything. Anyone is free to put in the work and develop the skills necessary to become an artist. Museums, galleries are free, and you can absolutely find tutorials on youtube. Scraping the internet and using the art of hard working people to create a database that generates derivative images is an insult to any skilled worker that has dedicated their lives to honing their skills. It's simply laziness. We have a culture of convenience and a need for instant gratification due to being perpetually connected to our gadgets and receiving an onslaught of information. We need to touch grass.
What is the role of the artist today?
I think the role is evolving. Artists have always defined their environments through fashion, product design, paintings, iconic imagery and logos, and I think that will continue to be true. However, we're in a place where technology is rapidly progressing, in an attempt to replace artists and, while I don't think it threatens the will to create, public perception of the arts appears to be at an all-time low. People are forgetting why art is important, schools are cutting funding to their arts programs, art is being politicised as something "liberal" rather than something human, and it's all very alarming. I think, as Henry Rollins said, "This is not a time to be dismayed. This is punk rock time." And maybe, right now, artists need to remind people how to be rebellious, critical thinkers.
What is good art? What makes a piece of art great?
A good piece involves striking a balance between skill and cleverness. A piece that is entirely skill, for example, a drawing that is photorealistic but drawn from an existing image, can be impressive, but that's all it is. A piece that has a brilliant concept, but is poorly executed, also misses the mark. Good art is able to communicate a message while being visually appealing in some way. Great artwork should capture the imagination of the viewer and hold it, inspire some emotion, keep them searching, or simply give them a new environment to inhabit for a moment. Great artwork should have a versatility to it. It should be able to be applied in a context outside of visual arts so that it can be enjoyed beyond a specific, exclusive place and the viewer can develop a relationship with it.
Pierrette (Fangoria Exclusive) - Ink and digital colouring, 11x14 in. $20 print
Martyr - Ink, coloured pencil, tipex on found object, 9x12 in. $300
Storming the Gates - Ink on bristol, 11x14 in. $900
Beatrix Potter - Ink, coloured pencil, tipex on found object, 9x12 in. $300

This is the time for artists to create a space for each other, outside of a digital umbrella. We're trendsetters, we're hard workers, and I think we're generally very interesting people. I suspect that if we build that community and space physically for each other, it'll inspire others to follow. Or maybe I'm just being idealistic and people really don't have the will to challenge the status quo. I think we're at an interesting social turning point and we have yet to see where it goes. I'm gonna stick around for the ride and if art becomes disliked, for whatever reason, I'll keep drawing out of spite.

 


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


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Simi Larisch

Deconstruction of film. The term "Mainstream" is often used with a negative connotation. In a more positive sense, it creates a collective memory and thus becomes, even decades later, a strong link between the individuals of a society.

Titanic 1997 - Original VHS tape (woven) 100 x 100 cm

From Germany, Simi Larisch has worked as a freelance artist and graphic designer out of her studio in Düsseldorf since 2005. 

 

Select Exhibitions

11/2022  Frauenmuseum | Bonn | 27th Art Fair

09/2022 Stadtmuseum | Düsseldorf | Da! Art Award

06/2022 Museum Kunst Palast | Düsseldorf | Die Grosse 

06/2022 FMDK e.V. | Munich | Kunstsalon SINE LOCO

 

Education

2019 Doctorate in Art History at HHU Düsseldorf (Dr. phil.)

2012 Sponsorship Award for Master's thesis: "Kunstpunkte - The visit to the studio. Between authenticity claim, voyeurism and commerce"

2011 M.A. art history HHU Düsseldorf

2005 B.A. art history and media science HHU Düsseldorf 

2003 Certificate study program at "Neue Kunstschule Zürich"

1999 State-certified designer for media and communication 

Love Actually 2003 - Print on canvas 50 x 300 cm
Jungle Book 1967 - Original VHS tape (woven) 100 x 100 cm
Fight Club 1999 - Print on canvas 50 x 300 cm
The Exorcist 1973 - Original VHS tape (woven) 100 x 100 cm

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