Ken Macklin

"To me, making art is both personal and universal. I draw much of my inspiration from nature and the world around me. I look to the forests, fields, and land that surround my studio for inspiration. I remember what Henri Matisse said: 'Try to view the world through the eyes of a child'."

Studies For A Bell Tower, 2019 - Steel, brass, wood, steel wool 147 x 218 x 64 cm

Canadian artist, Ken Macklin is renowned for large-scale, non-representational sculpture. His work conveys a specific artistic sensibility that has been characterized by an interest in space, balance, gravity and the complex clustering of shapes. His use of mixed media and his use of color have charted new territory for his art. In Macklin's sculpture, materials are used as language; as writing; as a personal narrative.

Through The Field Wonderful, 2018 - Steel, steel wool 137 x 95 x 66 cm
Clown Around, 2011 - Painted steel 196 x 348 x 193 cm
In Just Spring, 2018 - Steel, steel wool, branches 130 x 86 x 74 cm
Throwing The Switch, 2012 - Painted steel 132 x 168 x 99 cm

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


 

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Sheila Eder

“The purpose of art is washing the dust of daily life off our souls.”

- Pablo Picasso

Rain Forest 2 - Collage on Nepalese paper 10 x 8 in.

Sheila Eder is a graduate of Oberlin College and holds graduate degrees from Columbia and New York University. She retired from a long-held university job in 2013. Since retiring, Ms. Eder has pursued an interest in collage and mixed media, studying at Cooper Union and at the Art Center of the 92nd Street Y. In her brief career as an artist, she has won two "Best in Show" prizes and been exhibited in Brooklyn, Manhattan and in online galleries including the International Gallery of Art (Toronto), Fusion Art (California), and Bauhaus Prairie Gallery (Oklahoma).

Iriwaddy - Collage 11.5 x 14 in.
Ground Zero - Collage 21.5 x 18 in.
Ground Zero: Oculus - Mixed media 22 x 13 x 2.5 in.
Rain Forest 1 - Collage on papyrus 9.5 x 7.5 in.

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Francesca Busca

Haunted by the idea of mankind’s imminent self-destruction, Francesca believes in a future for humanity of resourceful innovation through re-thinking, re-purposing and reducing, pushing for a swift move to an all-encompassing circular economy. Her works are made of rubbish and found material.

In My Name, 2018 - Mosaic: c. 1000 of my old business cards (recycled paper) on wooden board, direct method 21.5 x 38 cm 100% reused material. Self-critical piece

In her early life, Francesca challenged herself by focusing on things that did not come naturally to her (e.g. going into Law after studying Classics). Yet, she tried for years to placate her internal restlessness by living in different countries and cultures (Pordenone, Padua, Denver, London, Paris, New York...). When she reached 40, with the responsibility of a being mother, Francesca settled between London and Trieste and found her outlet in what she liked and did best, namely using her hands to create.

Art exhibitions, painting, and modeling clay were regular hobbies which never satiated her inherent creative nature. Finally, she entered the Scuola Mosaicisti del Friuli, in Spilimbergo: a whole new world of WONDERS opened up.

She wanted to learn how to do it properly. She took various courses in London, Spilimbergo, and Turkey, and is studying toward a Mosaic Diploma at the London School of Mosaic.

Busca is part of the BAMM Committee in the role of Exhibition Officer, and has taken permanent residency at the London School of Mosaic, where she holds a shared studio and teaches short courses from February 2018 on the innovative subject of "Mosaic as Mixed Media".  Francesca is also a member of the Governing Body of the London School of Mosaic.

Hybrid Cactus (...And Then It Wasn’t), 2018 - Plastic, bone, marble and smalti on marine ply 25 x 43 cm 100% reused material. A year worth's supply of the same medicine vial, fruit nets and used plastic cutlery
Pins and Needle, 2019 (detail) - Plastic and metal, 100% reused discarded material: around 800 pins and a needle on wooden board 32 x 12 x 6 cm
We're In It , 2018 - Installation: wood, cement, bark, metal, ceramic, glass and mirror 79 x 43 x 42 cm
Contemporary human detachment from reality, where our positive contribution to the ecosystem seems to happen by chance, ironically from something we despise. For from diamonds nothing grows, but from manure, flowers do (De André). Time to remove the plate?
Just Because You Don't See It... , 2018 - Mixed Media: metal, fabric and pollution dust on wooden board 35 x 18 cm
Braille writing. Revolving around the upcoming LIGCA project on air pollution A Breath of Fresh Air with schools in London and Delhi. Contour darkened with pollution dust collected from my window sill after 6 months of exposure to street traffic
The Need for Deconstruction, 2019 - Screws, fruit nets, filati and marble on wooden board 41 x 51 x 6 cm
For The Smaller Good, 2019 - A year's supply of used disposable plastic thyroid medicine vials 30 x 40 cm
Beehivis, 2017 - Mixed Media: plastic, metal and mother-of-pearl on wooden board, 90% reused material 36 x 45 cm
An artificial beehive: the more we advance in every field, the more we imitate Nature's perfection…but rather that recreating it artificially, should we not safeguard the real thing instead?
Crit Me, 2017 - Mixed Media: paper, plastic, metal and fabric on thin metal board 31 x 20 cm
Mostly made with reused discarded Canary Wharf New District site material and reproductions of artworks from the CWND 2017 Residency.
Bin The Future, 2018 - Staged Photography (layered artwork) 30.5 x 40.5 cm
4th layer. Inset, progressively: Empathy, Inheritance, Forever

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Bea Last – Artist / Mentor

"My practice is process-led, exploring drawing in its broadest sense. Currently, I am exploring drawing in the landscape with recycled materials, recycled papers and digital media."

Doric I&II, 2016 - Emulsion, graphite on canvas 70 x 70 cm

"Born abroad, to foreign parents, living and working in various places, at present based in Scotland. Not one particular place feels like home so, therefore, refer to myself as a global citizen.

My practice is process-led, the creative process to me is very much a journey, reflected in life. The monochromatic aspect of my work was process-led. Colour had become redundant and a distraction. I wanted to focus on the marks I was making.

Working large-scale was process-led. The works I create tended very much to have a presence about them and called out for a larger scale. Mark-making is very much the foundation of much of my work. I use it as a language. The broader the palette of marks made the more I can express myself. The marks evolve and develop, vital in moving my practice forward.

The use of paper is at present important to me. Both fragile, strong and reusable. I love combining fragility with the monumental. The use of light can be very elemental changing this fragility into solidity. Both can be crushed. Recycled. A kind of alchemy.

Conversation, placement location and relationship remain a constant.

Part of my practice includes mentoring. At present, I am mentoring a recent graduate from Grays School of Art, Aberdeen for a nine-month period and have been asked again to facilitate a portfolio preparation course, on behalf of Glasgow School of Art, for young students who may be thinking of applying to art school. The focus being experimental drawing and creative process. Commissions for the corporate sector continue, with paintings included in both private and corporate collections. Dokkae Project, Jeddah, The Corinthia Hotel (British Art Project) London W1, Microsoft, Reuters. I am also, at present working on an exhibition in Vienna, 2019.”

Bea Last holds a BA in Illustration from the University of Westminster (1981-1984) and is currently based in Scotland.

Doric I&II, 2016 - Emulsion, graphite on canvas 70 x 70 cm
Descent of Man and The Black Scrolls, 2017 - Recycled newspaper from 2017, graphite & emulsion
Lost Voices - Niches Project, 2018 - Graphite, emulsion, recycled baby shoes, Size variable
Descent of Man, 2017 - Graphite, emulsion on recycled news papers from 2017 - 1,9 x 22 m Variable dimensions on location

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Jessica Alazraki

Jessica Alazraki’s figurative portraits convey everyday stories of colorful characters. These confront the viewer, without interaction but instead submerging them within their own psyche. The narratives are based in ordinary and familiar scenes of Latino family life.

Winter Scene - Oil on canvas 36.5 x 50 in.

Jessica Alazraki was born and raised in Mexico City and has a Bachelor's Degree in Communications from Universidad Anáhuac. She has exhibited her paintings in the USA in over 30 group shows, including galleries in Manhattan, Brooklyn, Long Island, Poughkeepsie, California, and Philadelphia as well as in Sotheby’s Auction House in NY, and various museums like the Attleboro Arts Museum, Massachusetts and the New Britain Museum of America Art. Jessica has had two solo shows in NYC and has exhibited internationally in her native, Mexico City and in Puebla, Mexico.

"I worked as a creative in advertising right after finishing high school and moved to New York City in 1998 where I worked at various advertising agencies that specialized in targeting the U.S. Hispanic market. At the same time, I was studying at the Parsons School in which I earned a degree in Graphic Design. I also entered other CE graphic design programs at various schools in NYC including the School of Visual Arts and Cooper Union.

After becoming a mum, I quit my job but continued to work as a visual artist. In 2008, I first discovered my passion for drawing and painting. Since then, I have worked with live models helping me to expand my knowledge of anatomical drawing and figure painting.

After my first year of studies for a Masters Degree in Figurative Painting (2015-2016) at the New York Academy of Art, I have been preparing my self-directed body of work that represents my artistic interest, my personality and contributes to creating social awareness.

I have also been teaching young girls—from middle school to high school—with drawing in a private setting.

In 2015, I received “The Award of Excellence” from Huntington Arts Council. In 2017, I was given an “Honorable Mention Award” by the Barrett Art Center at the Circle Foundation for the Arts as well as the prize for second place at the Brooklyn Waterfront Artists Coalition. In 2018, I was given “The Passion Project Award” and Artdex Award."

The Dreamer - Oil on canvas 48 x 30 in.
Balloons - Oil on canvas 60 x 48 in.
Orange Blonde - Oil on canvas 60 x 48 in.
Couple - Oil on canvas 60 x 48 in.

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Zephyra Vun

"How do we challenge our understanding of architecture + design as it relates to the self, process, and scale? Rooted in translating design ideas through more relatable conditions, my work imaginatively expresses architecture as a concept through the subjective context of visual art."

Union Bank Building - Acrylic paint and charcoal on canvas 37 x 37 in.

Zephyra Vun is the Founder of anARCHI design, a multi-disciplinary, solo art studio in Winnipeg, Canada participating in architecturally inspired art projects, live art performances, and curator of public art events and exhibitions. She is also the Executive Director of Design Quarter Winnipeg, an innovative initiative aimed at promoting authentic, local retail and design culture in Winnipeg, by curating a destination experience of our walkable downtown districts.

Vun received her Environmental Design Degree (2009) and Masters of Architecture Degree (2011) from the University of Manitoba. She is an ambassador for accessible art and design and strives to advocate inclusive public engagement with these creative disciplines. She maintains a strong presence in the fine arts field, exhibiting her work internationally as a member of International Contemporary Artist Curator as well as with representation by New York Art Productions.

Vun’s portfolio of artwork is always architecturally inspired. Her work emphasizes the importance of hand-crafted authenticity in today’s digital age and humanizing the creative process to preserve originality. Her work often discloses the creation process as a prominent feature. The notion of scale, and how our bodies participate in art and in architecture, is also very present in her work. As such, “the self” becomes a consistent point of origin across Vun’s portfolio.

As an architecture graduate, Vun possesses a solid understanding of the importance of hand-crafting and drawing. Vun believes the digital-dependency and declining relevancy of handcrafting in the contemporary arts and design industries not only negatively affects how art is perceived, putting little emphasis on the importance of genuine, humanized creation, but also conveys the process of design as more of a service than an art form. As such, Vun strives to intensively connect and immerse herself personally within every piece she creates.

Decimal - Acrylic paint, ink and charcoal on canvas 14 x 14 in.
Downtown - Acrylic paint on canvas 36 x 48 in.
Here Is The House - Pencil on paper 24 x 36 in.
346/348 Arbuthnot Street - Pencil on paper 20 x 40 in.

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Brigitte Kratochwill

"When I paint I embark on a journey into my subconscious. I integrate sensory experiences into the painting process. What emerges is a confrontation with something like a reflection of my soul. I search for suitable forms, structures, colours, hues/shades, and sensitive surfaces."

Verstecktes Juwel (Hidden Jewel) - Mixed media on paper 21 x 29 cm

Austrian Artist, Brigitte Kratochwill was a Music, Art, and German Language teacher in Salzburg until 1999. She led art projects for various institutions and became Headmistress of the Secondary Modern School Bürmoos, Salzburg (1999-2013). Kratochwill actively exhibits since 1988 in Austria, Germany, Italy, Hungary, Luxembourg and South Africa including at the Galerie Artroom 21, Galerie Merikon, Galerie Artlet, BOS – Berlin Open Studio, Galerie M Beck, Art.Fair Köln, Luxembourg Art Week, ART Innsbruck, Luxembourg Art Fair,  Galerie der Zülow Gruppe, Galerie ARTtime, ART MARKET Budapest, Galleria Spazio Libero 8,  Galleria Merlino, Galleria Mentano, and Klebelsberg Cultural Center.

Einklang (Harmony) - Acrylic on canvas 60 x 60 cm
Sand Strand Meer (Beach And Sea) - Acrylic and ink on canvas 30 x 30 cm
Ruhe (Quietude)- Acrylic on canvas 60 x 60 cm
Verträumt (Dreamy) - Acrylic on canvas 60 x 60 cm

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Stephen Wyler

"In many of my works, the strong influence of earth tones, vivid colors, and textures, may all be apparent. One may experience a feeling of happiness, curiosity, spirituality, as well as passion. I consider myself a non-objective, emotional artist, constantly exploring various media and color combinations, to evoke a more profound response in the viewer. If I succeed, my mission is complete."

Drama in Every Breath - Mixed media 48 x 36 in.

"Born and raised in Brooklyn, New York, I’ve always had an innate creative interest in music, art, language, decorating, and design, to name a few. I am very fortunate to have been able to live a childhood dream professionally, for many years. This included travel, and the opportunity to live in Europe, with Italy as my home base. In years to follow, with a strong affinity for Latin Culture, my travels expanded to Brazil, Spain, Portugal, and France to explore the art, music, language, and cuisine of each country. Currently, with more time at my disposal, it’s possible to return to an early passion: Painting. "

Winter in Madrid - Mixed media 60 x 48 in.
Frenesi en La Corrida - Mixed media 48 x 36 in.
Espana Es Viva! - Mixed media 48 x 24 in.
From Ashes to Opulence - Mixed media 60 x 48 in.

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Thorsten Boehm

"My artistic work examines all facets of the existential question. The strongest driving force for my work is the blatant disparity between  my wishful thinking for wanting a world in harmony, beauty, and innocence and the found reality of violence, alienation, and abuse."

APP Drawing; Hatching Technique; Airbrush on paper 72 cm x 50 cm

German Artist, Thorsten Boehm was born in 1974 in Hamburg where he lives and works today. His unique body of work exemplifies a unique way of working by blending an array of graphic techniques including drawing, hatching and airbrushing resulting in intricately precise and beautiful pictures.

Select Exhibitions

2001  Olympiahalle München, WTA World Championships (DE)

2007-09 ATP Masters Series, Player`s Lounge Hamburger Rothenbaum, Hamburg (DE)

2007  Jahr Top Special Verlag Hamburg

2013-2017  Kunstmesse Kunstwerk/Werkkunst, Schloss Reinbek

2016  Nominierten-Gruppenausstellung Kunstpreis Worpswede, Hotel Adlon-Kempinski, Berlin (DE)

2017  Kunstmesse FORM(A)RT, Kunstverein Glinde e.V., Glinde (DE)

2017  Nominierten-Gruppenausstellung ART PRIZE STUTTGART, Stuttgart (DE)

2017  Nominierten-Gruppenausstellung Mainzer Kunstpreis, Eisenturm Kunstverein e.V., Mainz (DE)

2017  Intern. Group Exhibition "Project Peace", Hess Gallery, Elizabethtown, PA (US)

2018  Gruppenausstellung, Galerienhaus Stuttgart (DE)

2018  Einzelausstellung Retrospektive "SEELEN(T)RAUM", Rathaus Altona , Hamburg (DE)

2018  Int. VII. Malerei Biennale, Hamburg (DE)

2018  Präsentation : STEINWAY & SONS PIANOS - Limited Edition "ELPHI Style" - by BOEHM ART, Elbphilharmonie, Hamburg (DE) 

Select Awards

2015 Special Prize Graphic Art, Palm Art Award, Art Domain Group (DE)
2017 Kunst Prize Stuttgart f. Grafik, Kunst Stuttgart Intenational e.V. (DE)
2017 Mainzer Kunstpreis, 3. Platz, Eisenturm Kunstverein e.V., Mainz (DE)
2018 Finalist, Int. VII. Malerei Biennale, Hamburg (DE)

Publishers

Jahr Top Special Verlag (DE)

Gruner & Jahr Verlag (DE)

Milchstrassen Verlagsgruppe (DE)

Art Domain Whois Verlag

STEINWAY & SONS Verlag

TIEFENRAUSCH DER UNSCHULD Drawing; Hatching Technique; Airbrush on paper 72 cm x 50 cm
BARONESS OF REVOLUTION
Media : Graphic Art; Drawing; Hatching Technique; Airbrush on paper 73 cm x 51 cm
PRINZESSIN DER MAHNWACHT Drawing; Hatching Technique; Airbrush on paper 71 cm x 50 cm
IMPRISONED MINDS Drawing; Hatching Technique; Airbrush on paper 72 cm x 48 cm

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Priscilla Dale Jones

“Abstract forms … remembered, dreamed, imagined.”

Coast, Highway 101 - Digital photograph 24 x 36 in.

"I took my first photographs as a young child growing up in Coronado, a seaside town near San Diego, California, with a Kodak Brownie Hawkeye my father gave me. His enthusiasm for photography inspired me. I am particularly interested in macro photography and in capturing overlooked details and exploring miniature worlds hidden in ordinary objects, and in the relationship of color, light, shadow, form, perception, and imagination.

My abstract photography captures forms of water and variations of light, all interacting with glass. Each image provides an unrepeatable glimpse of water at the macro level, its forms, natural patterns, and chance combinations that constantly change during the process of capturing the image. The images are titled, but they are open to interpretation by viewers, guided by their own intuition, perceptions, experiences, and memories. The images invite an interaction between the image and the imagination of the viewer. The photographer sees one thing in these abstract images. What do you see?"

Woodblock Storm - Digital photograph 24 x 36 in.
Shoreline Reflections - Digital photograph 24 x 36 in.
Lake View - Digital photograph 24 x 36 in.
Ocean Horizon - Digital photograph 36 x 24 in.

American photographer, Priscilla Dale Jones earned her Ph.D. at  University of Cambridge, United Kingdom and holds a Master’s Degree from the University of California at Los Angeles (UCLA) and a Bachelor's degree from San Diego State University, San Diego, California. Today she lives and works in Columbia, Maryland, USA.


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