Maryse-Anne Couteau

"Anything could inspire me but I am very fond of mixing the representation of human beings with complex constructions in an imaginary world.”

Les fruits défendus / The forbidden fruits - Colored pencil 12 x 8,5 cm

Maryse-Anne Couteau is a self-taught French artist. Her preferred medium has long be the pencil and she employs a colored pencil technique not widely used by grown-ups!  In recent years, Couteau has been also working in ink.

In her early work,  Couteau used very little color with very fine graphics and successfully suggested volume by a black stroke gently underlined in color. Subsequently, color increasingly imposed itself, and eventually supplanted the line. At first, the tones were quite assertive but were gradually refined. By superimposing different colors, the artist creates mixes and nuances, which are one of the characteristics of her work.

Although the human body and face have a great place in her world, Maryse-Anne Couteau is not limited to any particular style or type of representation; staging objects as well as animals and people. The artist finds an inexhaustible source of inspiration in the real world; the fertility of her imagination and her keen sense of observation intermingle a wonderful inner universe and a precise and detailed reality.

In her surprisingly original compositions, we see the impossible desire to get right up close to the subject and reach its very essence. The covering, the sliding, the transparency of surfaces, in reality, opaque, the repetition of shapes at different scales or the modification of angles of view on the same subject testify to a wish to see higher and deeper; to embrace the subject in its totality instead being limited to the superficial; to see further by projecting into the future and the past; to explore beneath the surface of things; go beyond the limit traced by the outlines and reach the infinite riches that hide in every aspect of reality.

After years of studies and a professional life, which was far from artistic, Maryse-Anne Couteau has decided to invest herself entirely in drawing and has devoted herself for nearly thirty years to her passion.

Croire / Believing - Colored pencil 19 x 28 cm
La mémoire des lieux / The places memory - Black pencil 202 x 20 cm
Vertiges / Vertigo - Colored pencil, ink 23 x 31 cm
Croissance / Growing - Ink - 18 x 24 cm
Passé simple - Black pencil 12 x 22 cm
L'autre rive - Ink 20 x 20 cm
Le double - Colored pencil 10 x 10 cm
L'enfant à a coque - Colored pencil 20 x 20 cm
Entre Toi et moi - Colored pencil 28 x 40 cm

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Aleksandra Sheren

"In my work I am pursuing to explore sensuality and otherworldliness of humans. I am mixing photography, digital art, videography, and sometimes sound. My portraits show how I see who people are when nobody is looking at them, their inner search for freedom, and their answer to this search."

Healing - Portrait and mixed media

An artist and film producer from Saint Petersburg, Russia, Aleksandra Sheren received her second degree from the International School of Photography and Cinema. She has been numerously featured in 'Photographize Magazine' and included in the 'Photographize Magazine Annual book', as well as published at the Marvelous Art Magazine. Sheren has exhibited at Agora Gallery, New York, at the Photo D’Femme Contest “Seeing Women” exhibitions in France, and had an online exhibition in the Marvelous Art Gallery. She has been featured as an emerging artist to watch for by ArtConnect, a platform for contemporary art worldwide. Her style is leaning most towards photo surrealism, but not confined to it. Besides her photo art, Sheren is currently working on a project in filmmaking.

Healing II - Portrait and mixed media
A Rose - Portrait and mixed media
Low Key Esoteric Portrait - Mixed Media (photography, digital art)
The Window - Mixed Media (photography, digital art)
Sensual Venus: Freedom - Mixed Media (photography, digital art)
Mars in Libra - Mixed Media (photography, digital art)
Erotic Sci Fi - Portrait and mixed media
Calming the Storm - Portrait and mixed media
The Power of Silence - Mixed Media (photography, digital art)
Praying to my Moon: Self- Portrait - Mixed Media (photography, digital art)
Cello Moon - Mixed Media (photography, digital art)
State of Mind - Mixed Media (photography, digital art)
Morning Dream - Mixed Media (photography, digital art)
Pomegranate - Caravaggio style - Mixed Media (photography, digital art)

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Yulia Artemeva

"In my embroidery work, I try to convey the beauty of the psychic world. The embroidery represents emotions. I'm looking for sensual images. The images of my embroidery collection live with feelings; love, tenderness, repentance, joy, compassion, this is what surrounds us and this is what our soul breathes."

Ostrobramskaya Icon - Stone's embroidery, Gold threads, pearls, gold beads, rhinestone, coral, zircon, white gold and silver jewellery 19,5 x 21,5 cm.

Yulia Artemeva is an embroidery artist from Russia who also works as a fabric restorer. She has worked professionally for 7 years and employs the techniques of the Old Russian goldwork embroidery of royal craftswomen of the X-XVII centuries, as well as stone embroidery.

 

Select Exhibits and Awards

"Art week in Barcelona, Spain, 2020" 3rd Place Award, Project "The Cello"

"Russian art-week in Moscow, 2017", 2nd Place Award, Icon "Holy Trinity", 3rd Place Award, Icon "Unfading flower"

"Art week in London, the UK, 2015" 1st Place Award, Icon"The Lord Almighty"

"Art week in Rome, Italy"  1st Place Award, Icon "The Lord Almighty"

"Art week in Luxembourg"  1st Place Award, Icon "The Lord Almighty"

"Art week in Sofia, Bulgaria" 1st Place Award, Icon"The Lord Almighty”

The Cello - Silk pattern embroidery, Silk threads, antique gold thread (from 1920), coral, gold beads 31,5 x 33 cm
St. George the Victorious Icon - Silk and stone's embroidery, Silk threads, gold thread, rhinestone 12,5 x 17 cm
The trumpet - Silk pattern embroidery, Silk threads, antique gold thread (from 1920) zircon 31,5 x 33 cm
Unfading flower Icon - Stone's embroidery, Gold threads, pearls, gold beads, rhinestone, coral, zircon, handmade exclusive jewellery 19,5 x 21,5 cm

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Aomi Kikuchi

"I am an artist who earnestly learns various knowledge and techniques of textiles, digests them, and takes a unique approach to conventional thinking and methods for creating innovative works."

Shape of Mind - Drawing, Gold Sumi Ink, Canvas 7.62 cm square each

Aomi Kikuchi is a textile artist based in Kyoto, Japan. She holds a BFA from Kyoto University of Art & Design (Japan) and an MFA from Pratt Institute (USA) and is currently an artist in residence at the Textile Arts Center (USA). Aomi has exhibited her work throughout the world including at Today’s Silk Road Exhibition (China), LA Art Show Modern + Contemporary (California), and the annual Japan Contemporary Art and Craft Exhibition (Tokyo Metropolitan Museum).

With over 30 years of practice, Aomi has dedicated extensive and immersive practice to Japanese Kimono Haute Couture, Yusen dyeing techniques, and silk fabrics after becoming a fashion designer. This background inspires her artistic exploration and her artwork utilizes various textile materials and techniques including extremely thin fibers, goose down, and cotton flower along with knitting, weaving, embroidery, and other craft techniques.

Aomi’s figurative dyeing, textile installation, and soft sculptures exemplify her intentional selection of materials that are defined by delicacy and brittleness. With this, she aims to express Buddha's philosophy of impermanence, insubstantiality and suffering of all life. Aomi is currently working on a series of large scale installation pieces and sculptures that explore impermanence through the use of biology and nature with textiles. This new work will be on view at the Textile Arts Center in Fall 2020.

 

Chasm - Original Dye Method inspired by Traditional Japanese Yuzen Kimono Dyeing, Layered Silk Organza, Acid dye, Pigment 90 cm square
Transition - Knitting, Embroidery, Linen Yarn, Silk Thread, Goose Down 208 x 218 cm
Female Mosquito - Embroidery, Painting, Silk Gauze, Wire, Pigment, Cotton, Bamboo Hoop 16 cm round
Trace - Embroidery, Silk Thread, Goose, Down, Cotton 68 x 28 cm

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Cristina Corvino

"In the past two years, my production has focused on the creation of a number of works from the "Time Machines" series that investigate the social role of women throughout history, these works belong to the style of Conservative Art, a term coined with a registered trademark."

Nonnità - Mixed media 140 x 160 cm

Italian artist, Cristina Corvino attended the Liceo Artistico Renato Cottini as a pupil of Antonio Carena, an established painter known for the "Heavens", and of the designer Giorgio Ceretti, known for the creation of the "Pratone" sofa. The teachings of these masters gave Corvino an aptitude for research and a passion for art that will grow and become expressed in a variety of visual languages: painting, installations, fashion, theater; experimentations which over time will give life to mixed media series of works, independent of the will of the client.

With a Degree in Architecture and a career as architect and restorer, Cristina Corvino continues her artistic activity in parallel. In some cases inserted as an integral part of the workspace and in other cases as a continuous comparison with ancient works and various executive techniques.

#Io Resto a Casa - Oleographic printing and mixed media 56 x 70 cm
Rinominata COVID19 in Italy - Mixed media 112 x 140 cm
Creazione - Mixed media 140 x 160 cm
Rinominata Distanziamento Sociale - Mixed media 140 x 160 cm

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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

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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, Portugal, Switzerland, Luxembourg, France, Great Britain, Czech Republic, South Africa, Spain, Finland and China including at the Galerie Artlet in Salzburg, BOS,  Berlin Open Studio, Galerie M Beck, Saarland, Galerie der Zülow Gruppe in Linz, Galerie ARTtime in Udine, Palazzo Ca' Zenobio in Venedig (Biennale Venedig), Galleria La scala d'Oro in Rome, Royal Arcade Opera Gallery in London, European Museum of Modern Art of Barcelona, Galleria KOOKOS in Helsinki, Klebelsberg Cultural Center in Budapest, Art.Fair Köln, Luxembourg Art Week, ART Innsbruck, Luxembourg Art Fair, Art Karlsruhe.

In 2018, Kratochwill received the Audience Award "Il Premio Borgo" at Galleria La scala d'Oro Roma and the same year she was the winner of ArtConnection 2018 Münster, Germany. In 2019 she received Woman Art Award at Venezia Biennale and in 2020 the Artist of the Year title by World of Art, London.

Donauwalzer (Blue Danube) - Mixed Media on canvas 20 x 20 cm
Umarmung (Hug) - Acrylic on canvas 100 x 100 cm
Träumen (Dreaming) - Acrylic and ink on canvas 50 x 50 cm
Die Seele Sanft Berühren (Gentle Touch) - Acrylic and ink on canvas 50 x 50 cm

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Katie Wild

Born in: 1989, New London, Connecticut USA

Lives in: Newton, Massachusetts USA

Media: Painting, Illustration, Installation, Mixed media, Collage, Drawing

Describe your work in 3 words: Narrative identity politics

See More Work:  https://www.katiewild.com

Going Green - Oil and acrylic on insulation foam board App. 36 x 75 in.

"We all put on facades and are pushed to conform to ideals of the society around us. My work focuses on series of narrative figures in oil or acrylic, usually with mixed media, on various surfaces. My series, 'Color Buy Number' uses color theory and symbolism in life-sized self-portrait installations."

What themes does your work involve?
Each series is different. In 'Color Buy Number', I have envisioned myself as the heroine or victim of constrained and perplexing narratives. These color-driven alter egos directly and un-apologetically impact the viewer’s space due to the lifesize scale of their cutout installations. Mimetic oil paint renderings combined with found or constructed three-dimensional elements demand viewers to look more closely at the details of these self-portraits to decipher the truth of the artifice.
Describe your creative process.
My process is concept-driven and often begins through experimentation that occurs during an artist residency. I typically have two or three ideas floating around in my head for series that I would like to expand upon. It is during these artist residencies once a year that I have had the studio time to explore different materials and methods for executing a concept in order to settle on something that works. In order for me to fully express an idea, I work through 5-10 pieces per series.
What influences your work? What inspires you? Why do you make art?
My artwork evolves and changes according to my influences and life experiences. I look to a variety of other artists; Cindy Sherman, Kehinde Wiley, and Alexa Meade just to name a few, for inspiration. I also reflect on pressing political, economic, and environmental issues and use my artwork to represent and express some of my frustrations as a way of drawing awareness. I make art because it is an impulse, a passion, and sometimes it is the only voice I can use to share and make viewers think.
What is good art? What makes a piece of art great?
Good art should be appreciated by both artists and non-artists. Good art engages viewers with its originality, forces them to pause and consider it, and also speaks to some universal truths. There are many established artists whose work is worth a great deal, but in becoming a commodity, has exhausted all original thought. Famous artists are not necessarily making great art. I believe the struggling artist whose work is not so well known often has the greatest potential to make a difference.
What is the role of the artist today?
I believe artists should use the power of engagement to start conversations and catalyze change. Art is necessary as an outlet and as a provocation. It is difficult and rare to be a successful artist, so most artists are also well-rounded people who use other means to make ends meet. This allows for cross-pollination with other fields and a broader global perspective. I am an artist and educator, which allows me to nurture future artists in addition to using my own artwork to inspire.


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Georg Douglas

"I like my paintings to be strong, whether from colour, form or something else. I want them to invoke an immediate reaction, either confronting the viewers or drawing them into the work. They do not require much analysis or philosophical consideration, but rather appeal to the emotions."

Inner Light - Oil on canvas 100 x 100 cm

Primarily self-taught, Georg Douglas has attended courses at Reykjavík College of Art and Kópavogur College of Art continually for about 15 years. He exhibits regularly since 2010 both in group and solo shows and his work has been published in international art magazines and websites. In 2017, Georg Douglas was accepted as a member of The Association of Icelandic Visual Artists (SÍM). Full details on exhibitions, awards and published work can be found on his website.

"I like my paintings to be strong, whether from colour, form or something else. I want them to invoke an immediate reaction, either confronting the viewers or drawing them into the work. They do not require much analysis or philosophical consideration, but rather appeal to the emotions and create an atmosphere. The world of flowers and Irish dance has been my inspiration for some time.

​My flower inspired paintings use strong colours and form and I also extend the field of view by incorporating microscopic and molecular elements. I like to obfuscate by ignoring scale and jumbling elements which I feel comes closer to nature itself than realistic painting.

In my dance-inspired paintings, I want the viewers to experience the flashes of light on the moving dancers and their bright costumes and in their mind to hear the thundering Irish music.”


“The delicate abstract paintings of Irish artist Georg Douglas display a vibrant rhythm. Through the masterful blending of lively colors and the complex intertwining of resonant lines, each composition echoes a unique abstract melody. The paintings are very lyrical and it is no surprise that Douglas is inspired by music.

Often large in scale, the works have a celestial quality maybe reminiscent of a moment of creation with an explosion of broken down motifs coming together through a radial balance that guides the viewer's eye around the canvas and toward the center of the creative drama.

Observing the body of the artist's work it becomes quickly evident that he has built up a unique approach which is recognizable yet not repetitive. Georg Douglas' paintings can be likened to abstracted visual rhapsodies reflecting upon an idiosyncratic painting style with each piece reverberating a fresh, passionate melody.” 

- Circle Foundation for the Arts, Director

Swathes - Oil on canvas 140 x 200 cm
Joy in the Morning - Oil on canvas 100 x 140 cm
Summer Breeze - Oil on canvas 140 x 200 cm
In the Meadow - Oil on canvas 140 x 200 cm

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Emanuela I H Sintamarian

Born in: 1977, Bucharest, Romania

Lives in: Oakland, USA

Media: Painting, Mixed media, Drawing

Describe your work in 3 words: In a continuous flux, contradictions, playfulness

See More Work:   https://www.emahsin.com - https://www.instagram.com/emasdas/

Remorses Are Like Bones For Dogs: Not Enough To Feed You, Yet Sufficient To Perforate Your Stomach, 2019 - Mixed media on paper 122 x 183 cm

"I translate the external world, reducing it to colorful vortexes of familiar yet fictitious forms. Its main idea is based on a facet of modern physics which states that everything that seems solid is really comprised of energy and that molecules in motion are subject to human intervention."

What themes does your work involve?

I am interested in 1) the mechanics of motion, its visual translation and the dichotomies intrinsic to it (transfer vs. change; action vs. reaction); 2) how memory relates to perception, and 3) the fluidity and tension of contradictions (organized chaos and uncontrolled order). I am interested in pushing the limits of abstraction and suggesting emotional / physical motion in an immediate, visceral manner rather than generating self -referential and/or didactic works.

Describe your creative process.

My multi-axial curiosity overcomes the fear of failing; my artistic life is guided by "just do it", and "what if?" and its the eureka moments mixed failed experiments. When I work, I don't think about art: why spoil a perfectly fine moment with prefabricated desires of "what" and "how" it should look like. Yet I believe in being spontaneous but thinking beforehand. This allows me to both respond to what I'm working on, but also think of the next work(-s): thus, the work makes the works.

What influences your work? What inspires you?

Making art is what defines me as a person. As an artist, I am interested in choices: what remains to be seen, what is absent and how decisions are made. I evaluate the possibilities for changes from one drawing to the next without visual redundancy or content disruption. I incorporate in my visual lexicon elements which vary from my immediate surrounding to Eastern European folklore, the aesthetic of automatisms, absurd theatre, mathematics, poetry, music, contemporary and traditional art.

What is good art? What makes a piece of art great?

This question makes me think of, and possibly find an answer to it in Wallace Stevens’ Metaphors of a Magnifico: “Twenty men crossing a bridge,/ Into a village,/ Are twenty men crossing twenty bridges,/Into twenty villages,/ Or one man? Crossing a single bridge into a village”.

I favor works that break away from the linear order of (a) narrative, thus challenge/ question my own experience of seeing/being and become vehicle for extended "travels" into the word of new wonders.

What is the role of the artist today?
I grew up in Romania, an oppressive Communist country, where art was considered subversive. The only way to survive the prison-like quotidian was by reinventing the Wonderland. For me, art was/is a door to revealing personal and/or collective poetic vulnerability. Paradoxically, it's also a way to bring joy, inspiration, and interaction to communities; to record, translate and open dialogues on societal issues. Either way, it requires not only skills and content but mostly sincerity in intent.


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