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

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


 

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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


Anne Harkness

Born in: Charlotte, NC, USA

Lives in: Mooresville, NC, USA

Media: Painting

Describe your work in 3 words: We Gotta Dance

See More Work:   www.anneharkness.comProvidence Gallery, Charlotte, NC  - Vision Gallery, Morehead City, NC

Real Easy - Oil on canvas 50 x 50 in.

As a contemporary artist, Anne Harkness looks for a unique point of view and often finds some unexpected beauty in what many would consider an ordinary or unattractive subject. Her focus on design has impacted her style as a painter with a graphic aspect which can usually be seen in her paintings.

What themes does your work involve?

With a background in design, Harkness gravitates towards subjects with a strong graphic image. Town scenes, chairs and telephone poles are among her favorites. The elements Anne uses are line, shape and color to support her design focus. The principles that interest her are balance, rhythm and movement. 'Cause, "we gotta’ dance!" Her hope is that you will never tire of your travels through her paintings.

Describe your creative process.
Harkness photographs a scene that captures her attention. From various photos, she does line drawings to improve the images' design. Next color studies are done. If Anne feels she still has passion for the piece after this prep work, she will paint it larger. The goal is to have passion fuel the painting to the finish. She works in series based on the subject, sometimes varying the canvas sizes, sometimes not.
What influences your work? What inspires you?

If it's got a strong graphic image and shows a unique point of view, chances are Harkness may like it. She loves the buttery texture of oil paint. Showing the process and those many layers that lie underneath are part of what Harkness treasures. She says painting is like life, with its many layers peaking through to the finish. The artists that have influenced her are Staprans, Diebenkorn, Degas, Japanese prints, Toulouse Lautrec, Klimpt, Peri Schwartz and Brian Rutenburg.

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

Great art captures something unexpected. It's beauty strikes at our very core. The artist gives something of themselves to the artwork and that is what calls to people. Great art is more than just technical skill; it's got to draw the viewer in, tell a story, or emote a feeling we want to keep experiencing.

What is the role of the artist today?
Art has many roles. It documents the world in which we live. Since the artist often is struggling with something (as do most people), their artwork contains some of that struggle and sometimes the viewer understands it a fresh. In times of grief, we seek beauty to hold onto, as if it contains a little bit of the Divine. We want to hold on to the eternal, even if we don't believe, we want to hold on to hope. Something in us grasps for that beauty as if it is life itself.


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


Billy the Kid Neon – Numen

"I am an outsider artist. I am self-taught and use unusual materials in my work such as sheetrock and neon paint. My work is for me a spiritual path. I became an artist when I was "Richard Dreyfussed" (as in Close Encounters of the Third Kind) at Home Depot one day and have been at it ever since."

Billy's Large Glass - Mixed media 23 x 46 in.

“I am an outsider artist. I am self-taught and use unusual materials in my work such as sheetrock and neon paint. My work is for me a spiritual path as I am now the artist called Billy the Kid Neon/Numen formerly known simply as Billy the Kid Neon (hehee).

I became an artist when I was "Richard Dreyfussed" (as in Close Encounters of the Third Kind) at Home Depot one day. I bought an 8' x 4' piece of sheetrock and, with a neighbor's help, I set it on two sawhorses. In a trance, I did my first piece appropriately called "Future Numen". This solitary phase in my work culminated in my magnum opus "Yu Must Squeeze" - a 7000 c.ft. installation.

Now I employ "fine" artists in my work and I think it is way better - not so rough and more accessible. My art is now for sale and hopefully, placable. Thanks for your kind attention..."

LUV AND PEACE,

- Billy

The Adventures of Roy Rogers & Dale Evans & The Known God & Abraxas & The Unknown God in the Lost Canyon - Mixed media 9 x 5 x 5 ft
Sex War - Mixed media 28 x 72 x 3 in.
Gospel of Evey Verses 7:1 - 7:4 - Mixed media 20 x 32 x 5 in.
Billy & Holy Plastic Family - Mixed media 34 x 36 x 88 in.

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


 

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Ann Dunbar

"My art is a history of my travels, dreams, observations of natural forms, which from afar brings you closer to an intimate meeting of marvels. I use a combined technique which I have developed over the years to express my own voice and vision."

Inspiration Estivale - Embroidery on mixed media/paper, 100 x 120 cm

Ann Dunbar is an international quoted artist, born and educated in the UK and now living in France. Armed with a teachers' Diploma and an arts degree specializing in Textiles, she taught in schools and colleges in the UK for sixteen years before becoming a full-time artist. Her unique mixed technique whereby she embellishes her paintings on paper with embroidery, her signature work, has received acclaim and to date and acquired fifty awards since moving to France in 1996. Ann has exhibited worldwide: Brazil, Japan, Cambodia, China, Australia, Russia, Emirates and in Europe.

Dunbar's pieces are in various museums, private and corporate collections in China, Japan, the UK, Australia and Denmark. She is represented by Shoalhaven Fine Art Gallery in NSW, Australia, G&C Gallery in England and Paola Trevisan International Italy. Her work reveals a passion for the fragile beauty of the natural world.


The idiosyncratically layered works of Ann Dunbar combine painting and embroidery in a unique and painstaking technique that involves meticulous marks with a wet brush as well as with her old Bernina sewing machine. "This precious machine, given to me by my mother, is the most important tool in my creative world." describes Ann.

Taking a medium that is typically associated with crafts, Dunbar's large mixed media works carry through the traditionally feminine practice of sewing, blending thread and paint into high works of art.

Full of color, detail, and texture, each work displays a complex arrangement of interconnected lines and motifs stitched together to produce a balanced and intricate mixed media composition. The works may require hours of careful gazing to take in the full spectrum of labor that the artist put in as well as to appreciate the delicate beauty and refined expertise which the finished piece reflects. 

It is no surprise that Ann continues to exhibit and sell her remarkable artworks internationally. Visit her website to enjoy more of her recent works.

- Circle Foundation for the Arts, Director

Garden of Happiness - Embroidery on mixed media/paper 50 x 40 cm
Dream Garden I - Embroidery on mixed media/paper 70 x 50 cm
Path In The Shade - Embroidery on water colour. 50 x 40 cm
Wish You Were Here - Embroidery on water colour. 70 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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Cynthia Coldren

"My paintings are intentional contrasts, both structured and fluid. I use hand-painted paper with acrylic paints, inks and pencil on canvas and paper. My goal is to create visual tension and contrast that expresses a strong connection among disconnected things — aesthetically pleasing and meaningful."

Trees on a Thousand Hills

"My abstract paintings are a blend of deliberate shapes and spontaneous brush marks. Using the fundamental components of color, shape, texture, line, and space, my paintings are intentional contrasts and visualizes the joining of opposites — multiple colors, diverse paper fragments and linear marks come together to express a strong connection among disconnected things.

I use acrylic paint on canvas, sometimes on heavy watercolor paper, and add hand-painted paper forms to create visual complexity and interest. I frequently add geometric patterns and script-like marks, painting and smoothing each layer to create a more organic composition. My use of fine cross-hatched lines and paper fragments are hallmarks of my current work, unifying elements that counter or complement the developing painting.

By including structural lines and marks within my abstractions, I can weave the familiar with the ambiguous. I feel this “joining of opposites” speaks to the world we live in, and gives the viewer a point of connection with abstract art."

Abstract American painter Cynthia Coldren explores contemporary concepts such as order and chaos, structure and ambiguity using acrylic paints, inks, and mediums on canvas and paper. She studied Fine Art as an undergraduate student before completing her BAS in Communications and Management, supporting a corporate communications career. While her early work embraced photorealism, she transitioned to an abstract style over the years, evolving a strong textural focus.

Cynthia lives in Richardson, Texas. She has received recognition and awards in recent art exhibitions, gallery shows and juried competitions both online and in North Texas. She is a member of the Texas Artist Coalition (TAC), the Visual Arts Guild of Frisco (VAGF), the Richardson Civic Art Society (RCAS) and the International Society of Experimental Artists (ISEA).

Summers in the City
Double Musings
Unremembered
Cabernet Twilight

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Haimi Fenichel

"In my studio I pursue an uncompromising search for new connections, concocting one-of-a-kind artworks out of common materials. I am particularly interested in the latter, for each material has its own cultural and local memory, and is part of a frame of reference and field of associations."

Passive-Aggressive - Autoclaved-aerated-concrete (Ytong) carving 45x10x5 cm

Haimi Fenichel is a 2002 graduate of the Department of Ceramics and Glass Design at the Bezalel Academy of Arts and Design, Jerusalem. An acclaimed contemporary Israeli sculptor, he is the recipient of numerous awards, including First Prize at the Alix de Rothschild Competition by the Israel Crafts Foundation (2005); the Israeli Ministry of Education and Culture’s Young Artist Award (2007); First Prize at the All About Him Competition, Goethe-Institut Bulgarien, Sofia (2008); and the Israeli Ministry of Education and Culture’s Encouragement Award (2014), Encouragement of Creativity Prize of Israel Discount Bank and Israeli Ministry of Culture Prize (2017). Fenichel has participated in many solo and group exhibitions in Israel and Europe. His works are held in numerous public collections, including The Israel Museum, Jerusalem Collection; the Yona Fischer Collection, Ashdod Art Museum; and the Israel Discount Bank Collection.

Fenichel produces finely detailed objects in diverse materials, applying elaborate techniques and technologies. His complex, refined sculptures are informed by the forms, styles, and materials of early modernist architecture in Israel. He employs construction materials prevalent in Israeli interiors and urban settings, such as sand, concrete, and terrazzo. In doing so, he celebrates the paucity of the local building materials, which have come to represent a lost ethos of moderation and simplicity. Images of national construction are employed by Fenichel to render metaphoric images of masculinity and strength, which, paradoxically, are expressed in delicate, poetic lines.

Preparations for End of Year Party - Hollow cement casting 140x280x180 cm $64,200
Complex 1 - Autoclaved-aerated-concrete (Ytong) carving 90x25x20 cm $52,500
Terrazzo - Handmade terrazzo casting 165x65x15 cm $25,000
Home-Box - Autoclaved-aerated-concrete (Ytong) carving 30x30x30 cm

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


 

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