Nathan Miller

Born 1980, Tampa, Florida, USA

Lives in: Covington, Georgia, USA

Describe your art in three words: Harmony, Conservation, Coexistence

Education: Bachelor of Fine Arts in Graphic Design from the University of Florida

See More Work: | Instagram@nathanmillerfineart

Remembrance of a Lost Legend - Acrylic on board 24 x 36 in.

"I am an imaginative realist painter of both wildlife and people. I use acrylic paints and primarily prefer working with smooth surfaces like gesso board so that every detail is visible. My work explores elements of design, symmetry, symbolism, and concepts dealing with our relationship with other species."

What themes does your work involve?
Today I am working on a new series that explores wild animals and indigenous human cultures from around the world. And while this series considers the stories, traditions and challenges that surround wildlife, it also emphasizes the need to protect and coexist with wildlife. This series celebrates both animals in the wild and indigenous cultures. Despite the history of conflict, as human populations increase and wildlife populations decrease, there will need to be a shift toward coexistence.
Describe your creative process.
When I begin a painting, I first do a significant amount of research on a topic. I learn more about the culture or species that I am depicting in my work. I create a digital mockup with many photos until I have a layout that I like. Once the mockup is complete, I begin sketching it out on gesso board. And only then, once the layout is ready, do I begin to paint. The painting can take many hours, weeks, and sometimes even months, to complete. It's a very meticulous process. Even when the painting is complete, the process continues with varnishing the art, preparing it for print and, finally, choosing the frame.
What influences your work? What inspires you? Why do you make art?
Humanity has been disconnected from the natural world for far too long. This outer and inner disconnection from nature is causing the world around us to fall apart. While we distract ourselves with our own pursuits, and as we place ourselves above all else, ecosystems disappear. Somehow, we must find a way to reconnect with the natural world, to appreciate the value of wildlife, and see ourselves as a part of the ecosystem. I find value in all emotional life, and I enjoy depicting that life in different scenarios. In fact, I’m particularly interested in stories that pertain to both animals and people.
I hope my work can, in some small way, help others value nature, animals, and the impact of narrative realism in art.
What is good art? What makes a piece of art great?
I think art fell from grace in the 20th century. It was a period of rebellion from standards that took centuries to perfect. Wall accents were given more glory than thought provoking, masterful creations of genius and wonder. The juvenile and ridiculous were valued more than the beautiful and skillful. Today, fortunately, great art, I believe, is making a comeback. So, what is great art? I think great art is the art that requires time, practice, and energy to perfect. It's the art that is considered masterful, not because of a propped-up name due to gimmicks and fame, but because of standards of design, composition, color, light, dark, shape, and the nature of creativity, meaning, and thought-provoking emotion. Good art has elements of this. Great art has all of it.
What is the role of the artist today?
I can't say what the role of every artist is, because every artist has their own story and their own purpose. But I can say that one thing artists have in common is the desire to speak their truth through their art. Artists simply wish to create - to share what is in them or, perhaps, what comes through them. The challenge today is how much of an artist's work is genuine, and how much is a response to what's marketable. I don't fault artists for attempting to find a balance between the two. If art is a career choice, then it's important for the art to be marketable. The trick is to find a way to speak authentically through one's art in a way that resonates with a particular audience.
(Nathan Miller) Voice of Nature - Acrylic on panel 24 x 30 in.
Forest Dream - Acrylic on canvas 36 x 36 in.
The Tale of Waghoba - Acrylic on board 24 x 36 in.
Legend of the Jaguar Shaman - Acrylic on board 24 x 36 in.


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

Lukas Kandl

“Ce qui m’importe c’est de montrer des tableaux devant lesquels le spectateur attentif va s’installer, entrer en communion, faire sa propre promenade de rêve éveillé et s’habiller, ne serait-ce que pour un moment, d’une sensation rare, inhabituelle.”

“What matters to me is to show paintings in front of which the attentive spectator will settle down, enter into communion, take his own waking dream walk and dress, if only for a moment, in a rare, unusual sensation.”

Belphégor (La Fontaine Livre 12, Fable 27) - Oil on canvas 195 x 130 cm

Born in Prague, Czech Republic, in 1944, Lukas Kandl graduated from the Prague Academy of Fine Arts and now lives in France. From 2002 to 2020, Lukas lead the “Visionirique-étrange” group of the Salon Comparaisons which exhibited every year in the Grand Palais in Paris. In 2006, Kandl led the creation of the international movement “Libellule, Contemporary Renaissance”. Ever since, he has given an annual theme and format to the artists of Libellule and launched a new collection.

The group started the first show in the Grand Palais in Paris at the “Art Capital fair – salon Comparaisons” and then the collection was circulated worldwide.

In 2020, Kandl began a large Libellule project, titled "Tribute to La Fontaine"; to have all the La Fontaine fables reinterpreted by the Libellule artists (246 fables) ready for the 400th anniversary of this great poet (08/07/1621). The project was done on time and shown in three different locations in 2021. The project was published in three volumes which included all texts and images.

"On January 2016, I realized my 1000th painting. As I loved the La Fontaine Fables project so much, I decided to reinterpret all the La Fontaine's Fables by myself. My goal is to have a book edited with my interpretation of the 246 fables for my 80th birthday."

Lukas Kandl has a notable career spanning 80 solo shows and participation in more than 500  group exhibits. The recipient of numerous awards, including the Golden Palm in the Art Festival in Brussels (Belgium), the prize of the national council at the International Prize of Monte-Carlo (Monaco), First Place Award at the Art Festival of Osaka (Japan) as well as a  Prize by the European Foundation. Lukas Kandl has been elected as a member of the exclusive Copley Society in Boston (U.S.A.) and promoted Commander in orders of the European Star, as well as Chevalier du Tastevin at the Clos de Vougeot in Burgundy (France). In June 2019, Kandl received the Gold Medal of the A.S.L. “Arts Sciences and Letters” Academy.

Les Animaux malades de la peste (La Fontaine Livre 7, Fable 1) - Oil on canvas 170 x 245 cm
Vertumnus couronné (Tribute to Arcimboldo) - Oil on canvas 195 x 130 cm
Gardien d'un inaccessible trésor - Oil on canvas 180 x 300 cm
Cheval à la rose magique - Oil on canvas 80 x 60 cm

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


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Jason Engelbart

Born 1960, Germany

Lives in: Hamburg, Germany

Describe your art in 3 words: Inspiring, touching, visionary

See More Work: | Singulart

FAIRY TALES TOLD BY THE WIND - Digital Neo Painting, Fine Art Print on Alu Dibond 175 x 130 cm

"My abstract-baroque works are based on my personal exploration of the diversity of our being. They are at the same time a reflection of the universal love that unites us all and they are an expression of my deep respect for our being, for the wonders of life and for every creature in this world. Against this background, my works are a homage to life, to our being."

What themes does your work involve?
The more our world is unsteady, the more the intentions for positive charging and balancing become stronger in me. It is not about painting the things in my works looking beautiful, but rather about using the tools at my disposal to trigger reflection and create a positive awareness of our daily togetherness. Here is the source of my sacral-abstract emotional artworks. In the creative process I feel deeply connected with my soul, my spirit… with God. My so-called digital neopaintings of the work cycle THE JOY OF BEING (2016 until today) are created in a purely intuitive creative process and are reflections of my personal feelings and experiences. My art is a testament to a cultivation of wholesome, human qualities, for positive change and development, which I state as my artistic vision.
Describe your creative process.
Using my characteristic digital painting technique, developed over the years, I abstract selected original works of the Baroque art epoch by superimposing picture levels, blurring, overpainting and re-composing them. In the process, my very own flowing structures and pictorial rhythms emerge, while the original colour composition remains largely untouched. In sum, colour and form transform into a single aesthetic-abstract event that is experienced on a purely emotional level and independent of time and space as a holy moment. Through this form of digitally painterly, an abstract re-staging of the original, I build a finely balanced bridge to contemporary art without disenchanting.
What influences your work? What inspires you? Why do you make art?
The trigger for my abstract-baroque serie of works was a visit to the Würzburg Residenz in Germany in 2016. Overwhelmed by the opulent ceiling frescoes by Giovanni Battista Tiepolo, Antonio Giuseppe Bossi and Johannes Zick inside the Baroque castle, a deep desire arose in me to mirror this splendour of spirituality in the form of an abstract translation into the present. I closed my eyes while looking at the exuberant works on the walls and ceilings, except for a narrow slit of vision, until the figurativeness of the paintings dissolved into abstraction. Thus the foundation stone for my work cycle THE JOY OF BEING was laid.
What is good art? What makes a piece of art great?
In my opinion, good art is timeless and at the same time enables reflection on the respective present moment. It touches on an emotional level, inspires the viewer and encourages him to pause and to contemplate.
What is the role of the artist today?
From my personal point of view, all forms of art are expressions of human existence. They are instruments for dealing with the past and at the same time have a dimension directed towards the future through visionary content, that can be guiding for the further development of society. This is why it is particularly important for an artist to use his/her possibilities of artistic expression in a respectful and responsible manner. In our multi-ethnic world, art therefore has a particularly high status. At best, it is an engagement to support integration and to highlight the positive elements of cultural diversity. In this sense, art is an invitation to a dialogue between the most diverse cultures and it offers the opportunity for self- reflection – for the artist and also for each recipient.
- Digital Neo Painting, Fine Art Print on Alu Dibond 190 x 120 cm
GOLDEN GLOW OF CONFIDENCE - Digital Neo Painting, Fine Art Print on Alu Dibond 95 x 170 cm
FESTIVAL OF A MAGNIFICENT TRANSFORMATION - Digital Neo Painting, Fine Art Print on Alu Dibond 104 x 160 cm
EUPHORIA II - Digital Neo Painting, Fine Art Print on Alu Dibond 180 x 145 cm


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

Michael Herbert Dorn

Born 1961, St. George's, Bermuda

Lives in: Kraainem, Belgium

Describe your art in 3 words: Post-contemporary art

See More Work: | Instagram@michael_herbert_dorn_artist

David's Oath of the Horatii (David's Le Serment des Horaces) - Oil on oil primed linen 140 x 110 cm

"The painting series entitled, SYLLOGY, combines "traditional European painting techniques" and intermedia elements including the use of digital mobile devices to view the exhibited paintings as "color-inverted" digital images. This new painting series appropriates "canonical" European paintings in order to create and vitalize a new context for art historical and contemporary representation."

What themes does your work involve?
One of several thematics involved in my work is a question regarding the fundamental truth value of the received historical records that are used to validate modern concepts of reality. A leading concept within my work is the singular idea that a metaphysical inversion has imprisoned all possible conceptions of reality. I use canonical representations of European history and mythology as a visual jumping-off point to set up conditions for a pictorial argument about the racialization of historical representation. But, the thematic of race is really just a primer.
Describe your creative process.
My process begins with a search for a suitable classical or canonical painting. Whenever possible, I do try to study the painting directly from life, making my own sketches and photographs during that session. However, COVID restrictions have made this nearly impossible. So, now I either purchase or locate free high-resolution images online. The images need to be high resolution. Using Photoshop, I'll make adjustments to the saturation, color temperature, and other image aspects. After this, I create the inverted image of the subject painting. I usually make one or two poster studies with the added figure. From the very begining of the process I am thinking about the placement of the additional figure. I use the "story" of the painting to help guide me.
What is good art? What makes a piece of art great?
Today, the artist's ability to actually engage their sensitivities with the events happening in the world are the primary measure of good, great, and worthless art. True art goes beyond self-expression or any financial interest.
About my current work, and what is the Post-contemporary?
I call myself a “post-contemporary” oil painter. What I mean by post-contemporary will become more apparent as I briefly describe my working processes. My current painting project takes a look back in art history. It appropriates (or expropriates—depending on one’s viewpoint) the view of a particular foundational oil painting of the early renaissance, northern renaissance, mannerism, baroque, or the neoclassical periods of art history, respectively. I use both religious and secular themed paintings. Using digital images of these paintings, I essentially recreate these “classical” works of art as color-inverted images—they appear as what used to be called a (film) “negative” in the commercial heyday of photographic films like Kodak, Fuji, and Ilford. But that’s not all. I have painted an additional figure within the negative field of these images—a so-called “racially-black” figure. I usually place this “interloper” figure within a pictorial space that appears to me to be inactive in the original paintings. This creates a new, two-way visual context.

My process begins with the search for a suitable “classical” painting. Whenever possible, I try to directly study and take high-resolution digital photographs of the actual painting. Museum visits have become nearly impossible with the manifestation of COVID-19. So, now I either purchase or locate free images online. Within Photoshop, I then make color adjustments to the image, including its color inversion. In addition to color inversion, I will sometimes alter the images overall color temperature, and in selected areas, the color saturation. After that, I will usually make one or more small freehand color “poster-studies” in oil paints to explore the color relationships and the composition. I carefully study the color relationships between the reconfigured and color-inverted oil painting and the virtual image captured on the mobile device’s screen. In these sketches, I include all aspects of the inverted “classical” painting and the added “non-color inverted” (color-positive) figure. Once I am satisfied, I will then make an underdrawing on my canvas using blue Staedtler Lumichrome drafting leads. I’ll then apply a very thin layer of semi-transparent titanium white and marble dust paint to the entire canvas. This scumble layer is referred to as a “half-paste.” This half- paste becomes what in the early Italian method is termed the campitura layer. Over the dry half-paste layer, I begin to apply my color upon the now faintly visible blue lines of the underpainting, modeling the forms as I go along. I work each section very close to the final finish, except the central background, which I’ll generally lay in during the final stages. Of course, this is a very fluid process, and it never follows—one-two-three—like I’ve just written.

Both my creative process and the ideological foundation of my project depends upon digital media. Of critical importance in this painting series is the spectator’s use of their digital mobile device to provide an active digitally color-inverted view of each of the paintings displayed within the actual exhibition space. Viewing an analog painting with the aid of a mobile digital-media device is explicitly a new way of encountering and extending a painting’s semantic potential by challenging the conventional notion of how we (traditionally) experience or view a “painting.”

This project came about as I began to explore and question the development of European and Eurocentric racial ideologies (namely, white-supremacy) that were concurrent with the development of many of the aforementioned art historical periods and many confluent Eurocentric philosophical systems. My current project also resonates with my questioning of how contemporary political, social, and cultural ideas interact with the plastic arts from the European past.

Some artists/writers might classify the post-contemporary as an aesthetic or a critical construct. But I am doubtful of the limiting framework of those terms. Other writers have called the post-contemporary a movement akin to the Baroque redux or Neoclassical redux. Not me. By post-contemporary, I do not mean the widely held consensus that post- contemporary artworks merely or mainly exhibit the traits of skillful execution, creativity, and expresses some degree of “empathy.” I would say that there are many works done by some of the most well trained and technically skilled artists in the world that are not post- contemporary. I’m afraid I also have to disagree that what is being called post-contemporary art is some newfangled way of positing traditional, global, or universal values—as opposed to contemporary art, which they claim pertain to transient (or spurious), topical, or local values.

For me, the post-contemporary artist holds a generous view upon all the myriad forms of what we call art history. By generous I mean two things. First, the totality of art history is taken as a barometer of both the global and national social, political, and cultural environment. Second, this generous view is taken as through a holographic lens. It is a view enabling a capacity towards moral imagination, that distinct quality of understanding (a work of art) within the general and specific context of its creation. Above all things, beyond this said specific context, the post-contemporary implementation proceeds as a form of inquiry into how historical (Eurocentric) visual culture has been used and is being used to inculcate, delineate, underscore, and establish the political, social, and cultural artifacts of our age. The post-contemporary artist is not at all interested in the so-called art historical tradition for the sake of hegemonic notions of tradition and the idea that “it was better back then.” The post contemporary artist understands that art history is foremost an ideological political field. For me, post-contemporary artists must make an in-depth inquiry into how the visually received narratives function within our contemporary milieux to create injustice, lies, and outright (psycho-cultural) deceptions. Within this post-contemporary sphere, my primary interest is in exploring and challenging the ideas fomented by the representation (or lack thereof) of non- white peoples in classical European art.


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

Kristen Eisenbraun

"The paintings I create use mythology to tell the story of the relationship between people and nature. This important relationship is often lost today. My paintings act as a Bridgeway between modern society and the planet that sustains us."

Tempest - Oil on linen 20 x 16 in.

Kristen Eisenbraun’s paintings explore the relationship between people and nature. In each painting, she immerses a unique human figure into a beautiful and mysterious landscape. The relationship that is created between an individual and their outdoor surroundings becomes very emotional. Art viewers will feel the connection to the figure in the painting and desire to be part of that beautiful and surreal atmosphere created by nature. Each viewer will have a unique relationship with Kristen’s paintings but as they stand before each artwork, they all share the desire to leave the mundane behind, step out of doors and experience the extraordinary.

Kristen's paintings are developed in her imagination. Her inspiration comes from people she passes on the street or of the many magical phenomena created by mother nature. She uses oil paint on stretched linen to express her ideas and create stunning pieces of art that can be recognized as her own.

Kristen's unique perspective and incredible technical skills have been widely celebrated. Southwest Art Magazine named Kristen as one of the top young artists to watch and Highlight Hollywood declared her as one of the Best Contemporary American Artists.

Kristen Eisenbraun believes every individual old and young has an uncommon beauty and it is her greatest privilege to have the ability to express their unique soul in paint.

The Tree of Life - Oil on linen 18 x 24 in.
The Book of Animals - Oil on linen 24 x 36 in.
The Rocking Horse - Oil on linen 18 x 24 in.
Domina Silvarum - Oil on linen 24 x 36 in.

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


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Same Place - Different Time 100 x 70 cm

Peter Wall aka Picturewall was born in 1962 in Aschersleben, Germany and is a trained Electrician. In 1993 he completed a seminar at the Parisian ABC ArtSchool’s Seminar in Drawing and Painting and in 2004 he graduated in Graphic Design from SGD Darmstadt. Wall now lives with his wife and children in Reinstedt and actively exhibits his unique paintings in group and solo shows through Germany.

Thimblerigger - Acrylic on canvas 100 x 100 cm
Black Hole - Acrylic on canvas 100 x 100 cm
Pilgrim dream - Acrylic on canvas 100 x 100 cm
Headbirths - Acrylic on canvas 100 x 100 cm

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


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Francesca O’Malley

"The ethos of our times is bound up with technology which affects us on a daily basis. The reach of technology, our connection to other realities through screens and the internet effects our perceptions. Advances in tech and science make this moment unlike any other time in history."

Devil Trails - Acrylic on canvas 18 x 27 in.

"Growing up in New York was a real benefit. I attended the Brooklyn Museum Art School as a child, and also studied piano into my twenties. I attended Pratt Institute and ultimately earned a Master's degree in painting. After my graduate studies were complete, I found myself in the publishing world, which was friendly to women. I designed books and finally earned my current title Art/Design Director. I am grateful for this experience and exposure to technological tools, and software, which now help me in making art. My marriage to a scientist has been the source of many interesting conversations concerning the nature of reality, the multiverse, and so on. These discussions help to inform my current work in which I explore space and dimension, light, symbol, and the human figure, often placing these things in contradiction to each other. I tend to work in series and often use images appropriated from NASA or satellite maps reconstituted as backgrounds—sometimes chosen for their beauty, or just as random geographic locations. We can be virtually anywhere thanks to technology. Graphic or typographic glyphs are also incorporated at times, adding another layer of interest and meaning."

Madagascar NE - Acrylic on canvas 16 x 24 in.
Hellas Planitia - Acrylic on canvas 18 x 27 in.
Wyoming NW - Acrylic on canvas 16 x 24 in.
Draa - Acrylic on canvas 18 x 27 in.

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


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Roland Reinert

"My intention in my art is to paint and compose out of my imagination in order to express my thoughts and my view of the world and the human existence."

Reflections - Acrylic on canvas 60 x 50 cm

Swiss painter, Roland Reinert was born in 1951 and has had solo shows in his native country and group participation in Italy, Paris, Denmark. He has been published in a variety of international art magazines and books and was the recipient of the 2nd Prize in Artavita Contest selected for publication on the back cover of "Important World artists Vol.4"


Select Awards

Best Modern and Contemporary Artist 2016

Best Modern and Contemporary Artist 2017

Best Artist of the Year 2019

The Island - Acrylic on canvas 70 x 90 cm
Illusion of Freedom - Acrylic on canvas 50 x 70 cm
The Ignorant and the Fool - Acrylic on canvas 70 x 80 cm
Blowin’ in the Wind - Acrylic on canvas 60 x 70 cm

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


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Born in: 1944, Czech Republic

Lives in: France

Media: Painting

Describe your work in 3 words: Magic Fantastic Strange

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Avida Dollar - Oil on canvas 100 x 230 cm

"I like to think that in another life, I was yet living in Prague, as somebody in charge of Rudolf II’s fabulous collection in which you could find, for example, astrological tools, potions to make gold, the philosophical stone, impenetrable manuscripts full of VITRIOL formula."

What themes does your work involve?
My art includes esoteric and erotic subjects, sensuality, poetry and sometimes an anecdote or even black humor. I also love animal art and to pay tribute to people I admire.
Describe your creative process.
Inspiration comes to me fairly easily. I feel as if ideas were stored in a large spiritual library, with an endless number of books and subjects. I just need to take a stroll in my library, stretch out my hand, and let the composition of my painting appear before me, both magically and very naturally. I always work on only one painting. I choose the format of the canvas according to the size of the main elements I will need. I like to draw things in real size.
What influences your work? What inspires you? Why do you make art?
I am influenced by the Old Masters. I am more especially inspired by themes in the domain of esotericism, poetry, literature, or biblical. I make art because I have the technique and skill for this artistic expression and I love it. I always did it. My father was an artist and I started specialized art school four years before the baccalaureate.
What is good art? What makes a piece of art great?
As I said before, I admire the Old Masters. For me, the technique must be perfectly mastered. It must not be an obstacle to the imagination of the artist but must accompany positively his inspiration. His personal style must be easily recognized by the public.
What is the role of the artist today?
What is the most important to me is to offer paintings in front of which the spectator will take time to sit down, to enter in harmony with the painting, and then have his own walk, as an awaken dream, giving him, even for a short time, a rare and unusual feeling. My dream: that supernatural, strange, sublime and magic, would take more and more space in our lives and that beauty and spirituality would become a life's belief.
Gold Notre Dame, Phoenix Rebirth - Oil on canvas 195 x 130 cm
One Pearl per day for Judith (tribute to Caravaggio) - Oil on canvas 195 x 130 cm
The Lion in Love - Oil on canvas 195 x 130 cm - Tribute to La Fontaine Book IV fable 1
Lohengrin, My Beloved Swan - Oil on canvas - 195 x 130 cm


Lukáš KÁNDL received the 1st Place Award in the CFA Artist of the Year 2019 Contest. © CFA Press ∙ Images are courtesy of the artist

Arati Reddy-Devlin

“I dream my painting and then I paint my dream.” - Vincent van Gogh

iREM - Acrylic paint, felt pens and pen and ink wash 45 x 64 cm

"I completed my Fine Art Printmaking postgraduate at Brighton University, England in 1986 after completing my degree in Graphic Design in 1984. In 1986, I was also awarded a British Council Scholarship to study Fine Art Printmaking at the Ljubljana Art Academy in Slovenia. This was a pivotal point that enhanced my technical skills and understanding of traditional printmaking processes and continues to guide my approach in creating my artworks. Following this scholarship, I trained to be an Art and Design teacher. Between 2009 – 2013, I lived on a small island near Dubrovnik, Croatia, where the vastness of sky, shifting light on the sea and abundance of natural forms and scenery around our house up on a hill profoundly influenced my landscape drawings.

As a trained printmaker I usually work backwards in my work, seeing images as layers of shapes, forms, colours and patterns. My black and white landscapes start as line drawings that force me to be highly selective in my choice of shapes. These landscapes often start from the bottom of the page, creating distinct positive and negative shapes. This process has encouraged me to see the micro rather than the macro to capture the complexity of the natural world beneath my feet and around me. The discipline of observing fine detailing seeps into my current artworks and has evolved by the use of mechanical parts and technology interwoven with natural forms. These new works fuse my love of Sci-fi, Medieval Art and organic forms, to mirror the natural world and create a more complex type of micro-world."

Black-white Landscape - Pen and ink 48 x 33 cm
iQueen - Acrylic paints, felt pen washes, white ink pen 43 x 38 cm
Dead Tree - Black pen and ink 420 x 594 cm
Fig Trees - Black pen and ink 420 x 594 cm
Colour Landscape Two Birds - Pen and inks 48 x 33 cm
Close up Leaves - Ink pen 48 x 33 cm
Two Birds - Black pen and ink 420 x 594 cm
Pine Branches - Black pen and ink 420 x 594 cm

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


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