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CIRCLE QUARTERLY ART REVIEW 1 is available in two sizes, regular and pocket. The regular size is 21 x 29 cm (or 8.2 x 11.4 inches) and the pocket size is 14.8 x 20.9 cm (or 5.8 x 8.2 inches) The magazine has 88 pages, full color with a deluxe matte cover.
I always work with available light which gives the photograph a natural pure feeling. I never use Photoshop. The “dead colors” from the Hasselblad digital back come close to my black & white photography which I still love also.
The ancient cultural heritage of the headscarf is varied and complex. Yet it is only a simple piece of fabric wrapped around the head of a person. The headscarf has been worn in a variety of ways since the beginning of human thought. It serves as protection, jewelry, status symbol.
I paint whatever my heart whispers: the ethereal, the empowered, a moment in time or the expressions of the sacred and the divine. My hope is to inspire, empower and move the viewer to a place where they recognize themselves in my work.
Painting is the language of my perspective, feelings and thoughts, whereas color is my passion. I am inspired by the belief in and philosophy of goodness, nature, Bauhaus architecture, classical and contemporary music, art and stage arts, my family, people and history.
I believe the true value of art can only be recognized in its power to engage you on a deeper level. Art can be a valuable healing experience for both the artist and the one who views it. I strive to reach out through my art and bring a message of Hope.
When I paint I like to capture the emotions that I am feeling when I am looking at the subject matter. My work is somewhere in between fantasy and reality. I enjoy using an array of intense colors in my work.
My paintings represent the complex texture of human life: entropic, temporal and transient. Using realism constructed with an expressive visual language that reflects my interpretations of our being, I make contemporary phrases in the verse of life.
The structuring of the composition, color, and texture play a predominant role in my work. Pieces of paper, threads and other trivial materials marry with vivid oil colors on the canvas or on wood in order to map the form of a completed image in a non-figurative manner. A composition of recollection of memories, moments and emotional fragments.
CADMIUMBROMIDE is the name of my personal photography project which began in 2014 in Woodstock. I’m particularly fond of this project both for the technique and the relationship that is created between the portrayed subject and the photographer.
I use my camera to transfer and materialize the emotions which develop in my mind, the excitement caused by encountered reality. Sometimes the photos can abstract from reality, showing different aspects of colors and forms, whereas other times they can simply reflect certain situations taking place in front of the camera.
I think that art is pure emotion and it should convey emotion both to those who practice it, and those who observe it.
Emotions are not like memories. Memories last, emotions fade away rapidly. You can easily recall images of a significant moment in your life, but you barely can experience the same emotion twice again. That’s why I capture emotions in my art, brightness or darkness, they all leave marks.
“Life changes over time, It eventually decays.
From the ground to air, from stills to motion, dance is an elite form of movement. Dance is not just the beauty in body but also the understanding of self and others. As the artist, I desire to capture the moment that best interprets the motion and the dancer to the audience as a moment that will leave you in peace, in space, and in time.
I’m a product of Advertising, Art & Photojournalism…. mixed and baked! I’ve spent the last 35 years working as an Artist, Freelance Advertising Photographer and Photojournalist. Rather than go to Art School; I turned to Art Directors and Photo Editors to help me hone my image making.
Deep and complete knowledge of my profession are proven by long years during which I was learning and improving myself as a professional. My creative work is first of all characterized by many exhibitions, publications and positive feedback from students, colleagues and art critics.
Do not be lazy in photography…this photo is made in the evening under a light fog and rain and all the lights were on..now is a grey building. I make photos because I can’t with words.
The problem of light is in its being so self-evident that we do not see it; it only becomes marked through its shadow.
My message: focus on the beautiful, positive aspects of life and do things that give strength and energy. Focusing on the positive side attracts the beautiful things in your own life and your dreams come true.
I love shadows, contrast, anonymity, and using negative space in my compositions. My goal is to capture timeless ‘fragments’ of life in my work, whether it’s the intricate lines of the human hand, or the delicate folds of a garment, they are drawn in detailed simplicity.
Thank you Vivaldi.
The abstract minimalist perception of the amazingly grand Pulpit Rock Mountain and its 604 meters free vertical drop straight down into the fjord beneath.
The powers of growth – as a wife and mother grow – have been the central focus in my work through observation of plants. I work mostly with oil on canvas. It is a slow drying process, which grows in layers of detail and change in a variety of colors. It becomes a fine-tuned balance of my well being as an individual to maintain life.
In spite of all the challenges we have as individuals and as community, it is vital to keep our spirits nourished with what enriches us as human beings. “Waltz 1” is from the series, “Opus” in which I reflect on how music can lift our souls.
My experimental photography artworks represent the inherent not yet and at the same time, they refer how we always construct our world, photographic material seen as a process matter. I am developing autonomous photographic fine art works that exist as a virtual reality in a realistic reality. A digital photographic image is generated through algorithmic genetic grammar into an autonomous work of fine art photography.
I like the challenge of using the medium of black and white photography to convey my emotional response to the subject. I feel the photographic process adds spontaneity and realism to my art. The black and white image, especially the silver gelatin print, provides additional levels of control, thus increasing the ability to communicate my emotional response to the viewer’s subconscious.
What I express in my painting is often a matter of intimacy, but the feelings which it generates belong to the one who looks at it.
At every moment of an endless waiting, she knows that her lover is coming: It is a frame of lady’s mind as a beauty stool–an implication of waiting that the artwork is, as a matter of fact, to express lady herself is very beautiful and her life as picturesque as well.
Just as a diamond needs light, so capturing the interplay of subject and light, is key to my representation of nature’s beauty: Together with Ines, the woman and photographer at my side, we explore nature’s endless reservoir, capturing the emotions triggered by the detail and colour we find.
While some of our work can be seen as satirical other examples are purely scenic, to be contemplated at will. If some shout out against discrimination, others pay indelible homage to beauty.
In watercolor, I work from light to dark. With me, it’s all about the value and the play of light on the subject or objects in the painting. I’ve gained more experience by painting a variety of subjects, including landscapes, figures, still lifes, and more.
Our world permits no further mistakes. We must work together! This is my final goal, the inspiration for my pictures: To create tolerant, creative and cooperative systems that are heading toward a spiritual unity. Everyone must learn and teach at his realm, everyone must learn to work together with the power of art.
My paintings are moments in the past captured on canvas. They should have dissipated into the past, but I dragged them back into the present. I do not set out to make art every day, that would be idiotic. I just set out to be happy.
Exploring the changeling, which comes with puberty, an entity forming into itself, an apparition of a future being. The image made is of my daughter Yumi Sams, who continues to be my muse and inspiration.
The fragility of the cardboard is a metaphor for our fragile lives. Political crises and environmental, in a globalized planet, economically and socially, represent the ultimate challenge of our species that, if it doesn’t find common objectives and common solutions, is destined to the last metamorphosis, its disappearance.