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Printed copies of the 3rd issue of Circle Quarterly Art Review magazine are available in two sizes. Click on the buttons below to order print copies at your desired size, directly to your address of choice. 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). Printed in the Netherlands. Magazine Details: 140 pages. Full color. Deluxe quality print. Glossy magazine.
As a sculptor, my profound awareness of the kinesthetic world has always been my most powerful muse as I celebrate the human figure through art. It is only by exploring fleeting human gestures of models’ poses that the perfect portrayals for my sculptural composition emerge.
In my painting, I am glad to draw inspiration from the ordinary objects that we see and the familiar surroundings that we live in.
There is much beauty to behold in this world, moments that the eye captures, the wonders it sees… moments that should be committed to perpetual memory, but sadly only to become fragments of a faded recollection, or more often, simply forgotten. I draw inspiration to record these timeless and special moments, to capture them in my mind’s eye, and through my lens, transforming each image and committing them to permanent form.
The starting point for my paintings is almost always derived from my own fantasy. I create my own reality, my own ‘inner world’, so to speak. This is a world where one can truly find themselves. No one need hide here, and instead, you are met with a sense of freedom and understanding. I like to think that my paintings reflect life itself, a life full of jokes and satire, kitsch and kink, stories and benevolence.
We are used to living in tension. We have much to question, maybe now more than ever. As I paint, I find ripples of these tensions and questions and the feelings that result, constantly reminding me that they are not going anywhere. They usually express themselves in subtle, but clearly perceptible ways. Usually, it’s a stark contrast of some kind or an odd compositional element that creates ambiguity.
An infinite number of worlds exist within the interstices of my mind. My imaginations inhabit those worlds.
I am an Australian artist who works mainly in colored pencil. My work is a response to the many environments that I regularly visit throughout Australia. Mark making, weathering, decay, pattern, color and shape are of particular interest to me whether it be realistic or abstract.
Ultimately, every photograph is about two things – light and shape. At its heart, photography is a search for the perfect combination of these qualities.
According to J. L. Borges, the presence of a literary work within the novel would be one of the conditions necessary to make the reader understand that he is confronted with a work of fiction.
My current body of work attempts to express ideas surrounding the feeling of isolation and loneliness. Loneliness is a common phenomenon that is crucial to humans. Even as people live increasingly closer to one another as urban density increases people have become increasingly alienated.
I am Brazilian and these roots are reflected in my art. Vibrant, colorful, tropical, full of energy. Every painting I make is a photograph of my unconscious. The purpose of my work is touching people in particular ways so each one can experience it by their own vision and emotions.
By prying these paintings from their histories and juxtaposing various genres and eras of painting, my goal is to deconstruct the familiar, providing unexpected interpretations that collapse time and reconsider the re-acquisitioned imagery within the context of post modernist painting.
My artwork aims to tell the untold stories of African customs and traditions that unfortunately are never seen or heard of. It is through these storied artworks that I hope to reinvigorate the interest in African art across the globe and foster the cultural literacy that comes with having these stories at the forefront of artistic consciousness.
What would it be like to look upon an utterly non-human unearthly entity? How would a landscape feel if it were occupied by something that was truly not us? Is there some common nature shared by all possible forms of life, even those that might never come to pass?
The imagery has its own evolution, a surrealistic marriage of abstraction and organic form. My concern is in creating a unified composition of color and form, allowing maximum participation of the viewer in the artwork. I refer to my work as Abstract Surrealism.
I am interested in the artistic potential of natural forms photographed honestly. Nature needs no embellishment; so I have no use for artificial lighting, multiple exposures, or computer manipulation.
My two passions are painting and animal welfare. I believe that all animal species should thrive in their natural habitat and be free to live independently. Painting allows me to strengthen the connection I feel with nature, particularly birds and animals and provides a channel to highlight threats they face.
I love the unexpected effects that happen when pigments meet paper and water in differing dilutions and mix with each other with glorious abandon allowing me to discover flora and fauna which are more fantasy than reality. It is an expression of my inner self and the harmony of life.
In my artwork, I try to bring colors, shapes and primitive line work of abstract symbols and runes together in action for a beautiful creation.
I paint in many different styles utilizing a variety of innovative mediums and materials. My abstract geode paintings evolved from experimentation with an elixir of inks, pigments, paints, and resin. I also love working with the ancient medium of encaustic with its layering and textural abilities.
My painting concept is to capture the subject matters for art and reality, to explore the subtleties of meaning in everyday life. I aim to share my ideas with the viewers who participate and inspire their imagination. I think, to a certain extent, we explore the art world from different perspectives.
My art depicts the real and the symbolic connection between animal and human and the unclear limit between our different kinds. For thousands of years, this has been a recurrent theme in art and rituals. An important drive in my art is to open the awareness and mediate this tradition of dream and reality.
Working consistently over the last thirty years at the foothills of the Catskill Mountains, I have aspired to see and listen to the beat of this exquisite environment. I strive to come closer to producing a statement illustrating that in a world of horror, chaos, and injustice, the beauty of nature and the light that is cast upon it, is always here.
Since my time at Art School, my affinity is with paper because of the specific characteristics of it, I cannot translate directly to other materials. My drawings are a mix of Eastern and Western techniques that yield picturesque effects. The material I work with is in summary: ink, water, acrylic, and chalk.
My work is about intimacy and gender narratives. I photograph discarded furniture. Mostly sofas, armchairs and mattresses. They have a human quality; there’s a sense that I have disturbed an intimate moment. In the act of documenting these scenes, I have become the voyeur. The paintings are made from these photos.
A photo, a fingerprint, a signature, and DNA are all methods we use to identify a person, but they are just a means to match a name or face to an individual, not to describe who they are or to translate their identity. For as long as I have been using portraiture as the main focus of my paintings, it is not the identity or recognizable face in which I use to describe my portraits, but more of a blueprint of how I approach portraiture.
My current work seeks to express itself through a mixture of realism, abstract realism, and surrealism. In this way, it explores the external world of the artist and at the same time his inner universe, a space where subjectivity dominates over everything else.
I was mentored by great art directors and photo editors. This enabled my skipping art school, completely. I pitched my creative ideas directly to “enablers.” My artistic abilities enabled assignments with the world’s largest ad agencies and corporations. This funded my rapid development, as a working artist…
There is an expression still used: ‘Sois belle et tais-toi’ (Be beautiful and shut up). It succinctly describes both the female model and the female condition across history: her body available for objective observation/admiration, her voice suppressed. We are now forcefully freeing ourselves from that paradigm.
I choose to paint women in transition focusing on the strength that lies within. Sometimes being honest is an act of bravery.
I started drawing very early and I think I made the best drawings of my life at the age of three. In my current works, I try to keep the same unconscious poetry of those drawings. I believe that the landscapes and characters of my paintings are born in a place where imagination is free.
I draw with paint. Initial random marks gel into clusters of rendered dilemmas, entanglements, melees of forms, that can be raw, disturbing, visceral, and universal, aimed at the collective unconscious. The finished work affords the observer an encounter with angst, and an opportunity to ponder life’s purpose.
One can transmit more with details.
I love using shadows, contrast, and anonymity in my compositions. My goal is to capture timeless fragments of life in my work, whether it’s the tarnish of a distressed old Cadillac or the delicate folds of a garment, they are drawn in detailed simplicity.
To put it with quantum physics: Matter is only a temporarily appearance of energy. If energy is released out of matter, there will be no position, no shape, no identity anymore.
For me, art is a powerful expressive medium that allows the artist to go beyond things, to know the unknown, to reveal it, to bring it to light it and to surprise the observer. The artist has the task to produce culture, to observe it, to question it, to redefine it in his own way, to offer a new vision in which to mirror.
This world has to be washed!
I am a contemporary realist, classically trained, painting life as it happens. I create work from two inches to four feet tall. My smaller pieces are created under lighted magnifiers in the style of true miniature fine art.
I am interested in shopping as an artistic practice. I choose images from mass culture to talk about politics, art, painting, cultural issues, taste, the material world, pleasure, power, sexuality, gender and the role of the artist’s external life in the larger culture. The media I use includes products, handmade stuff, video, painting or something done by someone else. I am able to make jokes without smiling.
The multiple layers involved for each printing inevitably leads to small mistakes that whittle the number of finished editions to just a fraction of the starting amount. However, all the elements I experienced during the process of printing “Perfect Wife” were echoes of my own life that of trying to juggle work and the ideals of being the perfect wife.
Whenever I get to know a new country or culture, I wonder about its past. I look for people that belong to those places to share their stories with me. Invariably, each and one of these tales have some elements that are true and some invented, misinterpreted, exaggerated or distorted elements.
My passion is to create virtual records of cultural and personal events that have impacted me greatly. My vision of replicating real-life events in stone allows me to transform emotions into lasting expressions of art for others to appreciate. I’ve achieved my goal when the U.S. government writes to tell me I cannot copyright a work of art because it too closely resembles the product that I chose to record in stone. The day I received that letter was one of the happiest days of my life.
Eclectic in my interests, I am highly influenced in my art by a passion for ancient civilizations and nature. I am seeking to synthesize the tangible world with a metaphysical one. In this ‘alternative world,’ my artistic fables and abstractions take on a life and reality of their own. I consider myself to be a visual poet where my art replaces the written verse.
I convey ideologies of freedom, expressing my personal philosophies of spirituality in relation to the human condition by developing narrative compositions that project emotional contrast. Within the experience of each emotional state lies the potential for release and within that release lives freedom.
“The Fountainhead” by Ayn Rand got me started in architectural photography. Old, new, elaborate or plain, tall or small; these constructions reflect people and their personalities. They express their personality and life in those buildings. I am using the architect’s creativity combined with my own to express what is important to me with enough room for the viewer to find his own meaning and vision.
With a background in Architecture, I have been developing my artistic practice in the fields of drawing and painting since 2008. My work ́s predominant feature focuses on the plastic possibilities of an abstract geometric language. The work address issues concerning scale, structure, color, rhythm, and tensions within the composition reminiscent of the gestalt laws of perceptual organization, yet, an organic and evolutionary approach is paramount, including an intuitive and emotional dimension along with the accidental, the unexpected, and the occasional.
I believe in daily methodical work, rather than inspiration. Landscapes, trees, still lifes and the studio itself are favorite subject matters that come however second to the way they are depicted. Although a realist, representational accuracy is not my aim.
My work is concerned with the inadequacy and impermanence of memory. As I excavate the strata of the past, I build these layers into my paintings, recombining incomplete images and symbols in order to evoke the emotional experience of moments distant in time and space.
There is a specific moment when we believe an illusion or become seduced by something outside of ourselves. When this happens, we are not looking at something, but looking at ourselves perceiving it. By challenging traditional modes of representation and exploiting optics of value and color, I hope the viewer will call into question the generic way a painting is received.
Whatever medium or subject matter I use I want the viewer to feel an emotion. My aim to create a connection to the viewer on whatever level it speaks to them. Most of my paintings have very deep meaning to me. I hope the image portrays some of those emotions.
Human expressions convey multiple meanings, I always try to include this ambiguity in my work. This (here) is the figure of Russian legendary ballet dancer Vaslav Nijinski. I try to express his androgynous beauty at his jumping moment.
My flower inspired paintings are strong in color and form, appealing to the emotions and either confronting the viewers or drawing them into the work. I like to obfuscate by ignoring scale and jumbling elements which I feel comes closer to nature than does purely representative painting.
I believe that my journey as an artist has been akin to an archaeological dig, unearthing, scratching away until something is revealed to me. Subject matter rooted in the past, influenced by the present, driven by experimentation, sometimes taking years to complete.
My art is mixing realism with elements and symbols that are both making a mysterious spectrum of subliminal ideas, translated into a composition that is set in a form of a rebus. The aim is always to provoke the audience to stretch their imagination in a bid to unlock the true meaning of the story and in such a way immerse in the world of dreams and fantasies.
Drawing as a communication tool and transmitter of atmosphere, emotion, time, space and information. Any spatial exploration is an act of architecture and so is the act of drawing. As we draw we form space and relations.
Stories of political power and of day- to-day politics do not particularly interest me. There are too many imposed patterns and simplified versions of the truth in play. I find the subjective approach much more fruitful. My pictures are not simple to read. Already in their technical realization, they are too complex for easy access. Whenever I realize that a picture is becoming too harmonious and slick, I intervene and destroy what is pleasing.