Francesca Busca

Haunted by the idea of mankind’s imminent self-destruction, Francesca believes in a future for humanity of resourceful innovation through re-thinking, re-purposing and reducing, pushing for a swift move to an all-encompassing circular economy. Her works are made of rubbish and found material.

In My Name, 2018 - Mosaic: c. 1000 of my old business cards (recycled paper) on wooden board, direct method 21.5 x 38 cm 100% reused material. Self-critical piece

In her early life, Francesca challenged herself by focusing on things that did not come naturally to her (e.g. going into Law after studying Classics). Yet, she tried for years to placate her internal restlessness by living in different countries and cultures (Pordenone, Padua, Denver, London, Paris, New York...). When she reached 40, with the responsibility of a being mother, Francesca settled between London and Trieste and found her outlet in what she liked and did best, namely using her hands to create.

Art exhibitions, painting, and modeling clay were regular hobbies which never satiated her inherent creative nature. Finally, she entered the Scuola Mosaicisti del Friuli, in Spilimbergo: a whole new world of WONDERS opened up.

She wanted to learn how to do it properly. She took various courses in London, Spilimbergo, and Turkey, and is studying toward a Mosaic Diploma at the London School of Mosaic.

Busca is part of the BAMM Committee in the role of Exhibition Officer, and has taken permanent residency at the London School of Mosaic, where she holds a shared studio and teaches short courses from February 2018 on the innovative subject of "Mosaic as Mixed Media".  Francesca is also a member of the Governing Body of the London School of Mosaic.

Hybrid Cactus (...And Then It Wasn’t), 2018 - Plastic, bone, marble and smalti on marine ply 25 x 43 cm 100% reused material. A year worth's supply of the same medicine vial, fruit nets and used plastic cutlery
Pins and Needle, 2019 (detail) - Plastic and metal, 100% reused discarded material: around 800 pins and a needle on wooden board 32 x 12 x 6 cm
We're In It , 2018 - Installation: wood, cement, bark, metal, ceramic, glass and mirror 79 x 43 x 42 cm
Contemporary human detachment from reality, where our positive contribution to the ecosystem seems to happen by chance, ironically from something we despise. For from diamonds nothing grows, but from manure, flowers do (De André). Time to remove the plate?
Just Because You Don't See It... , 2018 - Mixed Media: metal, fabric and pollution dust on wooden board 35 x 18 cm
Braille writing. Revolving around the upcoming LIGCA project on air pollution A Breath of Fresh Air with schools in London and Delhi. Contour darkened with pollution dust collected from my window sill after 6 months of exposure to street traffic
The Need for Deconstruction, 2019 - Screws, fruit nets, filati and marble on wooden board 41 x 51 x 6 cm
For The Smaller Good, 2019 - A year's supply of used disposable plastic thyroid medicine vials 30 x 40 cm
Beehivis, 2017 - Mixed Media: plastic, metal and mother-of-pearl on wooden board, 90% reused material 36 x 45 cm
An artificial beehive: the more we advance in every field, the more we imitate Nature's perfection…but rather that recreating it artificially, should we not safeguard the real thing instead?
Crit Me, 2017 - Mixed Media: paper, plastic, metal and fabric on thin metal board 31 x 20 cm
Mostly made with reused discarded Canary Wharf New District site material and reproductions of artworks from the CWND 2017 Residency.
Bin The Future, 2018 - Staged Photography (layered artwork) 30.5 x 40.5 cm
4th layer. Inset, progressively: Empathy, Inheritance, Forever

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


 

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Fay Wood

"I've been an artist for many years and creating sculpture using found materials is my favorite form of expression. I love a quote by Virginia Woolf: ‘Arrange whatever pieces come your way.’ I also have portfolios in painting, tapestry, collage, and drawing."

Aftertaste - Assemblage 16 x 39 x 16 in.

“Art using found objects has attracted me since 1965, when I was living in the San Francisco Bay Area, and saw large sculptures by local artists made from detritus on the Bay shore. They were fantastic, noisy, beautiful works with great humor and form - I never have forgotten them. As an art student at Massachusetts College of Art in Boston, Mass. I began studying painting, but later, when I was attending a life drawing group, a sculptor encouraged me to carve directly in wood. This began what has become a deep love for sculpture and, later found object assemblage.

In 1992, when I finally had a permanent studio in the Hudson Valley of New York State, I began combining found objects with the cherry wood carvings I had been doing and continue to do so; adding found rag paper, wire, and paint to the mix.

I have also continued to paint, draw, and create tapestries and, recently I have completed an 18 piece portfolio of collages. I have an extensive exhibition history, including The Proskauer prize from the National Sculpture Society, exhibitions at Brookgreen Gardens, S. Carolina, Biennale Dell Arte Contemporanea, Florence, Italy, where I have been invited again in 2019, as well as many solo, group and invitational exhibitions in the USA. I will also be a featured artist with Artrepreneur, a website assisting artists to further their careers, in a film on PBS worldwide in April 2019.”

Mantis - Assemblage 60 x 16 x 18 in.
I Thought I Stood - Collage 28 x 21.5 in.
Matriarch - Assemblage 21 x 17 x 17 in.
Three Dreams in the Desert - Collage 26 x 22 in.

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


 

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Henny Schlüter

"Painting with paper on canvas is the result of my ongoing contemplation on progress and sustainability leading me to the unique use of colored paper as my artistic medium. I want to achieve a new visual language leading people off the beaten tracks towards new experiences."

German, Henny Schlüter has been an artist since 2002 and in 2011 his portrait appeared on  München TV, Foundation of OfficeAndArt - "Economics meets Art - THE interactive platform". He has participated in the project WorkART Connections of the Center for German and European Studies (CGES), Minneapolis/USA.

Select Solo Exhibitions 

2016/17 Papiertechnische Stiftung PTS "Paper Matters" Munich, K&K Galerie "Klein und Fein" Neuried, 2015 City of Munich, Dept. Cultural Affairs "Malerei mit Papier II", KIK "Papier ist geduldig" Krailling, 2013/14 Max Plank Institute "Malerei mit Papier I" Martinsried, 2013 Town Hall City of Planegg "MyART"

Select Group Exhibitions 

2018 Galerie Kerstan "Xmas" Stuttgart, Galleria ARTtime "Emozioni Astratte", Udine Italy, 2017 Galeria ART Nou Millenni "Modern European Art" Barcelona Spain, Museum St. Johann Austria, 2016 Stilgalerie "Farben Querschnitte" Vienna Austria, 2015 A&D Gallery "Continental Art" London GB, 2013 KUNST-TAGE Trudering "Selected Artists of the Year" Munich

International Art Fairs
2019 artexpo New York, 2018 Carrousel du Louvre Paris, ARTe Sindelfingen, 2017 XIth Florence Biennale Florence Italy, 2016 ART Innsbruck Austria

Select Publications and Media

Who's Who in Visual Art 100 Top Fine Artists ISBN 978-3-9817701-2-4, Exhibition Catalogue PTS Munich, XIth Biennale Florence ISBN 97-8-8868741778, "Portrait" Report Edition 49 ISSN 1612-0434, CULT KunstundLiteratur "Artist's Portrait" Edition 16 ISSN 2193-4711, "Internationale Kunst Heute" Kolle/Gardill, ISSN 978-2-9816-395-2-8

Select Memberships 

Kunstkreis Gräfelfing e.V.and Paul Klinger KSW e.V. München, in both member of advisory board, H-Team e.V. Munich jury member, KUN:ST International Stuttgart e.V.,  Sylter Kunstfreunde, Isle of Sylt, Germany, Kunst-Kulturverein KitzArt Kitzbühel, Austria


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


 

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Nasia Houvarda

"It can be the sun setting or rising... a leaf of a tree against the wind...a child laughing or an adult shedding a tear.

I would say, life inspires me because it is so precious that I just want to hold on to moments forever."

Wisdom Tree - Mixed media on canvas 50 x 150 cm

Born in England, Nasia Houvarda was raised in Greece and today splits her time between Greece and Canada. In 2001 a car accident became a life-changing experience which made Nasia discover her artistic side.

  “A car accident left me with extreme burn injuries on my body, but at the same time extreme determination to survive. While struggling to find ways to use my injured hands again, and with my mother’s help and guidance, I challenged myself with embroidery, mosaic and painting. I have been painting ever since my injuries and although creating was hurting me physically, it was the only thing that soothed me mentally and helped me go through most of my dark moments when life was hard and the pain unbearable. I am a self-taught artist with a passion to bring life to blank canvases, using my emotions and love for nature.

Trees fascinate me for all the similarities they share with humans. On some of my paintings, you will find materials like real bark or pieces of wood to represent life, and metal pieces to represent strength. My humble burning desire is to share my passion for life; my love for the world and my optimism for the future.”

Bewildered - Acrylic on canvas 50 x 70 cm
Stand Sentinel - Mixed media on canvas 30.48 x 40.64 cm
The Guardians - Mixed media on canvas 30.48 x 60.96 cm
Coyful Contemplations - Acrylic on canvas 50 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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