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Paul Morin

January 24, 2013, 1:31 pm
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Paul Morin's portraits are included in major private collections on five continents and his portrait of Barrack Obama titled "Profile in Hope," was presented to the president in the Oval Office in 2010.

A "Classical Realist," Paul combines a traditional technique with a modern sensibility – images that confront the viewer and with a sense of scale that is very individual.

Paul's paintings emphasize character. By capturing the unique look and expression of each sitter, Paul delves into the personality of his subjects much like a candid snapshot reveals the moment-specific projection of a person's inner thoughts. His commissioned portraits bring an immediacy to his subjects revealing an inner life that truly makes the sitter "come alive!" Though contemporary, Paul is able to bring to his portraits a warmth, subtlety and elegance that is timeless. His technique, rooted in time-honored traditions, means that a portrait by Paul will be treasured for generations.

"In my portraits and figures, I invite a dialog between the painting and the viewer that I hope will awaken a response as individual as each person viewing the canvas."

Paul is a member of The Portrait Society of America,
and The California Art Club. 











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Arnold Desmarais

January 24, 2013, 1:54 pm
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Arnold's paintings are narratives that tell stories of a coastal environment with subtlety and understanding that only comes from a lifetime by the sea. Fond childhood memories of many idyllic summers on Block Island, RI, provided a treasure-trove of images for artistic seascapes which whisper of gentler times. Although he put himself through school by holding one-man watercolor shows in Maine and New Hampshire, he now works exclusively in oil from his studio and home on Cape Cod, where he has resided with his wife, Patti, and son, Grant, since 1992.

His formal training began at the Rhode Island School of Design, where he attained his early exposure to art. Arnold then attended Bryant College, where he acquired his Bachelor of Science degree in Business Administration. It was his career in the fashion industry, however, that gave him the opportunities to hone his skills and to work with the "royalty of design" here and abroad. His global itinerary enabled him to view and learn from the masters in museums and galleries from Russia to the Orient.

Drawing on his background in jewelry design enabled Arnold to create interest with even the simplest subject. His experiences with color and light in the fashion industry are skillfully interpreted in his compelling compositions, which evoke emotions of comfortable familiarity and serenity.

In many of his seascapes, one can feel the power of the ocean. "I enjoy the power of the ocean, its ever changing aspects, its elusive qualities of color and reflective light . It's hard to capture, but I always love a challenge. Art is all about challenging yourself all the time," reflects the artist.

Arnold is a member of the Cape Cod Art Association and is represented by the Admiralty Gallery in Vero Beach, Florida; the Powers Gallery in Acton, Massachusetts; and the Mast Cove Galleries in Kennebunkport, Maine. He was also awarded a one-man show at the Heritage Plantation Museum in Sandwich, Massachusetts.

In addition to his painting, Arnold gives back to the art community by teaching. He has taught workshops at the Inn At Sandwich in Sandwich, Massachusetts. He teaches weekly at the Cape Cod Art Association and sponsors an annual plein-air trip to Europe.













Awards, Honors And Memberships

2007

Appointed to Advisory Board, Cape Cod Art Association, Barnstable, MA
2005

Come Paint with Us, Instructional Art Video Featured Artist, Cape Cod Art Association
1998-2005

Teacher in Oil/Acrylic/Watercolor, Cape Cod Art Association
1996-Present

Member Cape Cod Art Association
2003

Stanley M. Barnes Award, Stanley & Vivian Reed Marine Art Show, Stamford Artist Assoc., Stamford, CT
1999

Honorable Mention Oil/Acrylic, All New England Exhibition, Cape Cod Art Association
1998

Second Place Oil, Spring Open Juried Exhibition, Cape Cod Art Assoc.
Second Place Oil, Heritage Week Founder's Exhibition, Cape Cod Art Association
1997

Awarded Two Person Museum Show, Heritage Plantation, Sandwich MA
1996

Popular Vote Award, Founder's Exhibition, Cape Cod Art Assoc.










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Lance Hewison

January 25, 2013, 3:30 am
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     Lance Hewison (b. 1982) lives in San Francisco, CA. He graduated Bachelor of Fine Arts from Academy of Art University, and studied painting and printmaking in Italy in 2009. He is now an instructor at Academy of Art University. Lance is represented by John Pence Gallery in San Francisco, and exhibits internationally with The Art Collective in London.

     Lance works on large canvases and panels, and utilizes oil, acrylic, encasutic, and various printmaking techniques. The compositions typically feature single or multiple figures set within stark or abstracted environments. The artist portrays a variety of figures including historical men and women, mythological archetypes, self portraiture, and people close to him. A sense of movement and energy is stressed using loose brushwork and spontaneous markmaking. 

"Roles we perform as human beings--the various characters we choose to project through dress or attitude--are more mercurial than we might intitally suspect. At any moment and perhaps lasting only a fraction of time, they carry the potential to slip away and reveal an unscripted expression. Moments like this hold great fascination for me," says the artist. 

    Select works will be exhibited with The Art Collective from Nov 28 to Dec 16 at Lauderdale House in London, UK.



EDUCATION

2009     Bachelor of Fine Arts, Academy of Art University, San Francisco, CA



AWARDS

2009     AAU Study Abroad Scholarship
2009     AAU Spring Show, California Society of Printmakers, Best in Show
2009     AAU Spring Show, Outstanding Body of Work in Printmaking
2009     AAU Spring Show, Outstanding Body of Work in Painting

TEACHING

2010-present     Academy of Art University, Instructor, Art Education Department

TRAVEL

2009     Academy of Art University, Summer Study Abroad Program, Corciano, Italy










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John Wentz

January 25, 2013, 4:01 am
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The Human Condition

John Wentz is a contemporary realist exploring the human condition through the lens of psychology and mythology. Inspired by the writings of psychologist Carl Jung, Wentz’s work explores how the archetype of the hero – and specifically the superhero – influences the human experience. Juxtaposing vintage comic book characters with surreal depictions of children, John aims to create a dialogue between his childhood and the childhood of today, which seem to lack or misunderstand this timeless archetype.

John was born and raised in the Bay Area and graduated with distinction from the Academy of Art University, where he won multiple awards. His work has been shown in international publications and resides in numerous private collections. After 6 years of teaching at his alma mater, John has recently set out to paint full time.













Education

2006   BFA, Painting; Academy of Art University, San Francisco, CA
           with distinction  


Professional Experience

2006-2012   Instructor in Fine Arts, Academy of Art University, San Francisco, CA
 (Drawing, Painting, Anatomy, Composition, and Color Theory)

Forthcoming Exhibitions
-Solo Exhibitions
2013   Modern Eden Gallery, San Francisco, CA

-Group Exhibitions
2013 "Imaginarium" Arc Studio/Gallery, San Francisco, CA





Awards and Honors

2007   International Artist Magazine Finalist, “People & Figures”
2006   Best Outstanding Body of Work, Academy of Art University Annual Spring Show
2005   Director’s Choice Award, Academy of Art University Annual Spring Show
2005   Honorable Mention, Academy of Art University Annual Spring Show
2003-2006    President’s Honor List, Academy of Art University




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Laura Buss

January 25, 2013, 4:33 am
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Laura Buss began studying art at the School of Visual Arts in New York, with a focus in photography. But she soon succumbed to the lure of the wider world, dropped out and traveled, and worked as a painter of signs and portraits. Her craft took her into varied directions, including an ongoing career in tattooing, to return to a heavy focus on oil painting and figurative work. She is based in San Francisco.

Laura is currently working on the "Bundles" project--images of mummy bundle burials that are inspired by archaeology--and also does portraiture when commissioned.









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Jason Levesque a.k.a. Stuntkid

January 25, 2013, 5:34 am
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Jason Levesque, known better by the online moniker "Stuntkid", is a self taught artist living in Norfolk, VA. His work borrows from his fascination with biology and the earth sciences. Stuntkid's illustrations have been commissioned for use in magazines and periodicals worldwide, from playstation magazine to german latex fetish magazines.




















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Jennifer Healy

January 25, 2013, 9:16 am
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"I was born in the United States in 1985. As early as I can remember I've been a "doodler".  From even the early days I've always loved strange, offbeat, beautiful, and slightly melancholy things. Something about the mixed grabbed me. My love for sketching carrried on throughout my high school days. Which is when I took a small class on watercolor. Watercolor is what birthed my passion for mixing colors and how a color can tell a story. In year 2009 I discovered digital painting and my newfound passion for the medium. It's been the favored medium for the past years since. I've used online tutorials and videos to help me learn along the way and then in late 2011 I took a workshop called Becoming a Better Artist." 



















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Jan Fabre

January 25, 2013, 7:40 am
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Jan Fabre (born 1958, Antwerp, Belgium) is a Belgian multidisciplinary artist, playwright, stage director, choreographer and designer.

He studied at the Municipal Institute of Decorative Arts and the Royal Academy of Fine Arts in Antwerp. Between 1976 and 1980 he wrote his first scripts for the theatre and made his debut performances. Established in 1986, Troubleyn/Jan Fabre is a theatre company with extensive international operations, with its home base in Antwerp, Belgium.

Fabre is famous for his Bic-art (ballpoint drawings). In 1990, he covered an entire building with ballpoint drawings. He explores the relationships between drawing and sculpture. He also makes sculptures in bronze (among them The man who measures the clouds and Searching for Utopia) and with beetles.

His decoration of the ceiling of the Royal Palace in Brussels Heaven of Delight is widely praised. In 2004 he erected Totem, a giant bug stuck on a 7 foot steel needle, on the Ladeuzeplein in Leuven.

In 2008, Jan Fabre's The Angel of Metamorphosis exhibition was on display at the Louvre Museum.
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Thomas Lerooy

January 27, 2013, 2:50 am
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Born 1981 in Roeselare Belgium
Lives and works bruxelles and berlin














"Das von der Antike abgeleitete Idealbild des Menschen steht im Fokus der skulpturalen Arbeiten von Thomas Lerooy. Seine monumentalen Bronzefiguren durchleben einen Exzess des Scheiterns, da die vermeintlich perfekten Proportionen durch einen zu großen Kopf oder einen zu kleinen Körper fehlschlagen und sich selbst ironisieren.

Diese Arbeiten ergänzt er mit Zeichnungen, die das symbolistische Potential seiner belgischen Herkunft widerspiegeln und die Ästhetik des Vanitas-Motivs des 17. Jahrhunderts der zeitgenössischen Kunstauffassung gegenüberstellen. In seiner künstlerischen Praxis eignet sich Lerooy nicht nur die Bildsprache unterschiedlicher kunstgeschichtlicher Epochen an, sondern recherchiert im Speziellen in antiquarischen Büchern oder historischen Beständen alter Papierbögen, die er für seine Zeichnungen verwendet. Auch wenn Lerooy mit seinen künstlerischen Techniken auf das Potential der Kunstgeschichte zurückgreift, behält er immer ein Augenzwinkern auf die Gegenwart. Thomas Lerooy ist 1981 in Roeselare, Belgien, geboren und lebt und arbeitet in Brüssel und Berlin."








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Susan Clinard

January 27, 2013, 4:05 am
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Susan first touched clay at the age of 19 when she took a sculpture class in college. She can recall the immediate sensory connection she made with the material; the smell, its texture and shadows. Her love for art did not begin there; she remembers always drawing and making "things" as a child and throughout her youth. To this day, Susan will argue that her formal training as an art student was only part of what made her a creative spirit. Living a life immersed in the diverse people and environments around her is what gave her the insight, ideas, and the inspiration she now possesses.

Susan received her degree in Sculpture and Cultural Anthropology from the University of Michigan in 1995. After college she moved to Chicago to live with her sister Wendy Clinard, a professional dancer/choreographer/painter. Her strong bond with her sister helped her grow immensely as a visual artist. Their mutual respect and admiration of one another's work has led to several collaborations.

Another important influence during this period was Susan's experience working as a caseworker for foster children in Chicago. Working on the front lines in the community, schools, hospitals, and justice systems allowed her to see humanity in a way nothing else before it had. She began sculpting the things she saw, people she knew; as if keeping a journal. She was moved by the stories of inequality, fear, compassion, and courage. At this time Susan realized that sculpture was the unquestionable voice that would allow her to be true to herself while giving back to her community.

She collaborated with various Chicago art foundries, began exhibiting in local galleries and starting teaching at the Palette and Chisel Academy of Fine Art and later at the School of the Art Institute of Chicago. During the next eight years Susan also taught with Gallery 37 (an award winning arts education program). To this day, teaching remains a vital part of Susan's identity as an artist.

Susan met her husband, Thierry in 1999 and they had their first son, Olivier in 2004. Motherhood brought with it an entirely new dimension into Susan's work. Introspective themes exploring inner growth and questions of life's balance were found throughout.

In 2007 Susan and her family moved from Chicago to New Haven, Connecticut where her husband took a job teaching at Yale. The move was yet another experience that helped Susan delve into parts of herself that was uncomfortable. She discovered that Change was not only good but vital for creative growth. And from this a new body of work evolved. Susan also collaborated with IRIS, a refugee resettlement agency in New Haven. From which Susan has meet life long mentors: refugees who fill her ears with stories of humanity; testimonies that find their way to her fingertips.

In 2009, Susan gave birth to her second son Léo Augustín.

Susan Clinard exhibits widely and has worked on scores of commissions. Her sculptures can be found in galleries, in public parks, and in collections worldwide.






















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LIU QIANG

January 27, 2013, 7:36 am
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This stunning sculpture by Liu Qiang is an accurate depiction of humanity’s use of, and utter dependence on other animals and, in particular, the savage and bizarre habit of consuming the breast milk from mothers of other species—milk that these mothers have produced for their own babies, babies that we forced them to become pregnant with only to kill shortly after birth so that we can take the bereft mother’s milk, milk that we drink as though we were the children that we murdered.”

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Liu Xue - 刘学

January 27, 2013, 8:01 am
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Born Liaoning ,Shenyang, China
lLves Beijing , Chaoyang, China










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BOGDAN RAŢĂ

January 27, 2013, 8:47 am
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In
 his 
second
 postgraduate 
year
 at 
Bucharest, 
having
 graduated
 the 
University 
of 
Arts 
in
 Timisoara
 (Sculpting 
section) 
in
 2006, 
Bogdan 
Rată 
is
 one 
of 
the 
most 
promising
 young
 artists 
in 
Romania.
At 
23
 (born
 in 
Baia 
Mare,
1984)
 he 
is 
currently
 doing 
a 
masters 
degree 
under 
the 
guidance
 of 
Adrian
 Popovici 
and
 already
 possesses 
a 
prestigious 
record:
 the 
Eurobarometruvizual 
Prize, 
offered 
by 
the
 Center 
for 
Contemporary
 Art 

in 
Bucharest
(2007),
second 
prize at 
“Lumina
 în
 clarobscur“,
offered 
by
 the 
Dutch 
Embassy
(2006),
the
E xcellence 
Prize
 offered 
by
 the 
University
 of 
Arts
 of 
Timisoara
(2005).

His
 first 
solo 
show,
„Amprente 
si 
insecte“
(Prints 
and 
Insects),
opened 
in
 2005
 at 
the 
Mansarda
 Gallery, 
in 
Timisoara, 
is 
proof 
of 
a
spectacular 
originality, 
backed 
up 
by 
talent
and 
ethod

and,
 equally, 
testament
 to 
the 
artist’s
 ascent

 towards 
fertile 
experiments,
 at 
present, 
but 
without
 ostentation.















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Deangel

January 27, 2013, 2:19 pm
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already published  here


















De Angel, born in Barcelona (Spain) in 1966.

He educates himself in an autodidactic mannerin the world of painting, while he works within different artistic fields: photography, graphic design, infography illustration, etc.

He collaborates with Chicago merchandisers (USA) carryning out oil-paintings of landscapes
and stilllifes.

He has exposed his work, individually and collectively in galeries, cultural centres and artistic exhibitions.

He has got painting in official and private collections.

He has been awarded with several drawing and painting prizes.

Nowadays, he lives in Barcelona, where he works in his own studio in the historic centre of the city (Ciutat Vella).











DeAngel nace en Barcelona, donde se forma de manera autodidacta en la pintura desde temprana edad, lo que derivará en un estilo realista poco común, paseándose por propuestas subrealistas, pop-gráficas o el mas puro realismo naturista.
Siempre buscando el equilibrio, como en antiguas filolsofias, entre cuerpo, mente y espiritu, equivalente aqui con color, dibujo y tema; experimenta en la actualidad, con ejercicios de percepción orientales para poder aplicarlos al arte...
Su obra forma parte de colecciones particulares y de empresas (colección Lotus-IBM).
Le han sido concedidos diversos premios de dibujo y pintura.









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JOSE COBO

January 27, 2013, 2:53 pm
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JOSE COBO

Born 29 of July, 1958 in Santander (Spain).


SOME NOTES ABOUT ART-2

My most recent sculptures often represent children at the time when they begin experiencing their own environment. The first we see is the back of their heads rather than their faces. That is where our first sight is directed and the first image we make out of the child. One must search for the face that is not easily accessible even though it is not concealed. When we approach the sculpture of a small child, due to its size it can be scanned at a glance, our point of view from above could be equivalent to that of an outside monitoring device that controls the image and therefore the whole action. As I mentioned before, we don’t immediately see the face and therefore the child does not confront us, nor does he try to seduce us with his tender childhood.

In several of the sculpture installations of groups of children, they interact with each other. However, from our vantage point they seem to be part of the environment that is under observation, that tries to be controlled from the outside, manipulated or studied, aiming to optimize the interactions among its elements. This perception of surveillance is easy to feel when one looks from above on a small child, although in our own scale, positioned on the floor. This overview sensation is transferable to a full composition displayed on a wall when it is seen from a certain distance. When we approach the sculptures and still see them from afar, due to the angle of our view in relation to the children, we see them as we have from above. Often the wall with the installation would be interchangeable with the ground, as if it had folded upwards always opposite to our sight, shifting between the horizontal and vertical planes. The figures are small because they are children even though they are full scale. They are still recognizable as our own and therefore sharing space and level of existence though not size.

The mural titled “Incarnation” emulates some baroque compositions in which there appears to be two levels of existence, one earthly and the other supernatural.  Incarnation could be understood both for the development of flesh that is produced with the enlargement of the body while growing, and also could be understood in the sense of spirit that materializes in a body, just as we consider the embodiment of God in Christ in order to redeem humankind, or the embodiment of diverse religious mythological deities aimed to facilitate interactions with humankind. A child that descends down the wall represents the first level of existence and the second is represented by a group of four children arranged along the edge where the wall and the floor merge. The four heads form a broken compositional line that contrasts and reinforces at once the line where horizontal and vertical planes merge.

This piece was made in 2012 and I designed it specifically for the gallery space of Arnes + Ropke in Madrid, where it was exhibited for the first time. As a mural that, to a large extent, references baroque painting, it was of great satisfaction to me to discover through the lens of my camera (when I was taking pictures of the exhibition), a real baroque space in which the mural “Incarnation” appeared as if reflected in a big mirror. The physical composition seemed to exist in the same ground as the photographer’s but only visible through the mirror (that doesn’t exist in actuality). The division of the space in the gallery produced this effect.  In my earliest pieces of “Painted men”, I had already resorted to the device of the virtual mirror as a magnifier and a distorter of reality at the same time. Now I found it in a completely different domain, this time again without an actual mirror, only the reflection.






UNAS NOTAS SOBRE ARTE 2

Las esculturas mas recientes representan a menudo a niños cuando comienzan a experimentar su entorno. Lo primero que vemos es el cráneo mas que la cara. Allí es a donde se dirige el primer golpe de vista y la primera imagen que formamos del niño. La cara, sin estar oculta hay que buscarla y no es de fácil acceso. Cuando nos acercamos a la escultura, debido a su tamaño es abarcable de una sola mirada y nuestro punto de vista seria el equivalente al de un objetivo exterior que controla la imagen y por tanto puede abarcar toda la acción. Como he mencionado anteriormente no vemos inmediatamente la cara del niño y por tanto ni nos confronta ni trata de seducirnos con si ternura infantil.

En varios de los grupos de esculturas de niños que he realizado, ellos interaccionan entre si y sin embargo desde nuestro punto de vista parecen parte de un ambiente en observación, que se trata de dirigir desde afuera, manipular o estudiar con el fin de optimizar las interacciones entre ellos y nuestro control. Esta sensación de objetivo abarcable es fácil de percibir cuando se mira desde arriba a una escultura pequeña y sin embargo en nuestra escala, posicionada en el suelo. Esta sensación es trasladable a una composición en una pared observada desde cierta distancia. Al aproximarse a las esculturas y verlas aun desde lejos, debido a nuestro punto de vista en relación al niño, como desde arriba, a menudo la pared con la instalación seria intercambiable con el suelo, como si este se desplazara plegándose hacia arriba, siempre opuesto a nuestra mirada oscilando entre vertical y horizontal. Las figuras son pequeñas por tratarse de niños, aunque estén a una escala real, reconocible como nuestra y por lo tanto difuminando los limites entre lo real y su representación, compartiendo espacio y nivel de existencia aunque no tamaño.

El mural titulado “Encarnación” emula las composiciones barrocas en las cuales hay dos niveles de existencia, uno terrenal y otro sobrenatural. Encarnación se puede entender por el desarrollo de carne que se produce en el aumento de la masa corporal en el crecimiento y también se puede entender en el sentido de espíritu que se materializa en cuerpo, considerando desde la encarnación de Dios en Cristo para redimir a la humanidad hasta la encarnación de divinidades en diversas mitologías religiosas para propiciar interacciones con la humanidad.

El primer nivel de existencia esta representado por un niño que desciende y el segundo por un grupo de cuatro niños dispuestos a lo largo del ángulo que forman la pared y el suelo. Las cabezas de estos cuatro se suceden formando una línea de composición quebrada que se contrapone y refuerza al tiempo la línea formada por el borde donde convergen los planos vertical y  horizontal.

Esta obra del año 2012 ha sido expuesta por primera vez en la galería Arnes + Röpke de Madrid para cuyo espacio la diseñe. Tratándose en gran medida de una cita a la pintura barroca ha sido una gran satisfacción encontrarme a través del objetivo de mi cámara, (cuando fotografiaba la exposición), con un espacio realmente barroco en el que este mural “encarnación” aparecía como reflejado en un gran espejo. La composición física parecía encontrarse en el terreno del fotógrafo pero solo visible a través del espejo (que no existe). Este efecto se producía por la división del espacio de la galería. Ya en mis primeras obras de “Hombres pintados” había recurrido al motivo del espejo virtual como aumentador y distorsionador de la realidad. Ahora me lo he encontrado en un ámbito completamente diferente, y hasta ahora sin el espejo físico.


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Nazar Bilyk - Назар Білик

January 27, 2013, 4:46 pm
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 Rain - Bronze and glass









Born in Lviv in 1979,Ukraine

1999 — Kyiv Technical School of Art and Industry (now M.Bojchuk Institute of Applied and Decorative Art and Design)

1999-2005 — National Academy of Fine Art and Architecture, Kyiv

2005 — Member of National Union of Artists of Ukraine. Master of Sculpture.

2008 — Postgraduate student of the studios of National Academy of Fine Art and Architecture, Kyiv

Since 2005 — Lecturer at National Academy of Fine Art and Architecture , Kyiv.

Lives and works in Kyiv

Last exhibitions and workshops:

2001-2008 Member of All Ukrainian Exhibitions in National Union of Artists of Ukraine

2001-2009 Member of International Sculpture Workshops

2005 Triennial of Sculpture

2007 Personal Exhibition with support of Swiss Foundation “Prohelvetia”, “Irena” Gallery, Ukraine

2008 Ice Sculpture Festival, Tcherkasy, Ukraine

2008 Triennial of Sculpture

2008 Exhibition Centre of National Academy of Fine Art and Architecture

2009 Workshop, Bucha, Ukraine

2009 Exhibition for “Alphabet. Modern Ukrainian Art of the XXI Century” Catalogue Presentation

2010 The Grand Sculptural Salon 2010 in Ukrainian House

2010 Project “Begin your collection”, Bottega Gallery, Kiev, Ukraine

2010 «MUHI», MODERN ART RESEARCH INSTITUTE, Kiev,Ukraine

2010 Personal Exhibition “The borders of the space”, Bottega Gallery, Kiev, Ukraine


2010 The first in the history of Ukraine auction of exclusive interior “Design”

2010  Contemporary Art auction. Contemporary art centre M 17. Kyiv

2010 Budapest Art Fair

2010  Black Square Gallery   Dream Catcher Contemporary Festival. Miami

2011  Solo  exhibition Black Square Gallery

2011 -Miami International Art Fair

2011 – Artpalmbeach

2011 – SCOPE NewYork March 2-6

2011 –   The Grand Sculptural Salon, Kiyv

2011 – Aut : Neurodiversity. Мuseum of modern art of Ukraine

2011 –  Art Chicago

2011 – Triennial of Sculpture, Kiyv

2011- Group exhibition “Artist Draw. A4, Ballpoint Pen” KARAS GALLERY


2012 – Miami International Art Fair, Miami, USA with Black Square Gallery

2012 – I LOVE KIEV urban culture festival

2012- Solo  exhibition “Counterform” Bottega Gallery, Kiev, Ukraine


Contest winner for the best monument project “To the Murdered Sons of Ukraine”, Russia, Sandarmokh massif, Karelia


Prize at the Triennial of Sculpture

Grand Prix at the Sand Sculpture Festival, Kyiv, Ukraine


Author of monuments:

“To the Murdered Sons of Ukraine”, Russia, Sandarmokh massif, Karelia

Lives and works in Kyiv

Art, to be called modern, has to keep up with today, yesterday and tomorrow, complying with the spirit of the age, while taking in and reflecting the most important and characteristic elements of the time. Nazar Bilyk, a young artist from Kyiv, can by rights be characterised as just such a tomorrow-facing artist where his newest project entitled Enclosure is like a well of fresh water sprung up from a stagnant pond.




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Mu Boyan

January 27, 2013, 11:55 pm
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Mu Boyan was born in 1976 in Jinan, Shandong Province of China. Mu graduated from the Sculpture Department of China Central Academy of Fine Arts with master’s degree in 2005. In 2003, Mu Boyan displayed his series work, “Bath Center” in the public bath house of the Central Academy of Fine Arts. It is said, that group of sculpture was accepted to make for a bath center a job for living. After that, Mu Boyan has concentrated continuously on portraying the images of a fat person. The newest solo exhibition of Mu Boyan at Aye Gallery will be on view until March 13th, 2013.










The fat in the west, can be understood the bodily overload caused by unscientifically diet structure, this crowd even occupy about 50% in some countries, it’s really ordinary but in China, when it mentions the fat person, it symbolizes the life abundance. Today, the gap between rich and poor enlarges day by day, the fatty no longer has the symbolic significance as “laughing than growing fat,” but is often explained visually as “occupying social resources excessively.” Only the name of “young fatty” has the commendatory meaning of cuteness. In the series work of “Fatty” looking from the sculpture dimensions, the fat person is separated into two extreme sorts: one is too extremely huge to be unable to tolerate, it may press the floor sinking; another one is extremely miniature, the movement is lively, without the weight feeling completely free. More or less, the artist wants to tell us “Fatty” exists in each body of us.


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Camille Dela Rosa

January 28, 2013, 1:34 am
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PRIVATE EDUCATION


Camille De La Rosa is daughter of the late great painter Ibarra Y. De La Rosa and humanities and art history professor Ethel Dimacuha, also a visual artist. Perhaps aware of the then pathetic plight of artists, Ibarra purposely did not encourage Camille to pursue her own artistic vision. He did not teach her how to paint, nor expose her to the art world he circulated in. Upon his demise in 1998, Camille nevertheless followed her heart and decided to become a painter. Ethel provided Camille with much needed support and encouragement. As constant observer, Ethel taught Camille the basics of painting, as the young artist started to produce art like her father, possibly in the style reminiscent of the French Impressionists. The noted artist Ben Francisco would be credited for Camille’s ultimate development as a painter, as a visual artist. He introduced her to the vast world of painting and gave her a dose of art theory, accompanied by various techniques in drawing and painting. Camille’s intense ambition to create a style of her own inspired her then to paint incessantly.


WITH a non-formal yet consistent artistic education outside of the College of Fine Arts, Camille developed her own style without the logical guidance of academic instructors, imposed and forced upon their students. Neither was she programmed systematically in the creation of art from basic lines, the production of forms and the use of color, to composition, to the development of artistic concepts, artist style and artistic expression. Education states that one must learn the rules in order to break them. Greater artists need not even know the rules, so there is nothing to break.






PROLIFIC is distinctively Camille’s trademark. She has had 15 solo exhibitions from the time she was only 16 years of age till she became 26 last year. This incessant production is further compounded by participation in over 50 group exhibitions here and in Asia and Europe. In the absence of formal education in the Fine Arts, that amount of art making in 10 years can surely replace 5 or 6 years of academic study. In her early career, Camille produced spontaneously and exhibited her landscapes, flowers, gardens, churches, portraits, nudes, people in various endeavors, and her abstracts. Her collectors continued patronizing whatever she produced. Yet suddenly in her 8th year as artist, she became restless and an urge to get out of the doldrums besieged her. She felt the gnawing call to unravel her real psyche.





Artist’s Statement

To be able to appreciate the surreal, one must see the ultimate reality: the interweaving of societal and personal events, the conflicting philosophies, and the universalities and particularities of some ideas or theories. Since the surreal is the material representation of the sub and the unconscious, it is perfect to use as a tool in meditating on some aspects of being human: the capacity to discern what is right from wrong, the beneficial and the detrimental.

I’m Inspired and fascinated with the marvels of the human anatomy. How the skeleton serves as scaffolding that supports our internal organs; the complexity of the work of the brain; the phenomenal wisdom of the digestive and excretory systems; and the taken-for-granted automatic functions of the body. I have considered the idea of putting them as the base of my works because they reveal the amazing hand of God, which I find marvelous and beautiful. For me, the bones and skulls do not only symbolize death, but also eternity, the resurrection of the pure soul.  I juxtapose them in a strange and illogical way that reflect certain realities of our world, based on my own observation of the society, both the positive and the negative: the reign of greed, non-compassion, non-empathy, lack of love, the desire of belongingness to ever indifferent world. These bring up the images from my subconscious mind.

- Camille Dela Rosa


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Heinrich Eder

January 28, 2013, 7:32 am
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1967 - Born in Salzburg , Austria

1981 - 1985 HTBLA HAllein (wood and stone Sculpture)
            under Prof. Bernhard Prahauser

1983 Symposium with Prof.Bernhard Prahauser
         Lungau, Salzburg, Austria

1984 International Summer Academy under
         Prof. Josef Zenzmaier, Salzburg, Austria

1986 - 1992 - Study of sculpture under Prof. Hans Ladner
           Academy of Art in Munich, Germany

1989   Symposium (stone sculpture), Laas, Italy

1992   Diplom (Meisterschuler) under Prof. Hans Ladner

1992 to date - lives and works as sculpture and painter in Hamburg, Germany
Special Projects in Austria, Italy, Spain and France

















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Andrew (Ando) Binsiar

January 28, 2013, 9:07 am
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ARTIST’S BIOGRAPHY


Born a twin to a very young mother who is a part of the stolen generation… Ando and His twin were 
placed into foster care and taken to Meekatharra when he was 18months old… remaining in 
Meekatharra for most of his life only leaving to attend school for two years then returning.
He met his wife and became a father at 19… working as a part of the local CDEP program to support 
his growing family although art has always played a part in his life. Experimenting with the art of 
tattooing from an early age with his close friends and family. He also has tried such mediums as lead 
pencil, charcoal and acrylic paint but tattooing stayed his medium for the past 21 years.
At the age of thirty Ando found himself working more with paint. Entering local art competitions he 
found that traditional aboriginal art seemed to compliment his portrait style.
Consulting with a few of the elder artists in Meekatharra, who encouraged Ando to keep true to his 
style telling him that the telling of the modern stories of our people need to be told as well, this 
inspired Ando even more.
While working away from his wife and children for a mining company up north he continued with his 
painting offering some of the non-indigenous workers a small insight to his art while holding a small 
art class, out of all experiences he has had in his life so far. Ando puts this time spent away from the 
ones he loves as the most inspirational time to paint what he feels. He has found that the expression 
he can achieve with painting he would never be able to achieve while tattooing.
Trying to get into small competitions and exhibitions in Geraldton, Wiluna and Perth Ando found 
himself being rejected until a local elder artist introduced him to the manager of a gallery in Mt 
Magnet who helped Ando get into the first ever viewing of his art. Attending this event was a friend 
and his wife who saw something in Ando’s art that only a few elders from Meekatharra had seen.
Ando hopes you enjoy his art as much as he enjoys showing you his stories…










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