Mark Spain

December 20, 2013, 7:45 am

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Mark Spain


I have always been interested in art right from an early age. After having attended Art College, I decided I favoured printmaking and opened up a print making studio in Kent where I spent many years developing my etching and collagraph techniques.


After the storm of October 1997 I was commissioned to produce a limited edition etching of Kew Gardens. Other commissions have included ones for Natwest Bank and The Dorchester Hotel.


My art began with a love of landscape images and had many etching editions published by CCA Galleries of London. These were successful and spanned many years. However, as time went on I felt the need to develop other forms of imagery from abstract to figurative. I am constantly experimenting with different subjects and techniques, which I then apply to a variety of images. Although this is new to me I have thoroughly enjoyed and embraced the new challenge.


My collagraphs have been exhibited at Mall Galleries, and my abstract oils at the 20th Century British Art Fair as well as other works being shown at the Chelsea and Hampton Court Flower Show and the Barbican Contemporary Print Fair. More recently, my figurative works have been published by Washington Green.


My ideas can come from many sources, but are more often than not prompted by music. The majority of ideas develop when I’m working on another painting or in the evening when I’m relaxing. When this happens I do a small thumbnail size sketch so that I don’t forget it. Then at a later date I work the sketches up, until I can visualise it as a painting, with the use of models and props.


I believe that the mood and feeling within the painting are as important as the composition. This is an area that I enjoy exploring - it’s such an exciting challenge to try and capture a moment (good music at this point always helps).


Once I have a clear idea of an image, I will often develop a colour rough to try to help create the right feeling.


If I am working in oils, I will paint a basic background colour that is predominant within the image and then begin to work forward. Once the basic picture is painted, I will continue to work the colours of the subject and background until I’m happy with the general mood and feeling within the image.


I always like to create a little energy with the brush strokes, to help give the finished painting some life. Once finished I often place the picture out of sight for a few days and then re-visit it later with fresh eyes to see how I feel about it, and whether I can improve it in any way.


When painting abstracts, my approach is somewhat more spontaneous. I don’t usually have any preconceived ideas, and I just allow the image to happen. Colour choice depends on my mood and I usually work on several images at once. I will continue to work on them over a period of several months, sometimes painting major changes to the image many times, until I’m satisfied with the end result.


My typical day for me would depend on whether I’m print-making or painting.


When printing, the day normally begins at about 8.00am with the preparation of inks and paper. If all goes well I will hopefully have my first print pulled off the press at about 9-9.30am. Once I am set up and the prints are coming off the press, I either print part of an edition or continue colour proofing new images for the rest of the day until about 5.30pm.


If I’m painting my working day is somewhat less demanding physically, but can mean a much longer day. I may start the day off with a light workout at the local gym, followed by breakfast at about 9.00am. I begin painting fairly slowly with plenty of tea breaks and music in the background until hopefully I settle into an image and it seems to flow. If its going well, I will continue with it until I feel I need a break, otherwise I usually stop for lunch at about 1.30pm and then carry on working until about 6.30pm when family matters take over. With two young children I try as much as possible to make sure I spend some quality time with them each day. I may return to work about 9.00pm, once the children are in bed, and if I’m feeling particularly keen and inspired I have no fixed finishing time before calling it a day.

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Peter Worswick

December 20, 2013, 8:26 am

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Peter Worswick


Peter Worswick


Born in Blackburn, Lancashire in 1960 Peter showed early artistic talent but upon leaving school he trained as an electrician only painting in his spare time. It was a further 5 years before he decided to commit himself to painting on a full time basis.

Mainly self taught, Peter describes his images as realist, sensual and modern. He works in oil and other mediums but he prefers pastel as he find that it lends itself very well to the textures he paints. It allows him to create images that combine both rich and delicate colours along with numerous textures. This attention to detail enables him to create beautiful and highly sought after figurative works.

Over the years Peter has developed his own distinctive style. His tremendous talent has been rewarded by invitations to exhibit at many prestigious galleries throughout the UK and he has numerous paintings in private collections in the UK and abroad.

Peter draws his inspiration from many sources, including wildlife and landscapes but it is figurative work which he excels. "I find that the female form combined with various materials of silk, velvet, lace etc... provide me with all the inspiration I need. The possible combinations are endless.

Living and working in Lancashire and Cumbria.
Exhibited throughout the UK, including Kensington Palace and the Tate gallery.
Elected honorary member of ' The International Guild of Artist's '

Adam Barsby

December 20, 2013, 8:41 am

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Adam Barsby


 Adam Barsby was born in Leicester in 1969. After graduating in Illustration at The Kent Institute of Art and Design with a first class honours degree in 1992, he began his artistic career as a freelance illustrator. At the same time he began working in galleries in and around London. This is where he saw painting and fine art as a vehicle not only to successfully finance himself, but as a means to express his creativity.

Since turning fully professional in 1996, Adam has been awarded a number of accolades which include Best Up and Coming Artist 1999, Best Selling Artist of the Year 2000, and no less than three nominations for Best Published Artist.

For the last two years however, Adam has sought to redefine his style. Figurative work has enabled him to express his ideas about love and our journey through life. Landscapes, Cityscapes and Seascapes are also common themes that help express his love for the world around him.

His artistic influences are clearly seen in his work. Stanley Spencer has been a long-term inspiration, so to that of the naive genre of art initiated by Alfred Wallis. His deepest passion however is his love for the sea. You will notice that many of his compositions are based around coastal and harbour scenes and this provides the backdrop to many of his themes.

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Karin Volker

December 20, 2013, 8:55 am

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Karin Volker




ASSION. ENERGY. STYLE.

Born in Kierspe, Germany and academically trained at the University of Arts, Berlin, Karin has since established herself as an International best-selling artist with her stunning blend of energy, style and grace. Collectors frequently comment that her paintings recharge them, and they can share her energy and love of life through her work.

Karin is inspired by moods, dance and music, usually working from mind rather than models; it is primarily colours and structures that lead her paintings. Karin’s work sells around the world and her originals are so sought after they are often sold before the brushwork is even finished.

Rozanne Bell

December 20, 2013, 9:17 am

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Rozanne Bell

Rozanne Bell is the epitome of fun. She is a flamboyant gregarious character with a unique creative imagination that knows no bounds. Rozanne has a sunny disposition, full of originality and wit. She is an exciting and entertaining person; full of energy and vibrancy and her art mirrors all these qualities. Rozanne has five children and her artwork is embroidered into the heart of her family life.

Rozanne Bell was born in Zimbabwe and she lived there for 40 years. She exhibited all over southern Africa and, through tourism, an American market for her work evolved. From Guernsey to Ghana her paintings hang in many banks and boardrooms all over the world.

In 2002, the situation in Zimbabwe necessitated Rozanne's move to England. Rozanne's ability to adapt to a new environment coupled with her optimistic determination to succeed had brought a breath of fresh air to the British art market.

The latest works by Rozanne Bell exhibit her unique view of an architectural landscape encompassing a curious and whimsical character combined with a realism and grittiness unequalled in the art world today. Rozanne Bell's sense of fun and artistic integrity combine to create highly desirable microcosms inhabited by the peoples of one's imagination.

The subjects of Rozanne Bell's paintings are novel; new and full of vitality. The influence of her African upbringing combined with the injection of British humour has ensured that Rozanne's paintings are much in demand. With no restriction of formal art training, Rozanne is able to cultivate her natural flair and zany approach. Her disciplined inspiration has provided exhibitions in Surrey, Dorset and Suffolk.


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Warm and Happy Holidays to you ALL!

December 21, 2013, 1:57 am

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Loui Jover

December 17, 2013, 12:13 pm

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Loui Jover



"Right now I like making ink drawings on adhered together sheets of vintage book paper, there is a fragility to these images that I find interesting (as if the wind may blow them away at any moment) and the hand drawn stark black lines against the intricate printed words of the book pages offer a strange fusion and depth that seems to give the images a kind of 'meaning' and back story, even though unconnected in a contrived way. I never pick the image for the pages or visa-versa they just collide as chance permits, any meaning they may have is purely created by the observer and their own imaginings."


I have drawn since childhood and as other children stop at some point in their development i never did.

I draw obsessively every single day filling books with ideas, cartoons and drawings.

So my drawing abilities seem to have developed in natural progression giving me the ability to freely use a number of distinct styles and approaches.

I have formally studied commercial and graphic art and hold an advanced certificate in visual communication.

I was employed and served as an 'illustrator reprographic' in the Australian Army, This job included regimental photography and related darkroom proceedures .

I have held three solo exhibitions, and have been included in numerous group and collective shows.

My work has been acquired and is included in interesting private,corporate and public collections, throughout the world.

My illustrations, cartoons and artworks have been reproduced in books and other printed periodicals.

I am a self represented full time artist.

I primarily like to work with ink on paper, but am versed with oils and acrylics and enjoy making and using collage.

I also (as well as the book page drawings) am currently working (slowly) on a series of large oil paintings based on childhood memories.

I live in Queensland Australia with my wife Fee and young daughter Jazz.

I have a small studio in my backyard where i hide and work.

I immigrated to Australia from Europe with my parents when i was a young child.

I have travelled extensively throughout Asia and Europe.

The rest is yet to come.

thank you for your interest.

prints can be offered on request.


"A wonderful artist" - The Sir HON Ronald Arculli OBE


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Paolo Staccioli

January 3, 2014, 5:30 am

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Paolo Staccioli


Nato a Scandicci nel 1943, Paolo Staccioli inizia la sua esperienza di artista negli anni Settanta del Novecento, esordendo come pittore e facendosi presto notare in ambito locale. Al principio degli anni Novanta la necessità di sperimentare nuovi linguaggi espressivi lo spinge a Faenza, nella bottega di un ceramista locale, Umberto Santandrea, dove apprende le tecniche di quest’arte. È qui che Staccioli realizza i suoi primi vasi, dapprima con la tecnica della ceramica invetriata, poi sperimentando la cottura a “riduzione”, che gli consente di ottenere straordinari effetti d’iridescenza e lucentezza.
Ottenuta assoluta padronanza del mestiere, Staccioli allestisce nel suo studio di Scandicci, nei pressi di Firenze, un laboratorio, dove continua autonomamente e quotidianamente a misurarsi con l’uso del fuoco e degli ossidi di rame, dando vita a una miriade di vasi che riveste con fantastici racconti pittorici, fissati definitivamente dalla smaltatura a lustro. È con queste opere che ottiene i primi successi, facendosi notare in mostre personali e collettive, nonché in occasione di importanti manifestazioni culturali: le sue ceramiche, dal forte effetto metallizzato e dallo smalto scintillante si impongono presto, per eleganza e originalità, nel panorama artistico non più solamente fiorentino, ma nazionale.
I personaggi che in questa fase popolano la superficie delle sue ceramiche (giostre di cavalli giocattolo sospesi nell’aria e accompagnati da putti alati, suonatori di trombe, bambole e Pulcinella) presto si guadagnano la terza dimensione, divenendo sculture che tuttavia non perdono l’accento di accadimento fiabesco, estranee come sono ad ogni nozione di tempo e luogo: forme idealizzate memori della statuaria preromana, etrusca in particolare, sulle quali interviene la policromia della ceramica, a rendere
un vigoroso effetto di masse in contrasto. Guerrieri, viaggiatori, cardinali e cavalli si aggiungono ben presto alla folla già nutrita dei fantastici personaggi ed iniziano, dalla seconda metà degli anni Novanta, ad animare importanti collezioni pubbliche e private, italiane ed estere. Nei primi anni del Duemila, nella volontà di sperimentare nuovi materiali e, con questi, altre dimensioni espressive, Staccioli inizia a trasferire –  senza comunque mai abbandonare l’amore per la lavorazione delle terre – le sue forme nel più duraturo bronzo, passando dalle ricerche con gli ossidi di rame a quelle con le patine metalliche. È in questa più recente fase che le sue figure acquistano una monumentalità prima ignota, che ancor più tende a fissare in una dimensione al di fuori del tempo i suoi cavalli e i suoi guerrieri.
Molti i riconoscimenti tributati all’artista, in particolare nell’ultimo decennio, da pubblico e critica, e molte le partecipazioni a premi ed esposizioni che hanno consentito a Paolo Staccioli di conquistare un posto di assoluto prestigio nell’attuale panorama artistico.

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Paolo Frosecchi

January 3, 2014, 5:48 am

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Paolo Frosecchi

Un artista controcorrente,
di naturale estrazione toscana

Biografia del Maestro

Paolo Frosecchi nasce a Firenze nel 1924. Vive i primi anni nell’incanto della campagna toscana, in Villa all’Impruneta, dove si davano convegno letterati e pittori di quel tempo illuminato che dai macchiaioli prese nome.

Seguì i suoi studi in riva d’Arno tra Pontevecchio e Santa Trinità, coinvolto in una ricchezza morale che attingeva a fondo nelle prospettiva di Santo Spirito e San Frediano fino al Carmine dove Masaccio murò la sua voce.

Il nonno Cesare era amante dell’arte e già dal 1916 poteva vantare "la più vasta e più completa collezione di macchiaioli toscani che sia esistita a Firenze". Il padre Augusto, giornalista e critico, amico e frequentatore di Berenson e Longhi, proseguì la collezione allargandola a divisionisti e scapigliati. ln questo ambiente ricco di fermenti e intelligenze, il giovane Paolo appena quindicenne ha il battesimo di colori e pennelli. Si lega istintivamente alla lezione dei macchiaioli, che fin da bambino gli avevano “parlato dalle pareti familiari".

Finita la guerra, agli inizi degli anni’50 Frosecchi si trasferisce a Roma dove partecipa all’VIII Quadriennale.

Nel 1960 è a Milano, sua terza città/terza radice- dove ha modo di sviluppare e valorizzate la sua professione artistica.

Da allora Paolo Frosecchi si è dedicato anima e corpo alla pittura, esponendo in Austria, Belgio, Francia, Germania, Inghilterra, Italia, Olanda, Romania, Russia, Stati Uniti d’America, Sud Africa, Sud America, Svizzera e Ungheria.

Nel 2005 il ritorno definitivo a Firenze con in mente un’altra, grande, personale sfida: aprire una galleria d’arte moderna, a ottant’anni di età, in via del Sole 6-8r, nel pieno centro storico di Firenze.

Paolo Frosecchi

Logan Maxwell Hagege

January 3, 2014, 7:08 am

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Logan Maxwell Hagege




"Logan Maxwell Hagege is a talented artist who excels in depicting the figure and landscapes. Serious study in art started for Logan when early interest in animation sent him to a local art school, Associates in Art. His interest quickly moved from animation to fine art while attending life drawing classes, and later the Academy`s Advanced Masters Program, which was modeled after the old time French Art Schools where students spent more than six hours per day studying from live models. Logan also studied privately under Steve Huston and Joseph Mendez.


This artist has drawn inspiration for his subjects from his native Southern California as well as by traveling extensively to view various landscapes in the American Southwest and the Northeast Coast of the U.S.


Logan finds encouragement and guidance in masters of the past such as Gustav Klimt, N.C. Wyeth, T.W. Dewing and Maynard Dixon. One idea that drives Logan`s work is that evolution in art is never ending. He is constantly challenging himself with new ideas and new ways of looking at the same subject." 

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Antonio Pujia

January 3, 2014, 8:54 am

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Antonio Pujia



Pujia was born on June 11, 1929 to Vittorio Pujia and Maria Vallone in a village in southern Italy called Polia. Even as a child, he showed interest in sculpture, modeling his own toys from clay that he would get from the shores of a nearby stream.
In May, 1937, he immigrated with his mother and older sister Carmela to Argentina. Vittorio was waiting for them there; he had left for South America when Antonio was only two.
Once settled in Buenos Aires, he began elementary school. He had some trouble as he was nearsighted and no one had discovered the problem. Finally, his fourth-grade teacher asked his mother to take him to the eye doctor, and he has worn glasses ever since.
During his last years at elementary school, he found himself still trying to adjust to the new language. He began to draw certain aspects of daily life that he found surprising or noteworthy: he drew newspaper salesman and his teacher at school. When his teacher showed the whole class the portrait, he was filled with pride.
When he finished grade school, a teacher gave
Pujia a recommendation for his future studies: the teacher thought he should focus on the Fine Arts. Antonio was fascinated by the name alone; he told his parents and was met with a flat-out no from his father, who thought it was smarter to study accounting. His mother was on his side, however, and with her help, he was able to sign up for the entrance exam at the Manuel Belgrano School. When sitting for the exam, he felt a bit intimidated when he discovered that his future classmates were better prepared than he was; nonetheless, he passed the exam and began classes there. Antonio began to hone his artistic talents and soon proved that he was a dedicated student. During this time, he worked hard to pay his own way through school; he always chose jobs that would allow him to use his artistic knowledge and his skills as a sculpture while working with his materials of choice. He did plaster molds, tassel molds, etc. At last, he received the title of “National Drawing Professor” from the Prilidiano Pueyrredon School of the Fine Arts and the title of “Professor of Sculpture” from the Ernesto de la Carcova High School of the Fine Arts.
He studied art from 1943-1954 and his professors included renowned artists such as Troiano Troiani, Alfredo Bigatti, Alberto Lagos and Jose Fioravanti. He also worked as a workshop assistant with these artists as well as lending a hand at Rogelio Yrurtia’s studio.
Some time later, to pay homage to his teachers, he named the patios of his school-workshop after them. He was dedicated to both creating art and teaching, and he served as a professor in sculpture at the Pueyrredon and Belgrano School and also taught at his school-workshop from 1970 to 1975.
In 1956, Teatro Colon Director Hector Basaldua decided to set up a workshop for scenery production within the theater. The director organized a contest that was won by Antonio Pujia, who served as the workshop chief until 1970.
During this period, Antonio became enthralled with music and dance, two of his favorite themes. He regularly attended ballet classes and spent hours taking charcoal notes on paper. During this period, he became friends with Jose Neglia and Norma Fontela, the prima ballerinas at the theater, as well as several other dancers of the troupe. In 1966, he did the portrait of Norma Fontela that now hangs in the foyer of the theater.
In 1959, Pujia won his first important award from the Salon Municipal Manuel Belgrano [Manuel Belgrano Municipal Salon]. This distinction made him even more committed to art. This award was followed by several others, in a growing succession. Pujia was particularly young to receive such prestigious prizes, as most artistic awards tended to go to older artists with longer careers.
n 1960, he won the honorable achievements award from the Salon Nacional de Artes Plasticas [National Visual Arts Salon] at the age of 30.
In 1961, he won the Alberto Lagos Biennial and in 1964, he was awarded the grand prize from the “August Palanza” Fondo Nacional de las Artes [National Arts Fund], one of the most important art awards in the country. These distinctions made Pujia sure of his decision to be an artist and strengthened his commitment to an artist and strengthened his commitment to the fine arts.
In 1965, encouraged by all of the awards he had received, Pujia decided to do his first solo show at the historic Witcomb Gallery. Witcomb was one of the first galleries in Buenos Aires, and many of the most important Argentine artists –as well as foreign artists- had exhibited their works there. This show is a true milestone in Pujia’s career: not only was it a big success in terms of both sales and the public’s response, but it was also a chance for Pujia to exhibit a great number of bronze works that he had never been able to show before. On the other hand, he bet everything on the show: he paid for the exhibition with his own savings. Pujia continues to fund his own works even today, as he considers this the only way to retain his independence and his integrity as an artist.
Now that he considered himself a true artist –and encouraged by the success of his first solo show- he began to create art regularly (while continuing to teach and working at the Colón workshop). This led to his second big success: Biafra. In 1970, profoundly moved by press photos showing the devastation of a country in Africa, Pujia did what would be his first exhibition tinged with social activism: the exhibition-exposé of how men destroy other men. This show, which opened on July 23, 1971 at the Esmeralda Gallery, was priased by both the press and the public alike.
This series travels abroad, and in 1974 the Sebert art gallery in Sydney invites him to hold a show there. Very successful, the exhibition includes several Biafra pieces as well as sculptures on other themes. Many of these pieces are bought by Australian collectors.
Years later, in 2000, the same sculptures would be shown at the Eduardo Sivori Museum, where they would provoke the same reaction all over again. Pujia himself attributed great significance to these sculptures; in fact, the full original series is still part of his private collection. A similar group of works is the famous Martin Fierro series, produced in 1972-73; these sculptures also reflect the horror of destruction combined with the artist’s love for the country that welcomed him: Argentina. In his 1975 exhibition at the prestigious salon of the San Martín Theater, the public came to see one of the most intense series of sculptures that had ever been displayed. In fact, the show was such a smashing success that Pujia decided to incorporate all of the pieces from the show into his private collection.
Producing these series was a very intense process, one that would lead the artist to the opposite end of his rich repertoire: in 1977, at Imagen Gallery, he exhibited a series of sculptures that were notably different than his works from the previous years. These works showed female nudes, lovers, eroticism, plants, serenity; this can be seen in works like "Adagio" (a portrait of his pregnant wife) or "Amarnos con pasion" [Loving Passionately], two works that show the artist’s desire to display the emotional range of human begins with the same level of passion and intensity: love and hatred, construction and destruction, apathy and passion, Thanathos and Eros in an ongoing struggle.
In 1976, he moved to Spain (Escorial) for approximately a year. Later, back in Buenos Aires in 1979, he began to work on pieces related to the military dictatorship that had been established in Argentina while he was away. One life-size piece entitled "Libertad Amordazada" [“Freedom Gagged”] and the series of the “mutables” reflect the horror of the detainees. Another example is “El espejo del alma” [The Soul’s Mirror], a piece in which the focus in on enclosure, on what remains hidden behind sinister trappings.
1980 marked the anniversary of the second founding of the city of Buenos Aires and Pujia was commissioned to do a commemorative medal that was cast in Italy. A total of 250,000 of these medals were included as an insert with the magazine “Siete Dias”. He continued to produce pieces related to the dictatorship until 1982, and in 1983, he began to move towards the work of Amedeo Modigliani, beginning with the oil painting "Le grand nu.” This series pays homage to the painter, to beauty, to serenity, and is again a stark contrast to Pujia’s pieces from the previous years. Later, after his trip, Pujia knew once and for all that his roots lay in Argentina, the country where he had lived, worked and thrived since the age of eight. At one point, he had dreamed of belonging to both cultures and dividing his life between Italy and Argentina, but he rediscovered the city upon his return - his family, his workshop, his students, his friends. This led to another series entitled “Canto de amor a Buenos Aires” [Love Song for Buenos Aires]. The medal series is part of this homage, with themes and poems about the city that were included in a book. That same year (1983), the country was on the verge of returning to democracy, and Pujia did another medal to commemorate the inauguration of President Alfonsín.
Having decided he would stay in Buenos Aires, Pujia expanded his workshop, adding more space and more light. He had begun to concentrate once again on the most beautiful aspects of life: couples loving each other. During this same period, his own children had also found their life partners, and he considered them proof of the perpetual cycle of life. In fact, they occasionally served as models for his works. The show entitled “En amor – a dos” [In love - together] exhibited this series. Following this same theme, Pujia headed for families, including his grandchildren, whom he considered the core of happy families.
However, the economic crisis in Argentina began to affect such families, and they were often marginalized as a result of unemployment and social indifference. Pujia responded with a series based on a piece by Ernesto de la Carcova entitled "Sin pan y sin trabajo" [No Bread, No Work]; for this series, he chose pigmented wax. After some time, he returned to the theme of couples and families, combining different materials like wood, marble and bronze.
After the two shows held in 2OOO (at the Eduardo Sivori Museum and Principium Gallery), Pujia decided (in 2003) to pay homage to
Rogelio Yrurtia, his artistic mentor, whom he remembered with great affection and whom he wanted to acknowledge as a master creator and teacher. For this exhibition, he gathered works dating from 1960 to 2000. The show was held at the Rogelio Irurtia House-Museum in Buenos Aires, a museum that displays all of the works and personal belongings donated by the artist to Argentina. Beginning in mid-2OO4, Pujia stopped teaching and participating in group shows and art fairs to begin working exclusively on the HOMAGE TO WOMEN. He began by sketching live models in his workshop, and after making a great number of sketches, he is designing and constructing a series of pieces, working with cast bronze and lost wax, carrara marble, Belgian marble and ebony with silver and gold plating. Pujia will do a “virtual” Internet exhibition to show how his latest works are coming along.
In December, 2006, he held a retrospective show of his work at Mundo Nuevo Gallery.

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Antonio Pujia

Antonio Pujia, escultor ítalo-argentino, uno de los más importantes artistas contemporáneos de su país.

Su obra está realizada en diferentes metales fundidos, como bronce, plata y oro y también en mármol. Nació en Polia, un pueblo de Calabria, Italia, el 11 de junio de 1929 y llegó a la Argentina en 1937, nacionalizándose argentino varios años después.

Se formó con grandes maestros como A. Lagos, T. Troiani, A. Bigatti, Fioravanti e Rogelio Yrurtia entre otros. Recibió el título de Profesor Nacional de Dibujo en la Escuela Nacional de Bellas Artes Prilidiano Pueyrredón y el de Profesor de escultura en la Escuela superior de Bellas Artes Ernesto de la Carcova. Ejerció la docencia en las escuelas Pueyrredón y Belgrano y también en su propio taller-escuela. Organizó el taller de escultura del Teatro Colón de Buenos Aires del cual fue su jefe durante los años 1956 hasta 1970 cuando renunció al cargo para dedicarse de lleno a la escultura artística.

Obtiene el Gran Premio del Salón Municipal Manuel Belgrano en 1959, el Gran Premio de Honor del Salón Nacional de Artes Plásticas en 1960, la Bienal Alberto Lagos en 1961 y el Gran Premio del Fondo Nacional de las artes en 1964 entre otras distinciones.

Realiza más de 50 exposiciones individuales entre 1962 y 2001. Su extensa obra puede visualizarse casi en su totalidad en antoniopujia.com, una completa página de Internet con más de mil fotografías que se actualiza conforme el Maestro Antonio Pujia va terminando sus obras.

Silvana Robert

January 6, 2014, 3:30 am

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Silvana Robert



Born in Buenos Aires February 15, 1965

STUDIES

1982 – Bachiller Auxiliar en Cs. de la Comunicación Social .Colegio Nacional Normal Superior M. Dorrego
1989 – Escuela Nacional de Bellas Artes “Prilidiano Pueyrredón” Bs As.Profesora Nacional de dibujo
y grabado.

She attended workshops in drawing, painting and engraving of Professors: Attila Osvaldo, Armando Sapia,
Alicia Scavino, Cristina Santander.

He studied Conservation and Restoration of Easel Painting and paper, in the San Martín Cultural Center of
Buenos Aires With Patricia Aparicio Bravo teachers and Seminar with Professor Fernando Poyatos.

He attended photography courses in Martin CCGral.San by Prof. Carlos Gindzburg.

Digital Photography Workshops with Federico Zampaglione, School of Gustavo Marcelo Gurruchaga and Cilla.

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Graciela Genovés

January 6, 2014, 3:52 am

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Graciela Genovés



Nacida el 24 de octubre de 1962, Graciela Genovés se graduó como profesora y Licenciada en Artes Plásticas en la Universidad Nacional de La Plata. Posteriormente estudió y se perfeccionó en el taller del Profesor Osvaldo Attila. En 1989 comienza a trabajar como docente de Dibujo en la Facultad de Bellas Artes de la Universidad de La Plata, y como ilustradora para editoriales. Al año siguiente, obtiene el Primer Premio de Dibujo en el Salón de Artistas Jóvenes del Museo Provincial de Bellas Artes de La Plata.

Durante el año 2000, Ignacio Gutiérrez Zaldívar conoce su obra en el Centro Cultural Recoleta y a partir de ese año comineza a exponer en Zurbarán con regularidad.

Graciela vive en Buenos Aires, es casada y madre de dos niñas.

Trabaja en su taller en el barrio de San Telmo , y enseña pintura en el taller de Guillermo Roux.

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Teresa Durmüller

January 6, 2014, 5:30 am

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Teresa Durmüller


Professor. Drawing. College of Architecture. Torcuato di Tella University, Buenos Aires, Argentina.
Professor. Drawing and Painting workshop. Guillermo Roux Foundation. Buenos Aires, Argentina.
 
Education
Architect. Architecture and Urbanism College. Buenos Aires University. Argentina. 1976
Studies of drawing and painting with Aída Carballo and Guillermo Roux.

Juan Carlos Liberti

January 6, 2014, 5:51 am

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Juan Carlos Liberti

Nació en Buenos Aires e inicia su labor artística en 1970. Desde entonces ha realizado 27 exhibiciones individuales en prestigiosas galerías y museos de Argentina, Estados Unidos, Puerto Rico, Venezuela y Paraguay. Sus obras figuran en museos de América y Europa y un autorretrato suyo integra la colección de la famosa Gallería degli Uffizi de Florencia, Italia. Siempre enrolado en el surrealismo, su temática ha ido variando y ahora ha incorporado una imagen muy argentina, el tango. Sus obras han sido exhibidas en la gran muestra del tango en el Palais de Glace de Buenos Aires, en el Dans Museum de Estocolmo, Suecia, en el pabellón argentino de la Feria de Hannover, Alemania y en varios Museos de los Estados Unidos

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Eugenio Cuttica

January 6, 2014, 6:43 am

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Eugenio Cuttica



Artista contemporáneo nacido en Buenos Aires el 3 de abril 1957, de la generación intermedia, ha expuesto en galerías, museos y centros culturales, ferias de arte internacionales, etc., durante más de 30años. Su trabajo se basa en una fuerte impronta de sincronicidad y conexión con lo que él llama la dimensión de la frecuencia infinita del no tiempo. Sus obras apelan a la belleza, no desde la construcción intelectual sino como algo que simplemente sucede, apelando a la idea del artista como el vehículo de una energía que lo traspasa y le es ajena. A través de su firme convicción de evidenciar otra realidad invisible, sus obras adquieren cierta conexión con los espectadores que posibilita reencontrar un estado contemplativo.

EDUCACIÓN

1984 Arquitectura, Universidad de Buenos Aires, estudió diseño con el arquitecto Justo Solsona.
1976-1981 Asistente de los pintores Howard Martinez y Antonio Berni. B. F. A.
1980 Pintura y Escultura, Escuela Nacional Argentina de Bellas Artes.
RECONOCIMIENTOS / PREMIOS

1988 Seleccionado para el primer premio, Jóvenes Pintores, Gran Premio Amelita Fortabat, Juries Exhibition of Expressionist Painters of Argentina.
1989 Seleccionado como finalista para la Biennial en Venecia, Italia.

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Miguel Ronsino

January 6, 2014, 7:28 am

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Miguel Ronsino



Ronsino Miguel was born in 1968 in Chivilcoy, Province of Buenos Aires, Argentina.
In 1988 he obtained a scholarship FATLYF and studied at the National School of Fine Arts Prilidiano Pueyrredón
and workshop of Clelia Speroni.

From 1989 he began to exhibit in the country and abroad
(Brief review since 2000):

- “In the shadow of the pines imaginary” (individual) anchorena Isabel Gallery, Buenos Aires (2012) and Museum of Contemporary Art Raúl Lozza, Alberti – Argentina.
-The Persistence of Memories: Selections from the Collection Mosquera, Broward College New Gallery, Florida,
USA (2012).
- “ArteBa” anchorena Isabel Gallery, Buenos Aires (2003-2012).
- “100 Edition National Hall of Visual Arts in Argentina”, Palais de Glace, Buenos Aires. (Mention 2011).
- “ArteBa” Masottatorres Gallery, Buenos Aires (2011).
- “The Lightning presents: Ronsino + Bordese” Abulafia Books, Buenos Aires (2011).
- “Spirit in the Collection Briozzo Wild” Traveling Show (2011/12).
- “Inauguration of the Museum of Visual Arts (MAV)” Mechita, Province of Buenos Aires (2010).
- “Parallel Currents: Highlights of the Ricardo Pau-Llosa Collection of Latin American Art”, Snite Museum, University
of Notre Dame, Indiana, USA (2010).
- “Bizarre, the museum of Lightning”, Bordese-Masoch-Ronsino, Gallery and Museum Masottatorres Lozza, Alberti, Province of
Buenos Aires (2010).
- “Batch 2″, Centro Cultural Recoleta, Buenos Aires (2010).
- “Ground Beef” Masottatorres Gallery, Buenos Aires (2009)
- “Lysergic pastoral” (individual) Masottatorres Gallery, Buenos Aires (2009).
- “Approaches to Chaos”, Ecunhi, Buenos Aires (2009).
- “In the corner of the eye” (individual) Farside Gallery, Miami, USA (2008/09).
- “The Night” (individual) anchorena Isabel Gallery, Buenos Aires (2008).
- “The Garden of Earthly Delights and other delicacies” (Bordese & Ronsino), Contemporary Fine Art, Miami, USA / Palais
de Glace, Buenos Aires (2007) / Morella Art Gallery, Hollywood, Florida, USA (2008/09).
- “Zones Art Fair”, Contemporary Fine Art, Miami, USA (2007).
- “The Good, the bad and the ugly: Latin American Art” (Art @ Work), Farside Gallery, Miami, USA (2007).
- “The great blunder” (Bordese & Ronsino), Centro Cultural Recoleta, Buenos Aires (2006).
- “Contemporary Latin American Art, Art Auction 2005,” molaa Museum of Latin American Art, Long Beach,
USA (2005).
- “Arteamericas”, Coconut Grove Convention Center, Miami, USA (2005).
- “The Look of Blood”, Dante Alighieri, Chivilcoy (2005), Buenos Aires (2006), Art Center La Casona,
Buenos Aires (2009), Yrurtia House Museum, Buenos Aires (2011)
- “Art Miami”, Convention Center, Miami Beach, USA (2001/2004).
- “Sangradera” (individual) anchorena Isabel Gallery, Buenos Aires (2004).
- “Arte Argentino”, Library Al-Assad, Damascus, Syria, Ankara, Turkey (2002).
- “IV Latin American Cultural Market”, Teatro Castro Alves, Salvador de Bahia, Brazil (2002).
- “10th International Triennial of India”, National Gallery of Modern Art, New Delhi and Jawahar Kala Kendra
Jaipur, India (2001).
- “Twentieth Century” Art and Culture, Centro Cultural Recoleta, Buenos Aires (2000).
His works are in public and private collections in Argentina, Brazil, Spain, France, USA, India, England.

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"Por Hernán Ronsino

La escritora brasileña Clarice Lispector dice que una de las secretas nostalgias que ha tenido en su vida es la de no haber nacido animal. Esta nostalgia, me parece, también, es la que atraviesa (como un corazón solitario, latente bajo un sol abrasador, en las siestas de un pueblo bonaerense) a la obra del artista plástico Miguel Ronsino. Del fuego de la creación, entonces, se desprende, casi siempre, en esta obra, un mundo animal (un bestiario salvaje, por momentos; o, en otros, un estado armonioso habitado por angelicales criaturas y frondosas enramadas) que le permite a Ronsino conquistar aquel añorado estado de naturaleza. Es en la obra, podríamos decir, en la pintura misma, donde Miguel Ronsino puede realizar, entonces, esa nostalgia animal, perdida. En la siguiente entrevista con Clip, el pintor nos habla del proceso creador, de los temas centrales que atraviesan su obra y del arte contemporáneo.

Del fuego creador.

En uno de tus primeros cuadros aparece una frase del pintor alemán Oskar Kokoschka, que dice: Pintar para mí es hacer fuego. Hoy, casi quince años después de haber sido realizado ese cuadro, ¿crees que esa frase sigue representando lo que sentís a la hora de pintar? Bueno. Siempre me quedó dando vueltas esa frase. En esa época creo que sí representaba algo para mí. Pero ahora no. Yo no diría eso. Si yo tuviese que usarla para describir mi proceso de creación, no la usaría.
¿Qué sentís a la hora de pintar?
Es muy difícil sintetizar lo que siento a la hora de pintar. Yo diría que hay una voluntad de aparecido. Eso es lo que guía. Entonces podría decir que pinto para aparecer. No es lo mismo hacer fuego en la época de Kokoschka que ahora.
¿Qué relación hay, entonces, entre la geografía de tu infancia y la temática de tus cuadros?
Es muy importante lo que pasa en esos años de la vida, que lo marcan indudablemente a uno. Y que a veces, cuando estoy laburando, me vienen a la cabeza. Sin dudas hay algo operando profundamente. Pero no trato de quedarme ahí. Mi trabajo tiene una diversidad que trata de articular una visión del mundo contemporáneo, que no se queda solamente en el terreno de la infancia. De todos modos, en mi caso, está presente el territorio de la infancia, y surge a través de estas asociaciones que te digo: ahora por ejemplo, estoy haciendo la serie del Niño mandarina, y no puedo evitar acordarme la típica frase: “este sí que es una buena mandarina”, o cuando salíamos todos en bandada a comer mandarinas. Pero a la hora de trabajar no lo premedito, no pienso, antes de trabajar, sobre ese terreno, simplemente aparece. Y lo vivo. Y lo vivo con mucha alegría. Y aparecen a través de esas asociaciones, con esa geografía que está cerca. Me da placer y me da alegría. No me inquietan.
¿Cuál es la importancia que tienen los animales y las plantas en tu obra?
Yo te diría que son centrales en los cuadros. Son casi las excusas para empezar a desarrollar los espacios, las escenas. Y es linda la idea del animal oculto en la enramada. El espectador como testigo. Un animal que aparece, se personifica. O al acecho, o agazapado, o esperando el momento para dar el salto. Pero la relación con la enramada es central en el desarrollo de mi trabajo. Ya sea en los animales o en otros personajes. Ciertas figuras humanas que se fusionan con animales que también se relacionan con la enramada.

¿Y qué es lo que encubre la enramada, qué es lo que está oculto detrás de la enramada?
Hay una relación muy particular con los árboles. A mí siempre me llamaron poderosamente la atención. Siempre me fascinaron los árboles. Todo tipo de árboles. Y justamente una de las marcas de ese territorio, de la niñez, tiene que ver con los árboles. Porque los trepábamos, o porque estaban presentes en muchas de las actividades que hacíamos, en los juegos: todo eso se vivía en intima relación con el árbol. Y había una práctica, que ya no se ve tanto, en esa época, que eran las podas: las podas arrojaban toneladas de ramas y de hojas, y una de las cosas que todos los pibes hacíamos eran las casitas con las ramas. Era una práctica interesantísima, porque construíamos verdaderas casas." ...


quote and more here 

Remo Bianchedi

January 6, 2014, 8:15 am

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Remo Bianchedi


1950) Nace en Buenos Aires, Argentina. Vive en la Provincia de Jujuy desde 1969 hasta 1976. Reside en Kassel, Alemania, desde 1976 hasta 1981. Hasta fines de 1982 reside en Madrid.

Desde 1983 hasta 1991 en Buenos Aires. A partir de 1991 en Cruz Chica, Provincia de Córdoba.

Estudios y formación. 1976, Beca Albrecht Dürer del D.A.A.D. 1977-81 estudiante invitado en la Escuela Superior de Artes de Kassel (Diseño Gráfico y Comunicación Visual).


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Inês Vega

January 6, 2014, 8:30 am

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Inês Vega

She was born in 1950, Buenos Aires, Argentina.
She graduated from the Schools of Fine Arts in Buenos Aires,
Manuel Belgrano and Prilidiano Pueyrredon.
During the years 1985, 1986 she lived in Madrid, Spain. From 1990 to 1997 she lived in Paris, France.

Prizes:

2004 1st Prize “Salon of Holy Art”, National Halls, Buenos Aires.
2003 Great Prize of Honour of National Salon, Drawing Discipline.
2002 1st Prize “Santa Fe Salon of Drawing”, Rosa Galisteo Museum, Santa Fe, Argentina.
2001 1st Prize Municipal Salon “Manuel Belgrano”, Eduardo Sívori Museum,
Buenos Aires.
1999 Prize of Sculpture, Salon Fortabat Foundation, National Museum of Fine Arts.
!992 Konex Foundation Prize, Meritorious Diploma.

Public and Private Collections:

Municipal Museum of Fine Arts of Buenos Aires.
National Museum of Fine Arts, Buenos Aires.
“Maison de L’Amerique Latine” Collection, Paris, France.
Ralli Museum Collection. Punta del Este, Uruguay.
Museum of Spanish and Latin American Art, Miami, Florida, USA.
Private collection in Argentina, Spain, Holland, USA, and France.

Giuseppe Sticchi

January 7, 2014, 2:59 am

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Giuseppe Sticchi



Nato a Pozzuoli (Na) il 02-11-1961 in una famiglia di artisti, inizia a dipingere a olio, marine e paesaggi campestri, guidato dallo zio pittore, dopo il diploma dell'istituto tecnico, collabora con diversi gruppi di avanguardie artistiche locali e sperimenta nuove tecniche e materiali, affascinato dai grandi maestri dell'impressionismo, del surrealismo e della pittura metafisica, elabora diverse tecniche per eseguire le proprie opere.
Al momento sono state organizzate: 28 mostre personali e 40 mostre collettive, pubblicate 18 serie di litografie e 18 serie di cartoline raffiguranti i Campi Flegrei, 5 serie di calendari con le immagini delle proprie opere, 8 copertine di libri.
Fondatore e Presidente della Cooperativa Sociale SUD ART a r.l. vive e lavora a Pozzuoli.

Education
Diplomato all'Istituto tecnico nel 1980,collaborazione nel 1986 con università degli studi di Napoi "Federico 2°" nel 2007 diploma di Animatore sociale, dal 2000 fondatore e presidente della "SUD ART" Cooperativa sociale.

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