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Say studio abba yearbook

  1. 1. StudioAbbaYearbookEditorVito AbbaCatalogue editingCarlotta Marzaioli and Lara Cox© 2012 Studio© 2012 Carlo Cambi
  2. 2. Welcome to the first edition of the Studio Abba Yearbook! As many of you will know, Studio Abba is involved in the promotion of living artists and the organisation of solo and group exhibitions for them. By producing an annual publication dedicated to the recent work of some of these artists, I can reach a still wider audience of interested (and interesting) people. Indeed, the opportunity to present the first Studio Abba Yearbook 2013 at Art Basel Miami and to send it to more than nine hundred prestigious recipients including gallery owners, museum directors, collectors and dealers, together with Fish Eye magazine, comes about thanks to a long-standing collaboration with Carlo Cambi Editore. And I would like to thank Carlo Cambi for publishing our exhibition catalogues and for distributing them in the circuit of museum bookshops. Over recent years we have produced a large and successful range of catalogues for solo and group exhibitions, such as for OpenArtCode or WorldArtVision, catalogues that can be purchased online (paper version) or viewed online for free (digital version). Another big ‘thank you’ must go to all the artists who have chosen to entrust Studio Abba with the promotion of their art, both those who have followed us over the years, as well as those who have just joined us. Vito Abba Carlotta 3
  3. 3. OpenArtCode London 2010 catalogue signing at the Royal Academy WorldArtVision Barcelona 2011 Eugenio Riotto at Giardino Garzoni and Parco di Pinocchio Collodi - Tuscany, 2007 Photo: Danish SaroeeStudio Abba’s artists understand the importance of promoting 2011 at the Real Círculo Artístico Barcelona, Spain. Boththeir art, working in a team when they participate in my group exhibitions were enriched by a very successful vernissage, aexhibitions and even give another artist their back to rest on!! gala dinner which gave the artists the opportunity of meeting art critics, journalists and important local figures, and a series ofThey generously help others too and that is why we were complimentary collateral events including lectures and concerts,invited to take tea at the Royal Academy by the charity AGBI! at which the artists and public could both participate.The OpenArtCode artists have sustained charities on more than To give a few examples of solo exhibitions that Studio Abba hasone occasion. In the above—mentioned example, we organised organised in exclusive locations in Italy, I should cite the Garzonia successful exhibition at the gallery@oxo on the Southbank, Gardens in Tuscany, the Basilica of San Lorenzo in Florence andLondon in June 2010, where OpenArtCode supported AGBI, a the Arcetri Observatory that overlooks Florence.British association that helps artists in need and whose Patronis H.R.H. the Prince of Wales. At OpenArtCode Montecarlo, the Now I come to the practical aspects that affect our work togroup supported Gemluc, an association composed of Monaco promote artists. Primarily I want to emphasize that from 2008business companies engaged in the fight against cancer and - when the global art market suffered a strong downwardwhose Honorary President is H.R.H. Princess Caroline of Hanover. turn - to 2012, a year in which unfortunately the effects of theThey have also united their talents to exhibit together in Paris at economic crisis continue to be seen, events organised by Studiothe Grand Palais and in Shanghai at the Pudong Library and at Abba have been highly successful, have grown in number, theCEIBS (China Europe International Business School). percentage of artists who have sold their works has increased and indeed, many artists have seen their prices rise. The choiceI would like to mention another larger-scale exhibition organised of prestigious exhibition locations, from London to Paris, with aby Studio Abba: WorldArtVision. It has now been held in two particular focus on cities with stronger or growing economies,prestigious locations and due to its success, we are already such as Brazil or China, rewards our efforts. We have alsoworking towards the third edition. The first edition took place in fought the crisis by creating more opportunities for exhibitions,2008 at the Cancun Center in Mexico and the second edition in at the same time increasing the productivity of each event. OpenArtCode Grand Palais, Paris 2009 Marely Becerra’s performance at WorldArtVision Party Madrid
  4. 4. Jerry Carter at the Arcetri Observatory, Florence 2004 WorldArtVision Cancun 2008 - Rina Lazo (Diego Riveras assistant) between Los Fridos Arturo Estrada and Arturo Garcia Bustos (Frida Kahlo’s assistants and pupils) Photo: Danish SaroeeI will not hide that it has been, and still is, a great effort. Working Finally, I would like to thank Carlotta Marzaioli, who all the artistsat the rate of ten hours a day, often on Saturday and Sunday, we working with Studio Abba know, not only for her graphic designhave been able to gain market space while other competitors are skills of the catalogues and this Yearbook, but also because she isleft behind. We have also seen that the opportunities offered by always ready to help the artists in any aspect of the exhibitionsthe evolution of the web and social networks for the promotion of we organise.artists are of fundamental importance. Our increased productivity I also want to thank my partner Lara, whose passion for art isis also due to the fact that it is now possible to work anywhere not only demonstrated in her having worked for three auctionand everywhere. We issue press releases, post images on the houses (including the contemporary art department at Sotheby’sweb, inform our social network contacts and stay in touch with London), but also in the help she gives me in my work.the artists, in real time. Given that at the moment of writing I would like to thank Danish Saroee, who, with his incredible50% of internet access is via smartphones and tablets, we have photos has documented many of our exhibitions; Fabrizio Pivari,optimised our use of tools such as Blogger, Facebook, multimedia not only for helping to further promote the artists through thepresentations for tablets, Flickr, Tumblr, Youtube, etc. portal Art & Artworks, but also for all the tricks of web marketingWe want the artists we collaborate with not only to be visible that he has taught me and secrets of the trade that he continuesand noticeable, but we also demand that their work be beautifully to reveal to me (and as you know the magicians rarely reveal theirpresented: it is not only essential to use the latest technology tricks!); Luisa Noriega, editor of Llei d’Art, who has collaboratedbut also the style, format and graphic design of the promotional with Studio Abba on a number of artistic projects with greatpiece must be eye-catching. Every day there is a new tool, some energy and always with a smile.of these spread and are successful, others have a fleeting fame;if they offer valid opportunities for our artists, then we are eager I hope our Yearbook will be of interest to you and I wish all theto use them. artists and readers a succesful year.However traditional methods (the successful ones anyway!) mustnot be left aside and for this reason I felt it important to create a Vito AbbaYearbook. OpenArtCode Luisa Noriega Vito Abba Fabrizio Pivari London 2010 WorldArtVision Party Madrid 2012 Danish Saroee WAV Party Madrid 2012 5
  5. 5. Sumio Inoue Silenzioso 5 The world of light and shadow The world where we feel silence and warmth The moment when something sparks in the heart I feel this moment and the eye of my camera seizes it My gratefulness extends out as a small, silent
  6. 6. Sumio Inoue was born in 1948 in Tokyo, Japan. He studied photographic techniquesat Tokyo Design Academy from 1968 to 1970 and at the Japan Design Center from1970 to 1974. He began his career working in commercial photography and in 1990changed to artistic photography. He lives and works in New York but still spendspart of the year in Tokyo.The Japanese photographer has spent the past years carefully developing a seriescalled Silenzioso: images printed on handmade sculptural rice paper, a process thattakes several months and that depends on weather, temperature and humiditythat all affect the printing. The results are rich with emotions. Church interiors,important monuments, town and cityscapes are printed with intensified focus andin infinitely monochromatic shades and shadows. To see something where nothingcan be seen, uncovering and evoking unknown spaces with an antique pathos andto provoke one’s imagination, are the primary goals of Sumio’s art. Photo: Danish SaroeeSumio Inoue has had solo and group exhibitions in Tokyo, New York, London,Paris, Deauville, Florence, Barcelona, Greece and Mexico. He is a member of the that is travelling to variousOpenArtCode group and also participated in WorldArtVision Barcelona 2011. important cities in China andIn 2007, Sumio won the first prize for Photography at the Florence Biennale has also recently participated inand won the Prix du Jury at GemlucArt, Monaco 2009. Sumio is currently the group’s exhibition in Art enparticipating in OpenArtCode Shanghai 2012, an ongoing group at exhibition Capital at the Grand Palais, Paris. Silenzioso 32 "To achieve the best result, I normally have to try five or six times.... Only a few works can be made in a year." 7
  7. 7. Sumio explains in his artistic statement his working paper) onto which to print my images. It has taken me overprocess and the importance of shadow, “Shadows are ten years to develop my skills in printing onto irregularfascinating to me. They exist where light exists. They surfaces. Weather, temperature and humidity all affectalways follow people, sometimes enormous, sometimes printing. For example, it is almost impossible to print duringsmall, sometimes lighter or darker. Shadows are always the hottest summer or the coldest winter day.with us, close by, touching. They grow as people grow and I dye each heavy sheet of paper with colours from treedisappear when the person they followed passes away. barks and treat it with emulsion. Emulsion is applied toFrom their creation to the moment of their destruction, some areas darker than others.objects also have their private shadows. Although in photography it is the norm to produce multipleI am attracted to the mysteriousness of shadow. In a prints, I only do one of each. To achieve the best result,way, shadows can be seen as reflections of the human I normally have to try five or six times. The creation of aconsciousness; they seem to change to match our work takes about a month. Only a few works can be madedeepest feelings. A shadow has width and depth into in a year.which it draws passers-by with a gentle, cooling gesture. I use thick paper so that the shadows can have more depth.The immeasurable width of a shadow seeks out the However, because of the thickness of the paper, the colourincomprehensible universe; the shadows depth rolls out does not keep on the surface but keeps soaking deeper intoas the roaring sea of imagination. the paper. This makes it hard to create black. In fact, it isShadows know no limit. They invite imagination to wild very hard to create anything to look like I initially imagined.trips even in their most monochrome formats. Where light But thats the way I like it - as a challenge.hits surfaces, shadows are sharp and strong but where Often, my photos depict churches. They offer a certainthere is a lack of light shadows lazily define their existence. silence of the universe, width and depth for the shadowsWhen printing a photo, determining the level of darkness to rest.can be a trial. I like to think of my work as creating unique paintingsI create heavy sheets of Japanese paper (a kind of rice through photography." Silenzioso 68 Silenzioso
  8. 8. Silenzioso 64 Silenzioso 17 Silenzioso: a series of images printed on handmade sculptural rice paper, a process that takes several months and that depends on weather, temperature and humidity that all affect the printing.“Several years ago, while I was working on an edition of the Florence Biennale, I had the opportunity to see a work by SumioInoue for the first time. It was in the early days of the event, frenetic times of preparation prior to each opening. I movedquickly from one side of the exhibition hall to the other (10,000 square meters!) with no time to stop to admire the artworksthen. Every so often, my curiosity would be drawn to some work, but I would repeatedly say to myself, ‘you will be able toappreciate the art in the coming days, when everything is up and running smoothly.’ And so I kept going, from one side ofthe exhibition pavilion to the other until Sumio Inoue’s piece came into my field of vision. At that point I said, ‘I have to stop.’I could not work out immediately if it was a drawing or a photograph, but I knew instinctively from afar that this was anextraordinary work. And the closer I got, the more curiosity gave way to admiration. The black and white shades, softened byan unworldly time, the shot itself, the subject matter, all fascinated me. In fact, even before the brain decoded all the signals,data and emotion that the work communicated, I had already realised that, in all the 2,000 pieces of art exhibited, I had justcome across something very special.Several years have passed since that event, years that have allowed me to work with Sumio Inoue on many occasions andget to know both the professional and precise artist and the gentle and reserved person. It has always been, and is, truly aprivilege.”Vito Abba (Studio Abba) 9
  9. 9. Christine Drummond“The ultimate goal of art is JOY”(Gotthold E. Lessing)" Joy is what I want to bring to people through my paintings... Joy through the choice of colours, the theme, the life andmovement I bring to the canvas with each stroke of my palette knife. When I complete a painting, my strongest wish is thatthose who see it will be drawn into it and will want to be part of the happy atmosphere. If people feel good when they lookat one of my pieces, if my paintings brighten their day in any way, then my mission as an artist is completely fulfilled."Christine Drummond Windy
  10. 10. Christine Drummond was born and raised in Brazil. She received her formative education at the French Lycée in Rio and seesherself a true “carioca”, meaning a person born and raised in Rio de Janeiro. A true “carioca” enjoys life, has faith in thefuture and is an optimist and she brings these characteristics into her paintings.In 1999, she moved to the US and started painting using brushes but with little texture, the results revealed extremelycolourful artworks that always depicted her native country. In 2004, she saw a display of Professor Ablade Glover’s work andthis helped her to define her style and gave her a sense of freedom. With the bold strokes of her palette knife, she createstexture that in turn creates shapes and colours that become alive on her canvas.Today, Christine Drummond’s artworks are shown worldwide in collective and personal exhibitions, most recently withOpenArtCode group in the Salon des Artistes Indépendants in the Grand Palais, Paris in 2010, 2011 and 2012, and the soloexhibition at the Butler Goode Gallery in Sydney, Australia. Christine won the Prix du Concours at GemlucArt, Monaco 2011and the prize was a subsequent, extremely successful, solo exhibition held at Galerie Ribolzi in June 2012, with HRH PrincessCaroline of Hanover attending the vernissage.How did you get into the art world?12 years ago, I met an art teacher who, seeing my interest in painting, asked me if I wanted to paint under him. From myfirst canvas I knew I had found my way. In addition, this person immediately motivated me by saying that I had a knack withcolours, that I chose them so easily just by looking at my colour palette, whereas other people needed to use the colourwheel to associate the correct colours and transpose it on the canvas. This seemed strange because I personally think that awork of art is a spontaneous creation and must remain an expression of the personality of the artist. This is the fun side, thisfeeling of freedom of expression through painting that captured me.What is your favourite subject matter?My favourite subject matter is the crowd. I love to paint groups of people in markets, carnivals, favelas. The idea of a crowdpersonally matches a sense of diversity, exchanges, a feeling of “everything is possible”. Alone, everything seems moredifficult, while together we can all imagine and achieve. I paint these crowds that are always so cheerful and festive becauseI think the positive energy that emerges in a group is contagious in the same way, I hope that this energy emerges from mycanvases.What are the main stages in the evolution of your art?It is true that throughout my 12 years of painting it has greatly evolved.At the very beginning I reproduced in my own way and with my own interpretation of colours, photos of paintings I found inart magazines. That lasted about 6 months until I went to the Dominican Republic and saw paintings by local artists, depictingtheir country, landscape and culture. I went home telling myself that I was going to paint my country, Brazil my way. With mycolours and my interpretation. This trip was important because it made it clear to me what would become my inspiration, 11
  11. 11. Brazil, but in my style.Then there were the different stages of the evolution of my style: in 2002 I participated in a collective exhibition in Chicago, ina beautiful art gallery that specialised in Haitian art. The gallery owner, during one of our conversations, suggested that I addtexture to my painting, saying that it would gain more life and dimension. So I started at the beginning, certainly very timidly,to paint with more material. But it was not until several years later, in about 2004 that I finally understood what this galleristwanted me to understand. Coming from a trip to Chicago O’Hare international terminal, I saw a very large painting by theartist Ganéen Ablade Glover, representing an African market, completely painted with a knife. Looking at this painting andthe effect of material provided by this technique I realized that now I was never going to use a brush again in my paintings.This was the beginning of the third stage of evolution in my style. The palette knife. Morro em festa Mercado em festaCan you describe this very special technique of using a knife?Painting with a knife gives me a sense of freedom in creation because nothing is static or delimited. Colours, when workingwith the knife and applying them on the canvas are not seeking clarification or detail, but rather an effect of motion, anaesthetic beauty. My technique is a whole: it is the choice of colours, the palette knife to apply the coloured strokes to thecanvas and Brazilian music. It is a combination of visual pleasure (colours), tactile (application of paint on the canvas) andauditory (music). One without the other does not work for me. It may be the combination of these three parameters thatmakes my technique unique. It allows me, I hope, to convey positive energy through my paintings.
  12. 12. Festa do sambaCan you tell us more about your future projects?From a professional point of view I have solo exhibitions already planned at the endof 2012 in São Paulo, Brazil and in March 2013 in Sydney, Australia sponsored by theConsulate who wants to use my paintings to convey the image of Brazil. As a Brazilianartist, this is a project that motivates me hugely. One of my future projects is to paintthe festivities and celebrations during the 2014 World Cup in Brazil. The excitementand energy that will pervade in my country at that time will be unique and I want to beable to transpose it in my paintings, to be shared with others in my future exhibitions.From a personal point of view, a project that is close to my heart, is to help a humanitarianorganisation in Rio that cares for street children. I am in contact with the director andI hope to be able to do a painting workshop with the children. If my paintings canbring some joy to these children, I will then feel very good and happy about that. 13
  13. 13. Hilde KlompHilde Klomp was born in the Netherlands in 1954. Initially she studiedexperimental photography. After attending a five-day workshop onbronze casting eight years ago, interest in her work began to develop.Many commissions followed, and she was invited to various exhibitionsin the Netherlands as well as abroad.Hilde is increasingly becoming aware of her desire to visualize emotionsin her sculptures. Through her passion for photography, film andsculpting, she wants to demonstrate how apparently simple things canbe beautiful. These basic, intense moments touch her heart, and shefeels the need to visually express this in her work.The human figure, posture, shape, and especially movement are endlesssources of inspiration for Hilde. Some people experience a sense ofpride, gracefulness and movement in her work, while others feel thatthe sculptures express a sense of self-assurance. To Hilde, the front andback of a sculpture are equally important. The viewer is invited to touchthe sculptures; they can be turned and moved.Hilde has participated in exhibitions in the Netherlands and beyond, including the first edition of WorldArtVision Cancun in2008. She is a member of the OpenArtCode group, having exhibited at the Grand Palais in Paris in 2010 and in Shanghai in2012. Circles of life Circles of life (detail)
  14. 14. What were the inspirations and influences for your latest artwork?My last sculpture is called Coco.I made the sculpture for my daughter, whose name is Coco and who studied fashion. Last year I was seriously ill and had tohave a major heart operation. My first thought when I awoke from the anaesthetic was that I had not yet made a sculpturefor my children. Coco was born on the 11th of November, so I made eleven torsos and joined them with a chain. One of thetorsos is dressed, to symbolise Coco, having studied fashion.Do you think that travel and getting to know different artistic styles and techniques outside of your country enriches yourart? Indeed, meeting other artists? If so, how can we see this in your art?Yes, I am very interested in other cultures, and I find meeting colleagues from other countries at exhibitions a continuoussource of inspiration.How has the internet changed your activity as an artist?I find it inspiring to receive emails from foreign colleagues. Chatting about my work with them from various parts of the worldis also very constructive.How do you see contemporary art moving forward?In my opinion, photography is on the increase. I am quite pleased about this, as I have actually studied experimental photography. Balinese catwalkDo you think the artisticstyles are similar to theeconomic recession, thatthey move in circles? Forexample, Impressionism,Post-Impressionism, Neo-Impressionism etc etc?Certainly, more and moreso. You can see that there isa great longing for nostalgicmaterial, vintage etc. Thereseems to be a desire forbasic materials; globalismand individualism aredisappearing.How important is theviewer’s interpretation ofyour art and more specificallythe comprehension of thecontent, for you?Everybody may see andfeel what they want to seeand feel. What’s importantto me is that my art has aneffect on the viewer! Thisis not my intention when Icreate it, but I am very happywhen it happens, and whenpeople recognize somethingof themselves in my work. 15
  15. 15. Sara PalleriaThe painter Sara Palleria was born in Rome, where she lives and works. She received her degree in Education Sciencesand still works in this research field in parallel to her artistic career, with particular reference to the world of colour linkedto the psychology of emotions. She collaborates with various institutions in the visual arts sector and runs educationcourses on images and colour laboratories and is one of the founding members of the artistic and cultural association “ARSarteromasedici”.Her large-scale oils on canvas stagger the viewer for their intrinsic beauty and use of colour and nuances of texture andenergy. She loves to paint all that “the eye thinks it sees.” In her artistic statement, Sara explains “The crossing of colour,alternating between heaven and earth, between light and dark ... the expression of colours and materials ... all that seemsto be... and instead becomes something else, where colours and the earth slip away and cling to uncertain boundaries in thenature of the underlying human journey”. Over the last ten years her abstract expressionism has become more complete,the space of the canvas refers to inner journeys that the artist has taken drawing out a timeless reality that is vividlyconcrete. In the use of light and colour she suggests a hint of a background and foreground, yet it is undecipherable with itsuncertain boundaries of nature and imagination. It is also in the titles that Sara Palleria gives to her works, that can be bothhumorous, cynical and certainly poetic, that she also gives the viewer a clue to the canvas’s significance, beyond that whichwe imagine for ourselves, Gli uomini nella rete (Men on the internet), Pioggia Estiva (Summer rain), Riflessi d’esate (Summerreflections) or Isola di vetro (Glass island). Furthermore, “the expressionism of colours and materials, remind us that nothingis peaceful in nature and it unleashes forces with which man is to be measured. Especially in the case of this artist, who livesin constant research, in constant tension. These works by Sara Palleria, as indeed for most of contemporary art, are not apoint of final destination, but rather a fundamental choice to work with more changes, ideas and projects”. (Alberto Toni) La terra raccontaWhat were the inspirations and influences for your most recent work?Generally I draw inspiration for my work from my moods, representing my emotions and my feelings with extensive areasof colour and attempting to get a sfumato, polished or translucent, opaque effect; areas of colour that sometimes seemto appear on different levels and other times appear suspended in space, that on closer observation, one may be able tosee half-drawn figures. I am particularly drawn to the majority of the Abstract Expressionists, in the true meaning of themovement: the post-World War II American School where the sphere of sentiments is expressed through action
  16. 16. L’attesa PassaggioDo you think travel and learning about different styles Post-Impressionism, Neo Impressionism etc. etc.?and artistic techniques outside of your own country I think that the cyclical nature of the economy or that ofenriches your art and in particular in the meeting of history can indeed be compared to the artistic movements.other artists? If so, can you see this in your art? In every period, there are events that overwhelm men andYes, I think it is very important to get to know other artists, their products, to becoming restless, so that nothing changesthe different ways of approaching the visual arts and and nothing is ever the same, everything comes back undersharing these experiences in painting. It is a fundamental different forms that are apparently not recognisable andcollective dimension that any artist can enter into to find everything in art is closely related to each other. And the pointa new very personal artistic path thanks to the discovery of pseudo arrival of each movement is the starting point forof and the direct comparison with, other ways other than another.their own, to create art. How important for you is the viewer’s interpretation of your art and more particularly, to the understanding of theAre there elements of continuity in your paintings that content?attest to the presence of an influence of an artist’s style The messages in my work are always of a spiritual and mentalrather than another? nature and the attempt to convey to the viewer these sameI think the elements of continuity in my paintings can be feelings cannot always be interpreted in the same way thatread on the more obvious levels of theme and style of I “imprinted them on the canvas”. I fully realise that everymajor artists such as Ad Reinhardt or Rothko.... I don’t observer has psychological connotations and abilities to seeknow.... for example, often I love to create paintings within and hear in a totally individual way and of course which couldpaintings, paint one area of colour inside another, create a be different from those of the author-artist; so I don’t think it’sgrid of irregular squares like a puzzle, which differ between indispensable for those who are looking at a painting of mineeach other in their subtle or clear chromatic tones, so each to interpret it, it’s not necessary for me as each eye sees what itpiece forces the eye to concentrate to the maximum so wants to see in this type of painting. The viewer has to enter theas to identify hidden figures, created by these contrasting painting, live it and "understand", if he wants to adhere to hiscolours.Do you think art styles are similar to the economic downturn, way of "feeling". Its just a question of emotions, an exchangewhich move in a circle? For example, Impressionism, between those who produce it and those who can enjoy it. 17
  17. 17. El se Pi a Mar t i n s e n Erz Swans From
  18. 18. OpenArtCode Shanghai 2012Born in 1961 in Feldborg, enough still to find in Denmark”.Denmark, Else Pia Martinen Erz (Tom Joergensen B.A., Editor ofstudied business operations Kunstavisen).management, worked in the From 1997, Else Pia has hadtextile and clothing industry for numerous exhibitions in artsome time and then changed organizations, galleries anddirection to study drawing and museums, both on a national andpainting techniques. international level, has created a large mural for a residence for aElse Pia’s large-scale acrylic private dementia hospital andon canvas are an impressive in 2002, she opened Galeriedocumentation of and eulogy to Erz. In 2010, she exhibitednature and in particular, to that with the OpenArtCode groupclose to her heart in Denmark. in London, Monaco and Paris,“For Else Pia Martinsen Erz, the at the Grand Palais, from 2010-flat marshland of southern Jutland 2012. In 2011 she attended at(Denmark) is her artistic universe. she depicts her subject in a slightly stylized manner the WorldArtVision BarcelonaThis is where she lives and where with a sense of timelessness. Equally, she does not and she also had an extremelyher world begins. With its open, stick just to local colours, but lets the colours take on successful solo exhibition inoverwhelming horizons she paints their own compositions. She is both faithful to nature Flensburg, Germany, where athe sparse landscape and the whilst emphasizing her artistic interpretation of it. series of her Migratory birds wasanimals living there: this may be She has stylistic links with Johannes Larsen and his exhibited. Else Pia is currentlya flock of sheep, but above all she unsentimental pictures, although, with her interest participating in OpenArtCodeis absorbed by the life of birds. in elaborate shapes and patterns, her paintings have Shanghai 2012, an ongoingShe is not a naturalistic painter. an art nouveau element. Her paintings are elegant, group exhibition that is travellingHer birds are not photographic powerful, precise and poetic and pay homage to the to some of the most importantreproductions, on the contrary free and unspoiled landscapes which we are fortunate Chinese cities. OpenArtCode Paris 2010 OpenArtCode Shanghai 2012 A days start at the Atelier: The morning is casting light over Rømø. I jump on my bicycle; just reached the dikes, rain lashing against my face and my jeans stick to my body. Nearly a white day, where all colours lie in the grey tonality scale. Beautiful!! Im continuing; water dripping all through the house. Looking forward to a hot shower, dry clothes and a cup of good smelling coffee for the review of yesterdays painting. An inspiring start to a day in my atelier. 19
  19. 19. What were the inspirations and influences for your that I meet often gives me new inspiration or other ways to latest artwork? look at my own art. I am not inspired by the art I see, but My latest work is inspired by the migrating birds in it is more a way of relaxing and clearing my mind and then the wonderful Wadden See area and is combined with I am able to look at my own inspiration and expression in a new source for my basic values in life. The painting a new and stronger way. I love colours and see different entitled From Heaven is about my desire to express the colour combinations everywhere, in towns I am visiting, in beauty on earth and the need for spirituality to fulfill the wonderful nature or when I meet people. my life. Being in the nature always fills me with energy, How has the internet changed your activity as an artist? silence and freedom and I hope that everyone can, at some stage, develop an understanding of the need for Internet has made it easy to show my art at peace and joy. to old and new customers. I see that a lot of people are following my artwork on the internet and many are very well Do you think that travel and getting to know different informed when they visit my gallery in Denmark. I get a lot artistic styles and techniques outside of your country of questions by email about the paintings, people and groups enriches your art? Indeed meeting other artists? If so, that want to visit me and invitations to exhibit on a national how can we see this in your art? and international basis. A lot of my organisation and contacts Traveling to other countries is a fundamental part of my are done by email. However, I always want to know and talk way of living as an artist. I love to see and enjoy art from all with people who I work closely with on an exhibition and it over the world and meet new cultures, it gives me a lot of is very important for me to have personal contact with my energy and motivation to paint. My contact with people clients and people who attend my exhibitions. Outdoor woodcut printing in Flensburg, 2011 Happy ending of the woodcut printing, Else
  20. 20. Dove 3 Dove 4How do you see contemporary art moving forward? How important is the viewer’s interpretation of your artI see and believe that contemporary art is moving in all and more specifically the comprehension of the content,different directions, in different ways for each artist. for you? I have the pleasure of meeting many of my clients and visitorsDo you think the artistic styles are similar to the economic at the gallery in Denmark, to talk with them and listen torecession, that they move in circles? For example, their interpretation of my art and this is very valuable forImpressionism, Post-Impressionism, Neo-Impressionism etc.? me. Comprehension of the content is even more importantThe economic recession has not affected my way of painting when I am asked to do special paintings for official buildings,or selling paintings. I have sold very well over the last years hospitals and schools. An ongoing process makes my ideasand I am thankful and feel lucky for that. To me it is very transform into something that also corresponds with theimportant to keep my own focus and not get affected by location and the people that are using the rooms. Hopefullynegativity you can find in any society. I am always looking my paintings are integrated in the buildings and givefor the positive and try to get away from negative vibes. inspiration and motivation to the viewer. H.R.H. Prince Joachim of Denmark making the opening speech OpenArtCode Shanghai 2012 at Under a Black Sun exhibition in Copenhagen 2012 21
  21. 21. Kensuke ShimizuKensuke Shimizu was born in 1974 in Tokyo, Japan and currently lives in Turku,Finland, having previously also lived in London and Minnesota. He is an artist,creative writer and cultural researcher.Indeed, words and humour play an important part in his creative art works, wherevisual art and writing intersect each other to become one. His mixed media worksmay include human characters sometimes ballet dancers or musicians, thatappear as part of a story in a dream-like atmosphere. One can see a clear influenceof Basquiat and his use of graffiti but without the violence of the American artist’sworks; indeed Kensuke’s colourful works, on the contrary, are full of humour andgentle and fun sequences with their characteristic annotations. Bicycles may beseen as a nature-friendly ecological vehicle, expressing the relationship betweenhuman beings and the natural environment and shoes and shoelaces in his art,are a recurring symbol of communication.Kensuke Shimizu has exhibited his artworks internationally in Europe (Italy,France, Finland, Spain, Austria, and so on), and also in Japan, China, and USA.His solo exhibitions have been held in Helsinki, Turku, Tallinn, Tokyo, Paris, andRome. He is currently also participating in OpenArtCode Shanghai 2012, an on-going group exhibition that is travelling between various important cities inChina. Photo: Danish Saroee WorldArtVision Party Madrid
  22. 22. Bon voyage Favorite cafeMademoiselle going to the theater Dreaming wondering 23
  23. 23. Literature... Music on streets Movement...What do you want to express in your art?Literature in art. I like to bring literature (story-telling) intomy art. I often insert words and phrases and also the humancharacters are like individuals appearing in some story for me.In addition to paintings, I sometimes write poems and stories.I have written 3 books, all of which have been published.Humour. Another aspect is humour that is important for meand which I inject in both my paintings and drawings. By usinglines, I create a joyful atmosphere, full of humour.Movement. I like to bring movement into my art. By myincluding bicycles, sport, ballerinas and my way of drawinghuman characters, together with these texts, the viewer getsan idea of movement. Mademoiselle visiting cafe What has had a positive influence on your art? The short stories by Jules Supervielle that depict dreamlike worlds and thoughts, in particular in the work, L’Enfant de la Haute Mer (short story taken from the collection L’Enfant de la Haute Mer) have influenced me a lot. I read the Japanese translation of this story in 1993 and it completely changed my views on fiction. After I had finished it, I wanted to make creative works, in which visual art and writing were combined, as if they were inside each other and continually intersecting each other. Music. Music has been always played an important part in my life and on occasion people feel music in my art. I used to play the piano for about 20 years or so, but when I make my artworks, I sometimes feel music in them too. It is as if I play music in my art. Life in foreign countries. I am Japanese, but in total so far, I have spent roughly 14 years of my life, in places outside Japan including USA, UK, and Finland. The beautiful natural environment in Finland and their colours have a good influence on my
  24. 24. Dreaming meeting Why do you live in Finland now? How is your life in Finland related to your career as an artist? When I lived in Minnesota in 1997, I met a Finnish student and we talked about Finland and so I became more interested in the country. I studied Finnish at the University of Minnesota for 2 years then for another year in London and subsequently moved to Turku, Finland in 2002 and have lived here ever since. The experience of meeting this Finnish person (still a friend of mine) changed the course of my life and so I am glad that I met this friend. This is related to my art too, because it is here in Finland where great opportunities have started opening up for me and that I have begun to exhibit more and more. ...Humour ...Music...... What do you do in Finland? In addition to being an artist, II like doing something creative am a researcher and am studying for a PhD degree in European Ethnology at the University ofWhere do you get the inspirations or ideas for your art? Turku. For me, doing research is sometimes creative; as I haveI get inspirations or ideas for my art from many different situations. Sometimes when I said, I also create poems andwalk around a town, travel to new places or when I visit museums, where I try to imagine stories. Recently I have taken uphow the paintings were made, this gives me ideas. Or it could be just from watching cooking too. All of these are, forTV or old movies; I like drawing hats in my art as I like to recreate the atmosphere of me, related to “creativity” andold movies. I also often draw ballerinas and this idea first came from my experiences “thinking”. So, I guess I like doingof seeing a beautiful photo in a ballet magazine. So, I am continually looking for new something creative that alsoideas and inspirations that can come from completely different sources. involves thinking. 25
  25. 25. Ka r l S te nge l Figura 8Karl Stengel was born in 1925in Hungary. He studied art inBudapest, where he trained inpainting and drawing and alsoreceived an introduction to theprinciples of set design andarchitecture, the influence ofwhich can be seen in his currentartistic style. After 1956, hestudied for a period at theAcademy of Fine Arts in Munich The artist’s works attempt toand subsequently taught at the answer questions about humanPädogogische Hochschule at experiences and address lifeMunich University. Recently, in all its absurdity, complexityStengel has created a series of and tragedy, through surrealdrawings for the Italian Institute expressionism and lyricalof Culture in Germany that abstraction. Stengel haswere dedicated to Boccaccio’s exhibited his works worldwide,Decamerone and to Frammenti his personal exhibitions haveby Giuseppe Ungaretti, and been hosted throughout Italyof late, Stengel has conceived most recently, in April 2011,a series of pastel drawings in the Salone Donatello in In October 2012, Karl Stengel had a personalthat are homage to Tristano the Church of San Lorenzo in exhibition at the George Toparcenau Cultural Centremuore by Antonio Tabucchi. Florence, Italy. in Curtea de Arges, Romania. Figura 21 Figura
  26. 26. Figura 24Stengel’s way of ‘gesticulating’ with blurred dynamic brush strokes (in contrast to the surrounding homogeneity of thebackgrounds), at times ‘watercolourish’, create a kind of imaginary and imaginative alphabet consisting of symbols andgraphic scribbles, an absolute and anti-harmonic ‘graphic-pictorial writing’ that finds inspiration in musical language andseems to find lifeblood and resonant comments in Schoenberg’s dodecaphonic technique. The artist, with both the inspirationof a great composer and the skill of a conductor, makes gestural marks and the colours move on the canvas and on the paperso as to give us emotionally dynamic scores, where a contained and mediated gesture finds its response in a strong colourthat defines an expressionist space, conceived as a place evocative of spirituality. Colour which then takes on a larval form inthe shape of a human figure ‘created’ by Stengel, arising from that very colour to dance free of any grid on the canvas, in aplay of reds, of aqua greens and of silent blacks, with hints of blue, on static grey-white backgrounds, that create the pausesin the composition. His work, in the predominantly pastel and pencil on paper phase, has never looked to be only abstractbut also suggests a simplified poetically surreal language; in the last period he abandons himself, therefore, to the fantastictriumph of pure colour, in a joyous, absolute and formal freedom, to then return to a shadow of figuration. […]In Stengel’s drawings on a big ‘out of scale’ white page, where the existential parable of life is written, pages are taller thanthe figures themselves. He wraps them folded in two or three parts like a screen, like the background to a scene wherethe characters act and interact but that isolated from each other […] standing out against the coloured background of amagmatic inner Cosmos to be explored. They are almost shapeless figures, sometimes like a coloured shadow of a man, inturn projecting a dark shadow onto the big “Sheet of Life”, that whilst revealing on the one hand, the absence of a characterin a specific somatic connotation, on the other they represent a presence that both reveals and conceals, that lies in itsethereal inconsistency.(Giampaolo Trotta) 27
  27. 27. Marco Aurélio Rey Marco Aurélio Rey was born and lives in São Paulo, France and Spain where, in Brazil. He started painting with oils when he was a child 2011, after three collective and in the 1980’s he specialised in Industrial Design exhibitions, Marco Aurélio and Visual Communications. At this stage of his life, he had a solo show at the stopped painting to work in the world of fashion. Aragon Gallery in Barcelona. However in the 1990’s, he re-started to paint using In 2010 and 2011, he gouache on paper and his most recent series Ar livre participated in the collective or "Free air" shows the relationship between memories show Art en Capital at the and emotions. His latest style reminds one clearly of Grand Palais in Paris and Gerhard Richter’s works and they are proud and elegant has most recently had an eulogies to nature and its intrinsic beauty. The artist has important solo exhibition in participated in various art fairs in Brazil, Belgium, Italy, Brazil. Dança com vento 1 Dança com vento
  28. 28. Ar livre (detail)What were the inspirations and influences foryour latest artwork?Ecology and the sustainability of nature; I wishpeople would take care of it rather than destroyit!How has the internet changed your activity asan artist?Internet is great because with it, I can keepin touch with the world and I have moreopportunities to “meet” interested partieswhich leads to sales and new exhibitions aroundthe world.Do you think the artistic styles are similar tothe economic recession, that they move incircles? For example, Impressionism, Post-Impressionism, Neo impressionism etc etc? How important is the viewer’s interpretation of your art and moreAll artistic expressions are based on what specifically the comprehension of the content, for you?happens in the world; if there are problems or In my art I would like to make people think about good things and feelmoments of happiness artists interpret this in positive vibrations and emotions. You can see the good energy in mytheir art. Now artists like to show the new age art but with daily life and routine you can lose this; it is important toand new influences are ecology and of course memorize constructive aspects of life and optimistic feelings and thisthe economy. can be through my art. Caminho 29
  29. 29. Mary BrilliMary Brilli, born in Turin, Italy is an eclectic artist but has lived in Paris for manyyears now.Only those who know Mary Brilli can really understand her strong personalityand by knowing her world, her work and her loves and passions, can we see heras a free, self-critical and unconventional artist. In reality, her works reflect hergreat faith in imagination and in satire and she wants the spectator to reflect onher criticism of this irrational and complex world without prejudice. Mary worksextremely skilfully and professionally in a large variety of genres from painting,sculpture, drawing to silk and painted collages; she has created designs for Hermès-Paris and made installations. Indeed hersculpture in the form of the Eiffel Tower made up of her catalogues (Passion pour la vie, Art en Capital, Grand Palais 2008)or her personally-designed silk scarves wrapped round Renaissance statues on the staircase of the Palazzo Viti in VolterraItaly (VolterraArte 2010) are testimony to her extraordinary charisma and skill as a wide-ranging, multi-talented artist. Herpassion and enthusiasm, strength and vitality for the project she is working on in that moment, indeed her commitment toit, is outstanding and these attributes all come across in the final product, whatever that might be.This love of art is also expressed in writing through poetry and journalism. Furthermore, humanitarian work is also extremelyimportant to her and in December 2011, Mary received the award, Trophée de la Réussite au Féminin, from the Ministry ofForeign Affairs in Paris. Clin d’œil - L’air du temps (two details)
  30. 30. Clin d’œil Science, d’où prévoyance31
  31. 31. OpenArtCode Paris: Mary avec Mme Tacque (Présidente dArten Capital et de la Sociéteé des Artistes Indépendants - 2009 ) Virtuel platonique rouge et noir As a kid, I wanted to be a racing-driver with a beautiful red Ferrari! Indefini 1 Indefini
  32. 32. Clin d’œilI’m completely eclectic... Oil, acrylics, pastel, drawing, engraving, collage, plaster, installations…Did you dream of becoming a painterwhen you were a child?No, as a kid, I wanted to be a racing-driver with a beautiful red Ferrari!Let’s speak a little about your paintingFor me, you either like or dislike a workof art, but you don’t judge it. It’s assimple as that.Your art is very graphic …In fact, I have created a kind offigurative art markedly graphic.Where do you get your inspiration?From everywhere: a sentence, a look, aflower, a poem, a song, a reflexion of aphilosopher or even from some socialinjustice … anything can be a sourceof inspiration for me. You just haveto know how to listen, to see and toremember.Do you employ any special techniques?No. I’m completely eclectic, oil, acrylics,pastel, drawing, engraving, collage,plaster, installations…it all depends onthe choice of my subjects.What determines the price of apicture?It’s the emotion of the art lover orcollector which gives it is value. Withoutthis emotion, the work of art does notexist. 33
  33. 33. Agneta Gynning Agneta Gynning is a Swedish sculptor who studied under Victor Praznik, a sculptor with roots in the former Yugoslavia. He inspired her to specialise in bronze and marble and also introduced her to working in Pietrasanta in Italy, a town of international importance and fame for sculpture, and where Agneta returns annually. She works in bronze, marble, glass and rubber and her art succeeds in fusing both classical and modern influences. It is inspired by the subconscious and is full of movement; the lines she creates are elegant, graceful and transmit a feeling of life and soul, with a free spirit that seems to inhabit the space both within and around her artworks. Rubber is the most recent material that Agneta is exploring and working with and with which she reveals an instinctive talent to uncover the emotionally evocative power of its colour and movement. Agneta is inspired by the ocean and goes for long walks along the beach to find creativity; she travels regularly and is passionate about discovering art from ancient civilizations. Furthermore, she regularly attends dance performances to find new inspiration for alternative movement in her sculptures; as the body and human interaction are fundamental aspects of her sculptures.
  34. 34. Agneta had her first exhibition in 1995 and her work has now where she won the Leonardo Award for sculpture, and atbeen exhibited all over Scandinavia as well as in southern the Grand Palais in Paris. In 2013, she will participate at theEurope and China. Last year Agneta’s work was shown at first London Biennale in January and have a solo exhibitionthe Florence Biennale, ArtExpo in New York, OpenArtCode in New York. In Sweden, Agneta Gynning’s sculptures can beShanghai, at the Chianciano International Art Awards in Italy, found in both public areas as well as in private collections. In the center All the same but What were the inspirations and influences for your latest artwork? A few years ago I visited a show with an artist who used rubber in paintings. I fell in love with the expression of the material and got inspired to explore how I could use this contemporary material in sculpting. After a while I got in touch with Helsingborg’s gummi AB, and through Dancers them I learned how to work with the material. In bronze and rubber the colours are much more subtle, but now I have found a new colourful world. Using the same forms as before, I suddenly experienced a new way to express my feelings through colour. How important are the viewer’s interpretation of your art and more specifically their comprehension of the content, for you? I make my sculptures for myself. It’s my way to express my inner feelings. But it’s very interesting to listen to and get to know how my work affects others. Listening to the viewers’ interpretation of my work makes me see if I have succeeded in transmitting my idea for the sculpture. It also gives me new eyes to look at the world and possibilities to develop a deeper understanding of how others experience my art. 35
  35. 35. Evelyne Huet The warriorBorn in 1955, Evelyne Huet is a mathematician by training, adiscipline she chose for the aesthetic and infinitely dreamlikedimension of the objects it describes; she also studiedanthropology. Evelyne lives and works in Paris.Strongly influenced by the culture and arts of societies seenas primitive, as well as artists such as Bernard Buffet, Jean-Michel Basquiat and Marlene Dumas, her paintings speakof women around the world, often set in a backdrop ofviolence. Her paintings depict neither the violence nor itsperpetrators, but instead reflect the courage and dignityof these women. Their thoughts and expressions show thestrength of their intelligence and contempt fuelling theirresistance to what life has dealt them. Her paintings attemptto simplify the representation to the extreme in order toshow only the essential. The women she paints never giveup. Many are even in active resistance.She is a member of the OpenArtCode group of internationalartists and exhibits regularly in France and abroad. The blue Lady What message do you want to convey through your paintings? All across the world, girls are in greater danger than boys, and unfortunately this imbalance is not going to disappear anytime soon. Girls’ access to life, to health care, and to education is obvi- ously an important issue. As is protecting women against rape, honour crimes, domestic violence, mutilations, sexual slavery… In my paintings I don’t want to show the acts of violence or their perpetrators but instead they are meant to reflect what women are thinking during these violent situations, as well as the courage and strength they are able to find to resist and bounce back. I have an unending admiration for all these women, and I like to tell myself that, even though they all lose under the blows of their aggressors, they are the ones that come out on top through the strength of their spirit - because in the end they are Davids to their Goliaths. However this is of course but an idealised consolation and as such is illusory. The full horror
  36. 36. Hey sister you gonna win37
  37. 37. Tiril UpalaTiril Benton was born and educated Woman in London in 1955 and now lives in Alabama, in the US. She works on canvas, paper and board using a large variety of mediums from oils, acrylics, watercolours and gouache to pencil, soft pastels and pen and ink. "My work is purely intuitive. The concept manifests itself as the painting evolves. Each painting to me is a record of an extraordinary moment of existence, a Odyssey confirmation in the reality of the journey of the spirit. Always cognizant of the tenuous balance necessary for the painting’s evolution, I yield to a greater force. It is within this state of thoughtless awareness that I am able to connect on a level that I cannot verbalise. I believe that through the language of art, we are able to communicate on the highest vibrational level." Tiril has participated in many solo and collective shows in the USA and her works belong in private collections in various countries tiril@knology.netSharon Brill Born in Israel, Sharon Conch 25 Brill currently lives and works in New York, USA. After graduating from the Neri Bloomfield Conch 24 School of Design in Haifa, she worked as a graphic designer for about 10 years, yet needing to work with tactile materials again, she turned back to her old love for ceramics. The forms are made from wheel thrown and altered porcelain, fired to 1260⁰ C /2232⁰ F. The porcelain remains bare. The works are sanded with various grades of sandpaper fromHer current works are abstract, organic porcelain sculptures. rough to smooth, before and after being fired.The natural beauty of the sea and the composition of thelight, air, water and sand, the shapes, textures, colours, Conch 14softness and intensity are all sources of inspiration for herceramics. On talking about her work, Sharon says, “it is anexploration, a quest that combines spontaneous, intuitivework with meticulous accurate aesthetics as an expressionof beauty. [...] The concept of my works exists in the marriagebetween two poles: aspiration for meticulous and restrainedaesthetic on the one hand, and unrestricted spontaneous Sharon Brill has participatedand intuitive search on the other, the understanding in various group exhibitionsof the integration between perfection and freedom.” in New York and in
  38. 38. “Over the years, my search has led toa colourful and diverse collection ofpaintings. My work is usually large insize and the colour scheme is basically Annemieke Wolter Annemieke Wolter was born in Bussum, the Netherlands in 1956. She attended the Gooisewarm, bright and sparkling. Intensive Academy for Fine Arts in Laren and then between 2006 and 2010 she followed a Colloquiumuse of paint and minimalizing of Art History, at the Community College (VA) Amsterdam.colours are responsible for a layered Her works are held in both national and international private and corporate collections.texture and an abstract perspective. Italian garden PoppiesLife forms an inexhaustible sourceof inspiration for me, and ratherthan imitate it, for me it requires anabstract representation together witha personal vision and a creative use ofbrushstrokes”. Although various stylescan be recognised in Annemieke’swork, as she herself says, her mostrecent pieces could be considered Checkmateto be lyric abstract expressionistart. The artist has participated inmany group and solo exhibitions andtogether with the acknowledgementsthat she has received for her work,she is continually motivated toadd new dimensions to her Maria Rosina Jaakkola Sitting Nude male Melkki island is both a practising landscape architect and a regularly exhibiting artist. Her background includes various fine art studies, in Helsinki, Finland, and Florence, Italy, where she studied sculpture. She also holds a Masters degree in The heads - Knysna Landscape Architecture and works as head of office in city planning. “My two careers have taken me around the world in search for beauty. I am fascinated by nature’s formations, cliffs in their lifeless stability as well as lines of the human body.” These rapid impressions, travel diaries that are always made in situ, capture a moment in time and space. The watercolour block and the sketchpad follow her everywhere, from the stones of remote places in the Finnish archipelago to renaissance gardens of the Mediterranean or seashores in South Africa. She has had two personal art exhibitions recently and has participated in many group exhibitions, both in Finland and abroad, the latest in New York. Maria Rosina 39
  39. 39. Tomonori Nishimura Ginkgo Ferrum Tomonori Nishimura and metals each have different properties and he explores was born in 1978 ways of integrating and harmonising them. in Osaka, Japan. He He has recently exhibited at the Brick Lane Gallery in London studied Art at the and participated in the Barcelona Showcase at the Casa Batlló Chelsea College of in Barcelona. Paphiopedilum Fine Art in London and graduated in 2001. He uses metallic colours to paint wild plants that are extinct or critically endangered, and ginkgo biloba that has existed for more than 200 million years. He developed his work Plant/Metal on the concept of duality and harmony of opposites: Contenance of hecate Let’s dance Amy C. Storey lives and works in New York City and studied at the Vermont Studio Center, Yale University and the University of Cincinnati. She is an abstract painter and her painting philosophy starts from reflections on the origins of life and on mythology. Amy has always been interested in botany, physics and philosophy and her works often recall humanity The ancestors and individuality and they have a sense of aggregation in an abstract composition in which the image emerges through an unconscious process. She is engaged with materials, human gestures, mind and self and non-self-interaction and the result is the illusion of a spontaneous and natural image. Amy has had many personal exhibitions all over the United Eggs of chronos States and Canada, the Royal British Columbia Museum in Victoria, Harvard University and City University in New York. Her most recent solo exhibition took place in 2011 at the New York Condé Nast Building: Paintings From The Ghost Flowers. Adieu mon amour Dream of the white elephantAmy C.
  40. 40. Emmanuel de Brito Sky NYCEmmanuel de Brito is a photographer born in Domont,France in 1972. He graduated in Civil Engineering at Lyon The MonMent of ArtINSA and subsequently studied chemistry and physics inParis. He worked as a building engineer and designed theSablons Theatre in Neuilly-sur-Seine, a suburb of Paris wherehe currently lives.Four years ago, he became extremely passionateabout photography and is now working as a freelancephotographer. He takes great pleasure in rediscovering Central parkurban landscapes, through his lens with a minimalist touch.Many of Emmanuel de Brito’s photos are taken in citiessuch New York, Paris and Venice, revealing for example,their skylines and graffiti walls. Another recurring subject inEmmanuel’s photography is nature that surrounds humans.Detail plays an important part in de Brito’s art and throughthis detail the viewer rediscovers beauty in what he was nolonger able to see as it had become part of daily routine.Emmanuel de Brito has participated in group exhibitions inVenice in 2011 and 2012 and also in OpenArtCode Parisheld at the Grand Palais, in November of this year. Toth t’aime Christina Jekey to santa cristina d’arobas Flying from LAChristina Jékey was born in Brussels in 1962, of Hungariandescent. In 2002, she obtained a Master’s degree with magnacum laude from the Royal Academy of Fine Arts of Brussels.Tireless explorer of the many possibilities offered bymaterials such as wood, metal or stone, Christina employsspace intensely and brings out the potential of the materialshe is working with, giving it new life. Her work is demandingand she looks for coherence in it; her work questions the lawsof the universe and dares to assert beauty in her work, in thetradition of great contemporary sculptors. Her sculptures arefascinating and offer what one could call an “additional soul”.Christina also produces graceful and rhythmical, finely carvedfurniture and mystical, poetical mandalas.She has won several prizes for her work, it has been shownin solo and collective exhibitions in Europe and the US andher sculptures also form part of many private collections inEurope, the US and the United Arab 41