All in Interview
You mention a deep connection with imagining unseen worlds. How do you translate these imaginative visions into tangible artworks?
I believe that by listening to music from different movies and soundtracks, I transport myself to another world, a place to escape from my reality, where all my characters and stories connect. Likewise, I seek ways to translate that imagination or stories into a tangible work.
Phyllis van CHUA's products are full of colorful and vibrant floral patterns and designs. Phyllis van CHUA's core concept and features are mostly based on greenery and flowers, which stem from the fact that since I was a child, I have been living with flowers and plants, and I feel that the world of flowers, plants and plants is full of joy, carefree, comfortable and at ease, and that I am passionate about collecting treasures of the natural world. I remember my father's orchid garden is a good medicine for my spiritual enrichment, and the flying winged insects in the garden are regarded as an image of "freedom", which is the goal that I want to pursue most, so I incorporate the concept into my works.
I began my career 5 years ago as an abstract artist while working as an accountant. It was the hobby for me at first and I was learning different painting languages by copying paintings from famous artists like Van Gogh or Claude Monet. It was a relaxing time for me. Then later I developed my own abstract taste and started looking at the art deeper than just a visual object. Some artworks were like a door that invites to the different worlds, a portal to the different layer of reality that coexists with the current one. And later on, I started exploring new worlds and expressing messages from it in a new form of art which allows me to be my most vulnerable and open self in a form of a sacred energy art.
Oksana Tanasiv is American, Ukrainian-born contemporary artist, who currently lives and works in Connecticut, USA. Her art works belong to the museum collections in the USA, Canada and Europe, and to the private collections worldwide. Oksana collaborates with the galleries in Connecticut, NYC, and Miami. She is an exhibitor at International Art Fairs such as Volta NYC, Art Hamptons, Art Los Angeles, Palm Beach, Miami, and Aqua Miami.
My name is Birgit Huttemann-Holz, I am a German American painter and printmaker. My energetic works show a lush world, where nature is in constant celebration. My lyrical abstractions reflect an intense relationship with the surrounding landscape, an intimate experience of wilderness which mirrors alluring and alarming oneself.
Britta Ortiz's oeuvre stands as a profound homage to the natural world, intertwining the intricacies of animal lives with a philosophical depth that transcends mere visual aesthetics. Her linocuts, a dance of contrast and harmony, draw the observer into a contemplative dialogue with the environment that surrounds us, challenging the anthropocentric view that often separates humans from the complex tapestry of life.
Undoubtedly living in such a magical city full of artistic heritage awakens the aesthetic sense of any sensitive person. It is a magical city for its light, its magic, its heritage and uniqueness. On the other hand, two cultural traditions coexist, the Christian and the Muslim Andalusian. One is abstract and the other has a figurative tradition that begins in the Renaissance, when the city keeps great artistic treasures that surround it with a mystical and unreal beauty. My work has also evolved from figuration to abstraction, although my abstraction is not geometric but organic, it does carry the concept of module, repetition and texture in several of my assemblages, this concept of module is noticeable in others, the organic predominates.
I guess I was always interested on how society expresses the thoughts and ideas of their era in the way it shapes the urban environment, in architecture and landscaping. At times houses in my paintings are sort of a metaphor for the unique identity of each of us, maybe different in colour of detail but always recognizable as a house, as a place to live with unique colours. At times my paintings reflect on history. For instance in recent paintings with the theme of the terraced houses of dutch cities. But mostly I paint projecting my own ideas.
Through my artwork, I convey that compassion is a meaningful solution to alleviating cravings. I focus on personal desires and suffering, and on people and things that are forced to suffer in order to satisfy the greed of others. Fear and disgust are also causes of suffering. I work to help people let go of negative emotions by finding new perspectives and turning negative emotions into positive ones.
All my life I had been feeling that I had to express something, that this craving for art was always in me. I read a lot about art and art history and I was fascinated by impressionism with his color, light and a lot of mood. I was thrilled by the lightness and atmosphere. But the urge to paint really rolled over and splashed out when I was studying business administration. I needed a balance to this theoretical subject with its dry material.
Your work often explores the concepts of absence, balance, and discrepancy. Could you elaborate on how these elements manifest in your art and why they hold such significance for you?
Absence creates a tension which creates interest. The key is to paint a portrait that startles you. You want to keep looking at that face, and you wonder who it is. Where does that person come from ? What are they thinking ? The title doesn’t give away much. The facial expression could be understood in a myriad ways. This is what I call absence. I prefer not to reveal too much, leaving room for interpretation - even though portraiture is at the core of figurative painting.
My works are like diary entries. I use them to process current or past events from my life. Even for me, it's not always immediately clear what exactly the works are about. Sometimes I work specifically on an emotional issue or let myself be guided spontaneously to the composition. My own interpretation of a work can therefore change over time. "Life is lived forwards and understood backwards," said the Danish philosopher Søren Kierkegaard. I agree with that. That's why I think it's even necessary for viewers to make their own interpretations of the works in order to trigger as many thought processes as possible in all directions.
Within the perception of my artwork, I believe that it works in very much the same way to more than just one moment that we could experience on a daily basis. Each day, newly created and formed moments give us art pieces if we are willing to grasp them from our daily lives.
EOS is a minimalist cosmic painter. Eos is one of the most appealing pseudonyms, since it symbolizes the goddess of dawn among the Romans and whom Homer nicknamed “The goddess with the fingers of roses. » Even more promising, she is the herald of the arrival of light. Which is a beautiful similarity with the work of our young artist EOS, playing on universal light and chiaroscuro games when she works on the nude in a mixed technique draped in mystery and enigmatic poetics. A sort of veiled beauty of the inaccessible woman residing in our dreams. EOS is a multidisciplinary artist. EOS, Laura, had some favorable predestinations since she comes from a family of Polish artists, which, let's face it, can in no way harm the prospects of a multidimensional artistic career. EOS transports us into an imaginary cosmic space between sky and earth.
Art has guided all my inner search; it is my engine, my inspiration, and it has helped me to understand everything I did not know how to express in words. All the answers I have not found in the physical world have been given to me by my paintings, which are alive and answer my questions even before I ask them.
In my artistic journey, the fusion of economics, advanced mathematics, and abstract art is not a compartmentalized endeavor but rather a harmonious blend that weaves through the fabric of my creative process. These seemingly distinct realms find a common resonance within me, influencing not just the themes but the very essence of my work. However, it's crucial to note that these influences are not merely external forces shaping my art; rather, they become integral components of my inner world.
Unveiling the dualities of life, my art thrives in the spaces of light and shadow, loss and hope, defiance and compliance. I employ rich, intense hues that beckon while challenging, orchestrating a magnetic tension within each piece. A distinctive union of acrylic, chalk, and oil pastel ignites a confrontation of textures and tones, amplifying the potency of the work.
GUIL works mainly in the field of public sculpture and installation in outdoor spaces. He has a predilection for abstract emotional geometry. He is inspired by nature itself, which he explores mathematically and transforms it with the desire to subvert its apparent forms, those of the human imagination, and the notion of proportion in sculpture. It belongs to the avant-garde of the second half of the 20th century in Andalusia. He has received numerous awards in national and international art competitions for Public Sculpture and Singular Architecture.
Born in Bogotá - Colombia. Studied Art and Architectural Design at the Javeriana University. Studied drawing and painting at Cooperartes and with masters: David Manzur, Fernando Dávila and Miguel Moyano. Her work has been exhibited in important spaces in Colombia, United States, Europe and Asia. Has received national and international recognition.
As a kid I lived on and off with my Aunt who was a formally trained oil painter with a Masters in Fine Art and practiced in a high fantasy type of art with a lot of mythological themes in her works. I was always excited to occasionally peak into see in her studio and the progress she would make on rather large paintings. She was very into the renaissance period. I just remembered the scale and realism was always fascinating to me how she could achieve such types of work, it seemed you could almost feel the hairs on a head of a figure or the emotion conveyed in the facial expressions so clearly.
