All in Painting
Joanna Levesley is a self-taught, award-winning contemporary artist based in the United Kingdom, celebrated for her intricate pen and ink works that explore the quiet power and transformation found in nature. Growing up in rural Derbyshire, Joanna developed a deep appreciation for the subtle complexities of the natural world—a perspective that continues to inform her practice today.
Janne Hokkanen is Finnish visual artist with a multidisciplinary approach to visual art. He integrates diverse media into his art, such as painting, sculpture, public art, and immersive installations, and blends artistic practice with fields like science and natural history to create rich, complex works with depth. Foremost, Janne consider himself a visual storyteller.
Born in Tunis, Tunisia, and raised in Montreal, I am a dynamic artist whose journey spans continents and cultures. My early life was shaped by an intellectually inquisitive father and a creatively skilled mother, nurturing a sense of wonder and curiosity that continues to inform my work. At twelve, I began drawing portraits, marking the start of my artistic path.
Camilla Fransrud (b.1974,Oslo) is a Norwegian contemporary painter based in Trondheim. Nearly self taught, she had art classes with the well known Icelandic Sculptor Erlingur Jonsson as an art Teacher at sixth form college (1990-1993). She works primarily in acrylic,creating abstract and figurative pieces inspired by the sea and surrounding landscapes.Her dreamlike works invite viewers to reflect on their own emotions and sense of connection with nature .
Trudes Wright is a contemporary abstract artist based in the UK, known for her fluid, intuitive acrylic works that explore the relationship between stillness, movement, and perception. Her practice blends spontaneity with contemplative depth, drawing inspiration from coastal light, wildlife, and the organic rhythms of nature.
I am inspired by some specific things affecting different types of human experience. By this I mean people's life, people's struggles, people's success, people's failures, people's trust, people's wishes, people's joy, people's happiness and people's downfall. In other words, people's up lifting experiences and how they think and observe things..
If I am interested in a personality and fascinated by the story, I try to clarify this in my artworks. I don't want to create a mere, simplistic depiction, but rather try to give space to the seemingly ambivalent aspects in my portrayals. What is typical of the myth surrounding this person, and which perhaps tragic aspects are revealed? In this respect, I hope that I succeed in giving the viewer the necessary space to develop their own understanding of this person.
Katinka Lampe paints portraits. Or at least, you can clearly recognise the representation of a person. Yet, this is not the main motive of the painting. The portrait merely serves as reason to make the painting. The portrait is the imagery concept. Her paintings greatly appeal to the beholders.
A leader of his generation, Peter Doig is a Scottish artist who was able to propose a new set of questions and alter the way we understand art. In a time when new techniques were dominating and when painters and painting, in general, were considered quaintly anachronistic, he forged a new painterly language: an ironic mix of Romanticism and post-impressionism to create haunting landscape vistas.
I view the pursuit of beauty as a profound ethical responsibility—a radical act of restoration. In a world often characterized by fragmentation, my work seeks to return to a state of wholeness. Beauty is not mere decoration; it is a manifestation of “善” (Goodness) that provides a sanctuary for the human soul to heal and reconnect with its essential nature.
For me, the journey itself is not just a physical or geographical one, but a deeply personal and introspective process. As a visual storyteller, I find that the places I travel to often become imbued with a sense of emotional resonance, which can either coalesce into a single, defining image or unfold into a more complex, narrative-driven series.
In art, as in many other processes, I see a certain cyclical movement. At one point, figurative painting was declared exhausted, and other forms — abstraction, dematerialization, conceptual strategies — took its place. Today, the pendulum is clearly swinging back, and it is already possible to ask the reverse question: what can abstract painting or the refusal of representation do now, that it has not already done?
My training in color theory plays a vital role in this dynamic process. The principles of color relationships, contrast, and harmony are ingrained in me, acting as an internal compass that guides my instincts when making quick decisions on the canvas. For example, when faced with the urge to apply vibrant, clashing colors in the heat of creation, I instinctively recall the impact of complementary colors and how they can heighten emotional responses. This knowledge allows me to make choices that feel both spontaneous and harmonious.
A contemporary Canadian artist, born in November 1964, began his journey in Syria, where he worked as a graphic designer, illustrator, interior designer, and set designer for theatre and film, following his time at the Damascus Art Academy. In 1998, he moved to Qatar as an illustrator to create digital paintings for a well-known television station. In 2014, he relocated to Toronto, Canada, and works as a full-time artist.
To encounter Côté’s dimensional paintings is to feel how the artwork refuses the quickness of contemporary image culture without resorting to nostalgia. The rigor of her hard-edged forms, the disciplined clarity of her color, and the insistence of her constructed extensions make a persuasive case for abstraction as a civic language, one capable of training new habits of seeing. Her contribution to the contemporary field lies precisely here: she restores to geometry its capacity for lived experience, and to painting its ability to be a site of encounter rather than a mere surface of display. In that restoration, the work offers something rare: a renewed confidence that looking can still be transformative.
I experienced the computer less as a tool and more as an environment—one that behaved, responded, and occasionally resisted. It did not simply execute my intentions; it altered them. Meaning emerged through dialogue, iteration, and unpredictability, offering a way of knowing that could not be accessed through analog methods.
I create art as a means to understand and interpret the world around me. From a young age, I found solace in the interplay of colors, textures, and shapes—elements that could convey stories beyond the capacity of words. My artistic process is deeply intuitive, involving a continuous cycle of layering, erasing, and rebuilding. This approach reflects the way each of us navigates our own evolving identities. Through my work, I hope to evoke moments of recognition and connection, fostering a sense of shared experience with others.
I am a Hungarian painter dedicated to creating unique, personalized artworks that transform spaces and evoke deep emotions. My artistic journey began with decorative wall painting, which gradually led me to the canvas, where I found my true passion. Each painting I create is not just a visual piece but a deeply personal expression—an artwork that tells a story, recalls memories, and becomes a meaningful part of its owner’s life.
Everything starts randomly, like a sort of throw of the dice: placing geometric shapes on the stretched canvas or paper based on the principle of composition. Each shape carries within it the design of the six or seven others that compose it: lines and forms emerge from this intersection, which itself generates many more to come. Gestures, color fields, and lines, whether white, black, or colored, attach in turn to these generative forms in the unpredictability of a “free association” process.
For me, making marks is the initial objective. Finding images that speak to me in an intuitive and expressive manner remains the goal each time I work. I think of myself as a painter first with no constraints. However, I also find working in 3D to be just as satisfying as painting or drawing. After years of creating work, I still find the beginning of a piece to be as exciting as I remember my first efforts.
