All in Painting
For me, we are part of a whole in which everything is connected. In this universe, where everything exists in symbiosis, in movement, and in perpetual change, I place myself at the intersection between the real and the imaginary dimensions of our universe, capturing the distinct and opposing atmospheres of these two realms within a single whole.
In the most recent chapter of her artistic evolution, Dr Natalia Jezova arrives at a visual language that is at once intimate and archetypal, fragile and structurally rigorous. The series Dialogue and Double Vision do not merely represent a new direction in her practice; they constitute a convergence. Years of classical training, theoretical inquiry, and personal transformation coalesce into a body of work that meditates on perception as both a physiological condition and a philosophical state. Here, vision becomes subject and method simultaneously. The eye is not only the organ of sight but the site of questioning.
In the work of IRIS FLUIDISM, the image does not begin as a contour but as current. Before line, before likeness, before even the face announces itself as subject, there is flow. A chromatic tide moves across the paper, swelling into bands of color that fold, spill, gather, and reassemble into the recognizable architectures of human and animal presence. It is within this tension between dissolution and form that her practice finds its distinctive authority. IRIS does not paint figures; she releases them from the liquidity that already inhabits them.
In the vast terrain of contemporary abstraction, where the language of geometry has been repeatedly rehearsed, dismantled, and reassembled over the last century, Rose Masterpol’s work stands as an act of renewal rather than repetition. Across a career spanning more than three decades, she has cultivated a painterly vocabulary that is both deeply informed by the history of modernism and resolutely anchored in the urgencies of the present. Her canvases do not quote the past as ornament. They inhabit it, metabolize it, and release it into a new field of formal and emotional resonance.
As a painter, I pay attention to the commonalities between people and the relationships they have with their environments. My artistic motivations and decisions draw from what I know and what I don’t, my own rational and intuitive observations, and preexisting visual and written languages. I think about painting as a space that mediates time and place, bringing together people from a globalized world, and reconciling the past, present, and future into one unified form.
Nadiya Jinnah as a “quad-continent” of Indian heritage was born in Uganda, East Africa. In her teens she moved to London to study Art. There she received her graduate, masters and fellowship in painting and sculpture. She found a way to develop a groundbreaking process that allowed her to merge sculpture and painting. She finally fulfilled her dream to move to New York City where she has been living for many years now This blend of varied backgrounds had created what she called “a force of artistic inspiration”. By questioning everything, she found She needed to transfer an infinite perspective of life into abstract Art.
I believe art represents the highest form of human expression. It captures what words alone cannot hold: the essence of our experiences, dreams, and emotions. Art challenges perception, sparks inspiration, fosters connection - and reveals how fundamentally intertwined we are.
I am Japanese and was born in Tokyo in 1959. It seems that around elementary school age, my art teacher had told me to develop my talent. I only found out about this recently. My mother didn't approve of my drawings. I somehow managed to convince my parents, and entered university without attending much prep school. Musashino Art University is a university that trains artists.
In Rivismo, the threshold at which lived experience becomes a pictorial gesture does not appear to be a blurred or accidental boundary, but rather a deliberately explored space where awareness is heightened. It is a conscious threshold in the sense that it requires the artist's intention and knowledge of the material, who "listens" to the object before incorporating it into the narrative space of the work.
I was born in 1959 in Denmark. While I was in high school, I took a preparatory course for the art academy, because art was already a big part of my life at that time. However, I never applied to the art academy because my parents were strongly against it. Instead, I applied to university and studied medicine. Since then, I have also studied psychology and completed a master's degree in health anthropology because I love learning new things.
Thia Path, born in Buenos Aires (Argentina) and active in Piacenza (Italy), is an artist who has transformed color into an identity-driven language and a distinctive expressive force. After a solid background as an architect and educator, and years of research exploring art, matter, and space, her encounter with the work of Mark Rothko marked a decisive turning point: from that moment on, painting became her absolute territory.
My painting is less an act of depiction than one of discovery — an inquiry shaped by a life lived between scientific research and visual art. After four decades in biotechnology, where hypothesis, experimentation, and revision were daily practice, I came to understand that rigor and imagination are not opposites but partners. That understanding underpins my work.
My life and art are based on my own philosophical thoughts and experiences. I am interested in the philosophy of immanence and transcendence on all beings, And this means that I try to focus on the essence of life by establishing core values, and at the same time, sublimate it into my works.
I am a French listed and certified Professional abstract painter practicing in Paris since 2009. Affiliated to the 'Maison des Artistes' and member of ADAGP, I have specialized in symbolical, expressionist, lyrical and atmospheric abstract art.
Billy is a Nigerian, New York - based visual artist whose practice spans oil painting on canvas, soft pastel on paper, ceramics, portraiture, and muralism. His work fuses surrealist sensibilities with scenes drawn from everyday life, creating imagery that oscillates between action, imagination, and lived experience.
I was born in the lovely city of Paphos in Cyprus and I am a self-taught artist. I studied Business Administration and Hotel Management but I ended working in our family textiles business. At the age of 28 I started creating art as an internal necessity and a way to communicate my worries for the world and express my psychosynthesis at the time of creation. I am continually experimenting with combining strong colours, trying to express strong emotions through colour on my canvases. My work is an exploration of the human essence in its most stripped-back, spiritual form.
At the core of my work is a deep sense of feeling, big dreams, and bold expression shaped by the northern landscape and lived life. For me, this hybridity is not primarily a visual strategy but a way of thinking and being in the world. It reflects the tension in which we live.
For me, drawing a line is akin to breath meditation. The process of reaching inner stillness closely parallels my creative practice. The tension and shifting emotions generated by short and long breaths condense into images—unspoken states of sorrow, solitude, or even joy. Rather than constructing form through line, I seek to record the places where thought and emotion briefly came to rest.
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.
When I allow initial paint strokes to show themselves until an idea emerges, it's not an oscillation between intention and recognition. It's just a starting framework for a painting. Several options may present themselves before I choose one, due to what I believe possesses personal integrity, and what I truly think might look totally ridiculous. Just because I wait for something to strike me visually doesn't mean that it doesn't have to have my approval of what I will accept to work with. Ultimately, what goes down on the painting comes from my hands, my decisions, and my final approval. Finding an inspirational area within the initial strokes of pigment to start painting is simply that... a starting point. Metaphysics can only travel so far in my studio.
