ARTisSpectrum ARTisSpectrum Volume 35 The Chelsea Perspective The Breadth Of A Life pg. 39

Profiles of Contemporary Art and Artists Volume 35

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ARTisSpectrum | Volume 35 | artisspectrum.com 2 ARTisSpectrum

Publisher Agora Gallery Contents

Editor-in-Chief 5 About the Cover Angela Di Bello 6 Profile Directory Managing Editor Sabrina Gilbertson 17 Art Matters 19 The Art of Buying Art Senior Editor Nikki Fraser Nikki Fraser

Editorial Assistants 39 The Breadth of Life: an Interview with Walter Rossi Arielle Suskin Angela Di Bello Haley Carloni 57 The Humanitarians Layout Roanna Cada 73 New York City: Evoking the Muse Nanami Yamaguchi 81 Vandal, Vanguard, Dissident: Banksy, Street Art’s Golden Son. Staff Writers Craig LeDoux Steven Barnes Natasha Brandstatter 89 Studio Spaces: Mark Hellweg Chloe Eichler 101 ARTbeat Isabella Kapur Craig LeDoux Laura Camp Monroe Frank Nestor Sophia Tarnoff Contributing Writers

Cover Photo Eva Otterström Mark James Ford Nanami Yamaguchi Gloria Bhargava Raul Mariaca Dalence Jean Lahoud Mark Hellweg Natia Malazonia Dino Rinaldi Sylvie Michault Kathleen Messmer Jerry Anderson Kirana Haag Lars Rasmussen Simon Raskina

ARTisSpectrum provides a forum for artists and art professionals. Articles express the opinion and knowledge of the authors and not necessarily that of the magazine’s management. Artist profiles are written by staff writers or the artists unless otherwise noted.

© All copyrights are reserved by the authors. The copyrights of all published artwork are retained by the artists. Reproduction of any published material is prohibited without the written permission of the magazine’s publisher.

Suggestions for future articles are welcome. Any topic submitted in writing by an artist, art professional or professionals in the service of the art community will be considered for publication. Printed by The CPC Group.com

ARTisSpectrum Magazine 530 West 25th Street New York, NY 10001 www.ARTisSpectrum.com 212.226.4151 [email protected] 3 ARTisSpectrum | Volume 35 | artisspectrum.com 39 81

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ARTisSpectrum | Volume 35 | artisspectrum.com 4 About the Cover Most artists, if fortunate enough, have a studio connected to or near their house or apartment, or perhaps the studio is just the corner of a room. The goal is that when an artist has the urge to create, all of the material is there within arm’s reach to execute the idea. On the other hand, a studio can be an entire house, as is the case with Walter Rossi, who has virtually turned his entire two story house and basement into a studio and more often than not, his canvas.

Rossi’s extraordinary turn of the 20th century Brooklyn house has a basement laden with: machinery, kiln, metal, motors, boxes of figurines, and a larger-than-life size David made of steel (much too heavy to move). There are kinetic sculptures on stands and hanging from ceilings in practically every room, colorful cave like paintings and drawings on walls and ceilings, chandeliers made of little figures, flags made of twisted painted metal, a 20 foot aluminum vertical cross in the garden along with other sculptures, paintings on metal that can withstand the elements hanging on a fence and a seven year old turtle named Lulu, hibernating in a small pond. The entire house is a magical wonderland of ideas come to fruition, in what can best be described as “the breadth of a life”.

Angela Di Bello / Editor in Chief

5 ARTisSpectrum | Volume 35 | artisspectrum.com Profiles

If you like to keep up-to-date with the art world and enjoy spotting talented emerging and established artists, then artists’ profiles are a great way to do it. These profiles showcase the work, motivations and inspirations of exciting new faces on the international art scene.

68 Andrée Levesque 100 Jacky Cheng 26 Michael Gleizer 93 Anna Des 91 James Chisholm 93 Nadia Lassman 78 Ardian Tragaj 38 Jean Lahoud 99 Nadiejda Charova Tscheltzoff 37 Auriane Margueron 71 Jerry Anderson 56 Naji Zeghdoudi 37 Ayda Mansour 72 Jessie Banaszak 23 Nancy McLean 53 Banjerd Lekkong 55 Joan Criscione 12 Natia Malazonia 33 Barbara Bateman 34 John Diamond, MD. 7 Nonye Ikegwuoha 10 Bekir Smolski 15 John Newcomb 28 Orfeo 80 Betty Neely 27 Judy Blundell 66 Patricia Olguín 80 Bree Castillau 48 Judy Howie Coury 88 RenéeRose 25 Carol Carpenter 50 Kari Rindahl Endresen 32 Riya Sharma 62 Chantal Le Brun 56 Karl Girardet 49 Robert Lenz 16 Cher Bettencourt 63 Kelley Millet 29 Rody 70 Cherril Kolesik 80 Kirana Haag 48 Ron Robidoux 9 Chris Brandell 24 Kirsten Hagen 93 Sarah Lynch 65 Cindy Parsley 35 Kristina Garon 94 Shifra 10 Colin Grant 11 Koki Morimoto 36 Shireen van Nieuwenhuyse 25 Corinne Garese 52 Koya 66 Shivender 47 Daniela Friederike Lüers 30 Kyra Cowan 14 Simon Raskina 31 Darla Rewers 51 Larry Greenberg 69 Sloane Merrick 34 Dominic Fondé 14 Linda Roffel 86 Stacie Hernandez 28 Dominique Cracco 72 Loren Howard 25 Stephen Najda 56 Eli Cantini 71 L.W. Shortridge 79 Steven Anggrek 97 Fahim Somani 50 Lucy O’Donovan 67 Susan Marx 13 Fanny Horowitz 16 Mahnaz Weldy 92 Susana Cecilia Taratuty 51 Farzad Golpayegani 87 Marcia Haufrecht 68 Tao Jiang 38 FONSEK 88 Margaret Vega 86 Tina McDowell 95 George Struikelblok 35 Marian Gaucher 69 Trent Altman 16 Gerd Dagne 30 Marianne Bech 62 Veronika Wifvesson 96 Gloria Bhargava 87 Marianne Fernandez 30 Viktoryia Vinnikava 52 Goodash 23 Marianne Monnier-Koenig 24 Von Coop 28 Henrik Sjöström 85 Mark Hellweg 24 Wallace 98 Hilde Gustava 97 Mark Salevitz 68 Winne 95 Iva Milanova 94 Menno Vos

ARTisSpectrum | Volume 35 | artisspectrum.com 6 Nonye Ikegwuoha

onye Ikegwuoha says his art is rooted in African culture, carrying forward what he calls “the fundamental issue thatN African art is creatively an ‘exorcism’—to give form to one’s fears, tormentors, demons and terrors.” That basic concept is the basis of a body of work in which a strong emotional charge is tempered with a sensitivity to line and color that gives each image balance and harmony. The fears and demons that the artist speaks of make their presence felt, but they are thoroughly transformed, with their emotional power taking on a dreamlike quality. The resulting images have a timeless feel, but their bold experiments in perspective, composition and color make them look thoroughly contemporary.

M-Series Part 2 Oil on Canvas 59” x 39.5”

The notion of combining seemingly contradictory elements is at the heart of Ikegwuoha’s work. Simplicity and complexity appear side by side in his paintings. A few lines can be turned into a believable image of a hand or face, while in other places a face can be fractured into an intricate web of reflections that looks like something from a hall of mirrors. Incorporating influences that run from Cezanne and Picasso to Rem Koolhaas, the artist finds the common ground that the modernist masters shared with so-called primitive art, highlighting the bold brushstrokes and earthy, intense colors that give both types of art their vitality. M-Series Part 3 Oil on Canvas 59” x 39.5”

7 ARTisSpectrum | Volume 35 | artisspectrum.com Working in oils, watercolors, pastels and charcoal, Ikegwouha—who was born in Nigeria and now divides his time between Nigeria, London and Shanghai—brings out the strengths of each medium. His oil paintings capitalize on the warm, rich tones those paints provide, while his watercolors and pastels burst with light and spontaneity. Trained as an architect and designer as well as a painter, Ikegwouha has a highly developed sense of structure, but that ability serves as a backdrop to his main emphasis as an artist—conveying emotions and feelings. “The emotional content of art must always take precedence over the aesthetic,” he says. But in his work, both are in evidence, resulting in unique and involving images.

www.ikegwuoha-art.net www.Agora-Gallery.com/ArtistPage/Nonye_Ikegwuoha.aspx

M-Series Part 5 Oil on Canvas 59” x 39.5”

M-Series Part 4 Oil on Canvas 59” x 39.5”

ARTisSpectrum | Volume 35 | artisspectrum.com 8 Chris Brandell

ince she was a child, abstract artist Chris Brandell has had a fascination with color, believing that she could useS it to communicate with others in a way that she could not with words. She describes that color “vibrates” in her head and that it becomes so “tangible” she hears, feels, and sees it everywhere. Brandell embraces her desire to examine color and it fuels her work. She uses it to interpret the complexity of the human dynamic from

Release Acrylic & Oil on Canvas 60” x 48” a personal and a social perspective. After she experiences the emotions of life, she exercises and releases them through her rich pieces. Currently, Brandell is studying the idea of shame in modern society, considering it a major theme for the 21st century. Her body of work explores the “public expression of shame which is occurring almost daily via social media and that people are becoming personally conscious of After Acrylic & Oil on Canvas 40” x 40” Me Touching You Acrylic & Oil on Canvas 48” x 48” it.”

Inspired by the work of Helen Frankenthaler and Marisa Purcell, Brandell applies oil and acrylic paint to large canvases. She also practices her technique on small-scale projects every day, and she rarely uses brushes, preferring to rely on custom- made trowels and large knives to create her images. Brandell’s process is often spontaneous, allowing the paint and the color to lead her without a plan. Sounds and words drive and push her into new directions, too, whether it be the music playing in her studio, the noises of the experience she is trying to express, or the meaning of a word she is capturing. Her art reflects a tactile experience thanks to a layered execution of bold strokes, hue, and texture. Despite being abstract, her pieces seem familiar because they emit an energy rooted in unpredictability, just like life. www.chrisbrandell.com www.Agora-Gallery.com/ArtistPage/Chris_Brandell.aspx

9 ARTisSpectrum | Volume 35 | artisspectrum.com Bekir Smolski

ekir Smolski began drawing at an early age, when art was considered within the usual bounds of child’sB play. However, his father saw something more. At age eleven, Smolski’s family enrolled him at the local art school. Later, he would attend the Minsk Art College and the Belarusian Academy of Arts, where he developed his drawing and painting techniques. “I want my paintings to fascinate the audience so they go ‘through’ the canvas, crossing the border of real and unreal,” Smolski says. “I want to make the audience swim or fly as far as their imagination allows.”

Smolski paints with oil, smoothly transitioning between colors to create soft hued, beautiful landscapes. The scenes are largely unscathed by human influence, but occasionally there is a traveler, a small silhouette in the The Foggy Morning Oil on Canvas 21.5” x 25” midst of domineering trees. Smolski refers to symbolism, fantasy, and romanticism as key elements of his work. His combinations of light and soft color account for the latter two. The former is introduced through the composition itself, with trees, sky, and water arranged to imply solidarity, loneliness, or serenity. Above all, Smolski sees himself as a painter of light. “I am fascinated by the light,” Smolski says. “Its uncommonness of structure is a source of continuous inspiration.” www.bekir.org www.Agora-Gallery.com/ArtistPage/Bekir_Smolski.aspx

Colin Grant

he paintings of Australian artist Colin Grant can best be described as spiritual and dream-like, combining the emotionalT impact of romanticism with aspects of abstraction and expressionism. Grant wants his art to inspire people to “dream with eyes open,” as he draws on collective memory to spark an instant of sensation or recognition. “In the work I seek to evoke things not seen and yet reach you, by some other means of perception,” he says. Grant strives to balance the visible and the invisible, contrasting definite forms with indefinite space. By applying paint in thin layers like calligraphic brush strokes, he’s able to create pieces that play with the viewer’s sense of permeability against specific objects and places.

One of the major themes in Grant’s work is capturing the intensity and spirit of wildlife and the environment. Although emblematic in nature, many of Grant’s pieces are directly inspired by his childhood and his experiences of the four elements in the wild and vast spaces of Australia. It is in each of his paintings that Grant masterfully recreates the mood and atmosphere of these moments in time, creating unforgettable images with a transformative power of healing and serenity. Astral Silhouettes, Birds Meeting and Blue Branches www.colingrant.com.au Oil on Canvas 44” x 36” www.Agora-Gallery.com/ArtistPage/Colin_Grant.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 10 Koki Morimoto

With respect to area 150-1 Acrylic on Canvas 89.5” x 71.6” With respect to area 150-2 Acrylic on Canvas 89.5” x 71.6”

I always try to feel nature work around us,” says Koki Morimoto, and in his work the force of nature takes on a starkly beautiful form. Working in oils and acrylics, the artist combines the precision and simplicity that are central to calligraphy with“ the spontaneity of abstract painting in works that create a subtle, mysterious world. While his images initially come across as examples of pure form, their strong lines and dynamic textures give rise to a variety of interpretations. Simple arcs of movement suggest trees and human figures, uniting abstraction and realism in images with both a powerful physical presence and a clear sense of form and balance.

Born in Hiroshima, Japan, where he still lives, the artist takes the traditional techniques of Japanese art and moves them forward in his paintings. Employing a palette that is based in black and white, he manages to pull a surprising range of shades and intensities out of that basic motif. Muted grays, along with hints of brown, blue and green, soften the contours of his images, and give each a depth that animates their backgrounds and provides even the simplest shape with a dynamic, three-dimensional quality. The resulting images appear to be in a state of transformation, exuding an engaging energy and openness.

That idea has its basis in one of Morimoto’s inspirations—the potential and possibility of seeds and beans in particular. He notes that when his daughter commented about some of his pictures being “like beans,” her observation clarified a major theme in his work. “Beans included actions I wanted to describe,” he says. Those actions—the flowering of the life force, along with the feeling of movement and change—inspire all his images, no matter what their subject, and give them a power that leaves a lasting impression. www.Agora-Gallery.com/ArtistPage/Koki_Morimoto.aspx

11 ARTisSpectrum | Volume 35 | artisspectrum.com Natia Malazonia

Abstraction “MISS” Enamel on Panel 9” x 7” Abstraction “MONOCHROME” Enamel on Panel 9.5” x 8”

atia Malazonia brings an ages-old artistic method to modern life in her enamel-on-panel pieces. In particular,N she puts her own 21st-century spin on the technique of cloisonné enamel. But that influence is simply the starting point for images that create something new from the art of cloisonné. Using bold colors and working with subject material that ranges from still lifes and portraits to cityscapes and vivid abstractions, the artist gives her pieces both the disciplined balance seen in ancient icons and the freshness and liveliness of contemporary art.

Malazonia’s interest in cloisonné got its start in visits to museums in her homeland, the former Soviet republic of Georgia. One of the first works in this medium to influence her was the “Khakhuli Triptych,” a complex work made about a thousand years ago. The jewel-like intensity and precise, refined visual style of that work can be seen as a major influence on the pieces that she makes. Deciding to master cloisonné, and then combining it with painting, she found that the meeting of these media showed her the way to “an open endless space for creativity,” allowing her to make art based in established forms that also adds a distinctive presence of its own into the mix.

In her images, colors shine with the same kind of glow one sees in gemstones, while her strong, clear lines give even the most energetic abstraction a grounded quality that simultaneously echoes the art of the past and transcends it. Whether she is depicting a simple scene of fruit on a table or is entering the world of dreams in one of her abstract works, the artist uses her vibrant color sense and energetic sense of composition to engage the viewer and make the unique world she creates thoroughly engaging. www.Agora-Gallery.com/ArtistPage/Natia_Malazonia.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 12 Fanny Horowitz

anny Horowitz explores the social selves of women - the way they present themselves in society as opposed to their true selves.F In her oil on canvas paintings, she examines the border between "authentic women and the somehow detached characters posing for the watchful eye of society." She uses photos she finds on the internet as well as photos she takes herself in order to do this, expropriating them from their natural context and giving them her own emotional interpretation. By incorporating sharp contrasts and endless layers of colors, Horowitz exemplifies the tension between classical technique and issues facing our contemporary society.

In Blue Oil on Canvas 27.5” x 23.5”

The Pearl Earring Oil on Canvas 27.5” x 31.5”

Horowitz is fascinated by the impact of modern communication and social media, where she observes that there is an "endless desire of people to document their selves." Her work plays with this idea of documentation and public presentation, as she uses seemingly minute accessories, such as an imitation pearl necklace or a leather jacket, to create the portrait of an everyday woman. She uses these accessories to represent the public personas that women construct for themselves. Though Horowitz’s pieces emit a solid, physical presence, there is also a transparency that allows viewers to explore the depths of each woman, both the actual and the believed. In the end, the viewer walks away with an emotional interpretation of a character outside of her natural context. The focus of each work is on how personal presentation and appearance reflect more about each individual woman than what is shown on the surface.

Like the Impressionists, Horowitz’s work is strongly composed based on how light interacts and bounces off of different objects. She has an innate ability to depict a variety of textures, from a shimmering wine glass to wispy smoke from a cigarette. Her work calls upon the isolated moments of Edward Hopper and the warm colors of Paul Gauguin. Her vibrant paintings have endless layers of color and shade that generate a sense of drama and mystery. Viewers become lost in the interplay between light and shadow, ultimately reflecting upon whether they are being their authentic selves or merely playing a part in this ever changing world. www.fh-art.co.jp www.Agora-Gallery.com/ArtistPage/Fanny_Horowitz.aspx

13 ARTisSpectrum | Volume 35 | artisspectrum.com Linda Roffel

utch artist Linda Roffel's paintings are figurative-abstracts done in an expressive style. Working from a model, Roffel takesD care to follow her instincts, switching off her mind so that nothing exists between herself and the paint she sketches onto canvas. “It feels like magic, which is lovely,” Roffel says. Roffel wields a palette knife instead of a brush, and typically only works with three to four pigments at a time, creating an astonishingly wide variety of tone through a mastery of mixing and application. The result of this technique is that many of Roffel’s works have a sense of depth of form while maintaining a gorgeous transparency of light and color.

Roffel’s favorite subject is women’s backs, where she finds infinite potential in the interpretation of lighting, atmosphere, expression, and posture. Roffel pays attention to the women’s skin and clothing, defining each with great detail applied to texture and shade. Her figures are juxtaposed against a soft, abstract background of amorphous color, infusing her work with a sense of mystery that leads the viewer to fill in the blanks with their own imagination. “I present the color, the skin, the composition and the structure,” Roffel says. “With these ingredients the viewers may design a story of their own.”

Frozen Thoughts Acrylic on Canvas 39.5” x 31.5” www.linda-roffel.nl www.Agora-Gallery.com/ArtistPage/Linda_Roffel.aspx

Simon Raskina

riginally a punk rock drummer, Simon Raskina earned a degree from Seneca College in Toronto, the cityO of his birth. Upon graduation, Raskina departed for India to visit his grandfathers’ fiberglass sculpture factory. In India, Raskina split his time between backpacking and learning his grandfather’s trade from classically trained sculptors. It was an experience that taught him humility and challenged him to become a better artist. Returning home, Raskina was reinvigorated. He immediately threw himself into his work, developing a style inspired by a host of influences, including the expressionist Oskar Kokoschka, PBS’ Bob Ross, and master comic book illustrator Jack Kirby.

Raskina paints with an oil-slick palette, creating vibrant hues of orange, yellow, green, and purple. While transitioning between landscapes and portraits of animals, Raskina maintains his technicolor palette and says that he believes in “creating colorful, thought-provoking artwork Palolem Beach, Goa Acrylic on Canvas 16” x 20” using very simple themes.” When he is not working on his own pieces, Raskina teaches art to children. More importantly, he learns from them. “I only want to bring hope and optimism to my viewer,” Raskina says. A large part of this positivity comes from an appreciation of the natural world. Quoting Chagall, he says, “Great art picks up where nature ends.” www.simonraskina.com www.Agora-Gallery.com/ArtistPage/Simon_Raskina.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 14 John Newcomb

Vanity Acrylic on Canvas 60” x 36” Hunter’s Moon Acrylic on Canvas 48” x 36”

ohn Newcomb’s paintings are populated by what he calls “Beasties,” amalgamations of animal and human forms that bring out the characteristics we often try to hide. The unexpected combinations that he comes up with shine a light on bothJ the positive and negative aspects of the human condition. A peacock might stand as a reflection of our inherent vanity, for example, while a koala bear could represent the capacity for love and devotion that we all have. But the significance of Newcomb’s images goes beyond any simple correspondence between human and animal behavior. Instead, he depicts a world that is both surreal and thoroughly logical, creating a dreamlike universe while making clear statements.

A big part of what makes the artist’s work so compelling is the sharpness and clarity he brings to each image. Skilled at capturing textures from a bird’s feathers to an animal’s fur or a human face, he gives many of his paintings a near-photographic degree of detail, making each figure stand before us in a form that is recognizable, yet also new and mysterious. Even his more abstract images have that degree of clarity and focus, their strong colors and clear, balanced compositions forming a direct connection with the viewer. Working in acrylics on canvas, he makes maximum use of the intensity of color that acrylics provide, and the bold color contrasts in his painting add a sense of movement and energy.

Having worked for years as a graphic designer—his “The Book of Graphic Design” is a guide to the field—as well as a professional photographer, he has thoroughly mastered the art of clear, succinct communication. But his sense of experimentation and adventure goes beyond that, adding a complexity and multi-layered sense of structure that give his paintings their distinct vision and appeal. www.Agora-Gallery.com/ArtistPage/John_Newcomb.aspx

15 ARTisSpectrum | Volume 35 | artisspectrum.com Cher Bettencourt oosely laid oil paint forms relatable images with the help of Californian Cher Bettencourt’s hand. Animals in unusual clothes and situations Lappear on her canvases, as do cheerful children and welcoming landscapes. In color and subject, Bettencourt’s paintings are bright. Inspired by impressionist techniques, Bettencourt’s images resonate with quick strokes and variety in color. This movement adds energy to each painting. Happiness and fun come across in each straightforward image. A pig in pearls, a dog on a bright red scooter, or a child jumping in puddles serve as a welcome reminder of the positives in life. Simple, even monochromatic backgrounds push these subjects firmly to the forefront.

Cher Bettencourt paints with happiness as a goal, and this shines through in her work. Her pieces exude good humor and warmth. www.cherbettencourtfineartist.com www.Agora-Gallery.com/ArtistPage/Cher_Bettencourt.aspx Ciao! Oil on Canvas 20” x 20” Mahnaz Weldy ranian-American Mahnaz Weldy paints her experience escaping a brutal revolution in Iran using color, composition, and abstract form Ito tell stories of human strength, resilience, emotion, and the innate human desire to seek happiness at every turn. Weldy envisions her paintings as “living visuals” and is not afraid to push her work to new edges, creating montages of shape and color entirely unexpected and heavy with symbolism and deeper meaning.

Characterized by bold and vibrant colors and a strong sense of rhythm and movement, Weldy’s paintings are meant to provoke, awaken, and stir long-forgotten emotions in the viewer. Just as she pours her soul onto the canvas, so she seeks for her art to stimulate every human sense and to challenge our collective interpretations of the “real world.”

www.mahnazart.com Mother and Child Acrylic on Canvas 10” x 10” www.Agora-Gallery.com/ArtistPage/Mahnaz_Weldy.aspx Gerd Dagne he larger-than-life post surrealist paintings of American artist Gerd Dagne explore complex concepts and challenging theories, but in theT end contain a single subtext: the nature and power of relationship. Specifically, the artist’s work looks at the surreal awareness ofthe social animal: how we all relate to each other in this plane of existence (in this life and possibly the next).

At the heart of many of Dagne’s paintings is the seed of conflict that exists within us all, the juxtaposition of two seemingly opposing elements (positive vs negative, real vs surreal, harmony vs discord), where the relationship between the two isn’t as simple or as complex as it appears. As Dagne explains, “My paintings originate from the seeds of self-examination, and an attempt to release the truths I discover about myself in the process.” www.gerddagne.com B.O.T.S. Oil on Canvas 36” x 48” www.Agora-Gallery.com/ArtistPage/Gerd_Dagne.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 16 Art Matters - why we collect art by Angela Di Bello

Something about it touched me in a profound and beautiful way / It reminded me of the many summers I spent with my family visiting the beach / I felt that it was calling me in a way / We had to have it / It helped me to understand what sacrifice really means / My decision to purchase the painting had something to do with the death of my mother / It enchanted me from the very first time I saw it.

Why are we are drawn toward one piece of art and not another? It is as though the artwork, be it a painting, a photo- graph or a sculpture, is at the moment of connecting with it, recognized as a missing part of you. A part that carries a profound desire, a void which can only be filled, like Klimt’s embrace in ‘The Lovers’, through the acquisition of an unforgettable, must have, work of art!

"The Thaw Begins" and "Undercurrent" by Sandra Mueller-Dick in the collection of Shareef Khatib

17 ARTisSpectrum | Volume 35 | artisspectrum.com Why were you attracted to this particular artwork?

I found these pieces of Sandra Mueller-Dick’s striking on first glance: I was drawn to them from across the room (quite liter- ally). On closer inspection I found a richness that is both a delicate complexity and a boldness that feels like it makes a clear statement without shouting. I think this is a rare quality in a modern culture that seems to just get louder and brasher.

I dithered a bit. I walked away but found myself comparing everything else I saw (not just in the Agora Gallery but in all the other galleries I visited that afternoon) to these pieces. I’m an art novice, but understood that a visceral response like this is what makes art necessary. I knew I would regret not having them in my home.

Did you first see the artwork online?

No - this was a cold-call.

How did the style, color, size and price influence your selection?

The ascetics of the pieces fit the visceral response I felt. I knew I wanted impressionist/abstract, twin pieces, mid-sized with a base of blue, gray or purple. These fit the bill perfectly.

Did you have a particular space in mind for the artwork before you purchased it?

Yes: I purchased my DC row house in 2014 after almost a decade of work overseas. In that time I longed to make a home and could clearly imagine the style and type of furniture I would buy. After a year and a half I realized that the walls were still bare: this needed fixing and I’m way too old for posters of any sort.

I have an open floorpan and had in mind to find pieces that I could place in the living room or the dining room. I didn’t quite know what effect the pieces would have, but I knew I needed something comforting and thought/conversation provoking.

Were you familiar with the artist before you made your selection?

No, these are the first works of Sandra’s I’ve seen.

Does the artwork still resonate with you and why?

Very much so. The pieces both provide a boundary to the space and give it a depth and focal point: it’s a wonderful combi- nation. As I sit on my couch in the evenings or make coffee in the mornings, I still find myself doing what happened in the gallery on the day I bought them: I am struck and find myself wandering over to look closer at the layers of Sandra’s work. It’s a wonderful feeling.

How did you learn of Agora Gallery?

I just walked in. In comparison to the neighboring galleries in the district I found the artwork and the Agora team very acces- sible. In a single space I found quality and diverse work that was introduced, explained, understandable and affordable. As I said, I’m an art novice, but I know this is a unique find.

ARTisSpectrum | Volume 35 | artisspectrum.com 18 The Art of Buying Art by Nikki Fraser

Artwork by Mike Smalley

What art should you be buying? Where can you buy it? How do you buy art?

Anyone can purchase an artwork and hang it on a wall, but to be a truly satisfied and successful collector, there are several rules of the trade you should know. Buying art the right way can make a big impact in your life, either aesthetically or as an investment. Agora Gallery has been connecting artists with collectors for over thirty years, and for those of you who are new to the art-buying world, we are here to help.

Why buy art? For one thing, buying art can be a great investment: it will Of course, there are less economical reasons to purchase art. last a lifetime (even longer, if you bequeath it to family and Many collectors buy art based on their own aesthetic and friends), and if you buy the work of an emerging or mid-level emotional responses to the artwork and the personal value artist, you may see a significant increase in the value of the that they feel the art carries. They buy it, simply, because work at a future date. There are many collectors whose intent they love it. For these collectors, the act of buying an art- when buying art is to build up a collection that will grow in work is deeply personal. They purchase works that they not cultural and fiscal worth as the artist gains notoriety. only want to have for themselves but also to share with those closest to them. It’s important to remember that art can be If you are just starting out and you’re looking to invest in more than something aesthetically pleasing – art can change art, you will need to know who the artist is, if the work is in the feeling of a room, start a conversation, keep the memo- the primary or secondary market (that is, will you be the first ry of a time or place alive, and even inspire creativity in the owner, or was it owned previously?), the rarity, the medium, viewer. the period of the artist’s work (for example, Picasso’s Blue Period is one of his best known and thus, those works tend to Finally, one of the more common reasons to buy artwork is, be more expensive), and the reputation of the gallery or auc- of course, to decorate a home or office. While some people tion where you are buying it. Just like stocks, you can never are happy decorating their walls with mass-produced post- truly know if the value of an artwork will go up or down, so ers or wall decorations, others find that an original artwork you should only buy artwork as an investment if you have the adds more character to a living space. Original artwork has cash to spare. There are some websites, such as Artprice or even been shown to make a difference in productivity in the ArtTactic, that have a user-friendly setup and provide useful workplace. Designing with original art, whether in the office information about the art market, but if you did not study art or at home, ensures that your space is one-of-a-kind and or finance and have no background in the field, your best bet personal. It’s the best way to add true personality to any is to work directly with a professional art advisor. room.

19 ARTisSpectrum | Volume 35 | artisspectrum.com Auctions can be exciting, fun events, and they’re a great place to see really rare and expensive art. For most auction houses, you need to be a well-established collector to even get your foot in the door; however, daytime auctions and the previews to bigger auctions usually are open to the public. You can check on auction house websites to see when and where the previews and auctions will be held, usually in the days leading up to the big event.

Daytime auctions are a great place to start for first time buy- ers as they tend to be not as crowded and buyers are there for specific pieces. It is good practice to attend one of these daytime auctions before you go to one where you want to bid on something, just to get a feel for how live auctions work. There can be a lot of tension and energy during an auction, especially in the event of a bidding war, and you want to be as prepared as possible before going in head on. When you do attend an auction with plans to bid, be ready. Have a budget in mind and know when to stop bidding. Be aware of the other bidders in the room, and don't stretch Artwork “Travel in the Green” by Valentina Bilbao your arms too high! “What kind of art should I buy?” If you're looking to become a regular collector, then you'll You don’t have to have a PhD in art history to figure out what want to start at the galleries. You can develop long-term re- kind of artwork you want to buy. However, it is good to gain a lationships with galleries that you like, as they will be able to basic understanding of different periods of art, of contempo- recommend future artworks by new artists based on your es- rary artistic styles, and the different types of mediums avail- tablished tastes. As they work closely with the artist, the gal- able before you make a purchase. Once you’ve begun to de- lery staff can answer any specific questions that you might velop your own artistic tastes, you will have conquered what have. They can work with you to find the best piece with- many consider the most difficult part of buying art. in the palette, size, or style that you are interested in. Some galleries even specialize in specific media or subject matters, The act of visiting these galleries and studios is two-fold: so you can rest fairly safe knowing that if you like their work not only are you learning more about your own taste, but once, you will again. you should also use this opportunity to create relationships with gallerists and artists – especially when you like the work that you see. This will help you further down the road, once you’re ready to start adding to your collection.

When decorating your home/apartment, it can be a great idea to mix and match different media, but you should keep some consistency to keep the tone of the room coherent. For example, try matching artwork by color, or by theme. We often see a “seaside” theme in bathrooms, or a food theme in kitchens. It can be equally important to match your artwork with the furniture you have. Hanging a vibrant abstract work over a loud-patterned sofa can be a disas- trous mistake.

Where to buy artwork. There are many places where you can buy artwork and each venue has pros and cons. For example, one can typically negotiate better in person than online, but websites will typically offer a greater variety, and it’ll be much easier to browse. Visiting artists’ studios will let you get to know the artists better, but it can often be difficult to find a studio, Agora Gallery’s Illumination exhibition, featuring contemporary pho- especially if you don’t know the artists to begin with. Now, tography. Pictured here are Mark James Ford (left) and Bruna Vangi let's discuss the options that you have: (right)

ARTisSpectrum | Volume 35 | artisspectrum.com 20 Other galleries will often present a larger variety of artworks. cult and intimidating to approach an artist that you do not This has its advantages, as well, as you can learn about new know and ask more about their work. Here are some tips on trends in artwork and constantly expose yourself to new how to meet artists and set up studio visits: things that you may enjoy. Agora Gallery, for example, reg- ularly holds collective exhibitions with a variety of different styles and media, but also has recurring exhibitions like “Il- lumination: An Exhibition of Fine Art Photography” or exhi- bitions organized by the country of origin of the artists. For specialized collectors, these exhibitions are very popular. However, for prospective buyers looking for varied collec- tions, general group shows can be fantastic opportunities to discover new artists and works.

Art fairs are another great, low key place to purchase art- work. They happen all over the world throughout the year, so there are plenty of options. Check out ArtForum's Art- Guide (http://www.artforum.com/guide) for a list of art fairs Artwork by Alana O’Hern all around the world. Check out each fair's website before making plans to attend, as you can see if the fair is showing the type of work you are interested in, and if the works are in Most of the time, artists will be present at their own gallery your price range. Some shows, like Frieze Masters in London openings, and although they will likely be surrounded by or the European Fine Art Fair in Maastricht, focus on fine art friends and family who are there for support, artists are often of very high quality and in a higher price range. Other fairs, very open to discussing their work with potential buyers. If like the Affordable Art Fair, which takes place in multiple cit- you have a serious interest, speak with a gallery associate ies throughout the year, provide more accessible works. The about the artist's work and see if they can point out the artist Affordable Art Fair in particular is a great fair to start at, since for you, or perhaps even introduce you. If you like the artist it happens throughout the year and hosts international gal- and their work, see if they have a studio space nearby and if leries and dealers. Plus, the name says it all – the work is very they are open to visitors. affordable and great for first time buyers! Check out their website (http://www.affordableartfair.com) for a list of par- A lot of artists use social media to promote their artwork, ticipating cities and dates. mainly on Facebook and Instagram. Searching for the type of art you are interested in is incredibly easy on both platforms. You can search for something as simple as "paintings" or "sculptures," use hashtags, or even search for artists in your city in order to find something that you’ll love. Many art gal- leries also have social media platforms, where they often link to their artist's personal pages. Contacting the artist through social media may not be the best way to get in touch be- cause they likely receive hundreds of likes and messages daily, so look for an email address or website contact form that you can use to reach out. It can take a little time to find exactly what you're looking for, but the payoff can be great.

One way to meet a lot of artists at once is to attend open studios at art houses and collectives. A simple Google search can show you if there are any in your area, and checking out the collective's website will reveal if and when they host open studios. Here you can ask the artist questions about their work, their process, if they are represented, etc. The only downside to this method is that open studios can get very busy and crowded, and getting and maintaining the artist's attention can be difficult. If this is the case, you can always see if the artist is open to setting up a private meeting at a Artist Mark Schiff speaking with a guest at his 9/17 reception at Agora later date. Gallery When you get the hang of the basics, you should start to Personally meeting the artist or visiting artist studios is an- think about what it takes to find that perfect piece (hint: it’s other great way to get to know an artist and see how they all about buying something that you love). work before you purchase a piece. However, it can be diffi-

21 ARTisSpectrum | Volume 35 | artisspectrum.com How to tell if you’re buying the right art the hours, days, even years of creation and experimentation, frustration and joy. It may sound creepy, but you really are Did you see an artwork that has been on your mind ever buying a piece of the artist, of their soul. So take the time to since you left the gallery? If you stumble upon a piece that learn about who and what you are investing in. If you weren't sticks with you, that makes you step back or lean in, then this able to meet the artist one-on-one, most galleries and stu- may be the piece for you. Trust your instinct. The best works dios will have information available about the artist: printed are ones that you can keep coming back to. Maybe they trig- materials, write-ups, interviews, or their artist statement. Ask ger a memory for you, or maybe they remind you of a person the gallerist or curator, as well, and hear about their personal you love. Whatever it is, these are the works that emotionally interactions with that artist. speak to you, and that is the best kind of work to have. If you aren’t ready to invest, ask about paying in installments We all have a unique perspective on what is “good” art, so do or leasing artwork. Having the opportunity to lease one (or not let anyone bully you into buying an artwork that you multiple) artworks will give you the opportunity to see how aren’t feeling. Even if somebody is an expert and says that an the artwork actually fills the space, if it compliments your artwork is valuable or beautiful, if you don’t like it then you decor or the general mood you were hoping to emphasize. shouldn’t buy it. You are the one who has to live with it, and Once you’ve found the perfect match, you can speak with the you should only decorate your walls with works that speak to artist or representative to finalize the purchase and add it to you on a personal level. your permanent collection!

Learn about the artist. Knowing the story of the artist or the If you are interested in building your art collection, make sure artwork brings an intimacy and value that goes beyond the to check out www.ARTmine.com or email us at info@agora- visual interest. When you buy an artwork, you are buying gallery.com.

The happy collectors of "Nude Trees" by Tiziana Fejzullaj; Photo by Dana Kandić

ARTisSpectrum | Volume 35 | artisspectrum.com 22 Marianne Monnier-Koenig he lush landscapes and urbanscapes of Swiss impressionist painter Marianne Monnier-Koenig are stunning both in the scope of compositionalT execution and in the depth of meaning derived from the artist’s masterful use of color, texture, and light. Painting in a true impressionistic tradition, Monnier-Koenig transforms natural and man-made settings into complex, idealistic terrains characterized by a strong sense of harmony and balance, and an almost idyllic approach to composition and palette.

Inspired by the approach of the Impressionists and in particular the work of Claude Monet, Monnier-Koenig is driven to paint what she feels. Often working in plein air and alternating between oil paints and pastels, she delves deep within to uncover all the human emotion and feeling reflected in the natural beauty of our world. She seeks out those places that she finds most fascinating (sometimes following in the footsteps of those Impressionists who came before her) capturing and magnifying all the splendor of color and light that scene has to offer. As Monnier-Koenig explains, “To be in my own image isan enrichment for me….I communicate just what I feel and what I see.”

www.monnier-koenig.ch www.Agora-Gallery.com/ArtistPage/Marianne_Monnier__Koenig.aspx

Stars over New York Oil on Canvas 40.5” x 30.5”

Nancy McLean

orn in Hamilton, Ontario, Nancy McLean studied Art History at McMaster University, where she becameB intrigued by the differences between Western and Eastern painting. After graduating, McLean studied Chinese brush painting under Leo Wong, a Toronto- based artist who taught her the methods of the Song Dynasty. Later, while working in South Korea and traveling to Japan, McLean found herself drawn to the simple contour lines prevalent in local architecture. Using these lines to depict movement in her work, McLean also incorporates knowledge gleaned from the study of European artists. The result is a unique body of work laced with iconic Canadian symbols.

McLean works mainly in oils, creating worlds of earthen greens, yellows, and browns, set against occasional bright bursts of blue. While many of her fantasy landscapes are filled with woodland creatures, 92 Hello There Oil on Canvas 36” x 48” they are punctuated at times with soldiers, toys, and weeping leaves. Often, seemingly whimsical scenes are buttressed by a serious, nearly hidden message. Discussing these underlying themes, McLean says, “I strive to create an image of an imaginary world, almost childlike and naïve, but buried below the obvious is a hidden meaning.” www.nancymcleanstudio.com www.Agora-Gallery.com/ArtistPage/Nancy_McLean.aspx

23 ARTisSpectrum | Volume 35 | artisspectrum.com Von Coop he notion of boundaries is not present in Von Coop’s artistic universe. Whether in terms of media or subject material, his worksT run a wide range, from pencil drawings of musical figures executed in precise, photorealistic detail to psychedelic abstractions done in oils on canvas. Balancing experimentation with a disciplined technique, he gives his images a clear physical presence that works with whatever subject he depicts.

The artist notes that capturing the appearance of light is a central concern for him, and that skill is strikingly present in his work. From showing the effect of a spotlight on a performer to creating a sense of depth in the sky, he puts his ability to use shading, color and proportion to effective use, resulting in a vivid, engaging body of work. Ellen Oil on Canvas 36” x 48” www.voncoop.com www.Agora-Gallery.com/ArtistPage/Von_Coop.aspx Kirsten Hagen hether evoking snapshots of nostalgia or conveying Wthe wistful landscapes of Northern California, Kirsten Hagen’s paintings manage a clarity of vision and emotion. Her work in acrylic relies on a depth of natural colors and a breadth of perspective to build a sense of intimacy and scope that extend beyond the moments she depicts. The contrast between Hagen’s organic palette, full of blues and earth tones, and her infrequent use of vibrant man-made colors is particularly striking and sets the tone for much of Hagen’s work. True to the misty San Francisco Bay, Hagen creates a sense of mystery through texture and shading, allowing her paintings to exist in the middle of the stories they tell, with all the anticipation of distant and unknown places. www.kirstenhagen.com Waterpolo Acrylic on Canvas 36” x 36” www.Agora-Gallery.com/ArtistPage/Kirsten_Hagen.aspx Wallace ritish-French artist and printmaker Wallace has created a unique art form whereby she takes existing images and transforms them intoB something entirely new. Inspired as much by the revolutionary work of Andy Warhol as by a lifetime of traveling the world, Wallace focuses her graphic art on uncovering and explicating the narrative element of a particular image, working with authentic documents to tease out the narrative threads and then utilizing digital technology to create a particular visual effect.

Using photographs and postcards, the artist presents to the viewer images meant to break down barriers of understanding, to bridge the gap between past and present, and to demonstrate the profound meaning underlying every human experience, both challenge and triumph. As Wallace says, “Without obstacles, there is no life.” 42 Best Port 037 (2) www.Agora-Gallery.com/ArtistPage/Wallace.aspx Photographic Print on Fine Art Paper 20” x 20” ARTisSpectrum | Volume 35 | artisspectrum.com 24 Carol Carpenter fauvist approach to color and loose brushwork characterize the paintings and prints of Carol Carpenter. Starting with an abstract layer applied Ain splashes and washes to the canvas, Carpenter builds up her palette and image. In this process of coaxing scenes or natural subjects from this base, Carpenter maintains a level of improvisation in the work. Her pieces range in abstraction, but always celebrate color and fluidity. They reimagine and recombine natural scenes, maintaining a cohesive sense of color and mood even as they swirl with an uncountable number of pigments.

Carol Carpenter lives and works in Columbia, Maryland. Her vibrant oil and acrylic works exude spontaneity and passion, drawing the viewer into a world of emotion, where natural scenes are filtered through her eyes and Yellow Forest Giclee Print on Paper 22” x 28” hands into shifting landscapes. www.carpenterfineart.com www.Agora-Gallery.com/ArtistPage/Carol_Carpenter.aspx Stephen Najda ith ink or oil paint, Stephen Najda composes fluid images. Each abbreviated human form becomes a graphic part of the whole. Smooth, shaded forms borderW rapid, energetic lines of pigment. The figures share this energy, coming to life in the expressive movement of the brush across the canvas. The paint drips and swirls, creating organic forms even as the figures become more abstract. Even still, each subject maintains a presence and sense of weight in the canvas, pulled with the drips, continuous strokes, and their own body weight into the world of each image.

Najda divides his time between Glasgow, Scotland and Warsaw, Poland. He explores abstracted thought in his work, drawing on an interest in the quantum world, imagination, and consciousness brought on by his work in the field of quantum physics.

www.najda.net www.Agora-Gallery.com/ArtistPage/Stephen_Najda.aspx Albino woman with mother beside a dead tree, near Moshi, Tanzania Oil on Canvas 23.5” x 19.5” Corinne Garese rench painter Corinne Garese gracefully combines a traditional style with modern decorative elements in her luminous figurative landscapes, portraits,F and still-lifes. Garese strives to achieve a perfect balance of light and color, with a focus on brushstroke and more pronounced textures to introduce a modern feel.

Above all, Garese aims to bridge the world of the past to our modern world. In much of her work, she seeks to reinterpret the Old Masters and shape new images that both tell of the lost world of the past and also describe and explore today’s style and understanding of the human experience. In landscapes, what’s of interest for Garese is capturing the spontaneous expression of nature’s beauty that’s found in the works of earlier artists (still ignorant of the ravages of pollution)—a kind of innocence.

www.Agora-Gallery.com/ArtistPage/Corinne_Garese.aspx Crique Oil on Canvas 39.5” x 39.5”

25 ARTisSpectrum | Volume 35 | artisspectrum.com Michael Gleizer n his portraits and landscapes, Michael Gleizer brings to life the emotions of the people he depicts Ias well as the environments in which those people find themselves. “The main idea of my work is capturing people’s emotions, their souls and spirits,” he says. “I want to make you feel what my characters are feeling and see them through my eyes.” His paintings show those characters in many settings—from moody compositions of musicians to mystical images that glow with an otherworldly light.

Working in oils on cardboard, Gleizer creates paintings that combine a direct physical energy with sensitivity to even the smallest details of a character’s expressions. Broad strokes of paint take on a surprising delicacy in his hands, giving texture and depth to the backgrounds while also catching the effect of light on a building, a face or a person’s clothes. With a strong eye for perspective and scale, he instills each subject with a sense of movement, recreating their gestures and positions with lifelike spontaneity. But he is also able to turn his skills to more expressionistic effect, forcing the perspective of buildings or defying the law of gravity in images where people seem to float in space. The paintings that result reflect both the outside world and the inner world of his thoughts and feelings.

An artist since his childhood, Gleizer grew up in Russia (he now lives in New York), and the influence of Russian art in his work in strong. However, he takes the moodiness and mysticism that often characterizes the art of his homeland, and gives it a freshness and warmth that brings it convincingly into the present. And above all, his work is deeply personal. “Art is not just my occupation,” he says. “It is a state of my existence.” www.michaelgleizer.com www.Agora-Gallery.com/ArtistPage/Michael_Gleizer.aspx

Artist’s Study Oil on Cardboard 13” x 11” Picnic for Two Oil on Cardboard 13” x 12” ARTisSpectrum | Volume 35 | artisspectrum.com 26 Judy Blundell

Black Sun Rising Oil on Canvas 72” x 60” Terms of Endearment Oil on Canvas 92” x 82”

As a painter I am drawn to the power of the connection “that exists between society and the earth that we live upon,” says Judy Blundell, whose expressionistic style reflects time spent traveling. Blundell spends four to six months each year experiencing different cultures, immersing herself in a course of discovery and understanding. Her work reveals lessons learned through minute societal shifts and their impact on the world. “I focus less upon isolated historical events and more upon the collaborative tale told through culture,” she says. She expresses these feelings in her work through stark contrasting colors and textures. Juxtaposing a subtle, smooth blue with a vibrant, textured green depicts the idea of powerful forces coming together and breaking apart.

Blundell finds pleasure in the process of painting. Each brush stroke, each pigment, is precious to her. “My primary focus is the energy and force found in nature,” Blundell says. “The compression of the sea as it slams into solid land, the tension in the atmosphere the moment before the storm breaks, the seamless harmony of sky meeting the horizon.” She believes that there is more to the seemingly simple vista than meets the eye. “The energy of color,” she says, “and the power behind the stroke can also convey the idea of a world over which we have little control.” By laying down thick layers of paint on a large scale, Blundell enhances the panorama-like perspective of the world and emphasizes space. “The process of expression is an exploration of all boundaries,” she says. “Painting is the medium I have chosen to represent an honest existence that questions and reacts to the world around me. Exploring an idea, preparing the paint, mixing the colors and then applying them to the surface. It is an act of expression that, to me, is often more precious than the finished piece."

Blundell was born in Waukesha, Wisconsin, but pursued her Bachelor of Fine Arts and Studio Art at the University of Texas at Austin. In 1985 Blundell relocated to Australia, where she lived for nearly two decades. There, she continued her studies at the Julian Ashton School of Fine Art in Sydney. Returning to the States in 2002, she now maintains an active studio in Taylor, Texas. www.scumblingjude.com www.Agora-Gallery.com/ArtistPage/Judy_Blundell.aspx 27 ARTisSpectrum | Volume 35 | artisspectrum.com Orfeo he highly expressionistic, poignant paintings of Italian-American artist Orfeo juxtapose representational and abstract elements to explore the wide range of Temotions experienced by humans and the longing and fears that people inevitably come to experience, along with the fleeting innocence of beauty we all must confront at some point in our lives. Working primarily in oil on canvas, Orfeo creates complex compositions replete with surreal human figures and dreamlike forms and accented by texture that adds a lushness and also creates a tangible tension.

The human figure and its many manifestations is central in all of Orfeo’s work. Each work concerns itself with the complexities of human emotion, both represented by the physical form and also the many energetic layers that surround it. www.orfeofabbri.com www.Agora-Gallery.com/ArtistPage/Orfeo.aspx Intruder at Night Oil on Canvas 20” x 16”

Dominique Cracco he expressive artwork of Dominique Cracco ranges in medium and style from watercolor to acrylic to oil, and from post-impressionistic to purely abstract. Many ofT his pieces address the theme of human weakness and vulnerability. There is a sense of pathos to many of Cracco’s works that the artist treats with impressive sensitivity and subtlety, utilizing deep, saturated pigments and textural painting effects to convey his emotions and intended message. He adores painting portraits and investigating the psychology of his subject.

A self-taught artist, Cracco is at once inspired by classical art and determined to create works that are thoroughly new and modern. “I would like to be the first one in a direction, but I have to remain humble,” he says. He currently lives in northern France near Avesnois Park.

www.cracco.fr Ladies and Gents - The Worker www.Agora-Gallery.com/ArtistPage/Dominique_Cracco.aspx Oil on Canvas 29.5” x 20” Henrik Sjöström he unique and dynamic mixed media images of Swedish artist Henrik Sjöström reflect the artist’s dedication to breaking boundaries and finding new approaches to artistic expression.T Working in everything from acrylic and pen to spray paint, Sjöström uses a layering technique to gradually reveal to the viewer the greater truth of the subject being depicted, a process that in turn lends a degree of fluidity and energetic intensity to the work.

Inspired as much by ancient Norse mythology and legends as by current world happenings (such as 9/11), above all Sjöström seeks a certain degree of freedom in his art, opening up new modes of expression that allow him to explore past and present discourses and bring the viewer ever closer to the darkest and lightest truths of our collective experience. www.Agora-Gallery.com/ArtistPage/Henrik_Sjostrom.aspx

Maybe Baby (R.I.P. HR Giger) Pen on Canvas 23.5” x 35.5” ARTisSpectrum | Volume 35 | artisspectrum.com 28 Rody From my childhood,” Rody says, “I was always fascinated by the old pictures, old postcards.” That fascination has several sources, all of which“ come through in her striking oil paintings. The first of those sources is Paris, especially what the artist refers to as “the imaginary Paris”—the iconic City of Light, with its striking 19th-century architecture and aura of romance. Many of Rody’s paintings capture that iconic Paris in sharp detail. From elegantly composed street scenes to interiors that reflect both the earthy intensity of barroom life and the mystically inflected decadence that was so much a part of the city’s allure, she depicts a Paris that is at once a real place and a dreamscape upon which she can project her vision.

The Cards Player Oil on Canvas 36.5” x 26”

Strongly tied to that idea of a romantic, Belle Époque Paris is the distinctive palette Rody employs in her work. With the ambience of early photography in mind, she bases her works on a color scheme that starts from the combination of sepia and white, rather than black and white. This gives her images a basic warmth that sharply captures the nostalgic feel of 19th-century photographs. But the artist then gives that aura a subtle twist by adding perfectly placed bursts of bright color to her paintings. A red balloon, car or dress will provide the focal point that animates a subtly toned image.

That animated spontaneity is something that Rody is always striving for in her work. With a free sense of line and composition, she creates images that, for all their classical beauty, never feel studiously composed. Rather, they project a feeling of movement, a dynamic flow in which the juxtaposition of colors, textures and rhythms keep the viewer’s eye in motion and brings Rody's Paris to life. www.Agora-Gallery.com/ArtistPage/Rody.aspx

Lady with Unicorn Oil on Canvas 32” x 27.5”

29 ARTisSpectrum | Volume 35 | artisspectrum.com Viktoryia Vinnikava iktoryia Vinnikava's passion for photography began as a child. She says that she was fascinated by family Vphotographs taken by her father and "the mystery" of the darkroom. Through her first lens, she remembered seeing the "beautiful details of ordinary things which the naked eye can't see."

Though born in Belarus, Vinnikava formed her artistic vision in the United Arab Emirates, where she lived for 12 years. She uses desert landscapes as an "endless source of inspiration" and to experiment with curves, textures, and shadows. Vinnikava gives her images movement, depicting the desert's playful interaction between color and light. While she shows the sand's abstract, yet natural, patterns, Vinnikava captures a moment in time that will be gone in a gust of wind. Dance of the Wind Photographic Print on Acrylic Glass 16” x 24” www.agora-Gallery.com/ArtistPage/Viktoryia_Vinnikava.aspx Kyra Cowan anadian artist Kyra Cowan creates figurative and expressionistic portraits and landscapes that combine a strong sense of detail with a depth of emotive expressionism not always seen in Crealistic renderings. Her dynamic compositions, strong brushstrokes, and vibrant colors translate to images as beautiful to behold as they are infused with meaning.

Cowan’s paintings are intended to give the viewer a deeper perspective on the human condition as it’s experienced individually and also as a collective whole. Experience has taught her that we all suffer the same fundamental fears, as well as sources of joy and contentment, and that we can see our own experiences in the faces of others. As Cowan explains, “The images I create are mirrors. They reflect the time we live in today and the experiences I have gone through personally.”

www.kyracowanart.com www.Agora-Gallery.com/ArtistPage/Kyra_Cowan.aspx

It’s All About The Boots Babe #1 Oil on Board 24” x 12” Marianne Bech anish artist Marianne Bech capitalizes on the velvety texture and intense colors afforded by pastels to create expressionistic landscapes and cityscapes and work thatD almost borders on the surreal. Motifs range from abstract concepts to fairytale- like terrains set in expressive colors stretching out toward distant horizons. Figures play a central role in her work as well, but often in a simple, stylized way, coming to represent not only the individual but also the collective, and intended to add a touch of humor to the composition.

Inspired by the great Danish artist Anna Ancher, along with years of international travel and a love of natural landscapes, Bech paints images that are transcendent and yet imbued with meaning, giving the viewer a closer look at the complexity and profundity of the human experience. www.pasteltegning.dk www.Agora-Gallery.com/ArtistPage/Marianne_Bech.aspx 117-15 Pastel on Paper 28” x 20”

ARTisSpectrum | Volume 35 | artisspectrum.com 30 Darla Rewers

arla Rewers considers art to be “about intentional transformation and exploration.” In paintings and sculpture, RewersD depicts people and animals in imaginary landscapes. Fish swim through endless oceans of orange and figures float above pictorial fields of intricate patternwork. A glowing, sun-like sphere shows up again and again, here against murky depths of gray, there glimpsed through tree branches. Some pieces are built completely from painted textures. Rewers explains that in her compositions, “echoing the biologic contours found in nature helps me access an inner meditative state.” Ancestries/Tapestries Oil & Mixed Media on Canvas 40” x 30” The thing that strikes the viewer first about Rewers’ work is her unrestrained approach to materials. For the two-dimensional base, she uses everything from oil and acrylic to encaustic and gouache. She then draws the composition out into new physical planes by collaging and attaching found objects on top. She may add metallic or translucent elements, or perhaps augment a work with chunks of glass. Rewers is a chameleon, adept at slipping into different techniques as each composition calls for them. No two of her pieces are alike; it is an instinctive and wonderfully open-minded way to work. She also makes sculptures, using glazed ceramic to shape otherworldly, body- like forms.

In the other visual elements too, Rewers continues to employ both open-mindedness and technical skill. She uses brilliant colors in unexpected, improbable combinations, but she also is disciplined in the way she creates shadows, gradients, and sharp contrasts. Her patterns undulate, seeming to grow and change organically and wildly – yet they are always depicted with clean lines and clarity. Her subjects are surreal, but her compositions are neatly lucid. Encaustic Mandala Encaustic on Canvas 8” x 8” x 1” Rewers lives in Seattle, Washington, where she has both an art gallery and a holistic veterinary clinic. She has been exhibiting artwork since the age of eight, and is collected privately all over the world. www.darlarewers.com www.Agora-Gallery.com/ArtistPage/Darla_Rewers.aspx

31 ARTisSpectrum | Volume 35 | artisspectrum.com Riya Sharma

Dry Water Photograph on Fine Art Paper 30” x 45”

self-described professional travel and street photographer, Riya Sharma captures the vibrancy of everyday life in contemporary India. Riya’s work fits comfortably somewhere between portraiture, action shots, and landscape. She works Ain rich reds and yellows, and knows exactly when to deploy a shock of green or a glaze of pure white. Her compositions make great use of symmetry and framing effects. Drama is inherent in these styles. When Riya photographs scenes, across the board the images are highly atmospheric, with the intensely picturesque weather of India acting as the prevailing emotional layer. When she photographs people on the street, she zeroes in on singular moments in time. Her subjects throw their arms up, embrace, and share knowing looks with the camera. In many instances her portraits are her action shots.

Riya has said, “My goal is working towards taking the ‘perfect’ picture – that combination of technique, style and impact that still draws people to look at an image years or decades later. The fact I’ll never achieve this is what motivates me to keep shooting." However, her body of work portrays thoughtful themes that are anything but simple. People are depicted in their everyday clothes, confronting the camera neither polished nor posed; their individual personalities are allowed to shine through. Street scenes are composed romantically, but the gritty details are left in the shot for the viewer to appreciate. Haze, dust, lens flare - these are all included. When these snippets of truth come together, the work conjures a focused atmosphere that is nevertheless the result of creative choices. It is no surprise, then, that Riya often works as a documentary photographer, concentrating on street scenes in impoverished neighborhoods.

Riya was born in Hathras, India and today lives and works in the northern region of Gujarat in Kalol Dist. Gandhinagar, where she grew up. Riya is an official photographer for NYI Photo World Magazine. In addition to gallery exhibitions, her art has been published several times in the Indian newspaper Divya Bhaskar, in London's best selling newspaper Asian Voice, Gujarat Samachar, and in Art Business News. Recently, Riya Sharma was nominated and short listed in The Asian Awards (Honouring Asian Excellence) in the Arts Category 2016. www.riyasharmaphotography.com www.Agora-Gallery.com/ArtistPage/Riya_Sharma.aspx Pious Devotee Photograph on Fine Art Paper 45” x 30”

ARTisSpectrum | Volume 35 | artisspectrum.com 32 Barbara Bateman

orn in Melbourne, Australia, Barbara Bateman describes a childhood lived in various country towns. “TheB country environment,” she says, “has always been the Colourful Sanctuary Oil on Linen 48” x 60” inspiration for my artwork.” Returning to the city of her birth, Bateman attended Melbourne University, majoring in Painting and Drawing and later earned a Graduate Diploma in Museum Studies at Victoria College. The following twenty-three years saw her become involved in art education, which culminated in her appointment as Head of Art at three major private schools in Melbourne: Billanook College, the Tintern Girls Grammar School, and the Huntingtower School.

In 2004, Bateman left art administration in order to devote herself fully to her own artistic career. She now works from two studios, one located in the suburbs and the other on the coast, with her surrounding scenery acting as fuel for her rich, contemporary landscapes. “Most often,” Bateman says, “my inspiration is observed, drawn, and painted in situ in that beautiful, rugged environment.” Bateman’s ability to bring the life and energy of the Australian bush into each of her paintings is what allows the viewer to understand not only the strength of that environment but also the emotion connected to each place as seen through the artist’s eyes.

Bateman’s oil-painted landscapes draw inspiration from the Western tradition, but her understanding of color and rhythm is also influenced by the work of aboriginal artists. Bateman’s landscapes are painted in vivid yet soothing cool colors. Her works draw inspirations similar to that of Otway Cool Waters Oil on Linen 54” x 48” Manet, who once said, “There are no lines in nature, only areas of color against each other.” Bateman is active in a number of environmental groups, choosing to glorify the natural world through multiple forms of advocacy. The strength of emotion in her work is representative of her drive to physically interact with the environment, to treasure it, and to share its power. “Color for me conveys human states and celebrates passages of time that are both specific and enduring,” she says. “It is the color that expresses sensation and what is underneath.”

Barbara Bateman's work has been regularly shown in many significant galleries in Australia, and she says that she is very excited for her first show in the U.S. at Agora Gallery. www.barbarabateman.com www.Agora-Gallery.com/ArtistPage/Barbara_Bateman.aspx

33 ARTisSpectrum | Volume 35 | artisspectrum.com John Diamond, M.D.

ohn Diamond, M.D. believes that art is an act of meditation, both for the creator and the viewer. A doctor, authorJ and photographer as well as a painter, Diamond takes his philosophy on wellness and healing, and incorporates it into his images. His paintings are a striking embodiment of his desire to transmit healing energy, with the clean lines of his work reflecting a sense of internal balance. He calls his works “visual Haiku poems released in the span of one tranquil breath,” and that idea of following one thought through to its peaceful, positive end unifies his paintings and gives them a clear, focused presence.

For a long period of time, the artist did not display—or even keep—his artwork, making the process of creation, rather than the final product, his goal. In the images that he has now chosen to exhibit, executed in ink on materials ranging Untitled Ink on Paper 8.5” x 12” from paper to archival foamboard, he shows a sharp sense of composition and sensitivity. He creates works in which an elemental simplicity is combined with an artistic complexity that makes them formally striking and spiritually rewarding. www.johndiamondart.com www.Agora-Gallery.com/ArtistPage/John_Diamond.aspx

Dominic Fondé

orn in Newcastle upon Tyne, England, Dominic Fondé earned his Master of Design, specializing inB blown glass, at the Edinburgh College of Art in Scotland. In the late 1990s, he worked with Steven Newell, an American glass artist who specialized in sandblasting. Fondé decided to explore drill engraving, eventually joining the Guild of Glass Engravers. The technique allows him to explore narratives through imagery. His stories are designed, he says, to “explore the emotional weight that objects have in our lives.”

Fondé’s intricate glasswork engravings feature birds and repeating patterns with titles that frame nature as a grand concert or show. Not only do these works explore the depth and flexibility of glass as a medium, but the kaleidescope effect of the animal engravings draw the viewer into a modern and A Parliament of Owls Drill Engraved Glass 8.5” x 12” entrancing pseudo-natural world. He is, above all, a proselytizer for glass. “A glass can hold more than water and a vase more than flowers,” Fondé says. “They hold thoughts, feelings, and memories too.” www.dominicfonde.com www.Agora-Gallery.com/ArtistPage/Dominic_Fonde.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 34 Marian Gaucher

ntricately wrought yet happily uninhibited, Marian Gaucher’s artwork offers what she calls “a puzzle for the eyes.” Gaucher is equally influenced Iby Cubism, Old Master realism, and the complex aesthetic possibilities of geometry. Her pieces reflect a deep understanding of mathematics on top of what are traditionally thought of as the building blocks of art - namely light, line, and color theory. She fractures an object to show its sides, but also weaves it into a larger composition of other objects and figures that have been opened up the same way. She is able to balance the fracturing effect throughout a piece, thereby creating a larger geometric feat and allowing the audience a glimpse of an entire new world.

Gaucher’s eye is roving; she depicts people in action, city streets, leafy landscapes, and all manner of still life arrangements. In pastel and oil paint, she recreates lively concerts and quiet autumn hillsides. Her people and her object studies are equally expressive, with bright palettes and unpredictable, compelling lines lending a constant energy to any one of her chosen subjects.

Gaucher was born in Canada and currently lives in Ottawa, where she studied art. She has exhibited in both Canada and the United States.

www.mariangaucherfineart.com www.Agora-Gallery.com/ArtistPage/Marian_Gaucher.aspx Free Foliage Oil on Canvas 24” x 16”

Kristina Garon

flood of bright, liquid color is the first thing viewers are likely to notice in Kristina Garon’s paintings. Working in acrylics on Acanvas, Garon makes the most of the intense hues acrylics offer, creating arcs and swirls of pure color. “I love to work with acrylics because of the fluidity they give,” she says, and that fluidity is a major part of what gives her canvases their sense of motion and dynamic mix of textures. However, it is the combination of those streams of color with sharply drawn lines and bold, thick brush strokes that allows the artist to fully realize her vision. Through that mixture, she constructs a world in which the abstract and the realistic meet in a distinctive fashion.

The realistic components of Garon’s work emerge from the patterns and colors that contain them. Human faces and figures are incorporated into the flow of her paintings, carried along by the currents of color and motion. Sometimes those faces stand out in stark relief against their backgrounds while at other times they are submerged into the overall patterns of a painting. Those shifting relationships give her work a constant sense of freedom and spontaneity, taking the viewer on a journey characterized by an open, positive feeling of adventure. www.kristinagaronart.com www.Agora-Gallery.com/ArtistPage/Kristina_Garon.aspx Engaged In Thoughts Acrylic on Canvas 40” x 30”

35 ARTisSpectrum | Volume 35 | artisspectrum.com Shireen van Nieuwenhuyse

hireen van Nieuwenhuyse draws her inspiration from a variety of sources, mainly her observation in nature of color, light and shadow,S texture, and shape. She creates layers of color with energetic brush strokes and richly textured surfaces using sometimes one or two techniques in the same painting. Her work has a strong emotive quality to it and draws the viewer into a vibrant world where one is free to explore any impressions that might rise to the surface. Depending on how the viewer looks at her work, he may see images of sunrises, horizons, or landscapes, with lines that slowly blend into one another.

Van Nieuwenhuyse’s experimental approach means she is not afraid to play with size and material, even inventing her own methods of sculpting the paint onto the canvas. Her background in sculpture and ceramics has left its mark on the way she approaches paint as a material that can be molded and not just applied directly onto a canvas.

At the moment, van Nieuwenhuyse is strongly influenced by the Japanese aesthetic of wabi-sabi, a movement that celebrates the beauty of imperfection and transience. As a result her camera and sketchbook are never far away. She uses whatever is at hand, whether scraps of paper or tissue, to jot down, sketch and depict the ideas and shapes that come to her. She then Untitled Blue Lagoon Acrylic on Canvas 36” x 18” Summer Rain Acrylic on Canvas 72” x 48” collects and fuses these ideas together with other elements to try to evoke that particular experience. This process is as important, if not more so, than the final outcome, as her work is always adapting and changing along the way. It is what leads her onwards into a journey of color and texture.

Having travelled and lived in many countries through her life, van Nieuwenhuyse and her work have both taken on this ever- evolving process. Shireen van Nieuwenhuyse is a British artist, born in Iran and educated in the UK at the Byam Shaw School of Art in London and graduated from the Ravensbourne Art College in Kent. Today she divides her time between the US, where she lives, and Europe. She has exhibited in Europe and North America and is collected in Canada, Argentina, Spain the UK and the US. www.shireenvnart.com www.Agora-Gallery.com/ArtistPage/Shireen_van_Nieuwenhuyse.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 36 Auriane Margueron

he vibrant and fanciful paintings of Swiss artist Auriane Margueron combine bright hues with figurative scenes, landscapes,T and surrealistic elements. A self-taught artist, Margueron paints from her inner emotions in the moment, starting with a face or faces of her female figures and expanding the composition from there. “Painting, drawing is my means of expression, I can show my inner turmoil, my feelings and my desire to do good,” she says. Margueron is also interested in spirituality and natural places like the forest, and this is reflected in her artwork, which has an aura of giving and healing, and a mother earth vibe.

Despite the personal nature of her paintings, there is an undeniable universality to Margueron’s work that attracts viewers. Her compositions are filled with light and color and the sense of the feminine, as well as her personal history. Margueron believes that some of her talent comes from being descended from three artists. Others ask her about possible influences from African art. “Maybe it’s because my grandmother was born in Africa and lived there for a few years,” she muses. Margueron started out painting with acrylics but is now devoted to oils. www.auriane-artiste-peintre.ch www.Agora-Gallery.com/ArtistPage/Auriane_Margueron.aspx Untitled 6 Acrylic on Canvas 39.5” x 31.5”

Ayda Mansour

he abstract expressionist works of Egyptian painter Ayda Mansour are both visually powerful and emotionally profound. Each paintingT begins as either a realistic or surreal image, and then as the work evolves, it slowly moves toward the abstract. Emotions and ideas are expressed through color, texture, and surprising intersections of line and form. The unique effect that Mansour achieves is a product of the combination of these differing techniques. Her final product is both visually compelling in complexity and fascinating in the depth of meaning hidden beneath.

Born in Cairo, Egypt, and currently living and working in Montreal, Canada, Mansour is no stranger to the tensions and contradictions that exist when two cultures collide. Much of this is portrayed in her art, in which she intertwines social, political, and cultural themes of both the past and present. With these themes, she aptly demonstrates the cacophony and possibilities that arise when one juxtaposes differing perspectives. As she explains, "The idea of living between two very different cultures tends to create an emotional struggle, as your mind is constantly bouncing back and forth between what’s going on in your two homes.” www.AydaMansour.com www.Agora-Gallery.com/ArtistPage/Ayda_Mansour.aspx Untitled 37 Acrylic on Canvas 48” x 36”

37 ARTisSpectrum | Volume 35 | artisspectrum.com FONSEK

edro Fonseca, known better as FONSEK, began sketching with pencils at age five, detailing the lives of various heroes and theirP inevitable adventures. He would transition to oil painting a decade later, choosing to delve deeper into the arts, searching for his own style. Eventually FONSEK attended the Universidad Iberoamericana, studying under Rafael Zuñiga, known for his paintings of angels. Though he admired his teacher, FONSEK says, he wasn’t especially fond of constructive criticism, and did everything he could to avoid his mentor’s corrections. Searching for relief from the tyranny of formal learning, FONSEK found himself intuitively drawn to abstract imagery, which he began exploring on his own.

FONSEK’s mixed-media portraits of iconic celebrities, each adorned with a powerful quotation, show the best side of humanity and the subjects themselves. Painting in a Pop Art style adorned with splattered paint, FONSEK's style is similar to that of Jackson Pollock, whom he refers to as his “headmaster.” Over the past decade, FONSEK’s work has been traveling farther afield, moving across the Gulf of Mexico to various Caribbean islands, Glitter Marilyn Mixed Media on Canvas 51” x 51” and as far east as Hong Kong. Recently, his work made its way northward to Manhattan. “My artwork has to define happiness,” FONSEK says. “The sky is the limit.” www.fonsekart.com www.Agora-Gallery.com/ArtistPage/FONSEK.aspx Jean Lahoud

ean Lahoud earned a Master of Architecture from the Holy Spirit University of Kaslik in Lebanon, the country of his birth. However, aJ six-year relocation to Ecuador saw him pivot to painting. There, he drew his inspiration from the colors, shapes, and people surrounding him. Lahoud is more widely influenced by South American and African tribal artwork, costumes, and figures. He describes his work as “twisted scenes from daily life,” painting like Picasso with just a touch of Kandinsky.

Lahoud primarily uses acrylic, but occasionally shifts to oil, pastel, or watercolor. His figures are abstracted to varying degrees, becoming, at times, mere hints of the human form. “I believe that painting must be different than reality,” Lahoud says, discussing his style. Reality, he believes, is the purview of the camera. Painting plays a different role. “A painting can be compared to a dream,” Lahoud says, “highly imaginative and rich in twisted realism.” He prefers to approach his work without preconceptions. The first few brushstrokes serve as a lamp held up to a dark roadway, revealing the path forward. “Painting is a reflection of my inner thoughts and visions,” he says, “expressed through the language of the arts.”

www.jeanlahoud.com www.Agora-Gallery.com/ArtistPage/Jean_Lahoud.aspx

LM12: Untitled Acrylic on Paper 16.5” x 11.5”

ARTisSpectrum | Volume 35 | artisspectrum.com 38 THE BREADTH OF A LIFE an interview with Walter Rossi

By Angela Di Bello Photos by Nanami Yamaguchi

39 ARTisSpectrum | Volume 35 | artisspectrum.com ARTisSpectrum | Volume 35 | artisspectrum.com 40 Where did your inspiration to make This was the best time of my life! I was a college art come from? student studying architecture at the time. There, I I was born in Italy in 1951, north of Rome in a little had my drawing table and all the resources to be village called Fiuminata, which means river born. creative. I learned from the best. I was a student of My family had a workshop for metal and wood Bruno Zevi, and when I studied art, I was a student and I spent all of my time in the work shop, where of Umberto Mastroianni, with whom I visited the I learned the craft in my early teens. Galleria D’Arte Moderna in Valle Giulia where we had pieces in a permanent show. Mastroianni Did you always know that you were influenced me tremendously and encouraged an artist? me to continue with my art. He would say, “Walter, I have always been an artist even though, as don’t give up, because you have the talent!” During a young boy, I didn’t know what that meant. those days I knew Fellini, Vittorio Gassman, and Building things, anything, was my favorite many other highly creative people, all of whom pastime. When I was a child, I made my own inspired me in their own way. toys, puppets and nativity. My family thought I was crazy because my hobbies were just Why architecture? building things without any practical purpose. I decided to pursue architecture because I felt that going to the academy of art and getting a Do you recall when you had your degree in art would make it more difficult for first studio and what it was like? me to find a job. In 1979, I got my doctorate in My first studio was in Rome, in 1970. The studio architecture, after which I went to London and was in a loft at the top of an eight floor building, started to work for the architectural firm Water where I could see the city from a big terrace. House and Ripley.

41 ARTisSpectrum | Volume 35 | artisspectrum.com How long were you in London and when did you move to New York? I stayed in London for three years and had a little apartment with my future wife Caila. I used one room as a studio, where I put a kiln for ceramics so that in my spare time I could work with clay. I still have some of my ceramic work from that period. However, London was not challenging enough for me and in 1982, Caila and I moved to New York. Caila’s family invited us to stay in their family house in Brooklyn, which is why we got married when we did.

The house was purchased by Caila’s grandfather in the early 1900s. I was working in an office as an architect at first, but after one year, I started my own company. You see, my father-in-law was a lawyer, and he helped to open a corporation for me called, We Do Neon, Inc. I began to make neon for shops, architects and designers, and met many important people and artists in the neon business during that time. Everyone knew me!

What was the neon business like in the eighties? The neon business was very lucrative. It was at participate in contemporary furniture shows at this time that I bought most of my big machines the Javits Center. My wife did the marketing, and to work in metal, and the basement of the house I did the design and production. My furniture became my studio. In the early 90s, I got tired of was featured in many publications, including working in neon and went into architectural work Architectural Digest and Interior Design. During this renovations and furniture making, starting a metal period, I had shown all over the city, including The furniture company called, Walter Rossi, Inc. Bronx Museum of the Arts.

Did your wife Caila become involved Everything was perfect, until my wife became ill in in the business? 2004. I had to abandon my work to take care of My wife and I worked closely together and opened her. She passed away in 2007, and it was at this time a big show room on Eldridge Street, in Chinatown that I stopped working as an architect and furniture on the lower East Side of Manhattan. I started to designer and focused on my artwork full time.

ARTisSpectrum | Volume 35 | artisspectrum.com 42 43 ARTisSpectrum | Volume 35 | artisspectrum.com What was important was to make art because it was the materialization of my spiritual realization

ARTisSpectrum | Volume 35 | artisspectrum.com 44 Was this your moment of awakening Museum, The American Academy in Rome, and with respect to your art? at the Nazionale D’Arte Moderna, also in Rome. Yes, it was at this time that I realized how short and precious life is. I went deep into meditation, What inspired your first kinetic and I knew then that my work was really about piece? achieving spiritual knowledge. Showing my work My first kinetic sculpture was the Angels. There did not matter—what was important was to make was a profound knowledge about the universe that art because it was the materialization of my came to me—the going and coming of life, the spiritual realization. infinite breath of life, the stars that attract and repel matter at the same time, and my questions on why Looking at my sculptures, I always felt like we are here for a short time and then disappear someone else was using my body to manifest a into oblivion. thought or an idea. I have had this feeling many times, and quite honestly, I feel as though I can’t After my first piece, the others came easily, and I take real credit for my work. realized that even the sound they made was an important part of the piece. Each work was making Where did you show your artwork? a different sound, and that was a surprise to me At that time, I started to show at Heller Gallery because there was always a harmonic connection and at Vorpal Gallery on West Broadway. I met between the movement and the sound. Leo Castelli in 1986, and we, in fact, became very good friends. He sold some of my small ceramic Where did your knowledge of pieces. I had some of my work at the Brooklyn

45 ARTisSpectrum | Volume 35 | artisspectrum.com mechanics come from? Before studying architecture, I went to a technical school were I learned mechanics and construction as an industrial designer, so my kinetic sculptures come naturally to me because I have the technical skills as my basis. I have always liked machines – when I was 15 years old, I built a competition car – so repairing machines, any kind of repair, was easy for me. This is why I have been able to build my machines.

What do you consider to be your greatest gift? Nothing of knowledge is ever wasted. I think that with all of the time I spent making art, I could have developed a career in another profession; however, then my desire for making art would have been repressed and frustration would have resulted. At least I did it, and I can say that I did what I liked most. My art work is there to be seen. My calling was to simply make it and to continue to make it until my last breath.

ARTisSpectrum | Volume 35 | artisspectrum.com 46 Daniela Friederike Lüers

With the Wind Acrylic on Canvas 47.5” x 63”

aniela Friederike Lüers says that with her lively, playful paintings, she wants to “quote and present traditional themes inD a contemporary context.” This begins with her subject matter: lone horses and deer, cars, statues, flowers, swimming ducks, and the human figure. They are timeless topics for a painter, yet Lüers engages in a push-pull with her audience when it comes to placing them. She often strips them of their backgrounds, opting instead for a flat color or simple pattern. Animals and humans alike appear singly, and without an object in sight. What Lüers does give us is identifying information upon the subject itself: the clothes a person wears suggest a time and place, while their body language suggests a personality and narrative. She does not depict just any car but a certain make and model; she does not simply present a horse but a galloping, panting stallion. This kind of emotional characterization is what makes Lüers’ work unique.

Lüers’ visual style draws on several epochs in contemporary art history – there is a bit of ’60s Pop, a hint of Cubism, and a clear influence from recent hyperrealism. She employs great detail and a nuanced sense of light in her depiction of her main subject, with equal attention paid to the pattern in a duck’s feathers or the way a silk dress stretches as it moves. Lüers highlights her main subject in many ways, from realistic texture to using a different color scheme than the background. She often uses flat planes and preternaturally slick lines in the background to make the foreground stand out.

Lüers lives in Mecklenburg-Vorpommern, Germany. She has exhibited, in solo and group shows, extensively in Germany as well as in Italy, the Netherlands, France, Switzerland, Poland, and the United States. Memory of a Rose Acrylic on Canvas 59.5” x 47.5” www.daniela-lueers.de www.Agora-Gallery.com/ArtistPage/Daniela_Friederike_Lueers.aspx

47 ARTisSpectrum | Volume 35 | artisspectrum.com Ron Robidoux

or Ron Robidoux, light is a subject and an inspiration. “The difference in light in a place like central Italy compared to southernF England or Portland, Oregon, is very exciting to me,” he says, and capturing those differences is central to his work. In his watercolors, the artist uses his skill at recreating the effects of light to bring out the essence of a wide variety of environments. From giving depth and dimension to rural landscapes to recreating the quiet moodiness of indoor scenes, Robidoux exhibits a sharp eye for texture and detail. He is particularly good at delineating the subtle variations of tone that can be found in skies, bodies of water and even the backgrounds of dark interiors.

But as important as light is to him, it is far from the only distinctive element of his paintings. With a background in graphic design, he takes the precision and clarity of that form and incorporates them into his images. In his paintings, there is a fine sense of proportion and scale, bringing each landscape, building or person into clear focus and drawing the viewer in. Making his viewers “experience the joy I have in painting” is a primary goal for Robidoux, and is one at which he thoroughly succeeds. www.ronrobidouxart.com www.Agora-Gallery.com/ArtistPage/Ron_Robidoux.aspx High Plains Silo Watercolor on Paper 24” x 18”

Judy Howie Coury he luminous paintings of Judy Howie Coury are like a breath of fresh air, enveloping viewers in the natural landscapeT as if they were personally experiencing it. Inspired by the forests, lakes, and marshes surrounding her home in Maine, Coury perfectly captures the dazzling light of the outdoors with vivid colors. “I am still most inspired by sitting quietly among the trees in Maine,” she says. Running the gamut from softly naturalistic to completely abstract, Coury’s paintings are infused with her joy and pleasure in painting. Pairing a complex palette of bold colors with powerful, impressionistic brushstrokes, Coury deftly guides the viewer’s eye across the canvas and creates pieces that are at once grand and intimate. She prefers oils and glazes for the glow of color they lend to her richer hues, and paints from gut instinct. “I like to respond to my surroundings or the image I am making, and I try not to think too much about what I am doing but Fall Reflections Oil on Canvas 30” x 40” just let it happen.”

Coury currently divides her time between Maine and Boston. She worked in the corporate world for more than twenty years, but now makes painting her full time passion.

www.judyhowiecoury.com www.Agora-Gallery.com/ArtistPage/Judy_Howie_Coury.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 48 Robert Lenz

As a representational artist,” Robert Lenz says, “I always try to interpret nature in a dramatic, unique“ and personal manner.” In his still lifes, landscapes and portraits, done in oils on linen, canvas and board, Lenz brings the dramatic and personal alive through a style that combines a subtle yet varied use of colors, a sharp eye for texture and depth, and a balanced sense of composition. Whether he paints indoor scenes, or broad expanses of nature, the artist depicts spaces that are precise, yet never feel forced. There is a spontaneity to his work, a quality that Lenz calls “welcoming,” and which allows each image to forge an immediate connection with the viewer.

Lenz came to his realistic style partly as a way of standing apart from the artistic world in which he came of age. “While in college,” he says, “I found myself in the middle of Abstract Impressionism, and to be different, I stayed with Realism.” Having recently resumed his painting career after a 38- Kent Hollow Road Oil on Canvas Board 12” x 8” year hiatus, during which he worked as an art director and creative director in the advertising business, Lenz has taken the emphasis on communication that is a central part of that arena, and has given it new life. With his ability to use light and shadow and juxtapose colors in muted and dramatic combinations, Lenz captures the contours of Realism while giving each scene a contemplative aura that underlines its status as an impression of his internal world.

Though the unique style of Lenz’s work lifts it outside any simple conception of Realism, his paintings stay true to the goal of capturing the appearance and essence of each scene. “My goal is to pass along the joy and emotional connection I get from painting to everyone who sees the final pictures,” he says. www.rlenzart.com www.Agora-Gallery.com/ArtistPage/Robert_Lenz.aspx

Peonies Oil on Linen 14” x 18” Robert in his studio

49 ARTisSpectrum | Volume 35 | artisspectrum.com Kari Rindahl Endresen

hough influenced by the environment of arctic Norway, watercolor artist Kari Rindahl Endresen createsT artwork that transcends the traditional bleakness of the climate. Her stark paintings have a photo-esque quality that invokes the beauty of solitude in the otherworldly landscapes of the far north. In Endresen’s incarnation of these landscapes, one can find a complexity of visceral emotions reflected in her palette. The moody grays and blues of the natural elements perfectly contrast the warmer colors in the houses, wharfs, and settlements that nestle into the landscape. Complementing this is the infrequent inclusion of the colorful Northern Lights which mirror the warmth of the synthetic structures while adding an unusual, dreamlike quality to the work. Shelter Watercolor on Paper 32.5” x 45.5”

Endresen’s use of layered watercolors provides a sense of mystery and depth even in her more monochromatic work. In each painting, Endresen shifts between a variety of textures, easily fitting in evanescent fog, naturalistic mountains, and almost calligraphic brushwork. The translucent qualities of her watercolors allow her to selectively reveal or obscure different layers and scenes, smudging the difference between textures and colors. Endresen’s technique of slowly adding to her paintings gives the viewer an added insight into her creative process, allowing a sense of intimacy to her often forbidding landscape. www.karirindahlendresen.no www.Agora-Gallery.com/ArtistPage/Kari_Rindahl_Endresen.aspx Lucy O’Donovan

ucy O’Donovan paints insightful images of the human body and, in equal measure, the emotional life within. Every Lwork is a loving work of realism with thoughtful details and idiosyncratic touches. If O’Donovan uses models, she doesn’t let her audience know it; each image is a true portrait of an individual who feels like a personal friend of the painter. Children act playful and curious while adults are captured in moments of introspection and vulnerability. Her self-portraits are candid looks at the artist’s mood and self-presentation.

A self-taught artist, O’Donovan developed an advanced color theory that allows her to achieve a remarkable amount of depth in her lights and darks. Her palette is rich but always realistic. Light is a main character in her pieces, often deployed to dramatic effect with great contrasts or intense bursts of illumination. She is particularly fond of infusing her sitters with a golden glow that seems to imply a movement of narrative underneath the surface of the painting.

O’Donovan was born in Liverpool, England and currently lives in Glasgow, Scotland, where she is a researcher in molecular Donovan Oil & Charcoal on Canvas 15.5” x 15.5” biology of the brain. She has exhibited in Italy, Australia, Scotland, and America.

www.lucyodonovan.org www.Agora-Gallery.com/ArtistPage/Lucy_ODonovan.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 50 Farzad Golpayegani

I try to express what cannot be described in the real world,” Farzad Golpayegani says. In his work, the artist takes that desire" to transcend the limitations of realism and brings it to life through a distinctive approach to line and color. Working in acrylics on canvas, as well as in charcoal and marker on paper, he creates images in which swirling arcs of movement and intricately rendered patterns pull the viewer into a universe characterized by both energy and refinement. That combination gives a unique focus to his works, which have a strong physical presence, but project an aura of mystery and otherworldliness as well. “What I picture is very similar to what is seen in a dream,” he notes.

In addition to his work as a painter, Golpayegani is a musician, and a musician’s sense of rhythm and counterpoint can easily be seen in his images. Musical motifs crop up throughout his work, and the mixture of basic shapes and complex patterns brings musical composition to mind. Born in Iran, the artist also brings elements of Eastern art into a modern Western setting in his paintings. The intersection of all these threads is skillfully handled, resulting in works that are multi-faceted, while maintaining a strong sense of unity. 92 Acrylic on Canvas 48” x 48” www.farzadonline.com www.Agora-Gallery.com/ArtistPage/Farzad_Golpayegani.aspx

Larry Greenberg

he figurative expressionist paintings ofLarry Greenberg are often compared to the work of Matthias Grünewald, Max Beckmann, orT Francis Bacon. There’s a foreboding atmosphere to many of Greenberg’s pieces, which are populated with emotive, twisted bodies painted in deep, rich, dark hues of grey, brown, and earthy blue. Trapped in cave-like settings, these figures resemble characters from Dante’s Inferno or classical images of The Last Judgement, something Greenberg strives for. “I create figures that express the universal feelings of loneliness, hopelessness, and despair,” he says. Greenberg’s figures possess a compelling, sculptural quality that recalls the work of old masters and makes them seem as if they’re about to leap off the canvas. The juxtaposition between arms, thighs, legs, and torsos serves as a visual labyrinth that draws viewers into the composition.

Although not directly inspired by classical music, there is something very operatic to Greenberg’s work, and he uses classical music to help him concentrate while working. “As I work, I... focus on ‘listening’ to my paintings. With each stroke of the paintbrush, my painting ‘speaks’ to me and influences my next move.” It’s for this reason that many of his paintings are titled like musical works.

www.ldgreenberg.com www.Agora-Gallery.com/ArtistPage/Larry_Greenberg.aspx Opus 420 Oil on Canvas 48” x 36”

51 ARTisSpectrum | Volume 35 | artisspectrum.com Koya he calligraphic paintings of Japanese artist Koya express the joy and beauty the artist finds in daily life. “Life is shining,T and vibrant – and the fact that it will end sooner or later only makes it more valuable,” she explains. Utilizing the practices and materials of Japanese calligraphy, such as sumi (black ink) and white paper, Koya transforms the tradition of writing Chinese characters as an art form and uses it as a jumping off point for her modern, abstract works. “I try to express what lies behind the symbols, drawing as if making song visible,” she says. Perhaps this is why the evocative brushstrokes in Koya’s paintings appear almost like the movements of a dance, twirling and swirling in a way that speaks to the soul and uplifts the heart. The simplicity and elegance of Koya’s work creates a zen-like sense of balance that’s at once sophisticated and eloquent.

Born in Tokyo and a current resident of Kanagawa, Koya began studying calligraphy in 2004 and started adapting her knowledge to fine art paintings in 2007. Her pieces have been featured in numerous solo exhibitions in Japan and several group exhibitions abroad. Moon and Fish Sumi Ink on Paper 28.5” x 28.5” www.qtweb.com www.Agora-Gallery.com/ArtistPage/Koya.aspx

Goodash

nspired by the Japanese aesthetic of wabi-sabi, multimedia artist Goodash creates unique works of Iart that focus on the transience of existence, the hidden beauty in everyday objects, and the acceptance of what appears to be ugly or imperfect. In fact, it could be said that Goodash not only accepts it, but celebrates it in his art. First, he takes photographs of run down, dilapidated buildings with rough walls, broken glass, mold, and disintegrating foundations; then, in his studio, he combines these photographs with sketches to create remarkable photographic collages that he calls Photodraws. These collages, digitally printed on canvas, have an almost surrealistic aspect in that they Tradition Digital Print on Canvas 21” x 35” fuse reality with abstraction into scenes recognizable, yet unfamiliar.

Goodash’s current series focuses on Jerusalem, recalling the city's long history and meditating on the delicate balance between the Jews, Muslims, and Christians who share it. In Goodash's paintings one can sense the city's respect for the past, the importance of spirituality, and the looming possibility of political tensions. Goodash says he often uses gold to represent the Jewish presence in Jerusalem, while Muslims are represented by green.

Goodash graduated from the Fashion Institute of Technology in New York in 1967 and currently lives in Tel Aviv, Israel. www.Agora-Gallery.com/ArtistPage/Goodash.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 52 Banjerd Lekkong

anjerd Lekkong notes that in the Thai language his firstB name, Banjerd, means “an idea that is bright and creative,” while his surname, Lekkong, means “a durable metal.” So it seems quite natural that he would turn to the creative arts, particularly sculpture, and that the main material he would use in making his sculptures is iron. As a child, Lekkong worked in the garage of his family’s business, developing an intimate familiarity with machine tools, and with the metal that was to become such a formative part of his work. His later studies in architecture gave him an understanding of form and structure, of how materials can be transformed by the artist’s hand and given a solid sense of permanence and strength, coupled with lightness and delicacy. Top Left: Banjerd in his studio Those varied skills all come into play in the artist’s complex unique Top Right: sculptures. In his hands, iron Ravana’s Standing Iron 80” x 80” x 20” achieves a supple and flexible appearance, while still keeping Bottom: its bold, utilitarian character. Phra Ram Arrow Shooting Delicate curlicues of metal form Iron 24.5 x 16.5 x 10 dense patterns that coalesce into balanced structures and vividly realistic figures. It is as if he were sketching with iron, using his twisting lines of metal in the way a draughtsman would set up a pattern of pencil strokes. But the intricacy of that approach is only Hanuman’s Standing Iron 72 x 56 x 20” one aspect of Lekkong’s process. Bolts, gears, drill bits and other pieces of machinery become incorporated into his works, setting up a contrast with the softer, organic lines of the threads of metal surrounding them. The artist says he strives to show both the strong and the sprightly sides of metal in his work, and his precise, disciplined technique ensures his success at achieving that goal.

His works are also animated by a deep spirituality and a sense of history. Depicting animals, ancient warriors and figures from the Hindu faith, he instills them with an iconic power that is effectively mirrored in the materials used to create them. The balance of their intersecting lines and their classic, harmonious forms gives them a feeling of order emerging through complexity, turning an intricate, complicated process into a clear, elegant form of expression. www.lekkong.com www.Agora-Gallery.com/ArtistPage/Banjerd_Lekkong.aspx

53 ARTisSpectrum | Volume 35 | artisspectrum.com Top Left: Banjerd in his studio

Top Right: Ravana’s Standing Iron 80” x 80” x 20”

Bottom: Phra Ram Arrow Shooting Iron 24.5 x 16.5 x 10

ARTisSpectrum | Volume 35 | artisspectrum.com 54 Joan Criscione

On My Way Acrylic on Canvas 36” x 36”

oan Criscione creates meditative paintings that encourage a slow blooming of interpretationJ on the viewer’s part. Criscione works mainly in acrylic, with occasional mixed media elements, to create her abstract expressionist works. She selects few colors – often only two – and covers her canvases Are You There Mixed Media on Canvas 48” x 48” by creating sweeping shapes with blurry boundaries and intricate, almost invisible textures within. These fields of color are meant to be examined for their small variations and gently building shifts. Interest and emotion arise among these small ideas, which accrue into a statement. The overall composition acts as a counterbalance to this intricacy: it is streamlined and geometric, and operates on a larger scale.

Criscione describes her process as “painting what is in my heart.” Her practice is accordingly instinctive – she often paints to music and works only as long as the album is playing. This multisensory feeling comes through in the final product. Her paintings are tactile, with the brushstrokes layering and sloping paint in gentle patterns all over some canvases, and dripping and splattering others. The paint glides; it drags; it scratches across a too-dry surface. The pieces are also palpably rhythmic. The strong lines and bold tonal contrasts are beats, while the three-dimensional textures provide the subtler melodies that overlay them. Movement is all over the works. Colors gather, textures climb; the eye takes a journey in all different directions.

Criscione was born in Montclair, New Jersey and today lives in Boca Raton, Florida. She has been painting for over fifty years with many exhibits in New York, Florida, Paris, Venice, Florence, and soon Monaco. She is also an accomplished clothing designer, and has worked extensively in oil. www.joancriscioneart.com www.Agora-Gallery.com/ArtistPage/Joan_Criscione.aspx

55 ARTisSpectrum | Volume 35 | artisspectrum.com Eli Cantini or Eli Cantini, painting is “a necessity, a pleasure, and an inexhaustible experience.” Her inspiration comes from anything that provides her with a story.F Her process is spontaneous though and she does not know her painting’s theme until she is done. Cantini says that her work “becomes what it is as time goes by, transforming itself into an encrypted diary of my life, a piece of myself in chapters.”

She often uses crimsons and gold, but believes that she does not choose a color, but rather it “arises.” Her acrylic paintings may seem chaotic at first due to their overlapping colors and intersections, but upon closer inspection, there is an intimacy through all the noise. Her work becomes wondrous and bountiful while grounded in a real-world subject.

www.elicantini.com.ar Pieles Rojas Acrylic on Canvas 39.5” x 32” www.Agora-Gallery.com/ArtistPage/Eli_Cantini.aspx

Naji Zeghdoudi orking from France, Tunisian-born French artist Naji Zeghdoudi uses acrylic paints to create assertive abstract compositions. Strong lines orW rectangles of color cross each canvas, drawing the eye dynamically up, down, and across the works. In each new geometric shape, worn and irregular textures and slight variations in pigment create a sense of spontaneity. This organic counterpoint allows each new line on the canvas to vary in its own way, building variety and movement into each new path through the image. Often, strong black and white shapes are interspersed with moments of color.

Naji Zeghdoudi is inspired by the art and architecture of Italy, impressionism, and abstract expressionism. Hope and joy play into his work, as does indignation, particularly towards barriers in the world. His strong compositions often evoke this tension. www.naji-artiste-peintre.com www.Agora-Gallery.com/ArtistPage/Naji_Zeghdoudi.aspx Barrières 2 Acrylic on Canvas 39.5” x 32” Karl Girardet hen considering his work, it’s hard to believe Swiss photographer Karl Girardet is self-taught. Each majestic landscape and cityscapeW is a masterful example of how compositional elements and a distinct use of light and shadow, along with color, can transform ordinary subjects into something utterly extraordinary. Girardet’s processing skills serve to enhance the overall effect, resulting in images that literally take the breath away.

The Fault Photograph on Hahnemühle Paper 23” x 39.5” As a direct descendant of Karl Girardet, nineteenth-century artist to King Louis-Philippe under the First Empire, Girardet comes from an illustrious family of artists, and his artistic inclinations continue to evolve. What’s perhaps most remarkable about his work today is his ability to capture the depth of atmosphere for any subject and to reveal to the viewer all the magic that exists in the real. www.kgphotography.ch www.Agora-Gallery.com/ArtistPage/Karl_Girardet.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 56

The The Humanitarians

Agora Gallery believes strongly that art can play a crucial role in making the world a better place. ‘The Humanitarians’ focuses on artists represented by Agora who use their art or their artistic knowledge and talent to help others and to bring creativity, confidence and comfort to those who need it. How Art Can Help Happy Hearts By Dino Rinaldi www.Agora-Gallery.com/ArtistPage/Dino_Rinaldi.aspx

hile I love my art and try to focus on the humanity organization that every day is saving lives there. In a part of of women through my painting, I realize that being the world frequently associated with the violent taking of anW artist is both a lonely and introspective activity. This lives, this is an organization dedicated to saving them. consciousness of humanity isn’t something that I express only in my acclaimed paintings; to satisfy my soul and move Currently, I have been working with the American Friends my inner self, I devote much of my free time helping the of Magen David Admon to launch a $100 million initiative people of Israel through the American Friends of Magen to build a new national blood center for Israel. The current David Adom. facility is no longer sufficient to keep pace with Israel’s growing population, which now MDA is Israel’s EMS and blood- numbers more than 8.3 million services organization: essentially people. the Israeli Red Cross. MDA ambulances serve all of Israel, More critically, however, when and MDA is also the national the current blood center was provider of Israel’s emergency built outside Tel Aviv, that area blood supply. Unlike ambulances was considered relatively safe in the United States, all MDA from attack, as it was well out ambulances are managed and of range of the rockets used by dispatched by MDA command terrorist groups such as Hamas centers located throughout Israel. and Hezbollah. Now, even Hamas, Over 10,000 MDA EMT personnel in Gaza, can strike Israeli cities are unpaid volunteers. I have been as far north as Haifa, so the new involved with the organization blood center has to be built with largely through my role as former the blood-processing area safely chair of the Palm Beach campaign underground, protected from for the U.S.-based fundraising rocket or chemical attack. arm, American Friends of Magen Magen David Adom’s reputation David Adom. Over ninety percent has grown far beyond Israel’s of MDA ambulances were donated borders. During the Second by supporters from the U.S. and Intifada in the early 2000s, when other nations. Israel was rocked by bombings on a near-daily basis, paramedics and As a Jewish woman fortunate enough to have been born EMTs from MDA saw mass-casualty incidents at a frequency and raised in America, I feel the need to help Israel and never before experienced by an EMS organization. its citizens in these most perilous of times. The American Friends of Magen David Adom raises funds to support MDA’s But in coping with the carnage, Magen David Adom became lifesaving activities in Israel, which have saved thousands the most experienced mass-casualty response organization of Israeli lives - Jewish, Christian, and Muslim, many of in the world, developing protocols and training techniques whom are in constant fear of violence from neighbors in that are increasingly adopted by EMS organizations the countries surrounding Israel. Nothing expresses my worldwide. love of humanity, and of Israel, more than working with an

57 ARTisSpectrum | Volume 35 | artisspectrum.com Seeing through Photographs By Kathleen Messmer www.Agora-Gallery.com/ArtistPage/Kathleen_Messmer.aspx

s an artist, my mission is always to give back in any way I can, and In addition to benefits, I’ve been Photographing wild animals up close Awhile my focus is on the creation of my fortunate to photograph wildlife that and personal is something not a lot of abstract photographic art, I have been has become threatened, endangered, people get to do. Further, how many able to use the photographic genre or extinct in the wild. In light of the people can say they’ve been kissed to work with a variety of volunteer recent cruel and senseless killing of a by a Dingo or sung to by a dog? For based organizations. I shoot benefits majestic, not to mention gorgeous (and that matter, how many can say they’ve for kids with cancer and work with endangered!) lion, I feel compelled to been loved on by a huge Arctic Wolf? organizations that are trying to save say that wielding a camera is the only My photographic encounters have the rapidly disappearing wildlife that kind of “shooting” that should be done been nothing short of amazing and was once abundant on our planet. when it comes to the magnificent truly a once in a lifetime chance. creatures that roam this planet with us. Recently, I was called on to shoot a benefit called Kids Helping Kids. It More often than not, the help we was not only a moving experience, but render comes in the form of a zoo, it was also amazing how much these wildlife preserve, or rescue facility. kids want to rid the world of cancer, With those things in place, regardless much like the doctors and researchers of their efficacy, we are at last trying who work tirelessly to find a cure for to learn how to accommodate many this awful disease. There was music, species responsibly. However, it can dancing, and poetry (by both the kids be a daunting and difficult task to and our New Mexico Poet Laureate - understand these animals. This alone Hakim Bellamy) as well as smiles and makes it harder for us to help them to tears. I was the only photographer the best of our abilities. there, and it was an honor to be part By depicting the beauty, vulnerability, of a celebration the likes of which I’ve My enthusiasm for wildlife preservation and dignity of these amazing creatures, never witnessed before. lies in my ability to show, through I hope to achieve a sense of intimacy photography, that we really are trying between them and us. I want everyone My purpose in shooting events like to help them to not only survive, who views these photographs to take this is to bring to mind that everyone but thrive once again, in spite of the an unwavering look at their plight. My can experience joy, even in the face of atrocities brought upon them by hope is that these images will inspire something as debilitating and cruel as human greed and ignorance. greater empathy toward these all too cancer. quickly vanishing animals.

ARTisSpectrum | Volume 35 | artisspectrum.com 58 Strength and Vulnerability By Kirana Haag www.Agora-Gallery.com/ArtistPage/Kirana_Haag.aspx

feel that the thread connecting all my artworks is a related I theme: strength and vulnerability. I am most strong when I am allowing myself to be vulnerable. I am at my most vulnerable when I am opening myself to creating artwork without a plan - all of my artworks were started with just one color and one mark, and from there, they developed over days and nights into the works that people see now.

As people look at my artwork, I invite them to find their own strength and vulnerability and to feel as though my artworks are reaching out and speaking to them, pulling at the different aspects of their own lives and experiences. I really encourage people to open themselves to the artwork and to allow themselves to be taken over by the color and movement in the work.

In the October of 2015, I held an exhibition entitled “Strength and Vulnerability” based on these concepts. I donated 10% of the proceeds of all art sales from this exhibition to the Diamond Pregnancy Foundation. I decided to donate to Diamond Pregnancy because in the past, I was one of those girls that Diamond Pregnancy helps out. Diamond Pregnancy is an organization that is set up to assist women and families that are facing an unplanned pregnancy. They provide immediate practical assistance, as well as emotional and spiritual support. I often wished I had this type of support when I was in that situation.

At the age of 16, I was pregnant, and my parents were absolutely against the pregnancy. All I knew, however, was clarity and a fierce desire to give birth to this child who I already felt so deeply connected to. At that time, I was not fortunate enough to have an organization like Diamond Pregnancy to turn to. Instead, it was the pure strength of my connection to the life growing inside me that carried me through, despite the lack of support that I had. Every day since then, I have been deeply grateful for that strength, because I now have my son Julius in my life.

It was that recognition of my own vulnerabilities and strengths that allowed me to make this life-changing decision, and that is why it is so important for me to share these concepts with others. It is through my art that I make that contribution.

59 ARTisSpectrum | Volume 35 | artisspectrum.com Pencil Studio: Where Kids Become Artists By Simon Raskina www.Agora-Gallery.com/ArtistPage/Simon_Raskina.aspx hile I love my art and try to focus on the humanity of women through my painting, I realize that being an artist is both a lonely and introspective activity.W This consciousness of humanity isn’t something that I express only in my acclaimed paintings; to satisfy my soul and move my inner self, I devote much of my free time helping the people of Israel through the American Friends of Magen David Adom.

MDA is Israel’s EMS and blood-services organization: essentially the Israeli Red Cross. MDA ambulances serve all of Israel, and MDA is also the national provider of Israel’s emergency blood supply. Unlike ambulances in the United States, all MDA ambulances are managed and dispatched by MDA command centers located throughout Israel. Over 10,000 MDA EMT personnel are unpaid volunteers. I have been involved with the organization largely through my role as former chair of the Palm Beach campaign for the U.S.-based fundraising arm, American Friends of Magen David Adom. Over ninety percent of MDA ambulances were donated by supporters from the U.S. and other nations.

As a Jewish woman fortunate enough to have been born and raised in America, I feel the need to help Israel and its citizens in these most perilous of times. The American Friends of Magen David Adom raises funds to support MDA’s lifesaving activities in Israel, which have saved thousands of Israeli lives - Jewish, Christian, and Muslim, many of whom are in constant fear of violence from neighbors in the countries surrounding Israel. Nothing expresses my love of humanity, and of Israel, more than working

with an organization that every day is saving lives there. In a part of the world frequently associated with the violent taking of lives, this is an organization dedicated to saving them.

Currently, I have been working with the American Friends of Magen David Admon to launch a $100 million initiative to build a new national blood center for Israel. The current facility is no longer sufficient to keep pace with Israel’s growing population, which now numbers more than 8.3 million people.

More critically, however, when the current blood center was built outside Tel Aviv, that area was considered relatively safe from attack, as it was well out of range of the rockets used by terrorist groups such as Hamas and Hezbollah. Now, even Hamas, in Gaza, can strike Israeli cities as far north as Haifa, so the new blood center has to be built with the blood- processing area safely underground, protected from rocket or chemical attack. Magen David Adom’s reputation has grown far beyond Israel’s borders. During the Second Intifada in the early 2000s, when Israel was rocked by bombings on a near-daily basis, paramedics and EMTs from MDA saw mass-casualty incidents at a frequency never before experienced by an EMS organization.

But in coping with the carnage, Magen David Adom became the most experienced mass-casualty response organization in the world, developing protocols and training techniques that are increasingly adopted by EMS organizations worldwide.

ARTisSpectrum | Volume 35 | artisspectrum.com 60 Life with the Wayana Amerindians By Sylvié Michault www.Agora-Gallery.com/ArtistPage/Sylvie_Michault.aspx

Sylvie with women beginning the fabrication of a piece of pottery in the Taluhen Amerindian village

f you follow the news, even for just a day, you won’t be able to avoid because of the runoff from mining chemicals, the noticing the broad range of issues related to injustice. Every day, there entire natural food chain has been contaminated. Iare silent tragedies taking place all around the world, which we do not This not only destroys local resources, but also hear about unless we are being directly exposed or affected. Certain has led to neurological impairments in Wayana events affect me so deeply that I feel obliged to stop whatever I am children. doing and reassess my priorities. Witnessing a catastrophe involving an entire population arouses my compassion and compels me to take In 2003, the gold miners were arriving by the action on the matter. hundreds on the Mana river where I had built a botanical garden. The garden was meant I moved to French Guyana in 1991, and a few years later, I was authorized to organise plant identification missions of by the government to travel to Twenké and Taluhwen--two traditional endemic and imported varieties, create plant Wayana Amerindian villages. During my time there, I was involved in collections, and host workshops in a natural forest a volunteer art program where I was able to work with the villagers. environment that would combine art and the Located in the heart of the French Amazon, their territory has been protection of the environment. Despite numerous officially declared a ‘Forbidden Zone’ since 1970 in order to preserve attempts to protect the garden, it was overrun good health for the populations and respect their customs. by the invaders. The preservation project was over, the contamination and destruction could The Wayana express themselves as artists through ceramics, basketry, not be stopped or prevented. I eventually had textiles, and woodwork; techniques that are passed from generation to to move to a more secure area and rebuild my generation. Local animals and mythical creatures inspire most of their life, but the Wayana Amerindians continue their patterns and symbols. One of the most representative objects of their art fight for survival in the devastated forests. Their is the wooden disk or Maluwana, a reminder of history and community. public appeals are available on www.Change.org/ The maluwana is cut from the root of the kapok tree and then blackened AmerindiensFrance. with fire and decorated with drawings from an antique bestiary of two- headed caterpillars, aquatic monsters, snakes, and turtles. The Wayana The weeks I spent with these exceedingly use either natural pigments or acrylic paints to colour the disk, which is compassionate men and women have left an then attached under the dome of the Tukusipan, a circular shelter that indelible mark in my memory. As a result, I have is used as a community centre for the villagers. made some essential changes in my own life, particularly regarding my relationship to the world However, this dependence on natural elements to provide not only and my artistic career. I wept at the destruction, for artistic expression but also the community as a whole has become plunder, and pollution of forests. I absorbed the endangered due to unauthorized gold panning and the invasion of solitude and destruction that took place over fortune-hunters attracted by the gold rush. These miners hunt and time, and it is the power of those emotions that I fish in restricted areas and deprive the Wayana of their resources, and try to express in my paintings today. 61 ARTisSpectrum | Volume 35 | artisspectrum.com Veronika Wifvesson

eronika Wifvesson creates sleek, confident art inspired by the grandest and most varied of concepts. Wifvesson’s Vpaintings take single geometric shapes and put them front and center, unadorned but depicted in lively hues with primary colors and gold making frequent appearances. She paints in smooth oil or acrylic, usually on supple linen, which strikes a balance between strong and soft. She also sculpts details of the human body, most recently in a series of hand studies.

Wifvesson has said that her art “is a tribute to life and children...meant to spread joy and peace.” She has modeled her paintings on the principles of simplicity and ease, which she believes to be the key to a happy existence. To that end, her lines are clean and proportionate; her colors are bright and unwavering, with no tonal irregularities at all; and her compositions are central and above all legible. Contrasts are clear but not confrontational. The eye is energized by the cheerful colors and playful shapes while being comforted by the familiar symmetry. Viewing Wifvesson’s works is an emotional experience for all as her metaphorical language is universal. All Inspirito Acrylic & Oil on Linen 19.7” x 19.7” Wifvesson was born in Asmundtorp, Sweden and today works out of the nearby city of Helsingborg. www.veronikawifvesson.com www.Agora-Gallery.com/ArtistPage/Veronika_Wifvesson.aspx Chantal Le Brun

What the Eye Is Printing

orn in Chartres, France, a small Catholic town, Chantal Le Brun was taught Classical Greek and Latin, as well as German. This early experienceB with language led to a career in literary translation, but most vitally, it led to a life of travel. Le Brun was given her first camera while on a family trip to the Swiss Alps. She was twelve years old, and the small Kodak camera was a revelation to her. “It was a magic discovery,” Le Brun says, “the possibility to upload what the eye is printing in one’s mind.”

Le Brun’s later travels would take her behind the Iron Curtain, where she captured black and white photographs of collective markets in Poland. Later, trips to Russia, China, and Spain would offer Le Brun a mix of treasured memories, lost negatives, and, she says, a record of “life exposing itself.” Her photographs depict people going about their daily lives, memorializing the dignity of routine. Her ability to capture the essence of the energy of a typical place or event is her true strength. Le Brun's photographs become portraits of a culture, whether focusing on the urban or natural landscapes, the people, or the buildings and architecture. “My goal is to capture changing cultural identities,” Le Brun says, “pushing ever further to satisfy my curiosity.” Gare de Kyoto 3, Japon Photograph on Plexiglass 40” x 30” www.Agora-Gallery.com/ArtistPage/Chantal_Le_Brun.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 62 Kelley Millet

s a musician and three-sport athlete at Amherst College, Kelley Millet soon found himself pulled Aaway from the athletic fields and into the art galleries of Amherst, Northampton, and New York City, where he roamed the rooms of MoMA and the Met, seeking a new experience. After graduation, Millet left home for New York City with, he says, “$100 in my pocket and fear in my heart.” He lived on Broadway then, and describes Times Square as a war zone—the city at large as rough, dirty, ugly, angry. “I ate it all up,” Millet says.

Millet is an intuitive, emotion-based painter drawn to abstract expressionism. He works in acrylic, painting alternately on canvas or gesso board. Using a combination of brushes, knives, scrapers, and other tools, Millet opens himself to a massive field of emotions, channeling love, anger, fear, hope, isolation, depression, and elation into his work. “Ideas, textures, colors, and shapes form in my mind and the emotional context creates a need,” Millet says, “a desperate need

Creation (Diptych) Acrylic on Canvas 40” x 60”

63 ARTisSpectrum | Volume 35 | artisspectrum.com to produce art.”

Working from an unfinished loft above his garage, Millet seeks to emulate the New York School that has inspired him for so many years. He is a collector of the forgotten, or lesser-known, artists of the movement who “pulled apart and redefined” what he thought art should be. “My work is brutally honest, without artifice or gimmick,” Millet says. “It emerges from a need to express and to allow emotions to erupt. Each piece is unique and requires its own voice, it own impact, its own life.”

Working from intuition has led to a stylistic divergence in his work, but his palette largely remains the same. Each piece is connected by Millet’s use of black paint, which accentuates the surrounding colors, creating an intensity of feeling. “I have traveled the world,” Millet says, “and all of this fluid, this soup just gushes onto the canvas, raw, unforgiving, and without care of approval, accolade, or acceptance; just a need.”

www.Agora-Gallery.com/ArtistPage/Kelley_Millet.aspx

Pieces Acrylic on Canvas 72” x 60”

Taffy Acrylic on Canvas 24” x 24” Black Moon Acrylic on Canvas 48” x 48”

ARTisSpectrum | Volume 35 | artisspectrum.com 64 Cindy Parsley

Overwhelm Acrylic on Paper 18” x 14”

riginally from Perth, Australia, Cindy Parsley has since relocated to the United States, where she now splits her timeO between Austin and San Diego. As a child, she found herself asking questions that had never occurred to her siblings or the adults in her life. This was the first hint at a creative spirit, the beginning of a lifelong search to discover what she calls the “deeper what and why’s.” Artistic expression provided a pathway to this discovery. “Painting is another word for feeling,” Parsley says, “for communicating the needs of the heart, the soul, without the limitation of words.” It reveals, for her, the human experience, allowing both viewer and artist to connect where words fail.

“Since I was a child,” Parsley says, “gazing from my bedroom window in wonder and delight at the array of colors and Night Falls Acrylic on Canvas 40” x 30” changing shadows our fragrant orchard trees displayed, I have been drawn to all things creative, unique, beautiful, and spiritual.” Her paintings evoke this sense of wonder through an interplay of color that at times pushes past the boundaries of the natural world.

Parsley describes herself as a spiritual person, drawing on the energy of a unified human spirit. Her work is a representation of this worldview, an attempt to seek out all that is harmonious and beautiful, an opening to love. This latter act is the propelling force behind her work. Though the transition from one continent to another has been difficult, Parsley has seen her own uncertainty reborn as confidence, as surety of purpose. “Every painting contains a piece of me,” she says, “ a gift of energy from the self that is eternal, as if an emergent soul—cloaked in paint—flows onto the surface.” www.cindyparsley.com www.Agora-Gallery.com/ArtistPage/Cindy_Parsley.aspx 65 ARTisSpectrum | Volume 35 | artisspectrum.com Shivender

n observer by nature, Shivender seeks to replicate beauty with pulsations of light, uniting Ahis conscious and unconscious thoughts on canvas. Entirely self-taught, Shivender alternates between acrylic and charcoal, painting shapes observed in nature, people, and manmade objects. Though his preferred style is figurative, Shivender also dips into the abstract, at times fusing figures with flowers, and wildlife with landscapes. “Beauty has been my favorite subject,” Shivender says, revealing the vast world from which he draws inspiration.

For Shivender, each painting must be a reflection of his innermost thoughts. Whether the work is centered on introspection or an examination of the wider world, Shivender hopes to capture a moment for his audience, to synthesize a part of himself and preserve it for all time. “Each artwork In-Between Acrylic on Canvas 15” x 21” I create is simultaneously an expression of past, present, and future learning,” Shivender says, “a visual sense of mystery inviting the viewer to walk in.” The experience is one he wishes to share with his viewers. “With my work,” Shivender says, “I hope to create a destination wherein my thoughts and reality combine to set my heart and mind at ease.” www.Agora-Gallery.com/ArtistPage/Shivender.aspx

Patricia Olguín

ith an expertise in a variety of sculptural media, Patricia Olguín produces sensual artwork that ties together irony, exaggeration, and the aesthetics of organicW forms. Whether in wood, metal, synthetics, or a combination of materials, Olguín’s sculptures capture visceral sensations of connection and exalt in physicality and the human body. Highly stylized and often hyperbolic, much of her work takes this philosophy and presents body parts as disembodied entities. And, though stylized, the exaggerated character of these bodiless noses and lips subverts standards of beauty and the ways in which we relate to our own physicality.

Olguín’s work is largely composed of flowing, clean forms, with a uniformity of luster and sheen. This evenness, even when considering the variety of media involved, produces a naturalistic tone, pairing well with the surrealistic aspects of her work. Beyond this, Olguín embeds her glossy surfaces with small details and complexities, manipulating the play of light and the unique thematic elements from each side of her multidimensional sculptures. This depth of character is represented throughout Olguín’s work: elements of Pop Art, abstraction, and realism, along with flawless surfaces and roughly shaped metal all make an appearance from every angle.

www.patriciaolguin.com www.Agora-Gallery.com/ArtistPage/Patricia_Olguin.aspx

Untie My Bonbon: Colored Lips, view 1 Almond & Mahogany 49” x 11.5” x 14”

ARTisSpectrum | Volume 35 | artisspectrum.com 66 Susan Marx It is easy to identify the alluringly colorful abstracts that typify Susan Marx’s new work, as she has a style that is her own. Originally a plein air impressionist painter, Marx has since shifted to abstract impressionism, a term coined by Elaine de Kooning. This style allows Marx to expel realistic subject matter while retaining the “feel” of nature. “These paintings are paintings from the inside of my head, deep down in my subconscious,” Marx says. “Painted from what nature leaves with me.”

When painting, Marx allows herself to be led by emotional sensations rather than an intellectualized plan. Perhaps you could call it stream of consciousness painting. She paints at a passionate, furious pace with large brush strokes, rarely waiting for prior layers to dry. The work becomes a sort of chemical reaction, concluding in an explosive collision of color and texture. Marx often leaves blank spaces on her canvases, most typically at the edges. It is a decision, she says, that “lets the painting breathe.” For Marx, process and intent are one and the same. “My paintings are conversations,” she says, “between my eyes, my head, my heart, my gut, and the canvas in front of me.”

Marx is most interested in capturing the essence of a piece, bringing color and emotion together but leaving enough space for the viewer to engage his or her imagination. In this way she hopes to bring the viewer into the painting itself, to extend the story of the piece beyond artistic intent and physical content. Of her own role, Marx says, “I paint as a result of my radical amazement at the beauty of the visual world.”

If you asked her who her muses are, she would reply: the Impressionist Monet and second generation Abstract Expressionist Joan Mitchell. Susan Marx received a BFA in painting from Boston University. She likes to continue her education by taking frequent painting trips to France: Giverny many times, Honfleur, Étretat, Rouen, Arles, St Rémy and Provence. This summer, she will paint in Paris. www.susanmarxartist.com www.Agora-Gallery.com/ArtistPage/Susan_Marx.aspx

Winter Flames Acrylic on Canvas 30” x 24” Color Journey Acrylic on Canvas 30” x 24” 67 ARTisSpectrum | Volume 35 | artisspectrum.com Winne utch artist Winne crafts paintings that focus on light, positivity, and healing. With each image, oil paints in an array of pastel pigments formD dreamlike scenes. Unicorns and dolphins emerge from saturated backdrops. In each piece, subjects come forth blooming or galloping towards the viewer. The effect is one of overwhelmingly positive images presented in complex yet cohesive compositions. Wings, flower petals, and real and imagined creatures weave among one another to form paintings with an almost kaleidoscopic effect. Smooth planes of paint build each image, layering to create serene scenes. Imagine Oil on Canvas and Wood 31.5” x 63” Painting since childhood, Winne developed her skills throughout the Netherlands, Belgium, Vienna, and the United States. With each new area of influence, her spiritual perspective and goal of healing takes on a new facet in her work. www.malayacristal.com www.Agora-Gallery.com/ArtistPage/Winne.aspx Tao Jiang ao Jiang uses art to express her inner thoughts and capture the sublime aspects of the world. Born in China and currently living in Canada, Jiang combinesT her faith, cultural background, and love of impressionism in her paintings. Though heavily influenced by Chinese folk art, she says the Bible is her best inspiration because “its wisdom and poetic grandeur have filled me with ideas and visions for art.”

The subjects of her paintings range from landscapes to biblical scenes. She focuses on conveying natural beauty with colors that highlight elements but are realistic. In the course of meditating about her faith and sharing her art, Jiang discovered her unique voice, which transcends traditions and inspires her viewers to do the same. www.taojiangfineart.com www.Agora-Gallery.com/ArtistPage/Tao_Jiang.aspx Bible Study Fellowship Ink on Paper 33” x 29”

Andrée Levesque orking intuitively, French Canadian artist Andrée Levesque skillfully weaves together organic lines, sinuous curves, and contrasting hues in a way that’s balancingW and creates a synchronous whole. Her work moves forward without getting stuck on unnecessary details, as she captures the overall emotion of a person or place. That emotion, that state of being, transfers from Levesque to her canvas and finally, to her viewer. She says, "I am convinced that a work comes to life from the moment in which it exists for someone else." Her canvas is meant to be a universe unto itself, a pictorial space in which the viewer can engage with the artist in a “space-time exchange,” as distinctly modern as it is timeless to the hidden ways of the human soul.

Although Levesque shows influence from Matisse and the Expressionists, her style is completely her own. Forging her own way has been her goal since a child, as Levesque explains, “I paint like I breathe.” #10 En été Acrylic on Canvas 24” x 30” www.Agora-Gallery.com/ArtistPage/Andree_Levesque.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 68 Sloane Merrick loane Merrick’s artwork celebrates the profundity of nature while embracing the manmade beginnings of theS work itself. Growing up in West Texas, Merrick was deeply influenced by the open skies and untamed lands, and what she describes as “the love of freedom” that they engendered. Her technique reflects this: one piece can take anywhere from a few days to several weeks to complete, and her eclectic use of mixed-media has included fabric, wood, dirt, and coffee grinds. She has explored realism, cartoon-like graphic stylization, and collage. Though her most recent series depicts swans, she has used everything from text to Muppets as subjects.

As free-form as Merrick’s process is, the resulting pieces are equally balanced and self-assured. She chooses a complimentary, well-rounded collection of colors that enhance her subject matter rather than take center stage. Textures are important to her; smooth, rough, brash, and Swan & Snow at Sunset Mixed Media on Board 48” x 60” subtle all interplay in a composition. Backgrounds are minimal, to better allow the eye to roam. In the end, Merrick’s work is the result of clear vision and an experienced hand.

Sloane Merrick was born in Hereford, Texas and currently lives in Bozeman, Montana. Her work has been featured in several exhibitions in Oklahoma. www.sloanemerrickart.com www.Agora-Gallery.com/ArtistPage/Sloane_Merrick.aspx Trent Altman rent Altman's charming artwork evokes the happiest of the audience's memories, with each viewer's experience beingT an individual journey. Altman creates breezy pieces from acrylic and mixed-media, including organic material such as seashells. His palette is bright, with many bold contrasts sharing a canvas, and his brush marks are quick and instinctive. His compositions are open-ended, with texture and pattern filling the canvas from one end to the other.

Often Altman portrays atmosphere, not discrete subjects. He depicts a summer day by showing sun and a beautifully textured mix of warm colors. He paints mental states using many layered colors and lively dabs and splashes. In his representative work too, he employs undefined forms and ethereal textures. He illustrates the beach by showing a strip of sand on top of a strip of blue sky: zoomed in and unending, the piece is both a detail and an infinity of the seashore. He constructs a garden in full bloom by putting pats of color in fine layers, simply letting liberated brushwork do the work.

A Sea View Shore Acrylic & Mixed Media on Canvas 54” x 56” Altman, an award winning artist with autism, lives and works in Louisville, Kentucky. His work has been exhibited internationally, and in several major cities in the US.

www.trentsstudio.com www.Agora-Gallery.com/ArtistPage/Trent_Altman.aspx

69 ARTisSpectrum | Volume 35 | artisspectrum.com Cherril Kolesik herril Kolesik rejects "the idea of perfection." As a result, her viewers see guidelines for earlier compositions and Ccovered-over "mistakes" in her pieces, allowing them to witness her process. She believes imperfection "sets us apart from machines and mass production," and loves paintings in their natural element, because they allow for interaction with the passage of time. Kolesik combines paint and text in her mixed media work, creating multidimensional subjects on fabric. Influenced by art history, each piece has a border with writing describing the historic topic featured. Her work evokes minimalism and art from all over the world. By making her technique obvious to her viewers, she provides commentary on the artistic process and the shared human experience.

Kolesik is a full-time artist and works at her studio in New Canaan, Connecticut. www.cherrilkolesik.com www.Agora-Gallery.com/ArtistPage/Cherril_Kolesik.aspx

Pueblo Drum Mixed Media on Fabric 16.5” x 16”

Dreams in Dust The Pastels of Lucas Samaras

Exhibition On View May 6–August 21, 2016

225 Madison Ave. at 36th St. #MorganLibrary

Dreams in Dust: The Pastels of Lucas Samaras is made possible with generous support from the Stavros Niarchos Foundation and The Pace Gallery, with assistance from the Charles E. Pierce, Jr. Fund for Exhibitions. The catalogue is made possible by the Andrew W. Mellon Fund for Research and Publications. Lucas Samaras, Untitled, 26 July 1961. Pastel on blue construction paper. The Morgan Library & Museum, Gift from Lucas Samaras and Arne Glimcher. Photography by Graham S. Haber, 2015. © Lucas Samaras, courtesy Pace Gallery.

ARTisSpectrum | Volume 35 | artisspectrum.com 70 L. W. Shortridge

. W. Shortridge takes Surrealism back to its origins in visions of the future, applying the stylistic and thematic elements of the L21st century to the genre. His meticulously crafted oil paintings add a meta quality to surrealistic conventions and often use self-referential perspectives to comment on art, painting, and surrealism itself. Frequent use of geometric structures, including cubes and prisms, helps create this sense of theater and reflection, but Shortridge’s geometric exercises also extend into visceral symbolism, with repeated circular motifs like suns, eggs, and spheres hinting at the artist’s own perspective.

Although Shortridge’s work has a sense of intentionality, his paintings retain a certain air of experimentation and inspiration evident in more detailed work. Overall, however, the combination of intense detail and color with gradients metallic textures, and silhouetting create a signature classical style, occasionally tempered by romanticism. In particular, the juxtaposition of flat textures with intricate detailing blends the lines between the real and the abstract, lending itself to the optical illusions and perspective- bending so common in Shortridge’s work. It’s this sense of illusion and allusion that both link Shortridge’s work to the past, and create a path towards the future.

www.shortridgeart.net Birds Eye View Oil on Canvas 20” x 16” www.Agora-Gallery.com/ArtistPage/L._W._Shortridge.aspx Jerry Anderson

pon first glance, the paintings of Jerry Anderson may appear like fevered dreams of the southwest desert, with landscapes Uof sensuously rolling hills, impossibly carved caverns, and bold, saturated colors of red, blue, and gold. By studying his work more closely, however, viewers will find that what they thought were mountains or clouds actually resemble the curve of a woman’s back or the peaks of her breasts. “I am particularly interested in the ‘living’ nature of all things and the dynamic balance of feminine and masculine energies,” Anderson says. He studied engineering and architecture in college, as well as shamanism, psychology, religion, and philosophy. All of this informs the way he views the world and what he paints, including the monumental and spiritual aspects of his work. His pieces are inspired by dreams, feelings, sensations, and events, coming together to produce striking, sensual, and emotive visions that fuse nature with the human form and a sense of the divine.

Anderson’s work has been exhibited in New York, Italy, and his home state of California. He says his goal is to create paintings that spark fresh questions, evoke new connections, and remind viewers of the wonder and oneness of all things.

www.jerryanderson-art.com www.Agora-Gallery.com/ArtistPage/Jerry_Anderson.aspx Cave Energies Acrylic on Canvas 40” x 30” 71 ARTisSpectrum | Volume 35 | artisspectrum.com Loren Howard

ith acrylic and mixed media on panel or canvas, Loren Howard creates amoeba-like works that pulsate with pigment and pattern. DimensionW and flat color play against each other in Howard’s work, building amorphous structures that appear both tangible and imagined. Concentric shapes outline and subvert one another to create a balance of geometry and organic, fluid movement. The frame and the work blend in Howard’s cleverly composed images, where each shape frames the next.

Howard begins with a color scheme, building up the image in sections of form and texture, and most saliently saturated paints, rather than blending the planes. This process, rather than simply quarantining areas of the work, builds one cohesive subject. These subjects seem to radiate from the center of the canvas, rhythmic and sometimes familiar despite their nebulous nature.

Loren Howard lives and works in New Hampshire. The constructed element of his work has origins in Howard’s time working with a contractor, blending with his art training to create pieces that skirt the line between painting and relief. Howard often listens to Jazz while he works, and this boldness and variability is evident in his bright, assertive works.

Orange Acrylic & Mixed Media on Panel 45” x 29” www.lorenhowardlandscapes.com www.Agora-Gallery.com/ArtistPage/Loren_Howard.aspx

Jessie Banaszak

essie Banaszak interprets places around the world with joy, introspection, and aesthetic dexterity. Widely traveled andJ attuned to history, Banaszak is interested in the specific. She depicts a range of things that fall under the umbrella of “landscape:” ancient buildings, lone forest paths, and sunsets far away in the sky. Each of these places are named, from the ruins Pompeii and Irish castles to the desert wilderness of Arizona.

Banaszak’s skill is in changing her palette, focal points, and even style to match the environment around her. When depicting the fallen structures of Pompeii, she is respectfully faithful to the building’s shape but lightens the piece with a touch of vivid green and blue, to hint at hopefulness. She paints an evening over a modern city’s rooftops with even more fanciful, pleasurable pinks and purples. For a blazing sun over Lake Michigan, she abstracts the light rays into circles and spirals of all colors. Some pieces are simply pure abstract collections of shapes.

Banaszak was born in New York City and today lives and works in Milwaukee. She has exhibited extensively in Wisconsin and is collected both privately and commercially. www.jibpaintings.com Jazz Movement Acrylic on Canvas 36” x 24” www.Agora-Gallery.com/ArtistPage/Jessie_Banaszak.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 72 Evoking the Muse THE MUSE: She was once the female sage, a goddess, and for hundreds of years the blessing of a Muse was essential for the creation of art.

For many artists, the Muse is alive and well, infusing the psyche with a guest of the divine, to inspire not imitation but new insights.

For several years, Agora Gallery’s Director, Angela Di Bello, has privately addressed the issue of new art forms with artists from every corner of the world. This dialogue has culminated in her theory that today’s muse is often either a physical place or a place in the heart. Over the past ten years, artists have discussed with her the inspiration that becomes manifest when they are exposed to the spirit and energy of New York City.

In this feature, artists share their experiences of visiting New York and exhibiting their artwork in the heart of this exciting city.

Angela would like to thank artists Jerry Anderson, Lars Rasmussen, Mark James Ford, and Raul Mariaca Dalence for their evocative and powerful contributions to this issue. She encourages additional artists who may be interested to share their experiences with us for the next issue of ARTisSpectrum, which will be released in November 2016. 73 ARTisSpectrum | Volume 35 | artisspectrum.com Exploring the Archetypal Female Essence in Dream, Form & Landscape By Jerry Anderson www.Agora-Gallery.com/ArtistPage/Jerry_Anderson.aspx

hen asked what effect New York City had on my art, I found myself broadening the question to include otherW cities that are meaningful to me. What is it that they provide that makes them stand out for me? What do they have in common, and what differentiates them? My favorite cities are New York, San Francisco, London, Paris, Barcelona, Venice, Istanbul, Marrakech, and Shanghai. It is clear that each has a transcendent character that makes them unique, and yes, they are also all international, dynamic, historical, and ever-changing. But this article is not about a comparison of qualities. That’s what guide books and school texts are for. This is a personal question, and the answer is that, in their own way, each city touches my heart deeply.

How does New York City touch my heart? It affects me differently from other cities. It directly nourishes my art. It not only makes me focus on my painting but enriches it through all of the many other art forms and dynamic expressions. There is a kind of passion available in New York that is electric, seductive, and honest.

For me, the vision is always fresh and immediate - you notice the line of a jaw, the silhouette of a crane against the skyline, the wonderful texture created by the tops of the abandoned pier pilings sticking out of the Hudson, and the cut of the coat worn by the person walking in front of you. You can’t escape the city’s inviting energy nor do you wish to. It becomes clear that New York City is truly the center of the contemporary art world, and when there, you begin to understand why.

Exhibiting in New York is an honor, and you realize that you have indeed become a part of the New York art scene. It makes me feel connected to something larger that myself and my own art – a connection with a community of dedicated artists that are each pursuing their own search for expression.

There is a special love in that.

So yes, New York City is a muse for me. She teaches me, inspires me, and most of all, caresses my heart with her transcendent love.

ARTisSpectrum | Volume 35 | artisspectrum.com 74 Evoking the Muse By Lars Rasmusen www.Agora-Gallery.com/ArtistPage/Lars_Rasmussen.aspx

o grow roses in Chelsea’s asphalt would be a futile project; therefore, it was my decision that the best thing to do would probably be toT paint them and hang them indoors in a safe environment. In the middle of February 2016, they were still blooming in the “garden” of Agora. They are prepared to bring wonder and delight in this new soil.

Roses, like drugs, can be inspiring but also dangerous – you might get hooked! First, there is the smell of delight, and then later, you are stung by a bloody thorn. And being embraced and fascinated by a great city, buried in a living dream of paradoxes – it is the same intoxication. You will never be the same again. Stung by a mysterious creation!

After spending seven days in New York City, it was like I had opened Pandora’s Box. There was so much of it all, that it was difficult to absorb and felt almost fatal! Back again in Denmark, the impressions have nearly crystallized after about a month. To experience New York in such a short and intense time is to recognize the contrasts of human existence: pure coolness and warm, welcoming hearts, unimaginable wealth against horrible poverty, and laziness and energy walking hand in hand. It looks perfect, but I know that as a rose can seduce, so can appearances deceive.

In any case, a part of me will always be left behind in this great city! I have had an adventure of a lifetime. And now, I think of how my roses will grow. I hope that they thrive and are enjoyed. I am convinced that there is room for more, and I shall evoke the muse! Just say when, NYC.

75 ARTisSpectrum | Volume 35 | artisspectrum.com Coming Home By Mark James Ford www.Agora-Gallery.com/ArtistPage/Mark_James_Ford.aspx

y taking part in the November 2015 photography exhibition at Agora Gallery was very special for me andM my partner, Ines Mondon, in many ways. It was my first exhibition outside Europe and to find that the pictures were so well received with such a positive resonance was almost overwhelming. That this should be in New York, a city of so many superlatives, was in its own way very fitting.

Over 18 years ago I began my exploration of the world of digital photography, and, standing on the Hudson riverbank in Hoboken in 1998, I was amazed by the scene that lay before me: a wonderful panorama of one of the greatest cities in the world. I knew that I wanted to capture this scene in a way that would transport the sheer enormity of the grandiose view. This, I was able to do in the form of an 18-shot hand-stitched panorama. The resulting image, ‘Two focus much more on the boundless reservoir of motives that Women And Child,’ which at that time was completed after nature has to offer: capturing the interplay of light with the many hours of work on a computer with little more power details, structures, and colours I see around me. Together than a modern smart phone, is something of which I am still with Ines, the woman and photographer at my side, I proud today. Ultimately, I wanted the person viewing the passionately explore the length and breadth of Europe. picture not to be able to take in the whole view in one go, very much as it is in real life, but that they would rather have And so, returning to New York after so many years, after so to ‘walk through the image.’ many events which have changed all of our lives, with Ines, who was there for the first time, meant a lot to us both. We I returned to the site many times over the next couple of were able to visit the ‘birthplace’ of my photographic journey years, producing panoramic images such as ‘Reflective in Hoboken, ‘coming home’ as it were, and, although here Moments,’ for example. Reproduced as true photographs at as well much had changed, I was able to show Ines where I up to 120’ in width, these were at the time something rather stood on that first fateful afternoon. different, and they marked the launch of my professional photographic career in Germany. If I had been told then We of course had the chance over several days to discover that 18 years later I would have photographs on display in and experience both new and the somehow familiar aspects a gallery in New York, I would have simply not believed it! of this amazing city together, so that the phenomenon that is New York is now very much part of both of our lives. In the meantime, my photographic career has developed, and as a reference photographer for Sigma Germany, I now

ARTisSpectrum | Volume 35 | artisspectrum.com 76 Dancing Through New York By Raul Mariaca Dalence www.Agora-Gallery.com/ArtistPage/Raul_Mariaca_Dalence. aspx

Dance of Birds Oil on Canvas 39.5” x 39.5”

After my time in New York City, I came to find that it is an extremely convenient city and one can find just about anything at any time. While I was in the city that never sleeps I spent time in one of the busiest areas of the city, Broadway. I got to see the musical “An American in Paris,” which was beautiful. As we sat in the theater we were amazed at all of the marvelous musical pieces we were able to hear. It made me remember watching the original film made in the 1960s when Gene Kelly sang the Gershwin compositions. These musical, theatrical, and dance experiences have been of great influence to my work.

Some years ago, I had the occasion to assist at a show for The Alvin Ailey ballet in NY, and that is when I became In December 2015, I spent two weeks in New York during the fascinated with modern dance. The colors and movement exhibition of my paintings at Agora Gallery. I had contributed from the dance still inspire many of my paintings. I painted six of my paintings to the group exhibition, Emerging a representational series of this marvelous art of dance, Visions, along with other artists from all over the world. which I exhibited in 2013 here in Fribourg, Switzerland.

My wife, Christiane, and I stayed at the Leo House in Chelsea, One of the paintings that I exhibited in the Agora New York, which was very convenient to the gallery. We Gallery this year was actually from a ballet performance spent the majority of our days outside and exploring the called “Revelation”. It represented flying birds mimicked city as much as possible. Luckily, we have an uncle who lives by the dancers. New York had a major impact on the in New York and was kind enough to show us around and more recent focus of my work because The Alvin Ailey take us to a few wonderful restaurants. We also visited the American Dance Theater of New York has become so Metropolitan Museum of Art and were delighted to see all essential and continues to be a source of inspiration of the Impressionist and Fauvist art work being shown there. for my pictorial representation of modern dance. My wife and I enjoy listening to jazz music and while exploring places like Birdland and Blue Note, we And although the dance in New York has made me discovered many talented musicians performing live. find comfort in such a large and hectic city, ithas been Angela and her wonderful team at the Agora Outside, we enjoyed our promenade on the High Gallery that made it possible for me to come to New Line, a raised outdoor walking path stretching over York and present my artwork in the best way possible. a mile throughout Chelsea. We even were fortunate enough to meet somebody who was singing jazz standards in the magical outdoor atmosphere!

77 ARTisSpectrum | Volume 35 | artisspectrum.com Ardian Tragaj

orking from Durrës, Albania, where he was born, Ardian Tragaj describes his inspiration toW begin painting as a moment of purity. He had been watching his five year-old son, Napoleon, at work on his first painting, when he was struck by the pure, uninhibited beauty of the image before him. It was an awakening for Tragaj. “From that moment,” he says, “I became devoted.

Tragaj's paintings explore the complexities of his own ideas without pushback or malice as a mode for honest expression. He believes that ideology is a chasm that separates the closest of friends. To him, this divide is encouraged by government forces, which Tragaj represents in his work as a series of deformed heads. Their depiction is a critique of the system, a revelation of secret corruptions rendered invisible by the political machine. Reflecting on his life, Tragaj alludes to a history of persecution at the hands of the former communist regime, but he does not believe that injustice is exclusive to a single group. He describes his work as “a geography of Albanian and Balkan psychologies; an artistic attempt to discover human monstrosities and their conflicts for dominance.” No Title Acrylic on Canvas 23.5” x 23.5”

“I paint to promote freedom and civilized behavior against archaic forces,” Tragaj says, adding that these injustices exist at both the institutional and the individual level. “Mainly I have approached diverse subjects connected with the denial of rights and individual destiny by a complex, oppositional society,” he says. However, there are bright spots amidst the gloom. Life in the Balkans, and in Albania particularly, has provided Tragaj with a rich experience. “My life,” he says, “is a mosaic of these stories.” Human Effort Acrylic on Canvas 31.5” x 23.5” www.Agora-Gallery.com/ArtistPage/Ardian_Tragaj.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 78 Steven Anggrek

teven Anggrek creates spare and elegant photographs for the modern day. Anggrek finds tranquility and Sbeauty in a variety of settings: faraway landscapes, still lifes, and momentary actions caught on film. Nature has been a primary subject of his for years; he is able to work with both the untouched wild and consciously manipulated scenes. His images may show hazy forests, exposed multiple times to create ghostly pine trees and footpaths that invite a narrative; or they might show a bouquet of roses, stiff and proper, their precise arrangement and evident abandonment illustrating a narrative of their own. Anggrek balances pared-down compositions with rich variations in color and shading. He also constantly plays with depth, asking the viewer where they are in relation to his subjects Withered Roses In a White Vase I and whether or not that feels like a natural place to Photograph on Hahnemühle Paper 23.5” x 17.5” be. The works come alive with emotional sensitivity, realistic renderings, and a sprinkle of playfulness.

Occasionally the works will lack a background so that they resemble photograms, or appear to be heavily filtered. This is because Anggrek’s process is an impressive amalgam of the old and the new. He develops analog film and then scans it and treats it digitally. The most noticeable change the image undergoes at this point is the color – Anggrek usually shoots in black and white and adds color later – but digital editing serves many more subtle purposes in tint, exposure, and texture. Anggrek is a technical master at integrating the two media seamlessly with a method that is closer to hand-crafting than typical digital photography. www.stevenanggrek.ch www.Agora-Gallery.com/ArtistPage/Steven_Anggrek.aspx Dolls Photograph on Fine Art Paper 19.5” x 29.5”

79 ARTisSpectrum | Volume 35 | artisspectrum.com Bree Castillau he light-filled expressive photographs of American artist Bree Castillau combine elements of impressionism and surrealism toT transform ordinary subjects into something otherworldly. With a focus on composition and a unique use of color, her work transcends traditional nature photography to offer viewers a compelling visual experience.

Self-taught in both photography and image editing, Castillau’s work shows influences of her European roots, spirituality, and love for nature. But most of all, it demonstrates a deep understanding of the human experience on Earth. As Castillau explains, “My biggest hope for my photography is to touch someone. To provide some sort of healing to at least one soul and to show through the beauty Mystic Turtle Point Color Digital Photography 16” x 24” I experience every day that we share our planet with magnificent beings other than ourselves…that the world, life, is beautiful.” www.Agora-Gallery.com/ArtistPage/Bree_Castillau.aspx Kirana Haag irana Haag creates romantic, atmospheric works that use color and abstraction to convey the fine essence between Kreality and dream. With a background as a nurse and spiritual healer, she realized how important art could be to the healing process whether physical, mental, or emotional. Starting each work without a specific plan, Haag allows the energy of the colors and the moment in which she is painting to take over her brush and guide the work.

Most striking in Haag’s work is how she uses exaggerated palettes that send emotional signals and can allude to imaginary worlds, Withered Roses In a White Vase I Photograph on Hahnemühle Paper 23.5” x 17.5” mythological scenes, and even iconic movies. The Sound of the Full Moon Mixed Media on Linen 59” x 79” Haag says “Art is here to invoke our desires and dreams. The main drive for my artwork is to make visible the beauty that I sense around us all.”

Haag was born in Hannover, Germany and today lives in Sydney, Australia. She has exhibited in Australia and internationally.

www.Agora-Gallery.com/ArtistPage/Kirana_Haag.aspx Betty Neely Betty Neely says that she wants her work to be more than "a pretty painting to look at." She hopes to inspire thought by creating an "uncommon perspective." During her process, she rarely uses photographs or other forms of reference because she feels that they hinder her creativity. Rather, she casts an "aesthetic veil over reality," which involves focusing on emotion and the piece's individual character. Her watercolors often seem like oil paintings because they are so textured. Though mainly expressionistic, she weaves aspects of abstraction and realism throughout her art. Regardless of tone, her pieces have a feeling of mystery that cause viewers to linger and think, which achieves her goal.

Neely resides in Fairmont, West Virginia, where she is a full-time artist.

www.Agora-Gallery.com//ArtistPage/Betty_Neely.aspx

Cavernous Waterfall Watercolor on Board 36” x 25” ARTisSpectrum | Volume 35 | artisspectrum.com 80 Vandal, Vanguard, Dissident: Banksy, Street Art’s Golden Son. by Craig LeDoux

Source: stencilrevolution.com

he famed Lascaux cave sits in the Dordogne region Tof France. Though it has been plagued by black mold in recent years, art historians consider it to be a treasure trove of Paleolithic art. Inside, depictions of more than 900 animals, painted between 15,000- 17,000 BCE, grace the walls. A variety of early pigments and techniques were implemented in the creation of these images, but the most fascinating method can be seen as a precursor to the distinctly modern, aerosol-driven world of street art. Blowing their paint through tubes made of bone, wood, or plant material, the artists of Lascaux were effectively the inventors of spray paint. Although the first aerosol spray patent wasn’t issued until 1927, contemporary Banksy's rendition of the lascaux painting being power-washed off of a wall by street artists can trace their lineage to this early era. a city worker; source: IAQD.NET This connection is not lost on street art’s seminal figure—Banksy—who once depicted the Lascaux paintings being power-washed off the walls by a disinterested city

81 ARTisSpectrum | Volume 35 | artisspectrum.com worker—a common fate for public art.

Of course, there’s no straight line connecting Lascaux to Banksy. One must acknowledge the Roman foot soldiers who scrawled on walls across the globe, paving the way for bathroom scribes to pen or scratch the now-famous “Mike was here” in public restrooms across America. Important too are muralists like Diego Rivera, whose work, though sanctioned, provoked controversy all the same. More directly, influence came from the train “bombers” of 1970’s and 1980’s New York, whose Wildstyle graffiti moved the form forward, sparking a sharp response by city officials who believed that graffiti could be traced to an outbreak of serious crime. Influenced by this explosive form was Xavier Prou, perhaps known better as Blek le Rat. Returning to Paris after a trip to New York in 1971, Blek was inspired to contribute to the street art scene in his own way. Combining stencils, such as those used by Andy Warhol, with spray paint, Blek le Rat made a name for himself on the streets of Paris, eventually being acknowledged as the father of stencil graffiti.

If Blek is the father of street art, then Banksy is its golden son. Banksy began as a graffiti writer, but by the early 2000’s he had realized the limits of that form. While hiding from transit cops he had a self-described “epiphany,” realizing that stencils would allow him to spray much faster and more uniformly. Banksy’s early stencil work, well documented in the book Wall and Piece, rotates between three main categories. The first is simply an extension of his graffiti days: an attempt to scrawl his name on every imaginable surface. The second consists of pun-driven imagery meant to garner laughs. The final and most potent category is that of social critique, which Banksy applies masterfully. This work is anti-consumerist, anti-Imperialist, anti-Capitalist in nature. One piece, titled Caution, Americans Working Overhead, depicts a helicopter strafing fleeing civilians. Others critique surveillance, Banksy's work on the Israeli West Bank Barrier; Source: Knack Focus the fast food industry, and advertising culture. In Wall and Piece, Banksy writes, “Any advertisement in public space that gives you no choice whether you see it or not is yours. It belongs to you. It’s yours to take, re-arrange, and re-use. Asking for permission is like asking to keep a rock someone just threw at your head.”

In 2005, Banksy visited the Israeli West Bank Barrier, also known as the segregation wall. Proponents laud its impact on security, citing a reduction in attacks, while opponents see it as a tool of oppression that limits Palestinian travel and violates pre-established borders. What is not argued over, however, is the self-evident dullness of a wall created for functionality to the total exclusion of aesthetic value. It is, essentially, a tremendous beige canvas daring creative expression. Banksy’s contributions to the wall represented imagination triumphing over physical barriers, with glimpses of tropical paradise seen through illusory breaches and ladders extending to its highest point. Returning home, Banksy described an interaction with a local man, who said to him, “You paint the wall, you make it look beautiful.” Banksy thanked him. “We don’t want it to be beautiful,” the old man said. “We hate this wall, go home.”

In 2006, Banksy launched “Barely Legal,” his first large-scale American show. In attendance were Brad Pitt, Angelina Jolie, and Jude Law, among others. Nearly everyone felt compelled to talk about the elephant in the room—more specifically an Asian elephant named Tai who’d been painted to match the wallpaper, sparking PETA protests. The show for many was a letdown: evidence that the anonymous, sometimes social-crusader had embraced big money

ARTisSpectrum | Volume 35 | artisspectrum.com 82 with open arms. Though he was still immensely popular, the mystique of Banksy was beginning to slip away as the patron saint of snarky dissidence proved, despite his own rhetoric, to embrace the idea of cash as king.

Two years later, Banksy organized the Cans Festival in London, securing permission from Eurostar to transform Leake Street, an unused tunnel road beneath Waterloo Station, into a street art showcase. A play on the Cannes Film Festival, Banksy’s event saw participation from more than thirty stencil artists ranging from veterans like Blek le Rat to up-and-comers like Eelus and Vhils. Visitors were encouraged to contribute their own work, provided it didn’t obstruct the featured art. The show was free and heavily publicized by news outlets in full Banksy fervor. The artist was in usual form, quoted by the Times of London as saying, “I hope we can transform a dark forgotten filth pit into an oasis of beautiful art—in a dark forgotten filth pit.” Pits aside, the show was an important shift in the relationship between property owners and street art. Eurostar’s approval, the scale of the show, and the coverage it received were all vital steps toward the legitimization of the form. And yet, here was the world’s foremost street art guerilla asking for permission. With this statesmanlike move, Banksy was advancing the medium while slowly erasing his mythological status.

Though the Cans Festival advanced the medium, Banksy’s visit to New Orleans revealed a lack of awareness. His reasons for going were convoluted, caught somewhere between ego and social critique. His two widely reported statements on the trip encapsulate this split. “Three years after Katrina,” he wrote, “I wanted to make a statement about the state of the clean up operation.” Yet the real impetus behind the trip was soon revealed. Banksy had gone to New Orleans to challenge a buffer—someone who removes or covers up graffiti—named Fred Radtke, an anti- graffiti vigilante known as the Gray Ghost. In a statement, Banksy wrote, “I came to New Orleans to do battle with the Gray Ghost, a notorious vigilante who’s been systematically painting over any graffiti he can find with the same shade of grey paint since 1997. Consequently he’s done more damage to the city than any section five hurricane could ever hope to achieve.” While a critique of Radtke’s actions are legitimate—in 2009 he was ordered by a judge to secure permission from property owners before covering up any graffiti—Banksy’s casual dismissal of the damage done by Katrina came as the specter of Hurricane Gustav loomed over the city. In fact, preparations for Gustav ultimately led to the largest evacuation in Louisiana’s history.

Banksy’s name was restored and bestowed with further fame in 2010. His film, Exit Through the Gift Shop, a documentary made with footage shot by Thierry Guetta, was nominated for an Academy Award. Guetta, who owned a used clothing shop in LA, was a compulsive amateur videographer with an interest in street art; and, unlike most enthusiasts, Guetta had an in. His cousin, Invader, was already world-famous for his Rubik’s Cube street art featuring characters from 8-bit video games, including Space Invaders, from which he derived his name. Through Invader, Guetta gained access to street art luminaries like Shepard Fairey and Banksy, assuring them all the while that he was making a documentary. In reality, the tapes were being haphazardly stored in boxes with no labels. Ultimately, Guetta confessed to Banksy, and asked for help putting the film together. The Banksy's Academy Award nominated film "Exit Through the Giftshop"; source: Exitthroughthegiftshop.com end result is a remarkable look at the form, but also at the corrupting influence of money and fame, which saw Guetta—a man with no apparent artistic talent—transform into Mr. Brainwash, a virtually overnight success story.

83 ARTisSpectrum | Volume 35 | artisspectrum.com In 2013, Banksy traveled to New York City for a month-long residency titled “Better Out Than In.” The event was a media bonanza, drawing incredible attention from the press and significant turnout from viewers. Each day, Banksy updated his website with a new location, creating, in effect, a scavenger hunt for people interested in his work. The pieces ranged from basic stencils to a truck full of bleating animatronic livestock. During this time, street art enthusiasts derided an old man for selling Banksy knockoffs outside Central Park. The canvases, which each sold for $60, turned out to be authentic, signed artwork that a BBC article valued at £22,000 apiece. Fans were ecstatic, but the Banksy fervor was not strictly positive. Local graffiti writers, aggravated by the jet-setting artist’s appearance in their city, set out to deface his work, blotting out a number of pieces despite the intervention of viewers. At the end of the month, after Banksy withdrew, the project came into focus. It seemed more a well-executed PR stunt than a true residency. His fans began to wonder what could possibly come next.

In August of 2015, the town of Weston-super-Mare, located in Somerset, England, received a bit of a makeover. Residents had been informed that a movie was being shot on the grounds of the derelict Tropicana, a beachfront public swimming complex. Instead, a depressing theme park began to rise from the site. This was Banksy’s Dismaland, the down- on-its-luck doppelgänger of the park it parodied. The project was essentially a large group show, featuring the work of fifty-nine artists, including Banksy. One artist, Darren Cullen, spoke to Banksy's Dismaland; source: newyorker.com The Guardian about the show. “It is just amazing,” he said, “having this much sarcasm in one place.” Cullen hit the nail on the head. The show was essentially a sweeping sarcastic gesture aimed at anyone who deigned to pay attention. It featured a derelict castle, paparazzi shooting dead Cinderella in her crashed carriage, the grotesque cross-section of a carousel horse. The show, described as “The UK’s most disappointing visitor attraction!” by its own brochure, was an undoubted success for the small seaside town it occupied. According to Visit Somerset, the official tourist information site for the county, Dismaland brought in 150,000 visitors in its five-week run, netting local businesses a reported twenty million pounds. But did the self-styled “bemusement” park offer critical success, or was it simply a commercial boon for the town? The latter seems most likely.

Banksy used to have something to say. His artwork was bold, shocking, and entertaining. Lately, the ideas seem to stumble out of him like failed Weebles falling flat. There is still time to return to the critical discourse, to reconnect with the ideals that launched a movement, but many fans are losing patience. And yet there’s hope. After Banksy came a host of talented artists. Street art is now a global movement filled with an incredible diversity of voices. Among them are Faile, Faith47, Shepard Fairey, Pose, Vhils, Os Gemeos, WK Interact, Ever, Phlegm, Aryz, Broken Fingaz, Gaia, Miss Van, Daan Botlek, Swoon, Sten & Lex, Conor Harrington, Steve Powers, Agostino Iacurci, C215, Slinkachu, The London Police, Roa, JR, and El Curiot, among others. The word street art no longer belongs to just one person. It is a movement, and its future is bright.

ARTisSpectrum | Volume 35 | artisspectrum.com 84 Mark Hellweg

ver since his childhood, Mark Hellweg has been fascinated byE the night sky and its mysteries. First through a pair of binoculars, then through the eye of the camera, he has examined the contrasts between the radiance of the stars, the almost impenetrable blackness of the sky surrounding them, and the otherworldly shapes that connect the two. He says that his goal is to “share the wonderful colors and shapes of outer space with others,” a goal he thoroughly achieves in his light-filled­ photographs, which he prints on both canvas and fine artpaper.

Hellweg’s practice of astrophotography is such a large undertaking that he has Horse Head Nebula Photography on Canvas 19.5” x 29.5” put together his own fully automated astronomical observatory, with highly sensitive cameras made particularly for this type of picture taking. With those tools, he creates images of such startling sharpness that their clarity seems to reach a level beyond the capability of the human eye. For the past decade, he has been

Evening Scene Photography on Canvas 47” x 71” Great Orion Nebula Photography on Canvas 47" x 71" cited as one of the world’s top 100 astrophotographers, and his pictures highlight the strengths and possibilities of this form and its way of handling light. Even the artistic pseudonym Hellweg takes, “Brightway,” is at once a rough German ­to ­English translation of his name and a fitting summation of his work.

But astrophotography is far from Hellweg’s only mode of expression. He also takes landscape shots, photographed both in daylight and under dark night skies. Those pictures have the same hyperrealistic­ clarity that his pictures of stars and constellations have, bringing the textures and ambience of mountains, forests and cityscapes into focus, giving each environment a powerful physical presence that leaves a strong impact. “Photography has become the expression of my view of things,” he says, and that view brings a heightened sense of both realism and drama to every image he makes. www.brightway.gallery www.Agora-Gallery.com/ArtistPage/Mark_Hellweg.aspx

85 ARTisSpectrum | Volume 35 | artisspectrum.com Tina McDowell

rench American artist Tina McDowell paints works of art that are as pleasing to the eye as they areF rich with emotional expression and a deeper current of meaning. There is an immediacy, along with a fluidity of movement, in the work that instills a new level of significance in her subject. McDowell is a true intuitive artist, and thus her paintings can be in turn soft and moody, vivid and bold, abstract or incorporating figurative elements. No matter the subject, theme, mood, or message, her work is characterized by a strong sense of authenticity and a dedication to delving deep below the surface to find new perspectives and tease out the complexity present in any moment in time.

McDowell’s body of work is as dynamic as it is diverse, and encountering one of her pieces face to face can be quite a transformative experience. As she explains, “My work grows from a thought, Ocean’s Soul Acrylic & Oil on Canvas 23” x 30” vision, mood, or inspiration. The finished piece sometimes comes from another world than the one in which it began. What I express, give, or expose of myself through my art may not always be clear, but I hope it stops you in your tracks, pulls you in, sparks a thought, makes you feel.” www.tinascanvas.com www.Agora-Gallery.com/ArtistPage/Tina_McDowell.aspx Stacie Hernandez

he luminous and highly expressionistic oil paintings of Mexican American artist Stacie Hernandez are as rich in color as they are dynamic in movement and energy. EachT painting is approached with an assured efficiency in brushstroke and technique, with careful observation of form, space, movement, and color. Yet there is a freedom in the work, as the artist explores a range of emotional states and points of time, while seeking to explicate both the tension and balance that emerge whenever contrasting concepts and forms collide.

Heavily influenced by the Modern art movement, Hernandez continues to experiment with new ways of processing ideas and concepts, and innovative approaches to technique and the rendering of materials. In every painting she creates, she is looking for a kind of revelation in her subject matter, something she didn’t see before that in the process of creation suddenly comes to light. Indeed, the fluid, elegant lines, emotionally wrought brushstrokes, and complexity of forms contained in each work result in paintings that are as compelling as they are beautiful. In the end, she also sees her work as affirmation of a universal truth: that people experience all of life, in both the exterior and interior world, in a complex yet interconnected way.

www.Agora-Gallery.com/ArtistPage/Stacie_Hernandez.aspx

Untitled Oil on Canvas 72” x 36”

ARTisSpectrum | Volume 35 | artisspectrum.com 86 Marcia Haufrecht

arcia Haufrecht’s diverse body of work brings the realist style of Gustave Courbet into the 21st CenturyM with contemporary scenes and a unique palette. Haufrecht seeks to paint her own experiences, forming a connection with her subjects that she translates to her canvas. “I would consider myself successful if my art speaks to other people and thereby becomes a shared experience,” she says. She’s most interested in capturing movement and mystery, adapting her compositional style and forms to the theme of individual pieces. Many of her paintings have a feeling of capturing elements of life, a sensation that transfers viscerally from the canvas to the viewer. Perhaps this is what makes Haufrecht’s scenes feel so immediate and candid, like an unedited snapshot. Her color choices can range from bright and surrealistic to muted and naturalistic, depending on her approach. Either way, Haufrecht has a talent for creating captivating images that perfectly convey her journey and invite viewers to participate in each moment. Clouds Oil on Canvas 16” x 20” www.marciahaufrecht.com www.Agora-Gallery.com/ArtistPage/Marcia_Haufrecht.aspx

Marianne Fernandez

arianne Fernandez’s paintings are laden with symbols, allusions, and pure whimsy. Painting in both acrylic and oil, Fernandez hasM two main modes: magical realism and graphic abstraction. In her representative works, any subject is fair game: landscape, portraiture, animals, objects, and small-scale details. In one piece a tightly framed group of arms reaching toward each other becomes a warm vortex, and in another a small white opossum acts as a stand-in for all the romantics out there looking at the same moon. People are depicted up close, with expressive eyes and a narrative evident in their realistic environments.

Fernandez paints in many registers. Sometimes her style is simplified and heightened, dependent on thick lines and bold colors. These works draw influence from animation and surrealism. Other times, particularly in non-representative pieces, she draws textures and tint variations out of her color fields, slowing the process down and luxuriating in the materiality. The brushstrokes dictate the emotional atmosphere.

Fernandez lives in Hayden, Idaho and as exhibited all over the United States, including in Arizona, New York, Washington, New Hampshire, and Idaho. She also volunteers as a creative designer for the non- profit Specialized Needs Recreation. www.Agora-Gallery.com/ArtistPage/Marianne_Fernandez.aspx Texture-Symbolism #1 Acrylic on Board 9.5” x 7.5”

87 ARTisSpectrum | Volume 35 | artisspectrum.com RenéeRose

or RenéeRose, visual art is a way to connect with all the senses. In her latest series, RenéeRose depictsF not only musicians, but the actual music they play. She portrays instantly recognizable icons such as Miles Davis and Louis Armstrong, as well as a universal, unnamed saxophone player or cellist who could be anyone, at any time, in any musical movement. Sometimes her players appear only as hands on an instrument, making that violin or piano come alive as a subject. Every piece is portrayed using close-up focus, so that the viewer is surrounded by the moment.

Night Without Moon Mixed Media on Wood 24” x 36” Furthermore, RenéeRose uses a unique mixed- media technique that is somewhere between drawing and painting. She doesn’t use canvas, but completes each work on a piece of wood that’s been finished in a beautifully unobtrusive way, with the rich grain visible. Her palette is often monochromatic, and her drawing hand is raw instinctive.

RenéeRose was born in the province of Québec, Canada and today lives in the town of Lévis. She has exhibited widely in Canada and the United States, and has had an impressive career in photography. The splendid combination of her natural talents for photography, woodworking, drawing, and painting offers to viewers an amazing experience into RenéeRose’s world. www.reneerose.com www.Agora-Gallery.com/ArtistPage/ReneeRose.aspx Margaret Vega

argaret Vega’s artistic vision investigates the way humanity interacts with the natural worldM and our “need to leave something behind, marking our evanescent journey.” Her current landscape paintings consider the natural order of tides and tidal pools, where the eminent rhythm of the earth continues beyond the implied order of human demands. Vega organizes many of her paintings according to the Fibonacci sequence, a mathematical series of numbers often found in nature. She uses this compositional layout with man-made symbols to represent how humans Tides of Waimea, NZ Oil on Linen 24” x 48” reshape environments without concern for the planet’s harmonic relationships. “My interest lies not in this conflict, but in the poetry of the observation. I am an observer, and this work examines rather than decides.”

Highly influenced by her travels, particularly to Italy, Vega is what she terms a “multi-hyphenate,” both culturally and in terms of her artistic process. She begins each piece with organizational sketches and notes to record the immediate cognitive content, and then enhances the content with research. In oils, watercolor, mixed media and sculpture, she often works in series, like her Perpetual Order Series, using juxtapositions to explore her themes.

In addition to her work as an artist, Vega is a graduate and undergraduate painting Professor at Kendall College of Art and Design. www.mvegastudio.com www.Agora-Gallery.com/ArtistPage/Margaret_Vega.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 88 Studio Spaces: by MARK HELLWEG

What is his studio for the painter, is his observatory for the astronomical photographer.

s an astronomical photographer, my studio is an astronomical observatory. I have the great fortune of owning my own Aobservatory and immerse myself in the exciting world of the depths of outer space whenever possible. My observatory is just big enough to accommodate my telescope and cameras. You could compare the observatory to a small space capsule -- it is very cramped and hard to find room because of the technical equipment inside taking up space. When people visit the observatory for the first time, the first thing they seem to notice is the large number of cables, which are tangled up and run wild and unrestrained.

Bright lights are prohibited in the observatory so the only exposed light is an auxiliary red light which allows me to safely adjust the partly filigree settings on my equipment. There is also no heating system in the observatory, which means that on clear winter nights, you have to be properly bundled up, which can make it difficult to move around in such a tight area.

The observatory is opened daily at sunset, so that all of the equipment can gradually adjust to the surrounding temperature. A computer has been programmed to control and monitor the observatory, telescope, and cameras. The computer collects data for observational purposes, which shows the object’s length of exposure among the many other parameters being measured while the photograph is being taken.

Two highly sensitive black and white cameras, each mounted on one of the two telescopes, are set up for the approaching night. One camera will follow just one star throughout the entire night, so that motors can be synchronized exactly with the Earth’s rotation. This procedure is absolutely necessary so that the second camera can take extremely sharp photos of the object under observation over a period of many hours.

89 ARTisSpectrum | Volume 35 | artisspectrum.com After complete darkness has set in, I aim the telescope at the chosen object in the sky. I then make small and necessary adjustments to all of the equipment until everything has been set to the precise coordinates for the series of photographs. Often, this process is more of a trial of patience, as all of the time setting up my equipment means that dawn is closer to approaching, leaving me with less time to shoot.

The camera following the object under observation takes single photos throughout the night, each one of them involving 10 minutes of exposure time. The first three out of four photos are taken with respectively three filter elements (so-called RGB filters: red, green, blue), which are automatically swiveled in front of the camera lens. These black and white images can later be sewn together by the computer into a true color image.

In order to achieve an overall exposure time of more than 12 hours, the same object in the sky often has to be photographed many times over multiple nights. At best, hundreds of 10 minute photos are obtained, which are then layered into one complete image by the computer in a complex and laborious process. Only then is a first impression of the final image obtained. This process is based on scientific principles and unfortunately, not so much on one’s own creativity.

The most pleasant moment during an astronomical night is when the technology is finally running smoothly on its own, and I can lean back for a while and simply enjoy the stars twinkling in the sky. Occasionally, I hear some subtle rustling in the bushes or a night owl making its rounds. These are moments when one understands that everything can work together in one interaction.

Even after more than 30 years, the creation of astronomical photography is still a thrilling and absorbing experience that binds me in a very particular way, and I feel lucky to be able to share this passion with the world. ■ www.Agora-Gallery.com/ArtistPage/Mark_Hellweg.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 90 James Chisholm

Paint Box with Tools Oil on Canvas 20” x 27”

he spirit of the natural world is the focus of James Chisholm’s paintings. “I paint and draw every day,” he says, “most of the time outdoors, whenever and wherever.” That love of the outdoors is reflected in his sensitivity to nature in all its forms.T He enjoys showing the effects that changing seasons, or even small variations in temperature or light, can have. With a strong eye for light, color and texture, he brings a variety of scenes to life—from meadows to the webs of leaves and branches in a forest. In all of them, he balances an ability to capture the feeling of being in nature with a refined sense of texture and composition that makes each painting a personal statement. That clarity and sensitivity can also be seen in images that show the mark man has left upon the world, with bridges, buildings and even a power plant receiving the same kind of focused attention that he gives to the natural world.

Working in oils and watercolors, the artist uses the strengths of each to strong effect. In oils, he creates sharply realistic landscapes and interior scenes. The warmth of his colors plays nicely off of that sharpness, resulting in images that, for all their precision, come across as relaxed and open. In his watercolors, the lines are freer, and the webs of colors and lines are more loosely drawn, but the same combination of structure and spontaneity is present.

Chisholm has taught studio art for many years, and has exhibited his work widely. In addition to painting, he makes sculptures in wood, further underlining the ties between his work and nature. But it is the poetic impulse behind his pictures that makes them special, illuminating each scene with a light that is beyond the simply natural. www.jamesrchisholm.com www.Agora-Gallery.com/ArtistPage/James_Chisholm.aspx

91 ARTisSpectrum | Volume 35 | artisspectrum.com Susana Cecilia Taratuty sharp eye for color, pattern and movement combine with an Aelemental feel for natural forms in Susana Cecilia Taratuty’s paintings. Working in oils and acrylics on canvas, the artist makes images that illustrate the force of nature while also carrying out experiments in texture and tone. From landscapes depicting the mountains and plains of Argentina, her homeland, to abstractions in which splatters and drips of paint are juxtaposed with simple lines and arcs, Taratuty’s images have a powerful, constantly shifting energy. Whether she is building an image from a pattern of undulating, subtly layered lines or from roughly textured bursts of paint, the artist instills each of her works with both a disciplined sense of order and a large dose of the unexpected.

Color also plays a central role in creating the depth and drama found in her paintings. Able to elicit as much contrast from working through the subtle variations of one color as she does from orchestrating bold patterns of opposing shades, the artist lets color, just as much as composition, set Azul Mixed Media on Canvas 13” x 13” the rhythms that lead the viewer’s eye through each work. An arrangement of pinks, whites, and reds will have an intensity matching that of an intricate multi-colored series of lines. The resulting works have a strong physical presence that is as much in evidence in an abstract work as in a more realistic scene.

But perhaps the line between abstraction and representation is one that should not be drawn when discussing Taratuty’s work. In her patterns of pure color, one can see the kind of combinations that are often found in nature, while her landscapes show the interest in color and line that is often limited to abstract work. That quality gives her paintings freshness and complexity, and makes them unique. www.Agora-Gallery.com/ArtistPage/Susana_Cecilia_ Taratuty.aspx

COLORES Acrylic & Enamel on Canvas 11.4” x 11.8”

ARTisSpectrum | Volume 35 | artisspectrum.com 92 Sarah Lynch arah Lynch photographs landscapes where overwhelmingly horizontal compositions work to create ethereal natural scenes.S The landscapes continue forever backward, and simultaneously flatten into planes of color and value. The wide expanses of rock, air, and water blend to form scenes of diverse texture. Each composition highlights the natural geography of the place while simplifying the narrative to one of shape and pigment. In Lynch’s monochromatic images, the work becomes extremely textural, the choppy surface of water against mountains and puffs of steam all creating different areas of interest. When in color, each piece fades and glows with atmospheric light.

Based in Melbourne, Australia, Sarah Lynch brings her practice around the world as she travels, volunteers, and photographs. Untitled 1 Photograph on Fine Art Paper 16.5” x 23.5” Her otherworldly compositions capture a mood and awe of nature. www.Agora-Gallery.com/ArtistPage/Sarah_Lynch.aspx Anna Des hotographer Anna Des presents photographs that are both documentary and experimental. Some explore the glistening, endlesslyP variable surfaces of bodies of water, reflecting both images in the water and the curiosity of the photographer. Others feature stunning landscapes. Des often captures an almost monumental light in her work, imbuing everyday scenes with the same impact as her landscapes. Crisp geography and atmosphere pervade each work, giving the viewer the opportunity to share in the exploration.

Living and working from French Polynesia, Des photographs reality with a desire to transcend it. Each piece seems hyper real, showing off mirror like water or saturated colors in nature. Her pieces become at once incomprehensibly grand, capturing sprawling mountains and Imagine Oil on Canvas and Wood 31.5” x 63” seas, and intimate, focusing on a set of stairs or a piece of driftwood. www.Agora-Gallery.com/ArtistPage/Anna_Des.aspx Nadia Lassman former lawyer, Nadia Lassman found her love of painting later in life and now creates vibrant landscapes. She typically uses acrylic paint to weave a scene Abased on destinations she has visited or plans to see. Influenced by impressionist artists like Claude Monet and Edgar Degas, she portrays “places with lots of light and reflection” without being too abstract. Describing herself as a “very happy person,” her work shares her positive state of mind. She enjoys depicting water scenes because of their peaceful quality and their juxtaposition “between the warm greens and yellows and cooler purples and blues.” Her pieces have such rich texture and layers that her viewers may believe they can jump right in.

Lassman lives in Toronto, Canada as a full-time artist.

www.nadialassmanart.com www.Agora-Gallery.com/ArtistPage/Nadia_Lassman.aspx Giverny Acrylic on Canvas 30” x 24”

93 ARTisSpectrum | Volume 35 | artisspectrum.com Shifra

hifra is an Israeli-born photographer working from Ramat Gan. As a child, listening to her mother’s stories of America, Shifra askedS her mother what she had gained in her new country. Her mother’s answer was simple: It was the colors and smells. Shifra, too, is inspired by the local environment; she describes the blue sky and sea, the shifting tones of the desert, the bazaars, the diversity of its people, and the mix of buildings old and new.

It is from this rich vein that Shifra captures her photographs. An urban photographer, she patrols the city looking for colors and forms, particularly minimalism and abstractions. She does not arrange scenes, but allows her mood to dictate the type of photo she will capture on a given day. Once she has taken her photographs, Shifra begins to manipulate the work—a method she refers to as digital interference—warping, double exposing, and blurring her subjects. These transformative techniques mirror the hustle and bustle of the city of New York that Shifra adores so much. “I would love for my art to touch people,” Shifra says. “To influence their outlook and thoughts. To leave an emotional impact.”

www.shifrart.com www.Agora-Gallery.com/ArtistPage/Shifra.aspx City Density 11 Digital Photography 27.5” x 20”

Menno Vos

he paintings of Menno Vos possess a unique sculptural quality that creates a sense of depth and mystery, as ifT one is peeking into a different world. The manager of a police academy by day, Vos is inspired in his art by his extensive travels. “I am always optimistic and a ‘people- person’: interested in how people live, what they think, where they live,” he says. When someone he meets or a location he visits sparks an emotional reaction, Vos transforms these feelings and recollections into fabulous abstract pieces that come “straight from the heart.” His work is bold, bright, and colorful, a direct reflection of who he is and where he has been.

Vos’ first foray into an artistic career was travel photography, through which he gained a solid understanding of light, color, and composition. His photographs were published in over ten magazines in the Netherlands before he was introduced to abstract painting and fell in love–not just with the medium, but the method. His works represent a world of freedom: letting go of all the constraints and expectations of his day to day life. In the future, Vos plans to expand his technical repertoire into ink painting and larger formats. No Borders Acrylic on Canvas 40” x 40” www.mennovospaintings.nl www.Agora-Gallery.com/ArtistPage/Menno_Vos.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 94 Iva Milanova

ncouraged by a family supportive of the arts, Iva Milanova attended the National Academy of Art in Sofia, Bulgaria, which preceded a Master’s degree in History of Art and Classical Archeology from the Humboldt University of Berlin. There, MilanovaE felt drawn to the icons, mosaics, and Christian symbols she studied. Though her figures are distinctly modern, the influence of religious iconography is immediately recognizable in her work. Narrow noses and wide eyes define her subjects, yet haloes rarely hang about their heads.

Beyond her figurative work, Milanova paints patterns evocative of both stained glass and the Bulgarian folk tradition. As a child, she was taught to weave and dye fabrics. This early introduction to fashion has stayed with her, informing her color choices and reminding her to stay true to her cultural identity. Ideally, Milanova hopes her work will be a haven for her viewers. “My aim,” she says, “is to be a knight of the vanishing spirituality in the world.” Milanova has shown her work at the Florence Biennale, the Salon D’Automne, and the Beijing International Art Exhibition, where she was given a “Top Influential Artist” award. She is a member of the Société des Artistes Indépendants. www.iva-milanova.de www.Agora-Gallery.com/ArtistPage/Iva_Milanova.aspx

The Artist Oil on Canvas 20” x 20” George Struikelblok

eorge Struikelblok creates unbridled acrylic paintings inspired by the twin themes of love and death. Struikelblok paints with a full palette, employingG vivid, rainbow-hued washes and brash strokes of inky black across his canvases. He builds shapes out of acrobatic lines that wheel and curve about, butting up against one another in a controlled chaos. The works are alive with freedom and energized by the deep contrasts in color Struikelblok creates.

Struikelblok is a fully abstract painter, but his work is by no means non- representational. His pieces have a distinct air of a populated scene about them, with shapes and scale mimicking traditional domestic or figural painting and then taking those styles to unexpected places. Spirals and undulating waves of color interact with each other the way bodies in a photograph might. Small, low-lying shapes that protrude or recede according to color hint at the foreground and background of scenery. Struikelblok was born in Paramaribo, Suriname and today owns his own studio and gallery. He has won several international awards for his work and has exhibited in the Netherlands, France, the United States, British Guyana, and Suriname.

www.struikelblokgeorge.8m.com www.Agora-Gallery.com/ArtistPage/George_Struikelblok.aspx

Hor Mi Acrylic on Canvas 59.5” x 39.5” 95 ARTisSpectrum | Volume 35 | artisspectrum.com Gloria Bhargava he multicultural, multimedia world that we live in is powerfully reflected in Gloria Bhargava’s collages. TheT notion of cultural conflict is a personal one for the artist. While she was born and raised in Thailand, she was educated in an international school and grew up in a tightly enclosed world, speaking English rather than Thai and feeling “like a foreigner” in her own country. Because of that, she developed a sharp ability to pick up on the effects of cultural displacement, clearly seeing the ironies that result when the American Dream comes up against the realities of life in Bangkok’s back streets.

That duality shapes the dynamic collages that Bhargava makes. “My art is fundamentally about two aspects which are very prominent in my life,” she says, “identity and culture.” In her work, those two concepts are cleverly and provocatively interwoven. Cultural stereotypes are contained in images that also have a dreamlike intensity, bringing even the most socially or politically loaded image into surroundings that feel intimate and personal. By placing images that conflict with each other in close proximity, the artist encourages the viewers of her work to become more accepting of cultural differences.

Bhargava’s collages are a mixture of artistic elements as well as cultural ones. Incorporating images taken from many of sources, she then adds various paints, dyes, inks and even such materials as newspaper, ribbons, and flowers into her work, using the contrast between those materials both to add a vibrant sense of texture to her collages and to comment upon the parallels and contrasts between the juxtaposed worlds that populate her pieces. The artist says that a major goal of her work is show the viewer “contemporary society in a simultaneously objective and entertaining manner,” and the power of her images realize that goal. www.gloria-bhargava.com www..Agora-Gallery.com/ArtistPage/Gloria_Bhargava.aspx

Life on Mars Digital Collage 30” x 24” The Star of Bethlehem as Seen on 21 - 12 - 2012 Digital Collage 30” x 24” ARTisSpectrum | Volume 35 | artisspectrum.com 96 Mark Salevitz

n one way, Mark Salevitz’s paintings are a record of the places he has been. From the Arizona Idesert to the streets of London and Paris, he captures the presence and beauty of each location, employing a sharp eye for detail and a distinctive take on color and perspective. But more than the simple appearance of those places is captured in his pictures. With their undulating lines and softly textured backgrounds, the artist’s works also bring the world of dreams alive. In some images, details cascade over each other in dense patterns, giving them a complex sense of movement. In others, a scene will be reduced to its basic outlines and placed over a subtly glowing web of colors, achieving a presence that is a bold statement of pattern as well as the recreation of a place.

This balance of the realistic and abstract allows the artist to experiment with line and color. Working in acrylics on canvas, paper and wood, Salevitz makes the most of the bold colors that acrylics can yield, Mont St Michel Acrylic on Canvas 20” x 20” juxtaposing their intensity with dark areas and softer shades to create depth and space. His free sense of line gives the multi-layered compositions that result a spontaneity that welcomes the viewer into the varied world he depicts. www.marksalevitz.com www.Agora-Gallery.com/ArtistPage/Mark_Salevitz.aspx Fahim Somani My work is based on the idea of blending east and west with a touch of contemporary,” Fahim Somani says. The eastern influences in the artist’s“ work take the form of a strong interest in the motifs of Islamic art, particularly in calligraphy. Characters from Arabic script play a major role in many of his paintings, both as written text and as graphic symbols that are then reflected in the brush strokes and visual structure of each piece. Whether they are clearly articulated, or are submerged under layers of paint, those characters give a narrative focus to Somani’s images, turning each one into a story as well as a picture.

The western, more contemporary influences on the artist’s work make their presence known in the broad range of styles and media that he incorporates into his images. A sculptor as well as a painter who has had several previous exhibitions at Agora, he executes his paintings in acrylics on both canvas and wood, juxtaposing texture and colors to strong effect. From smooth, geometric white lines to the graceful strokes of his calligraphy to drips and soft fields of pure color, Somani exercises a broad, inclusive artistic vocabulary, breaking down the boundaries between the types of art that have influenced him. www.fahimsomani.com www.Agora-Gallery.com/ArtistPage/Fahim_Somani.aspx

Series of Letters 3 Mixed Media & Resin on Canvas 36” x 24”

97 ARTisSpectrum | Volume 35 | artisspectrum.com Hilde Gustava

The Mystery of Pi and Nature Acrylic & Mixed Media on Canvas 27.5” x 39.5”

The Great Journey of Pi 1 Acrylic on Canvas 20” x 20”

I find the process of art making is mysterious and unlimited,” Hilde Gustava says, and the words “mysterious” and “unlimited” could easily be“ used to describe the artist’s work. Painting in acrylics on canvas, she creates brightly colored, boldly composed images that layer their various elements in unexpected ways. With their emphasis on primary colors and simple shapes, she shows her unique talent through the manner in which she combines those colors and forms. Alternating cleanly outlined images of the symbols for infinity and the mathematical Pi with drips, scrawls and swirls of paint, she constructs a world of varied textures and rhythms. The resulting works are both elemental and complex, filtering the meaning of basic symbols through dense networks of color, texture, and line.

Those dense networks result from the artist’s distinctive technique. Working with multiple layers of paint, she meticulously arranges those layers, letting her colors and shapes intersect in dynamic, yet subtle combinations. While her paintings have a precise and balanced form, they are also animated by an energy that is both playful and experimental. There is a childlike sense of openness to her work, a feeling of endless possibility and transformation. Each shape and color is subject to change, and their changing relationships give each image its sense of freedom. The need for variety has driven Gustava throughout her artistic career. Having made films, collaborated with musicians and done black-and- white drawings, she shows a continual openness to both media and method, a trait which is manifested in her paintings. Often working on several canvases at once, she lets a sense of spontaneity chart the course of each work. But that spontaneity is tied to a clear purpose, a desire to communicate the power of universal forms while taking viewers on an engaging and enlightening spiritual journey. www.gustavaskulturfabrikk.no www.Agora-Gallery.com/ArtistPage/Hilde_Gustava.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 98 Nadiejda Charova Tscheltzoff

Reve Blue Oil on Canvas 31.5” x 39.5” n her paintings, Nadiejda Charova Tscheltzoff creates a complex, physically compelling universe from the stuff of dreams. “The inner world is to my mind a subtle reality as much as essential truth,” she says, and her work gives that subtle reality a Idepth and presence that powerfully draws the viewer in. Working in oils on canvas, the artist makes images that are elegantly simple, but that simplicity generates an enigmatic power. A single tree in an open field, or even a pattern of almost pure color, achieves a striking level of drama, existing as a kind of conversation between the artist’s thoughts and the world she observes.

As a teenager, Charova Tscheltzoff was drawn to fashion, and the focus on color, texture, silhouette and design that are so central to that field carry over into her paintings. Whether she is capturing an intricate pattern of branches or the soft juxtaposition of colors in a dreamy sky, she shows a strong feel for detail and structure as well as a sensitivity for the ways in which patterns and textures can set off emotional vibrations and resonances. The paintings that result from this process have a multi-leveled ambience—one with a moody, otherworldly tone that evokes myths and fairy tales while also communicating a precise sense of style and composition.

But it is the underlying freedom and spontaneity of her paintings that is perhaps their central characteristic. “The creative process is a dive,” she says. “I’m extremely surprised by the creative process. I let myself be overwhelmed by it.” It is that constant level of surprise and discovery that is the driving force behind her work, expressed in her bold color choices and in the uncanny way in which she lends her dreamy, impressionistic world a powerful, vivid presence.

www.Agora-Gallery.com/ArtistPage/Nadiejda_ Charova_Tscheltzoff.aspx

Rêve Rouge (Dream in Red) Oil on Canvas 27.5” x 39.5” 99 ARTisSpectrum | Volume 35 | artisspectrum.com Jacky Cheng

Fireworks Paper 13” x 13” Dharma Wheel Paper 25” x 23.6”

acky Cheng brings a broad range of cultural and artistic influences to her work. An architect and professional art educator as well as an artist, she has a strong focus on both the sense of structure required in architecture and the emphasis on communicationJ that is a central part of teaching. The combination of those qualities gives her work a clarity that draws the viewer into the intricately detailed world she constructs. Reimagining architecture’s goals of “creating and making” in a smaller and more intimate form, she makes cut-paper works that play complex games with shape, texture, depth, and color.

Cheng learned the art of folding and cutting paper from her grandmother during her childhood in Malaysia. “The patience and pride in knowing every single cut is of purpose and intent,” a principle that was very important to her grandmother, also became a pivotal element of her artworks. But her cultural influences go beyond her family history. Leaving Malaysia to study architecture in Australia, Cheng eventually wound up working with the aboriginal community in Western Australia, another society with strong cultural family values which imparts generational knowledge and Dreamtime story-telling into basic geometric forms, filtered through a respect for both natural and social traditions.

Uncovering the many forms that arcs and shapes can take, the artist creates images that evoke the spirituality of the mandala and the purity of form that characterizes one of her architectural masters, Mies van der Rohe. Her distinctive use of color adds another level to her images. While the subtle tones of the paper itself are used to generate dynamism and contrast, she also incorporates bursts of bright color, weaving a trail of red through a work or layering a resemblance of intricate white paper pattern through a rainbow of shades. The resulting works are an appealing hybrid of the traditional and the contemporary. www.jackycheng.com.au www.Agora-Gallery.com/ArtistPage/Jacky_Cheng.aspx

ARTisSpectrum | Volume 35 | artisspectrum.com 100 ARTbeatARTbeat Agora Gallery is ARTbeatproud to represent talented artists from all over the world, many of whom are inspired by their surroundings. Each location is different and possesses a unique atmosphere. Naturally, the art in each place also varies, imparting a particular feeling to the art scene and influencing artists in certain ways. In ARTbeat, some of our artists explain what they think is most characteristic and special about the art scene in the city where they live.

101 ARTisSpectrum | Volume 35 | artisspectrum.com Art in Gothenburg By Eva Otterstrom www.Agora-Gallery.com/ArtistPage/Eva_Otterstrom.aspx

weden is a long and narrow country - from south to north, it´s about 1,500 km (975 miles), although mostS people live in the south half.

I was born and raised in the town Gothenburg on the southwest coast of Sweden. It is the second largest seaside town in Sweden. My family and I live just south of Gothenburg in a village on the water. In the summer it is a wonderful seaside town, but in winter there is rain and snow, and it is really cold. It is always very windy here and the water is often “upset” both in the summer and winter, which is why this place is known Art, design, architecture, and music are plentiful here. We as one of the best places in Sweden for kite surfing have a large number of different galleries; however, one of the year round. most exciting places is the main art museum called Göteborgs Konstmuseum. The museum even has a special photography section, The Hasselblad Center, and the Hasselblad Prize is regarded as the most prestigious photography prize in the world.

There are many organizations in Gothenburg that encourage art. Artscape, a Swedish street art organization, is one major group that supplies art for the people. Their motto is “Great art shouldn’t be confined to only galleries and museums.” As a nonprofit organization, they seek to inspire people and promote public art for everyone. Another organization is the Gothenburg Culture Committee, who lends art to public buildings, like schools and hospitals.

The waves, the wind, and the nature here are good for the soul. I like this weather, as it suits my temperament and has a profound effect on my painting. This is what I think makes my art and the art of Gothenburg unique.

I almost never paint just a landscape, and I seldom paint abstracts; but, I do paint figures. My figures are always moving or look as though they are thinking of moving. It is in my figures that I use the inspiration and energy of the wind and waves. Throughout the year, there is also much to see and do here in Gothenburg. Once a year, there is the Gothenburg Film Festival, However, Gothenburg is not just known for its weather; an international event for “serious” films. There is also the five-day it is also a great cultural center. long Gothenburg Culture Party (Kulturkalaset) and the 24-hour long Kulturnatta, where the whole city is involved with street art, workshops, music, literature, and dance. These are just some of the things that Gothenburg can share with you.

Overall, the art scene in Sweden does not differ very much from the rest of the western world. As in most cases, it is not characterized by one limited style but of an assortment of all types of art crowded and mixed together and is about bringing people together for the sake of art.

ARTisSpectrum | Volume 35 | artisspectrum.com 102 Bangkok: Art That Shouldn’t Have Been By Gloria Bhargava www.Agora-Gallery.com/ArtistPage/Gloria_Bhargava.aspx

t is frankly a miracle that the art scene in Bangkok exists at all. Politics has always played a tricky role in the art world here, while Thai society as a whole has been less than welcoming to not only emerging but also established artists. However, Iknowing a bit more about the atmosphere of this developing world lends a perspective on why art and artists are not more celebrated here.

Thailand is one of the fastest growing countries in the world, having come a long way from rice paddy fields to skyscrapers in just under 30 years. That’s a great accomplishment by any standard, both commercially and economically. However, the society is ill equipped to handle this change: Mom-and-Pop storeowners have become millionaires within two generations and now own retail chains and bus drivers and chauffeurs now export automobile parts. Everyone is getting richer. Nevertheless, because the focus is on making money, art is seen as trivial and unimportant. Many parents encourage their children to have degrees in medicine, engineering, or business administration, while having a degree in art is usually frowned upon. However, in recent years, “hipsters” and art lovers of the Millennial generation have started paying more attention to art by hosting more exhibitions and showing art in their restaurants and businesses.

I recently attended an exhibition called “L’Amour” at a charming little gallery called “Art Space,” located in the heart of the Bangkok art scene. The exhibition boasted works from 34 artists, both renowned and emerging, with each artist’s unique interpretation of love based on emotions, memories, ideals, or imagination. Rows of gilded, embroidered, and painted works adorned the walls, meshing Western and Thai techniques into works that are one-of-a-kind. To say that the exhibition was a feast for the eyes is an injustice, for it was more than that.

I noticed that not only were the works on display gorgeous, but the scene also served as a melting pot for art collectors and emerging and established talents to come together and share their views on society in regards to art. We all agreed that the art scene has come a long way compared to twenty years ago, but there’s still so much room to grow. The gallery owner, a graduate of University of Texas, was extremely cordial and especially proud of the turn out. Although, she, too, agreed that the Bangkok art scene needs a push from not just patrons, but also from governmental agencies and various other institutions.

As a mixed media artist who grew up in Bangkok, I was especially pleased to see such a wonderful collection of eclectic works shown at the gallery, and I am proud to be in the center of the artistic revolution that is happening in this city and in this country.

The Bangkok National Museum, one of the few major places to see Thai art; Source: Wikipedia

103 ARTisSpectrum | Volume 35 | artisspectrum.com Byblos, Lebanon: Art as a History Book By Jean Lahoud www.Agora-Gallery.com/ArtistPage/Jean_Lahoud.aspx

economic turmoil that Lebanon now faces, Byblos artists continue to defiantly push their boundaries and find their identity.

Modern-day Byblos is characterized by its ancient Roman road, Persian fortifications, Crusader castle, Byzantine churches, charming old harbor and beautiful Souks (open-air marketplaces). The city inspires artists, painters and photographers from across the country. Byblos’ rich past makes it a natural convergence point for international art and culture. World-renowned musicians, such as Lana Del Rey and John Legend, have participated in the Byblos International Festival held every summer.

On a personal level, the area around Byblos has influenced me tremendously as an artist. Amchit, my native village, borders the yblos, an ancient port city on the Lebanese coast city and is famous for its historic mansions. They prominently of the Mediterranean Sea, is listed by UNESCO as a feature mullioned windows, known locally as mandalouns, which WorldB Heritage Site. It is one of the oldest continuously have been the central theme for many watercolor artists in inhabited cities in the world, with a rich history dating Lebanon. Concealed in Amchit’s winding back streets, one can find back to the Neolithic Period (8000-4000 BC). This several permanent art exhibitions. Rachana, another nearby village, exceptionally diverse past has endowed Byblos with a has made a name for itself as an outdoor sculpture museum. unique, vibrant, and multicultural art scene. Sculptures created by the three Basbous brothers dot the streets in a completely integrated manner, in true Byblos fashion. Originally inhabited by the Phoenician people, Byblos witnessed the rise and fall of several civilizations, like the Assyrians, Romans, Crusaders, Mamluks and Ottomans. The various ruling cultures and cultural upheavals directly impacted the city’s craftsmanship and artisanal production. Over time, this craftsmanship evolved and matured into an artistic style based on cultural synthesis, as seen on medieval church walls in Lebanon’s mountainous north. Multiculturalism quickly became a distinguishing feature of Byblos artists.

Throughout the past few centuries, despite the rising influence of Western art on Byblos, local artists have continued to question and selectively synthesize its Without a doubt, the vast convergence of civilizations has elements. They never took anything for granted and influenced Byblos from antiquity to modern times, leaving its mark neither forgot their past nor rejected their present. on local artists and transforming them into exemplary integrators. The deeply ingrained ability to calmly absorb and No one style dominates the city’s art scene. Instead, visitors integrate, while imparting a local flavor, persists to experience a strong rush of history embedded in the art itself -- as this day. Notwithstanding all the political, social, and much in the styles it embraces as in those it leaves out. ARTisSpectrum | Volume 35 | artisspectrum.com 104 Georgia: The Home of Cloisonné By Natia Malazonia www.Agora-Gallery.com/ArtistPage/Natia_Malazonia.aspx

eorgia, a country with rich historical and cultural heritage, sits at the crossroads of Europe and Asia along the Black Sea between Russia and Turkey. There are four UNESCO World Heritage sites and much geographic diversity, from popular beachG areas like Batumi to the mountainous region of Svaneti. Georgia has a little bit of all the things that are so vital for travelers, including great wine, unique traditions, history, and a beautiful landscape.

In contemporary Georgia (particularly in the art), one can see the confluence of both the traditional and newest trends. In the photo below, you can see the oldest district in Tbilisi, the capital of Georgia. It is rich with its unique buildings, old apartment blocks, and distinctive architecture. Many buildings in Tbilisi have been taken down and were replaced with modern ones. Luckily, one can still find some of the most exquisite houses in older areas of the city. Their uniqueness lies in the details such as centuries-old doors, carved wooden balconies, beautiful entrances, painted ceilings, and particularly, the decorative cloisonné enamel.

The first samples of cloisonné enamel date back to the 7th century. The art of cloisonné enamel reached its zenith in the 11- 12th centuries. The famous Khakhuli Triptych, a partially preserved triptych icon of the Theotokos that uses over 100 pieces of Georgian and Byzantine enamel, was created in this period. When I visited the Georgian National Museum of Fine Arts many years ago, I saw the Triptych and was so impressed that I decided to work in cloisonné enamel. I started studying the technique at an art gallery named “Ornament” in 2005, which is the leader in cloisonné art, and have participated in many exhibitions since then internationally.

I am proud that many Georgian artists, such as Niko Pirosmani, Lado Gudiashvili, and Elene Akhvlediani, are highly acclaimed for their traditional artistic styles not only in their home country but also internationally. To me, the combination of traditional and contemporary techniques as seen in Georgia is what allows artists to breed new ideas and see Georgia as a place of endless creativity.

105 ARTisSpectrum | Volume 35 | artisspectrum.com PRESENTS th2016 TALK SERIES

SINCE 1986 ANNIVERSARYARTIST BY

ARTIST BY DEFINITION ARTISTKAY BY NISHIKAWA DEFINITION PAMELA SNEED NEW LOCATION ONFOUNDING 2ND ARTISTS: FLOOR

KATHLEEN30 & WILLIAM LAZIZA KATHLEEN LAZIZA KATHLEEN

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LISA GUIDO GUIDO LISA JAMIE LEO PETER FAHRNI FAHRNI PETER ® ON FOLLOW MICROMUSEUM SPECIAL APPOINTMENTS & ART SALES For invitation (718) 797-3116 contact: executive@ micromuseum. com www.micromuseum.com SMALL VENUE BIG ART , 1974-1975. Colored lithograph on paper, ed. 1/10, 25 5/8 x 19 25 5/8 ed. 1/10, on paper, lithograph Colored , 1974-1975. Luna / Full Moon Pleni Wifredo Lam (Cuba, 1902 - 1982). Wifredo Collection in. Robert Gumbiner Foundation 5/8

ARTisSpectrum | Volume 35 | artisspectrum.com 106 June Exhbitions at Agora Gallery June 14 - July 5, 2016 Reception Thursday June 16, 2016 6-8 PM

Pathway to Abstraction Mélange of Milieu

Duane Anderson | Mache del Campo | Juliet Evans | Kirsten Hagen Trent Altman | Katherine Austin Melissa Helene | Fanny Horowitz Chris Brandell | Sarah Elyse Granetz Michael Ostromooukhov | CAVADA Loren Howard Cheryl Pettigrew | Gabriel Riggioni Jorge Shen | GOTASI

107 ARTisSpectrum | Volume 35 | artisspectrum.com 530 West 25th Street, New York, NY www. Agora-Gallery.com

Kelley Millet: Free Falling a solo exhibition

ARTisSpectrum | Volume 35 | artisspectrum.com 108 SPOTLIGHT ON AGORA GALLERY VIDEOS Promotional Videos – Why They Work!

For those of you who follow Agora Gallery’s social media channels, you must have noticed an increase in our video productions lately. The world is changing, and we are changing with it. Online video was described as “the future of content marketing” by The Guardian in 2015, the article also mentioned: “by 2017, video will account for 69% of all consumer internet traffic, according to Cisco. Video-on-demand traffic alone will have almost trebled.”

As part of our main commitment to promoting talented artists, we found that producing “Spotlight On” videos is generating a great deal of interest, in the artworks and the featured artist. Considering that there are about 4,950,000,000 videos viewed on YouTube alone every day, we thought it was about time to increase our presence on this channel. Having a personal video is a wonderful opportunity for additional exposure, a great promotional tool, and a lovely keepsake of the opening reception at the gallery. Also, videos are tremendously popular among both art lovers and search engines. A Spotlight video is also a valuable addition to any artist’s portfolio.

We encourage all of our readers to take a peek at our YouTube channel, view our most recent “Spotlight On” videos, learn more about the artists, get inspired, and let us know what you think!

Chiara Mortaroli, Agora Gallery Social Media Coordinator

109 ARTisSpectrum | Volume 35 | artisspectrum.com Receive four wonderful issues of ArtisSpectrum, featuring profiles of contemporary art and artists and importanta articles. Two year Subscription: $24 for US, $35 for international. artisspectrum.com/subscribe.html

ARTisSpectrum | Volume 35 | artisspectrum.com 110 ARTisSpectrum ARTisSpectrum Volume 35 The Chelsea Perspective The Breadth Of A Life pg. 39

Profiles of Contemporary Art and Artists Volume 35

111 ARTisSpectrum | Volume 35 | artisspectrum.com