Alejandro Rauhut
Exclusions: Installations
Complete Installation 

Alejandro Rauhut
Exclusions Mexico
These mirrors intervened with maps of different cities dating from around 1800 are a call towards gratitude. These pieces that depending on the light generate different nuances are light boxes where the geometric figure can be turned on and off generating different sensations depending on its state and environment. This makes them not only contemplative but interactive with the viewer since the reflection is a big part of the artwork. 

Alejandro Rauhut
Exclusions MOSCOW
These mirrors intervened with maps of different cities dating from around 1800 are a call towards gratitude. These pieces that depending on the light generate different nuances are light boxes where the geometric figure can be turned on and off generating different sensations depending on its state and environment. This makes them not only contemplative but interactive with the viewer since the reflection is a big part of the artwork. This series consists of 8 maps of different cities, each with a different color and geometric figure that represents a wake-up call to gratitude. (Berlin, London, Madrid, Moscow, NY, Paris, Tokyo, Shanghai).

 

Alejandro Rauhut
Exclusions London
These mirrors intervened with maps of different cities dating from around 1800 are a call towards gratitude. These pieces that depending on the light generate different nuances are light boxes where the geometric figure can be turned on and off generating different sensations depending on its state and environment. This makes them not only contemplative but interactive with the viewer since the reflection is a big part of the artwork. This series consists of 8 maps of different cities, each with a different color and geometric figure that represents a wake-up call to gratitude. (Berlin, London, Madrid, Moscow, NY, Paris, Tokyo, Shanghai).

 

Alejandro Rauhut
Exclusions SHANGHAI
These mirrors intervened with maps of different cities dating from around 1800 are a call towards gratitude. These pieces that depending on the light generate different nuances are light boxes where the geometric figure can be turned on and off generating different sensations depending on its state and environment. This makes them not only contemplative but interactive with the viewer since the reflection is a big part of the artwork. This series consists of 8 maps of different cities, each with a different color and geometric figure that represents a wake-up call to gratitude. (Berlin, London, Madrid, Moscow, NY, Paris, Tokyo, Shanghai).

 

Alejandro Rauhut
Exclusions BERLIN (Pink)
These mirrors intervened with maps of different cities dating from around 1800 are a call towards gratitude. These pieces that depending on the light generate different nuances are light boxes where the geometric figure can be turned on and off generating different sensations depending on its state and environment. This makes them not only contemplative but interactive with the viewer since the reflection is a big part of the artwork. This series consists of 8 maps of different cities, each with a different color and geometric figure that represents a wake-up call to gratitude. (Berlin, London, Madrid, Moscow, NY, Paris, Tokyo, Shanghai).

 

Sutton Sutton
Nobel Thoughts
K. immersed in himself, tries hard to decipher the enigma. His thoughts have clouded his face, those dark shrouded clouds contrast the white sky.

What does K intend to achieve?

The piece printed on long threads creates an unsettling sensation in the spectator who, upon observing it carefully, is surprised by the real scale of the individual. A large piece of absolute minimalism: its low chroma, its few elements, its simple landscape and as a finishing touch a light strip of nonexistent threads cut the image and perhaps the noble thoughts. 

Who is K? Will we ever get to know his face? Will his dense clouds dissipate? 

There is a lot of nobility in simply trying to levitate. 

Sutton Sutton
Gin Tonica
Artworks are limited edition pieces (series of 5) which combine the experience of Nat and Salo Sutton of more than 13 years of working together. Their work combine different arts: photography, painting, sculpture and cinematography. They are installations that invite us to see beyond the frame. Pieces that impact, demanding closer

attention and telling us "look at me closely, here I am, I am not a static image." I am so much more ...

This couple of restless photographers search for a subject or a space to take the photograph. They intervene it, paint it, print it on metal, or tear a piece of canvas and insert corks underneath. They cut it out, distort and make it new. They either add elements or remove them, recreating it. It´s not only a painting but also a sculpture.

What used to be performance, they convert it into an installation.

Logs, balls, threads…anything goes. They are fearless. They distort the pictures until they achieve what they wish to represent. In Art Works the photos are intervened with metal, paint, cork and threads. They are cut, ripped, cut some more, disassembled, then rebuilt and transformed. There are moments to take chances and others to be cautious, but only an artist understands what each work calls for.



 

Sutton Sutton
Purple Jazz
Artworks are limited edition pieces (series of 5) which combine the experience of Nat and Salo Sutton of more than 13 years of working together. Their work combine different arts: photography, painting, sculpture and cinematography. They are installations that invite us to see beyond the frame. Pieces that impact, demanding closer attention and telling us "look at me closely, here I am, I am not a static image." I am so much more ...

This couple of restless photographers search for a subject or a space to take the photograph. They intervene it, paint it, print it on metal, or tear a piece of canvas and insert corks underneath. They cut it out, distort and make it new. They either add elements or remove them, recreating it. It´s not only a painting but also a sculpture.

What used to be performance, they convert it into an installation.

Logs, balls, threads…anything goes. They are fearless. They distort the pictures until they achieve what they wish to represent. In Art Works the photos are intervened with metal, paint, cork and threads. They are cut, ripped, cut some more, disassembled, then rebuilt and transformed. There are moments to take chances and others to be cautious, but only an artist understands what each work calls for.



 

Wuilfredo Soto
Cobalt Cube -Sphere
Wuilfredo Soto is a Venezuelan self-taught artist whose practice is defined by the geometric languages of kinetic art and Op-art. In his artwork, Soto challenges viewers' perceptions through repetition of lines and geometric forms, and the incorporation of light and transparencies. The artist develops his initials sketches in digital form, using technology to dissect shapes and volumes and create multiple layers that permit him to compose and test his geometric structures; a continual process that allows the freedom for him generate new variables, combinations, and juxtapositions. Color is also a key component within all Wuilfredo Soto's artworks with which it enhances his work's visual effects through strong contrasts of vivid colors, black and white. The use of industrial materials such as aluminum bars, sheets of plexiglass, PVC and acrylic paint combined with techniques such as laser cuts or high-definition printing, guarantees the artist accuracy of the shapes and the spot colors--all necessary aspects for the grammar of his work. Wuilfredo Soto believes that the outcome it can greatly affect by light, shape, and the observer. Operating together, these elements create captivating optical illusions that mimic movement and motion. 

Wuilfredo Soto is a Venezuelan self-taught artist whose practice is defined by the geometric languages of kinetic art and Op-art. In his artwork, Soto challenges viewers' perceptions through repetition of lines and geometric forms, and the incorporation of light and transparencies. The artist develops his initials sketches in digital form, using technology to dissect shapes and volumes and create multiple layers that permit him to compose and test his geometric structures; a continual process that allows the freedom for him generate new variables, combinations, and juxtapositions. Color is also a key component within all Wuilfredo Soto's artworks with which it enhances his work's visual effects through strong contrasts of vivid colors, black and white. The use of industrial materials such as aluminum bars, sheets of plexiglass, PVC and acrylic paint combined with techniques such as laser cuts or high-definition printing, guarantees the artist accuracy of the shapes and the spot colors--all necessary aspects for the grammar of his work. Wuilfredo Soto believes that the outcome it can greatly affect by light, shape, and the observer. Operating together, these elements create captivating optical illusions that mimic movement and motion. 

Peter McLennan
Spring Storm Cloud #2 in Red. The Filtered Gaze Series
My new cloud series entitled “The Filtered Gaze” follows the inspiration of Alfred Stieglitz’ cloud series known as the “Equivalents.”   In part he believed that the representation of clouds in art acted as an expression of the artist’s own emotions and inner state.  I have been photographing clouds since I began selling my work but have never quite understood why, or what exactly they meant to me.  A feeling of childhood wonder; an expression of the power and beauty of nature; a sense of the everchanging/impermanence of life are all certainly a part of my interest.  But clouds also shape our experience of the world around us.  Whether it’s through shaping the light or producing weather, clouds affect us every day.  In this particular case I liked the idea of filtering the viewers experience of storm clouds with the application of colour and examining the effects on our emotional response.   



 

Peter McLennan
Spring Storm CLoud #2 in Blue. The Filtered Gaze Series
My new cloud series entitled “The Filtered Gaze” follows the inspiration of Alfred Stieglitz’ cloud series known as the “Equivalents.”   In part he believed that the representation of clouds in art acted as an expression of the artist’s own emotions and inner state.  I have been photographing clouds since I began selling my work but have never quite understood why, or what exactly they meant to me.  A feeling of childhood wonder; an expression of the power and beauty of nature; a sense of the everchanging/impermanence of life are all certainly a part of my interest.  But clouds also shape our experience of the world around us.  Whether it’s through shaping the light or producing weather, clouds affect us every day.  In this particular case I liked the idea of filtering the viewers experience of storm clouds with the application of colour and examining the effects on our emotional response.   



 

Nelson Jahill
La Ola/The Wave
"River raft" and "The wave" belong to a group of works conceived between 2014 and 2020. In these pieces, I intent to explore the capacity that common objects poses to describe situations, behaviors or human spaces.

 

Nelson Jahill
Scene #4 from the Series Amnesia
The image of the bonfire of books appears frequently at different instances of the history of humanity. These are moments in which a group in power assumes the authority of denying others of certain knowledge contained in the volumes condemned to fire. The act of burning a book is one of the most evident among all forms of censorship. In certain occasions, in order to refer to this works, I've said that it is inspired in what I've called "The Torquemada effect" in Cuban culture.

Kristy Lee
Peeking Through
I am encountering a metamorphosis. The transition is simultaneously intuitive and dificult. I straddle the space between my old self as a mother focused on her children and her career, to a new woman with an empty home, adult children, and newfound time. This internal narrative is in constant fluctuation between maintaining and relinquishing control while I express myself on canvas. As I redeine myself, I learn that being an artist and a mother is not a rigid identity, but rather is an intricate intersection of both.



This harmony between contradictions is a perpetual element in my work. It is the conflict between objectivity and subjectivity, beauty and distortion, control and chaos, realism and abstraction, individualism and archetypes.

I often ind myself contemplating the female position. In this contemporary era, women are taking back their image, showing society that beauty is unique and found in all forms. I see beauty in individualism - scars, asymmetries, body shape, age- they are all beautiful.

Inspired by the abstract expressionists, I translate a particular state of emotion on the canvas through subconscious creation, yet limit my color palette to visualize an emotional state. I attempt to present the world solely from a subjective perspective, abstracting human features into vibrant, raw emotion. My large-scale paintings ill one's vision and peripherals, momentarily removing the viewer from the physical world as they enter a mentality driven by color.

Unapologetically self-taught, my art works as a form of institutional critique and challenges the need to have an arts education. My approach to art is an approach to life - full of transitions, contradictions, experiments, disruptions, and conversations to encourage scrutiny of their environment, cultural standards of beauty, and natural creativity.



 

Kristy Lee
Invisible 2
Kristy Lee is a contemporary and colorful abstract artist based in Orlando, Florida with an international presence.

Through my art, I am experiencing a metamorphosis in challenging myself through the creation of larger works, experimentation with media and pushing the boundaries of what I can create. This takes pushing myself to take risks as a part of my art making process. In this phase of my life, my practice in the studio allows me the freedom to leave a bit of my past self behind which was a nurturer as a mother.   Now with children grown and on their own, I can nurture my newer self as a full-time artist.  

The transition has been difficult but intuitive in that the work flows out naturally but is also a struggle.  This is a part of my internal narrative which is constant fluctuation as I redefine myself. Being an artist and a mother is not a rigid identity, but rather is an intricate intersection of both. 

These juxtapositions are a perpetual element in my work. I explore the balance between objectivity and subjectivity, control and chaos, realism and abstraction, individualism and archetypes. Inspired by the abstract expressionists, I translate a particular state of emotion on canvas through subconscious creation. 

My intention is for these large-scale paintings to fill one’s vision and imagination with peripherals, momentarily removing the viewer from the physical world as they enter a state driven by color and emotions. 

My approach to art is an approach to life - full of transitions, contradictions, experiments, disruptions, and conversations to encourage scrutiny of one’s environment, cultural standards of beauty, and natural creativity. 

I am inspired by Jenny Saville who said, “I do hope I play out the contradictions that I feel, all the anxieties and dilemmas. If they're there in the work, then that's brilliant." 

In considering what this means for me, it is about balancing the contradictions in art as influenced by life. My hope is that the viewer will experience my inner passion and relate to the work on a personal level. 



 

Kristy Lee
Twisted Emotions
Kristy Lee is a contemporary and colorful abstract artist based in Orlando, Florida with an international presence.

Through my art, I am experiencing a metamorphosis in challenging myself through the creation of larger works, experimentation with media and pushing the boundaries of what I can create. This takes pushing myself to take risks as a part of my art making process. In this phase of my life, my practice in the studio allows me the freedom to leave a bit of my past self behind which was a nurturer as a mother.   Now with children grown and on their own, I can nurture my newer self as a full-time artist.  

The transition has been difficult but intuitive in that the work flows out naturally but is also a struggle.  This is a part of my internal narrative which is constant fluctuation as I redefine myself. Being an artist and a mother is not a rigid identity, but rather is an intricate intersection of both. 

These juxtapositions are a perpetual element in my work. I explore the balance between objectivity and subjectivity, control and chaos, realism and abstraction, individualism and archetypes. Inspired by the abstract expressionists, I translate a particular state of emotion on canvas through subconscious creation.  

My intention is for these large-scale paintings to fill one’s vision and imagination with peripherals, momentarily removing the viewer from the physical world as they enter a state driven by color and emotions. 

My approach to art is an approach to life - full of transitions, contradictions, experiments, disruptions, and conversations to encourage scrutiny of one’s environment, cultural standards of beauty, and natural creativity. 

I am inspired by Jenny Saville who said, “I do hope I play out the contradictions that I feel, all the anxieties and dilemmas. If they're there in the work, then that's brilliant." 

In considering what this means for me, it is about balancing the contradictions in art as influenced by life. My hope is that the viewer will experience my inner passion and relate to the work on a personal level. 



 

Gregg Emery
Absentia
Inspired by a powerful line from Nina Simone's, 'Feeling Good' this painting is about powerful moments, power in simplicity and about moving forward even when it feels like you can't even get out of bed. With so much trying to weigh us down it is also a moment to meditate, pay attention to the beautiful connections we all have with one another and this world and to move. Movement & meditation have been my focus for much of my painting career and I hope you enjoy this latest piece created in my New York City studio.



 

Gregg Emery
Everything has Changed
This painting continues to push the idea of meditation and searching.  As the title implies, everything has changed but is it for the better, has it all changed but simultaneously remained the same?  I am excited at the possibility of hope, the darkest corners which seem rich with color and vibrancy and possibility.  

Again I work with the circle which for me is a metaphor for life, living, connection, reaching, tripping, falling and getting up again and again.  This particular circle is broken and built from different moments, it is seemingly patched together while simultaneously coming together in a single moment.  This painting also makes use of iridescent colors which shift and change depending on your perspective or vantage point which I believe to be one of the strongest aspects of my work.  You can see something completely different depending on the time of day, the angle or even the experiences you bring with you.  

This painting is my most recent large work and is part of a larger series of works titled: Space of Appearance.  It can also be linked to an NFT for authentification and for other experiences linked through the blockchain.  I am honored to be a part of the Future 100 Artists on the platform, Etcheve and all NFT’s will be minted and available through this newly curated group of creative leaders.  To see the beginnings of my journey with NFT’s and a great introduction to this exciting world, check out the Financial Times feature, NFT’s Redraw the Art Market.



 

Andre Paul Croteau
Who Said it was a Straight Line?

Betiana Bradas
Aphrodite
The work of Betiana Bradas arises from a route, the use of layers in her techniche is fundamental, they add or substract to one another. The emphasis is keen on the process of the making, transforming and integrating materials that seem to be distinct.

In her artworks,, transformation is taken as a mutation, it is seen as a vertiginous and radical change. The materials she implements in her work are used in a subtle way, although sometímes they are manipulated into tears, cracks, deformations and are even forced to the point where they become unrecognizable.

With no intend to box herself inside rígid geometry or historical constructivism, she reaches out for a strict yet free calculation.

In Betiana`s canvas, you can clearly notice how the movement and gesture leave a significant footprint of the route which involves each piece and brushstroke, matching her production with abstract expressionism. In this process she manages to unify body-sign-matter and transfigures it into an indivisable unit. 

Carola Orieta Sperman
Kenose Rouge
Kenose Rouge is an abstract and modern sculpture made in stain steel, each piece is modeled by hand, polished, assembled and finished with powder coating paint.

In this piece I want to express a constant and unpredictable perpetual motion with continuous successive movements.

It's a sculptural work with a dynamic that goes from the inside­out and vice versa without beginning or end.

 

Carola Orieta Sperman
Deja vu Rouge . Blue
Deja vu Rouge is an abstract and modern sculpture, they are swirls that develop from unceasing motion. made from laser cut acrylic molded out in heat, with no beginning and no end. It is a process of free propagation of the forms where the layers of malleable material interlace. The acrylic is warmed by a thermal process and hand modeled by the artist with thermic gloves. The artist has only an instant to model the acrylic before the material returns to its rigid original state, it is an unrepeatable and unique piece.

 

Carola Orieta Sperman
EDA Blue "Echoes of the Soul"
In Spanish:"Ecas def Alma'; is my perception and my way expresing and capturing everithing that is goad and noble that resides in the human soul. This camparatian responds ta the configuration and patt:eerm af my sculpture. Echoes is a sound created in the past that continue ta resonate in the present. I believe that Art resonate in the hearts and souls af people everywhere. EDA is an invitation ta spread the beauty that lives inside us comparable with the echo that keep repeating the sound. We can be that voice spreading peace and lave trough our expresians.

Technique: This sculpture is made from laser cut acrylic molded out in heat with thermic gloves, I only have a few seconds to shape and model the material before it cools down and returns to its original rigid state.

 

Carola Orieta Sperman
The Healer
"Divine Characters"  Series

The Healer become a portrait under a new light, idealizing a being with extra sensorial gifts and knowledge. I'm imaging people coming from all directions to hear and to be healed. The final product is a result of a decomposition process of my abstract acrylic sculptures, reorganized into a

figurative digital collage.

 

Carola Orieta Sperman
The Ambassador (Red)
 "Divine Characters"  

The Ambassador (Red) become a portrait under a new light, this being represents the highest ranking and authority from a parallel world that comes to intervene in our existence for our good.

The final product is a result of a decomposition process of my abstract acrylic sculptures, reorganized into a figurative digital collage.

 

Cary Henrie
Star Warhol Homage
“Star Homage Warhol” 

“I Was There !” I was a young art student at Pratt Institute in NYC in the early 80’s and actually got to meet Andy Warhol ! He was with 2 bodyguards and we talked outside of Lincoln Center by 67St - very shy and had the large white hair ( wig) I really researched his overall working habits and techniques and overall vision - his idea of “everyone should be famous for 15 minutes inspired this “mirror and lucite” artwork that everyone can be a “Star” and brings back many memories of that incredible time in NYC ! 

 

Cary Henrie
Star Homage Haring
“Star Homage Haring” 

“I was there !” I was a young art student at Pratt Institute in the early 80’s and Keith Haring was a student at SVA - School of Visual Arts” I kept seeing his work around the subways and these colorful chalk drawings on the blank black advertising niches - we were in the same dance clubs - Danceteria, Limelight, Palladium, Area, such great memories : Everyone  can aspire to be a “Star” and Keith certainly was ! 



 

Chadwick Arcinue
Colorscapes: Everything is Art. Blue Study 4
COLORSCAPES: EVERYTHING IS ART I NEW COLLECTION

"Everything Is Art" is a group of textured, abstract and expressionist Colorscapes en1bracing, for the first time, elements of urban art. This freewheeling expression of the theme of the ubiquity of art is my latest exploration of the nexus of the symbolic and the literal, of the tactile and the pictorial, and of the urban and the urbane.



Art is everywhere-not just in a museum, but out in the streets, around us, and even within us. Each of the works in this collection carries carefully curated words, all containing "art," to denote art's presence in seemingly unrelated aspects of our daily routines. The words remind us that whichever way we look, art is in every facet of our experience.  Adding body, literally, to this then,e is the use of heavy impasto that gives each piece a distinctive physical definition, with the undulations of the surface imparting another layer of fascination-a graffiti of light and shadow across the landscape of each canvas.

 

Chadwick Arcinue
Colorscapes: Everything is Art. Red Study 4
COLORSCAPES: EVERYTHING IS ART I NEW COLLECTION

"Everything Is Art" is a group of textured, abstract and expressionist Colorscapes en1bracing, for the first time, elements of urban art. This freewheeling expression of the theme of the ubiquity of art is my latest exploration of the nexus of the symbolic and the literal, of the tactile and the pictorial, and of the urban and the urbane.



Art is everywhere-not just in a museum, but out in the streets, around us, and even within us. Each of the works in this collection carries carefully curated words, all containing "art," to denote art's presence in seemingly unrelated aspects of our daily routines. The words remind us that whichever way we look, art is in every facet of our experience.  Adding body, literally, to this then,e is the use of heavy impasto that gives each piece a distinctive physical definition, with the undulations of the surface imparting another layer of fascination-a graffiti of light and shadow across the landscape of each canvas.

 

Chadwick Arcinue
Colorscapes: Everything is Art. Black Study 4
COLORSCAPES: EVERYTHING IS ART I NEW COLLECTION

"Everything Is Art" is a group of textured, abstract and expressionist Colorscapes en1bracing, for the first time, elements of urban art. This freewheeling expression of the theme of the ubiquity of art is my latest exploration of the nexus of the symbolic and the literal, of the tactile and the pictorial, and of the urban and the urbane.



Art is everywhere-not just in a museum, but out in the streets, around us, and even within us. Each of the works in this collection carries carefully curated words, all containing "art," to denote art's presence in seemingly unrelated aspects of our daily routines. The words remind us that whichever way we look, art is in every facet of our experience.  Adding body, literally, to this then,e is the use of heavy impasto that gives each piece a distinctive physical definition, with the undulations of the surface imparting another layer of fascination-a graffiti of light and shadow across the landscape of each canvas.

 

Chadwick Arcinue
Colorscapes: Everything is Art. White Study 4
COLORSCAPES: EVERYTHING IS ART I NEW COLLECTION

"Everything Is Art" is a group of textured, abstract and expressionist Colorscapes en1bracing, for the first time, elements of urban art. This freewheeling expression of the theme of the ubiquity of art is my latest exploration of the nexus of the symbolic and the literal, of the tactile and the pictorial, and of the urban and the urbane.



Art is everywhere-not just in a museum, but out in the streets, around us, and even within us. Each of the works in this collection carries carefully curated words, all containing "art," to denote art's presence in seemingly unrelated aspects of our daily routines. The words remind us that whichever way we look, art is in every facet of our experience.  Adding body, literally, to this then,e is the use of heavy impasto that gives each piece a distinctive physical definition, with the undulations of the surface imparting another layer of fascination-a graffiti of light and shadow across the landscape of each canvas.

 

Evangeline Ang
Mirage
“Art calms the mind & soothes the soul. “ 

I have always felt that behind every obvious there are always the inconspicuous.  Small details and the big picture go hand in hand.  This holds true in life and is captured in my work as I explore different mediums to create layers and textures frolicking in a sea of colours.  My artworks capture the viewer's interest from afar as my subjects are usually bold and vibrant and at times with an optical illusion.  In addition, there are always hidden colours amongst the layers of textures which can be found when closely observed and a different experience emerges as the multitude of colours bring on a different interest.

Evangeline Ang
Celestial
“Art calms the mind & soothes the soul. “ 

I have always felt that behind every obvious there are always the inconspicuous.  Small details and the big picture go hand in hand.  This holds true in life and is captured in my work as I explore different mediums to create layers and textures frolicking in a sea of colours.  My artworks capture the viewer's interest from afar as my subjects are usually bold and vibrant and at times with an optical illusion.  In addition, there are always hidden colours amongst the layers of textures which can be found when closely observed and a different experience emerges as the multitude of colours bring on a different interest.

Merrill Steiger
Blast Off
Having been a colorist for a great many years, Steiger decided when beginning her recent series, Sci-Fi, to investigate tonality and design by eliminating color. Sci-Fi demonstrates her continued interest in the use of dotting as a meditative painting technique in conjunction with other textures and patterns to evoke movement and force, thus tapping into the flow of cosmic energy. 

Steiger’s paintings reflect the collage composition, which she uses first and foremost before the painting process begins.  Having had avid interest in science fiction through movies and books, she decided to explore this world through her own imaginary landscapes. In the collage studies, Steiger combines cosmic imagery with black and white photographs that focus on strong contrasts between light and shadow. The sci-fi imagery relates to images of space as seen on TV, harking back to man’s first grainy and monochromatic view of outer space from the surface of the moon. The other images of black and white photography show intense patterns of light and shadow in architectural and natural settings. The resulting paintings fuse together the pioneer investigations of outer space and early photography. This re-contextualization of historical imagery in these newly imagined vistas creates a compelling suspension of time and place. Furthermore, Steiger’s uses a monochromatic palette in an attempt to generate the foreboding and mysterious aura of subliminal sci-fi scapes.

As in her previous series, Steiger continually hopes to encourage a universal, cross-cultural understanding of how we all strive to understand our existence through the paintings and collages in the Sci-Fi series. The work expresses the ever-evolving interconnectedness of the universe and the progression of human consciousness. 

Merrill Steiger
Juggler
Having been a colorist for a great many years, Steiger decided when beginning her recent series, Sci-Fi, to investigate tonality and design by eliminating color. Sci-Fi demonstrates her continued interest in the use of dotting as a meditative painting technique in conjunction with other textures and patterns to evoke movement and force, thus tapping into the flow of cosmic energy. 

Steiger’s paintings reflect the collage composition, which she uses first and foremost before the painting process begins.  Having had avid interest in science fiction through movies and books, she decided to explore this world through her own imaginary landscapes. In the collage studies, Steiger combines cosmic imagery with black and white photographs that focus on strong contrasts between light and shadow. The sci-fi imagery relates to images of space as seen on TV, harking back to man’s first grainy and monochromatic view of outer space from the surface of the moon. The other images of black and white photography show intense patterns of light and shadow in architectural and natural settings. The resulting paintings fuse together the pioneer investigations of outer space and early photography. This re-contextualization of historical imagery in these newly imagined vistas creates a compelling suspension of time and place. Furthermore, Steiger’s uses a monochromatic palette in an attempt to generate the foreboding and mysterious aura of subliminal sci-fi scapes.

As in her previous series, Steiger continually hopes to encourage a universal, cross-cultural understanding of how we all strive to understand our existence through the paintings and collages in the Sci-Fi series. The work expresses the ever-evolving interconnectedness of the universe and the progression of human consciousness. 

Tatyana Murray
Summer Breeze
TREES OF LIGHT/ LIFE



“TREES” have always been fascinating to me for their interconnectedness and strength. The defiant trunk, anchoring itself as the branches and leaves dance in the wind is to me more symbolic than ever during this time of chaos and uncertainty.  We are all in this together and may the “Tree of Light/ Life” shine some light on the darkness, transporting the viewer to a place of solace and comfort.



“REFRACTED LIGHT SERIES” are composed of stacking multiple clear sheets, each one individually hand etched. The pieces reveal themselves through a meditative, self-informing process. Each work is unique. Custom, motion programmed Led Lights are set in the frame, mimicking sunlight/ moonlight, illuminating the markings, creating a delicate, glowing, three-dimensional floating image. The subject matter is elevated to its spiritual essence. Without the light source the image cannot exist.

I explore a universe in constant flux and at the heart of the movement lies stillness, the ‘SPACE BETWEEN’, where the spectator can slow down, reflect and …. Catch their breath.

 

Tatyana Murray
Summer Dreaming
TREES OF LIGHT/ LIFE



“TREES” have always been fascinating to me for their interconnectedness and strength. The defiant trunk, anchoring itself as the branches and leaves dance in the wind is to me more symbolic than ever during this time of chaos and uncertainty.  We are all in this together and may the “Tree of Light/ Life” shine some light on the darkness, transporting the viewer to a place of solace and comfort.



“REFRACTED LIGHT SERIES” are composed of stacking multiple clear sheets, each one individually hand etched. The pieces reveal themselves through a meditative, self-informing process. Each work is unique. Custom, motion programmed Led Lights are set in the frame, mimicking sunlight/ moonlight, illuminating the markings, creating a delicate, glowing, three-dimensional floating image. The subject matter is elevated to its spiritual essence. Without the light source the image cannot exist.

I explore a universe in constant flux and at the heart of the movement lies stillness, the ‘SPACE BETWEEN’, where the spectator can slow down, reflect and …. Catch their breath.

 

Michele A. Utley-Voigt
Les Bain
Caught in a voyeuristic moment of social detox, the submerged socialite is found glistening when she retreats to "powder her nose".

Les Bain is part of the Domestic Situation Series, that explores the systematic domestication of women, transcendentalism and the modernization of pragmatic feminism. 

The series gambols between the modern world via technology and the traditional world through oil 

painting applied using master’s techniques. Large-scale paintings, NFTs, and digital presentations 

consider our modern caste system, aspirations for beauty, entrapment of desire, empowerment of luxury, and ultimate emancipation. 

It explores systemic female conditioning and aligns the subjects within that realm while embracing 

cultural icons. The works explode with voyeuristic opportunities offering both the subject and the viewer moments steeped with escapism.  

Michele A. Utley-Voigt
Pretty Little Mess
Pretty Little Mess is a awash in an iconic tsunami. Capsized by luxury, she is thrives in chaos.   

This work is part of  the Domestic Situation Series, and explores the systematic domestication of women, transcendentalism and the modernization of pragmatic feminism. 

The series gambols between the modern world via technology and the traditional world through oil painting applied using master’s techniques. Large-scale paintings, NFTs, and digital presentations consider our modern caste system, aspirations for beauty, entrapment of desire, empowerment of luxury, and ultimate emancipation. 

It explores systemic female conditioning and aligns the subjects within that realm while embracing cultural icons. The works explode with voyeuristic opportunities offering both the subject and the viewer moments steeped with escapism.  

Michele A. Utley-Voigt
Retail Therapy-Domestic Situation Series
Retail Therapy evokes a sensory wonderland that visually delights and distracts from the day-to-day mundane of modern living. Shopping reduces residual sadness. And sadness is strongly associated with a sense that situational forces control the outcomes in one's life. Thus, the choices inherent in shopping may restore personal control over one's environment and inspire contentment. Retail Therapy stimulates the senses through the experience of something new. The bright lights and colorful displays combined to create an imaginative adventure that removes one from their own reality. Through presentations, we project ourselves in satisfying environments. Window shopping positively impacts one's mood; the anticipation of a reward releases dopamine, the hormone neurotransmitter in the brain that makes people feel good. Dopamine increases the desire to continue seeking things that make one feel good. 

Ewa Hauton
Voyage Interieur
Born in Poland, she studied Fine Arts there. In 1990 she arrived in France and obtained the diploma of Artistic Director in Advertising. After many life changes, she moved to Nantes in 2013 where she devoted herself solely to painting. There she meets a choreographer from Nantes who determines the orientation of her painting towards movement as the deep expression of life. Her work, which deals with the body, especially that of women, mainly in oil painting, is refined, getting rid of the superfluous form and material.



She works by mixing painting with drawing. On her large formats she plays with the mediums: oil, charcoal, pencil... and deploys the gesture.

Reflection and personal experience, constant questioning, perpetual research play the predominant role in its creation.



 

Ewa Hauton
Quand le vent est Blue (When The Wind is Blue)
Born in Poland, she studied Fine Arts there. In 1990 she arrived in France and obtained the diploma of Artistic Director in Advertising. After many life changes, she moved to Nantes in 2013 where she devoted herself solely to painting. There she meets a choreographer from Nantes who determines the orientation of her painting towards movement as the deep expression of life. Her work, which deals with the body, especially that of women, mainly in oil painting, is refined, getting rid of the superfluous form and material.



She works by mixing painting with drawing. On her large formats she plays with the mediums: oil, charcoal, pencil... and deploys the gesture.

Reflection and personal experience, constant questioning, perpetual research play the predominant role in its creation.



 

Nana S.R.T.
Kagura IX
A visual artist of Eurasian descent based between London and Vienna, Nana’s main medium is photography. Her bi-cultural upbringing greatly influenced her outlook on life, shaping her artistic expressions.

NSRT’s first encounters with the power of photography were the evenings when, as a child, her parents would celebrate her father’s return from his long truck driving times away from home, by drumming friends together for evenings of slide shows. Layers of cigarette smoke filling the living room, whilst Nana’s father would talk through his slides, recounting stories of unknown cultures and their customs, sharing unfamiliar and stunning landscapes, accompanied by wow’s and laughter.

As a young teenager her father then taught Nana how to use his Nikon FM – the camera that accompanied him through the 1970s.



Today NSRT mainly use her digital camera to create, and often draws on dance to express herself. Blessed to have had the world of dance at her side for most of her life, it inspires her and urges her to explore and capture its energy.

NSRT usually has a concept in mind, alongside a mental shortlist of dancers she would like to work with. When the time feels right she will pair these two and get ready for the studio. The preparation makes for a great part of the day – setting up, getting the lights right, and the dancers ready. Nana likes to have everything in camera so the post work mainly consists of flicking through her shots with main attention to the crop.



NSRT enjoys exploring her own personal and various ways of capturing and showing the beauty of the human form that is able to communicate emotion. She is very much drawn to the energy we all are made of - energy which doesn’t lie, doesn't conform, energy that does not and cannot pretend. Energy stems from a place of truth. It has an aura, a feeling – energy has a color. It is this NSRT aims to present.



Nana’s sense of aesthetics is very much formed by the artists who were and are able to listen to their hearts, who are guided by a straight line to the core. The artists who dared to grow and express themselves from a place of truth and honesty, contrary to what society wanted to project on to its voices.

Whether this translates in NSRT’s work is for others to judge or determine. But this is what she is made of, and this is what fuels her.

 

Nana S.R.T.
Kagura I
A visual artist of Eurasian descent based between London and Vienna, Nana’s main medium is photography. Her bi-cultural upbringing greatly influenced her outlook on life, shaping her artistic expressions.

NSRT’s first encounters with the power of photography were the evenings when, as a child, her parents would celebrate her father’s return from his long truck driving times away from home, by drumming friends together for evenings of slide shows. Layers of cigarette smoke filling the living room, whilst Nana’s father would talk through his slides, recounting stories of unknown cultures and their customs, sharing unfamiliar and stunning landscapes, accompanied by wow’s and laughter.

As a young teenager her father then taught Nana how to use his Nikon FM – the camera that accompanied him through the 1970s.



Today NSRT mainly use her digital camera to create, and often draws on dance to express herself. Blessed to have had the world of dance at her side for most of her life, it inspires her and urges her to explore and capture its energy.

NSRT usually has a concept in mind, alongside a mental shortlist of dancers she would like to work with. When the time feels right she will pair these two and get ready for the studio. The preparation makes for a great part of the day – setting up, getting the lights right, and the dancers ready. Nana likes to have everything in camera so the post work mainly consists of flicking through her shots with main attention to the crop.



NSRT enjoys exploring her own personal and various ways of capturing and showing the beauty of the human form that is able to communicate emotion. She is very much drawn to the energy we all are made of - energy which doesn’t lie, doesn't conform, energy that does not and cannot pretend. Energy stems from a place of truth. It has an aura, a feeling – energy has a color. It is this NSRT aims to present.



Nana’s sense of aesthetics is very much formed by the artists who were and are able to listen to their hearts, who are guided by a straight line to the core. The artists who dared to grow and express themselves from a place of truth and honesty, contrary to what society wanted to project on to its voices.

Whether this translates in NSRT’s work is for others to judge or determine. But this is what she is made of, and this is what fuels her.



 

Nana S.R.T.
Kagura VII
A visual artist of Eurasian descent based between London and Vienna, Nana’s main medium is photography. Her bi-cultural upbringing greatly influenced her outlook on life, shaping her artistic expressions.

NSRT’s first encounters with the power of photography were the evenings when, as a child, her parents would celebrate her father’s return from his long truck driving times away from home, by drumming friends together for evenings of slide shows. Layers of cigarette smoke filling the living room, whilst Nana’s father would talk through his slides, recounting stories of unknown cultures and their customs, sharing unfamiliar and stunning landscapes, accompanied by wow’s and laughter.

As a young teenager her father then taught Nana how to use his Nikon FM – the camera that accompanied him through the 1970s.



Today NSRT mainly use her digital camera to create, and often draws on dance to express herself. Blessed to have had the world of dance at her side for most of her life, it inspires her and urges her to explore and capture its energy.

NSRT usually has a concept in mind, alongside a mental shortlist of dancers she would like to work with. When the time feels right she will pair these two and get ready for the studio. The preparation makes for a great part of the day – setting up, getting the lights right, and the dancers ready. Nana likes to have everything in camera so the post work mainly consists of flicking through her shots with main attention to the crop.



NSRT enjoys exploring her own personal and various ways of capturing and showing the beauty of the human form that is able to communicate emotion. She is very much drawn to the energy we all are made of - energy which doesn’t lie, doesn't conform, energy that does not and cannot pretend. Energy stems from a place of truth. It has an aura, a feeling – energy has a color. It is this NSRT aims to present.



Nana’s sense of aesthetics is very much formed by the artists who were and are able to listen to their hearts, who are guided by a straight line to the core. The artists who dared to grow and express themselves from a place of truth and honesty, contrary to what society wanted to project on to its voices.

Whether this translates in NSRT’s work is for others to judge or determine. But this is what she is made of, and this is what fuels her.

 

Nana S.R.T.
Kagura II
A visual artist of Eurasian descent based between London and Vienna, Nana’s main medium is photography. Her bi-cultural upbringing greatly influenced her outlook on life, shaping her artistic expressions.

NSRT’s first encounters with the power of photography were the evenings when, as a child, her parents would celebrate her father’s return from his long truck driving times away from home, by drumming friends together for evenings of slide shows. Layers of cigarette smoke filling the living room, whilst Nana’s father would talk through his slides, recounting stories of unknown cultures and their customs, sharing unfamiliar and stunning landscapes, accompanied by wow’s and laughter.

As a young teenager her father then taught Nana how to use his Nikon FM – the camera that accompanied him through the 1970s.



Today NSRT mainly use her digital camera to create, and often draws on dance to express herself. Blessed to have had the world of dance at her side for most of her life, it inspires her and urges her to explore and capture its energy.

NSRT usually has a concept in mind, alongside a mental shortlist of dancers she would like to work with. When the time feels right she will pair these two and get ready for the studio. The preparation makes for a great part of the day – setting up, getting the lights right, and the dancers ready. Nana likes to have everything in camera so the post work mainly consists of flicking through her shots with main attention to the crop.



NSRT enjoys exploring her own personal and various ways of capturing and showing the beauty of the human form that is able to communicate emotion. She is very much drawn to the energy we all are made of - energy which doesn’t lie, doesn't conform, energy that does not and cannot pretend. Energy stems from a place of truth. It has an aura, a feeling – energy has a color. It is this NSRT aims to present.



Nana’s sense of aesthetics is very much formed by the artists who were and are able to listen to their hearts, who are guided by a straight line to the core. The artists who dared to grow and express themselves from a place of truth and honesty, contrary to what society wanted to project on to its voices.

Whether this translates in NSRT’s work is for others to judge or determine. But this is what she is made of, and this is what fuels her.





 

Nana S.R.T.
Kagura V
A visual artist of Eurasian descent based between London and Vienna, Nana’s main medium is photography. Her bi-cultural upbringing greatly influenced her outlook on life, shaping her artistic expressions.

NSRT’s first encounters with the power of photography were the evenings when, as a child, her parents would celebrate her father’s return from his long truck driving times away from home, by drumming friends together for evenings of slide shows. Layers of cigarette smoke filling the living room, whilst Nana’s father would talk through his slides, recounting stories of unknown cultures and their customs, sharing unfamiliar and stunning landscapes, accompanied by wow’s and laughter.

As a young teenager her father then taught Nana how to use his Nikon FM – the camera that accompanied him through the 1970s.



Today NSRT mainly use her digital camera to create, and often draws on dance to express herself. Blessed to have had the world of dance at her side for most of her life, it inspires her and urges her to explore and capture its energy.

NSRT usually has a concept in mind, alongside a mental shortlist of dancers she would like to work with. When the time feels right she will pair these two and get ready for the studio. The preparation makes for a great part of the day – setting up, getting the lights right, and the dancers ready. Nana likes to have everything in camera so the post work mainly consists of flicking through her shots with main attention to the crop.



NSRT enjoys exploring her own personal and various ways of capturing and showing the beauty of the human form that is able to communicate emotion. She is very much drawn to the energy we all are made of - energy which doesn’t lie, doesn't conform, energy that does not and cannot pretend. Energy stems from a place of truth. It has an aura, a feeling – energy has a color. It is this NSRT aims to present.



Nana’s sense of aesthetics is very much formed by the artists who were and are able to listen to their hearts, who are guided by a straight line to the core. The artists who dared to grow and express themselves from a place of truth and honesty, contrary to what society wanted to project on to its voices.

Whether this translates in NSRT’s work is for others to judge or determine. But this is what she is made of, and this is what fuels her.

 

Rachel Daly
Casa Mia

Rachel Daly
La Festa

Tatiana Zaytseva
#4 Music of Colors. Allegro
Through her special artistic technique Tatiana creates her own art concept – how to express music through the art using as a bridge the dialog with Mark Rothko’s paintings.

This artwork of Tatiana Zaytseva, based on Mark Rothko’s “Untitled. Yellow, red and blue”. (1953) painting, speaks specific language and carries a unique structure.  Tatiana finds hidden context in Rothko’s color fields, new combinations of colors, their relationships, their dynamic, even music in them. 

This artwork unites two different and strong concepts - the structure of Rothko’s painting and the dynamic of music tempo Allegro. When we look at the artwork it brings us to “hear” and to “feel” the music. The artist confesses that her original idea was to create only the dialog with Mark Rothko’s painting but during the working process she had a strong feeling of music appeared and started to dominate in the artwork. So, the artwork by itself induced the new concept:  expressing music through the art.