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Artists: Gabriel Schmitz, Abel Macias, Amy Harms, Jacq Kino, Marcy Vreeland Gabriel Schmitz, Taxídi , 2022, oil/canvas, 130x200cm Gabriel Schmitz Gabriel Schmitz, a German-born painter, is celebrated for his expressive figurative art that delves into the complexities of human presence. Born in Dortmund in 1970, he studied at the Edinburgh College of Art and now resides in Barcelona. Influenced by German Expressionism and the works of British painters like Frank Auerbach and Francis Bacon, Schmitz's style is enriched by contemporary dance, film, and theater. His paintings capture a unique blend of motion and stillness, creating a sense of suspended time. Gabriel Schmitz, Sphinx (Kehua Li) , 2023, oil/canvas, 90x188cm Travel significantly informs his work, with sketchbooks from his journeys grounding his art in real experiences and subtly reflecting diverse cultures. These influences emerge in gestures and atmosphere rather than explicit scenes. Schmitz has exhibited extensively across Europe, with notable shows in Barcelona, Paris, and London, and has gained recognition at art fairs in the U.S. and Asia. Since 2015, he has participated in artist residencies in the U.S. and collaborates with dance companies, continually seeking fresh inspiration. Abel Macias Abel Macias, Los Animales, Acrylic on handmade paper. Abel Macias is a Los Angeles painter and muralist whose work feels like stepping into a storybook filled with bold color, folklore, and Southwest charm. Blending Mexican heritage with a contemporary twist, his art ranges from dreamy landscapes to eye catching murals. Whether on canvas or a city wall, Macias brings warmth, imagination, and a touch of magic to everything he creates. Amy Harms Amy Harms mixes her two passions—music and art—into unique paper-weaving pieces. She paints on vinyl record covers, cuts them up, and weaves them together with original paintings to create fresh, layered artworks. This process reflects her love of remixing the past into something new and alive. A Midwest native, Amy recently moved her studio from Chicago to Tennessee. She has a music degree, teaches piano, studied interior design, and has worked running galleries and consulting on art for hospitality projects. Her work is a vibrant blend of sound, texture, and story. Jacq Kino Jacq Kino, Mozart , 45x30cm Jacq Kino builds his paintings like playful assemblies, inspired by the way Robert Rauschenberg combined real-world objects into art. He layers graffiti, figures, silhouettes, and found materials to create bold works full of energy and stories. With a background in graphic design, Jacq’s paintings balance sharp lines and vibrant color, making each piece feel both modern and alive. He also enjoys working with metal, creating large sculptures that add a monumental dimension to his creative world. Marcy Vreeland Marcy Vreeland, Botanical Abstract Painting Marcy Vreeland sees painting and collage as a way to capture the invisible moments around us—light, sound, energy, and movement. Inspired by her walks in the Texas hill country, floral design, and travels, she creates abstract works that break down and rebuild nature’s details into new forms. Her process blends delicate layers of paint and cut paper to explore texture, rhythm, and flow. Marcy holds a BFA from Baylor University and brings years of experience in floral and event design to her art, adding a unique sense of composition and balance. Now working full time from her studio in Fredericksburg, Texas, she creates pieces that feel like a quiet dance of rest, grace, and light—inviting viewers to slow down and notice the subtle beauty around them.

Janet Pulcho, also known as Zhanna Pulcho, is a Ukrainian artist renowned for her watercolor paintings, predominantly featuring floral themes. Born on May 8, 1997, Janet Pulcho holds a master's degree in Fine Arts from the Odessa State Academy of Civil Engineering and Architecture, supplemented by advanced studies at the Florence Academy of Art. Janet's artworks are distinguished by their vibrant colors and delicate portrayal of botanical subjects. A member of the Union of Artists of Ukraine, she demonstrates a strong commitment to her local artistic community. Her pieces have garnered international recognition, gracing private collections worldwide, including in the United States, United Arab Emirates, Canada, and China. Currently based in Florence, Italy, Janet actively participates in contemporary art exhibitions, showcasing her talent and contributing to the global artistic dialogue. With her unique perspective and captivating compositions, Janet Pulcho emerges as a promising artist poised to make a lasting impact on the international art scene. ARTIST GALLERY

Isaac Aden stands at the forefront of contemporary art and curation, his work grounded in a profound exploration of the human condition and the American experience. With a Post-Medium practice deeply rooted in New Institutionalism, Isaac Aden's art defies conventional boundaries, offering a thought-provoking examination of societal themes. Backing up a little bit, New Institutionalism is a contemporary art movement that challenges traditional notions of art institutions and their roles in shaping culture. It emphasizes collaboration, experimentation, and community engagement, seeking to break down barriers between art and its audience. Thus, Aden's adherence to New Institutionalism informs his approach to art-making and curation, fostering a dynamic exchange between artist, artwork, and viewer. In addition, Aden's Post-Medium practice represents a departure from traditional artistic mediums and techniques. Post-Medium artists embrace a diverse range of materials and methods, transcending the limitations of any single medium to convey their artistic vision. For Aden, this approach allows for greater flexibility and conceptual exploration, resulting in bodies of work that are visually dynamic and conceptually rich. Aden's artistic journey has taken him across the globe, exhibiting at prestigious venues including dOCUMENTA 13, MassMOCA, and The New York Public Library. As a curator, he has curated over twenty exhibitions, showcasing groundbreaking works such as "Escape Route" by Jeffrey Hargrave at the Bronx Museum. One of Aden's most notable achievements is the development and execution of the first city-wide digital art fair, which attracted over 13 million viewers. Through strategic partnerships with corporate sponsors like Systech Systems and NBC Universal, Aden brought the world of art to the digital realm, pushing boundaries and democratizing access to contemporary art. With accolades including fellowships from the Kossak Foundation, Creative Capital, and The New York Foundation for the Arts, Aden's impact on the art world is undeniable. Currently represented by esteemed galleries such as Gallerie Rasch, Marat Guelman, and David Richard Gallery, Aden continues to captivate audiences with his innovative approach to art and curation.

Discover Orit Fuchs' visionary art, seamlessly merging pop culture and contemporary gender dynamics, showcased from Tel Aviv to prestigious galleries worldwide. Introducing Orit Fuchs, a visionary artist based in Tel Aviv whose creative repertoire spans sculpture, painting, typography, illustration, knitting, video, and photography. Drawing from her extensive background in art direction for prominent Israeli agencies, Fuchs seamlessly blends elements of pop culture and contemporary gender dynamics to craft artworks that challenge reality and provoke thought. Central to Fuchs' artistic exploration is the nuanced portrayal of the female experience within modern society. Her pieces resonate deeply with women globally, offering poignant narratives that reflect diverse emotions and perspectives. Through her art, Fuchs illuminates the transformative power of self-expression and storytelling, inviting viewers into a realm where boundaries between imagination and reality blur. Beyond Tel Aviv, Fuchs has made a significant impact on the international art scene, showcasing her work in renowned cities across North America, Asia, and Europe. Her exhibitions have garnered acclaim from critics, collectors, and art enthusiasts alike, underscoring her status as a formidable presence in contemporary art. An Interview with Orit Fuchs Can you share how your background in art direction has influenced your artistic style and approach to creating diverse forms of art? My background in art direction has given me a strong foundation in visual storytelling, composition, and the importance of conceptual coherence. This experience has deeply influenced my approach to creating art, allowing me to seamlessly transition between different mediums and styles while maintaining a consistent voice and vision. Your work often explores contemporary gender dynamics and the female experience. What inspired you to focus on these themes, and how do you feel your art contributes to these conversations? As a woman and an artist, I am naturally drawn to themes that reflect my personal experiences and the societal dynamics I observe. My work aims to open a dialogue about gender dynamics, challenge stereotypes, and celebrate the multifaceted nature of the female experience. I hope to contribute to these conversations by offering a nuanced and deeply personal perspective through my art. From sculpture to photography, your repertoire is incredibly varied. How do you decide which medium to use for a particular project or concept? The choice of medium is often dictated by the concept and the message I want to convey. Some ideas are best expressed through the tactile, three-dimensional nature of sculpture, while others are more suited to the immediacy and realism of photography. I let the narrative guide me in choosing the most effective medium to bring my vision to life. Pop culture elements are evident in many of your pieces. Can you discuss how you integrate these elements into your work and what they represent to you? Pop culture is a reflection of our collective consciousness, and I find it to be a rich source of material for exploring contemporary issues. By incorporating elements of pop culture, I aim to create a connection with the viewer, using familiar symbols and references to provoke thought and elicit emotional responses. These elements often serve as a bridge between the mundane and the profound. Your art is known for blurring the lines between reality and imagination. How do you approach creating pieces that provoke thought and challenge perceptions? I strive to create art that invites the viewer to question their perceptions and engage with the work on a deeper level. By blending elements of reality and imagination, I aim to create a sense of ambiguity that encourages introspection and dialogue. This approach allows me to explore complex themes in a way that is both accessible and thought-provoking. Storytelling plays a crucial role in your art. Can you talk about the narratives you aim to convey through your pieces and how you develop them? Each piece I create starts with a story—sometimes personal, sometimes universal. I develop these narratives through a process of research, introspection, and experimentation. The stories I aim to convey often revolve around themes of identity, memory, and transformation, and I use visual metaphors and symbolism to communicate these ideas in a compelling and evocative way. What has been the most meaningful feedback or interaction you’ve received from a female viewer? One of the most meaningful interactions I've had was with a woman who shared that my work helped her process and articulate her own experiences with gender and identity. She felt seen and understood through my art, which reaffirmed the importance of creating work that resonates on a personal level and fosters a sense of connection and empathy. As an artist based in Tel Aviv, how does your environment and cultural background influence your creative process and the themes you explore? Tel Aviv's vibrant, dynamic, and diverse culture deeply influences my work. The city's rich history, coupled with its contemporary energy, provides a unique backdrop for exploring themes of identity, conflict, and resilience. My cultural background informs my perspective, allowing me to draw from a wealth of traditions and narratives that shape my creative process and the stories I tell through my art. What upcoming projects or exhibitions are you most excited about, and what can audiences expect to see from you in the future? I'm currently preparing for an exhibition at  Art Miami during art Basel week  in Miami with Maune Contemporary Gallery, which will feature new works from my Vivid series. Audiences can expect to see a continuation of my exploration of color, form, and emotion, with pieces that reflect my ongoing journey as an artist. I'm also working on a new series that delves into the theme of personal transformation, which I'm excited to share in the coming months.

Step into the creative realm of Elisabeth Lecourt, a London based multidisciplinary artist, as she crafts compelling narratives across mediums. Elisabeth Lecourt, born in 1972 in Oloron Saint Marie, France, found her artistic voice in London while studying at The Royal College of Art. Her work spans storytelling, drawing, installation, painting, embroidered handkerchiefs, and sculpture. Notable among Lecourt's creations is the "Les Robes Géographiques" series, where she uses maps to craft garments, exploring the intersection of personal geography and emotional landscapes. It's a tactile expression of self-discovery, inviting viewers to reflect on their own sense of place in the world. Elisabeth Lecourt's artistry shines through her ability to evoke emotions using various materials. With exhibitions in Europe and the United States, she continues to captivate audiences, inviting them to ponder the interconnectedness of human experience and the world around us. In Conversation with Elisabeth Lecourt Can you walk us through your creative process? From conceptualization to execution, how do you approach starting a new piece or project? My themes have always been the same: people, childhood, nature, and feelings. I like to take someone else's point of view, putting myself in their shoes and looking at where they come from; understanding their world might help me understand mine. I imagine what it would be like to be someone else; disability and imperfection are present in my work too.  When I start a piece, I put myself in a meditative state. I try to get the same feelings I had as a child when I was drawing and playing, being creative and allowing myself to be carried away, following my imagination path. It's like a game where feelings come forward to resonate in colours, shapes, and materials.    I listen to history, philosophy, psychology, and podcasts while I’m working; sometimes music, but it’s rare as it can give me many strong emotions to manage and I end up dancing instead of working. Your "Les Robes Géographiques" series is incredibly intriguing. What sparked the idea to incorporate maps into your artwork, and how do you believe this medium enhances your exploration of personal geography and emotion? I was making self-portraits and portraits of people with clothing made of paper. My “worry dress” is a very, very long paper dress with writings and drawings of the worries I had at the time. It was like a blue print of my emotions, as if the feelings went through the clothing and stayed there. Clothing means a lot to me, as they already carry a lot themselves. I’ve made other people's outfits with paper in an installation inspired by the lives of Anne Frank and the Outsider from Albert Camus.   I’ve read an article in the newspaper about a man who was going to prison. He had a little girl, so I've decided to make her dress. I’ve folded an A to Z London map and put the prison "HMP Wormwood scrubs" where the heart is. That was my first dress from the “les Robes Géographiques” series. Then I started the exploration of my own cultural geography, and I included other people's personal geography in my thinking, which is the essence of the series. Your portfolio encompasses a wide range of mediums, including drawing, painting, sculpture, and installation. Do you find yourself gravitating towards one medium more than others? If so, what draws you to that particular medium? I start with an idea, and the techniques or medium come after, like the London dress for the London girl or the tears becoming threads of colour on the handkerchiefs. I like the quest to find the right medium for what I like to say or do.    With the oil paintings, I like the surprise the oils and the colours are taking me; it is unsettling, but it’s a position I am used to. It enhances how I feel; it’s a spectrum of joy and sadness. I never know which one will come through in the painting. I am trying to reach out to something within me that someone else can relate to without naming it or knowing it even exists. I find painting in oil and writing difficult, but when I’m happy with what I’ve done, it gives me great satisfaction. If another person likes it too, it’s a fantastic feeling—close to an achievement, I guess? You have to be brave to paint; it’s not easy! Are there any specific artists, movements, or cultural influences that have had a significant impact on your work? How do these influences manifest in your artistic style or thematic choices? I like Louise Bourgeois's thinking, and I love all her artwork. I can physically feel her energy when I’m next to her work; Picasso's work does the same to me. I like when I can sense the unknown. With Louise Bourgeois, I find everything so beautiful; that beauty gives me consolation, hope, and tenderness. She touches on something of what it’s like to be human in me. Creativity often comes with its challenges. How do you maintain inspiration and motivation as an artist, especially during moments of creative block or uncertainty? When I’m not inspired and have a creative block, I wait for it to pass, accepting the lows and knowing the highs will come back. It’s probably not the best technique, but it feels natural to me. I'm like a fallow field that needs a rest; it might not be the best place to be; it's a challenge I'm accepting; and I’m not too sure how much input I have over it anyway. I just wait, usually doing nothing at all, just hoping it won’t stay there too long! Looking towards the future, do you have any upcoming projects or collaborations that you're particularly excited about? What can your audience expect to see from you in the coming months or years? I’m hopeful to participate in a museum exhibition in France on the theme “The Territory” next year. I am going to an art residency in Spain with my daughter this summer. I’m excited to go back to my studio to create more dresses, paintings, sculptures, and more after the influences of the art residency.

Let’s explore how classical art techniques make a big wave in today’s art scene. It’s all about mixing the old with the new to create something unique and exciting. Imagine stepping into a time machine with a modern twist. That’s exactly what artists like Kehinde Wiley and Julie Mehretu are doing. They’re taking techniques from the past and using them to tell stories that matter now. Kehinde Wiley brings the drama of Baroque art to life. Think grand portraits with rich textures and deep shadows, featuring people you’d see on the street today. It’s like saying, "Everyone deserves to be recognized!" Julie Mehretu, on the other hand, uses Renaissance fresco techniques but adds a modern, abstract spin. Her work captures the energy of bustling cities, layering stories of migration and change. It’s a centuries-old technique made new and vibrant. So, why the revival? It’s about keeping traditions alive while diving into new narratives. These methods bring richness and depth, allowing artists to explore big themes like identity and history. Baroque styles add drama and emotion, helping artists like Wiley challenge old norms and celebrate diverse voices. Mehretu’s fresco approach shows that the past isn’t just stuck in history but a living, and present. This movement isn’t just about looking back, it’s an energetic mix of past and present. Artists are tapping into history to enrich today’s art scene. They're merging traditional techniques with a modern twist, transforming art and showing that the past remains incredibly valuable.

Discover the dynamic art of Campbell La Pun, fusing Eastern and Western influences into vibrant urban pop art. Explore his journey and upcoming shows. Campbell La Pun, originally from New Zealand, currently resides and creates in the vibrant city of Tokyo. Living at the intersection of Eastern and Western cultures, Tokyo pulsates with an exhilarating fusion of energy, color, and light, which La Pun expertly channels into his art. Immersed in "the original megacity," La Pun draws inspiration from Tokyo's vivacity, capturing the essence of the modern world through the lens of urban pop art. The bustling metropolis constantly bombards him with advertising, pop culture imagery, a dense population, and a cutting-edge economy. These diverse stimuli become a wellspring of ideas, which La Pun skillfully translates into stunning artworks on wood and canvas using meticulously crafted stencils and spray paints. Known for his pop-art aesthetic, La Pun's work is a testament to his energy and excitement. He enjoys transforming luxury brands, famous personalities, and iconic fashion brands into artistic expressions, combining elements of pop art and street art within the context of modern culture and contemporary trends. Before venturing into his art career, Campbell worked full-time in the corporate world, insuring high-rise, high asset value buildings in and around Melbourne. This exposure to corporate life has authentically carried over to his art, which often explores themes of commercialism, frequently featuring repeated images like spray cans, bananas, and multi-million and billion-dollar brands. La Pun's talent and creativity have earned him several accolades, including being a Stencil Art Prize Finalist from 2014 to 2017 and a Lethbridge Gallery 10000 Finalist in 2013. His art has been collected by notable figures such as Kylie Jenner and Mel B (Spice Girls), and by prestigious corporate entities like Moët Hennessy. His artworks are housed in private collections around the world, spanning the USA, China, Canada, Spain, Germany, Hong Kong, Singapore, Australia, Japan, France, Switzerland, Norway, Finland, Thailand, Dubai, Denmark, Italy, Scotland, the United Kingdom, Hungary, the Netherlands, South Africa, Malaysia, Sweden, Brazil, Puerto Rico, Indonesia, and his native New Zealand. La Pun's work is represented by several esteemed galleries, including DTR Modern Galleries (Boston, Palm Beach, New York, Washington, Nantucket, USA), Clarendon Fine Art (London, UK), and And Collection (Tokyo, Japan). Campbell La Pun's unique blend of Eastern and Western influences, coupled with his background in the corporate world, makes his art both dynamic and deeply reflective of contemporary culture. To explore more of his work, visit lapun.com. La Pun considers the most rewarding part of his work to be completing a piece and sending it out into the world for someone else to enjoy. During the creation of each painting, he plans his next steps, allowing him to progress and improve continually. Reflecting on his career, he recalls two starting points: an initial interest in music, which he studied as sound art through university, and his decision to start painting in 2013, which quickly led to gallery representation. Moving to Japan later that year enabled him to focus on his work and establish himself as an international artist. His partnership with DTR Modern Galleries began in 2017, and he has found it a pleasure to work with their professional team and see his work displayed alongside other artists he admires. One of his greatest accomplishments was working with Dom Perignon for a private event in Switzerland, and he fondly remembers his first solo show in Paris. Looking ahead, he is excited to put together a new show at DTR in Boston in the fall. La Pun feels honored to be part of DTR Modern Galleries' 20th anniversary and encourages everyone to visit their exhibitions. A notable work in La Pun's portfolio is "Sakura Hanami – Ful," inspired by his daily walks through a cherry blossom-lined path to the Kamakura shrine. He sought to capture the beauty of the cherry blossoms using spray paint, aiming to recreate the immersive experience of their peak bloom. As the season progressed and more sky became visible through the falling flowers, he incorporated more blue into his later paintings, completing that year's series. His creative process involves selecting images of flowers, creating stencils, and painting each layer meticulously with spray paint, repeating the process until the artwork evokes the cherry blossom season. In Conversation with Cambell La Pun Can you describe the process and techniques you employ when creating a new piece, starting from the initial concept and inspiration to the final artwork? Ideas are always flowing, often more than I can ever bring to life. Due to the time-consuming nature of cutting stencils, I often find myself painting an idea that first came to me months or even years ago. Each piece starts as a digital blueprint. I begin by digitally manipulating the source material to generate the stencils. These stencils are then printed, hand-cut with a small surgeon's scalpel , and painted layer by layer, either by individual colors or varying shades of the same color. Your paintings incorporate a diverse range of influences, from Japanese anime to retro video games. How do you select and integrate these elements into your compositions? What criteria or thought process guides your choices? Initially, I included these elements purposefully, drawing from memories or nostalgia. Nowadays, I realize that anything can be a source of inspiration. I don’t overthink each element; it's often something collected from my surroundings or conversations. I'm generally more attracted to either unique color combinations, the shape of an object, or simply the challenge of incorporating it into a painting. Advertising and pop imagery are recurring themes in your art. What specific messages or commentaries are you aiming to convey through these elements? What do you hope your audience takes away from your artworks? There’s never been any intentional message within the work; it’s purely created for fun. My primary goal is for people to smile and feel something positive when viewing the work, providing a small relief from any daily difficulties. I've always felt that pop art takes a playful approach to art with both colors and subjects, and advertising offers endless colors, shapes, patterns, and source material. You have garnered attention from an impressive list of celebrity and corporate collectors. How does this recognition influence your work and motivation as an artist? Does it affect the direction of your creative process or themes you choose to explore? It’s always thrilling to learn of new collectors and to see the appreciation for my work and working within the corporate space is a great experience that always pushes my work forward in new directions. However, recognition doesn’t change my approach; my focus remains on completing each piece and contemplating the next direction for my work. In the same vein, with your artwork being sold and appreciated worldwide, how do you ensure that it remains accessible and relevant across diverse cultures and markets? Are there specific strategies you employ to resonate with a global audience? My only strategy has been to create as much work as I can. Fortunately, I work with amazing galleries that manage most of the business side. I just focus on making the best work possible, constantly improving, and pushing out new ideas. Looking to the future, are there any new themes, techniques, or projects you are particularly excited to explore in your upcoming works? How do you see your art evolving in the coming years, and what new directions are you considering? The list of themes I’m hoping to explore is endless. Upcoming works include graffiti flowers, Japanese Ukiyo-e pieces, and some portraits. I've started producing works painted on canvas by brush, entirely removing stencils and spray paint. In the future, I'm hoping to expand with works created entirely through screen-printing processes. I always like to end with a question about your upcoming events, exhibitions, and fairs. What can we look forward to from you in 2024, and where can your fans and collectors expect to see your work showcased? 2024 will be a productive studio focused year. After a solo show and travel last year, it feels good to be back and creating new pieces. For the immediate future, my work will be showcased at DTR Modern in the USA, Clarendon Fine Art in the UK, along with AndCollection in Japan. Gallery

Philanthropic Artists: Discover How Your Favorite Artists Give Back Did you know that some of your favorite artists are also incredible philanthropists?Beyond creating stunning masterpieces, many philanthropic artists make waves in their communities by giving back in big ways. Let’s dive into some inspiring artists whose charitable endeavors might make you love their work even more. First up, we have Titus Kaphar. This artist doesn’t just make thought-provoking art; he’s also the founder of NXTHVN, a haven for budding artists and curators. Titus believes in fostering talent and providing opportunities for those who need them most. Then there’s Dustin Yellin, the mastermind behind Pioneer Works in Brooklyn. This cultural center focuses on promoting interdisciplinary creativity, offering residencies and exhibitions for emerging artists. It’s a place where art, music, and science collide in the best way possible. Jamel Robinson is another artist using his talent for good. Jamel’s work with organizations like the National Alliance on Mental Illness bridges the gap between art and mental health advocacy, making conversations about mental health more accessible and less stigmatized. Robert Longo is known for his powerful artworks but is also passionate about philanthropy. From auctioning his art to raise funds for his charities to supporting political and environmental activism, Robert’s commitment to using art as a force for change is truly inspiring. Let’s not forget Mike Kelley. His legacy includes community projects and educational programs that continue to support various charitable initiatives through foundations set up in his honor. His work ensures that art remains a powerful tool for education and social change. These artists prove that art can be a mechanism for positive change. So, the next time you admire a beautiful piece of art, remember there’s often a heart of gold behind it.

Discover the Harmonious Intersection of Color and Geometry in Mickaël Doucet's Art Mickaël Doucet is a French artist based in Paris, known for his captivating use of vibrant colors and minimalist interiors. His work, primarily done in oil on canvas, creates bright and dynamic scenes that strike a perfect balance between precise geometric technique and playful hues. Doucet's paintings often feature lush landscapes framed by modern structures with floor-to-ceiling windows. These expansive views invite viewers into a world where detailed interiors and stylish design meet breathtaking natural beauty. While the serene scenes capture attention, they also evoke deeper reflections about the human presence, the fragility of life, and the mysteries beyond. Inspired by Plato's idea that "None may enter here if they are not a geometer," Doucet seeks to challenge this notion by blending geometric abstraction with the chaotic beauty of the natural world, seen through vast stained glass windows. His interiors become places of art and contemplation, blending philosophical ideas with beautiful, decorative elements. What's more, Doucet's art uses oriental designs to blend smoothly with the landscape, making the scenery an important part of his work rather than just a background. In Mickaël Doucet's paintings, viewers experience a transformation. T hey aren't just looking at a view; they feel like they become part of the scene. Doucet's vibrant and minimalist art offers a fresh take on contemporary life. His work is an exciting and thoughtful exploration of art and the human experience. An inside look at Mickaël Doucet's Creative Inspiration and Process What initially inspired you to pursue a career in art? Was there a specific experience or passion that sparked your artistic journey? I was a second year mathematics and physical sciences student at university when I visited the Picasso Museum in Barcelona. I was deeply moved by all this pictorial power - all this genius and this emotion of “the other world”. I then started to become very interested in art, particularly in drawing. I went to India for 6 months, where I met a young painter in Jaipur who convinced me to follow my karma, meaning to pursue a path of painting. I felt an intense inner fire and stopped everything to devote myself entirely to art. Since then, I have never stopped painting or even thinking about painting. It is the very essence of my life. I have never regretted this choice. I was 23 years old when I started my journey. Which artists or art movements have had the most significant impact on your style? How have their techniques or philosophies influenced the development of your own style over time? I have always been sensitive to technical and spiritual elevation in the artistic practice, which I find necessary and non-negotiable to progress. There is a form of intransigence that I find in [artists] that pushes me to surpass myself, and to evolve my style as I learn. In 2012, I asked myself the question: “What does it mean to be a painter in the 21st century?”. In the years 2000-2010 in Paris, photography and more conceptual installations had pride of place at art fairs. We were overwhelmed with images, with advertising, the arrival of smartphones. It was then that artists like Lucio Fontana , who cut his paintings with a cutter, or Yves Klein , who had a completely empty exhibition, gave the impression that nothing was possible in art anymore. I told myself that if I couldn't innovate in technology, I was going to innovate in images! I decided to work with contemporary imagery, in a style that remains “classic”. This gave rise to a first series of interiors: Villégiatures. From then on, I never stopped representing villas by architects from the 70s, using a technique almost similar to that of Renaissance painters. Living in a city known for its rich artistic history and contemporary art scene, how does Paris inspire or inform your artistic process? Do specific aspects of the city's culture, architecture, or atmosphere find their way into your paintings? I have visited museums and art galleries in Paris a lot over the last 20 years, and [trained] my eye over the years. It's true that living in such a city full of art and history is undoubtedly a source of permanent inspiration. Even so, like any large capital, dense in population and urban life, it has a stifling and anxiety-provoking side. This side pushes me to work around interiors that open onto the sea or onto an idyllic elsewhere, places filled with colors and [offering an] escape that painting can provide. This deeply French city endowed me with a very romantic spirit of painting. In the literary sense of the term: Romanticism is characterized by the dominance of sensitivity, emotion and imagination over reason and morality. Artists paint by asserting their ideas and passionately revealing their personal impressions and feelings through their works. I believe that this definition corresponds well to my work, even if there are of course many other things to say about it... Walk us through your approach when beginning a new painting. From conceptualization to execution, what steps do you typically follow? I always start with a preparatory sketch: My work is composition. As in a score of musical notes, I arrange the elements together to create a balance on the canvas. I have several notebooks full of ideas, sketches of works ready to paint. Once I have chosen, I trace this life-size sketch on the canvas, and I prepare my backgrounds according to the final colors that I already have in my head. I generally have the finished canvas more or less in my mind before it is made. All the pleasure and the act of painting comes from the path on the canvas to get to [my vision]. Sometimes there are surprise accidents, but then the issue becomes even more interesting. It’s like a riddle that needs to be solved. It’s very exhilarating! How do you select the colors that will convey the mood and message of your artwork? I like to make little nods to other artists in my paintings. The cubes and spheres refer to The Alchemist by Paulo Coelho. Each of the elements of my paintings – the African statuettes, the books, the Japanese prints etc. - leaves a message, a small trace. Like Matisse , I pay great attention to ensuring that there is a perfect balance for the eye, between all the elements. Each object is worked as if it were a spot of color within the colored space that I create. People often tell me that it’s because I studied mathematics that I am so square in my paintings! As for color, it’s instinctive. I have always worked on drawing, you always have to work on it. The colors can also be worked on, but never for me. I have never been able to explain it. But color has never been an obstacle for me...It is the very essence of all my work. It’s through her that I feel everything. It is difficult to explain. But I would say that color is me. It's simple. It springs naturally to be the part closest to me, until finally it is just me I think. Are there any themes or techniques you're eager to delve deeper into? How do you envision your artistic practice evolving in the coming years? Yes, absolutely, there are so many things to explore. In terms of themes, I would say that I really want to try some slightly special still lifes, but it's still at the stage of an idea. I don't really know, it's difficult to see in advance towards what we will evolve. I reserve this surprise for myself. I just know that color will always be my muse. That said, I am currently testing black and white work with charcoal on supports other than paper. But here too you will have to be a little patient. Don't go too quickly. Art and painting remain practices that develop over a long time. Can you tell us about any exhibitions or events you have planned for 2024? I had a first solo show in my Paris gallery, the Virginie Louvet Gallery, in February 2024. It went very well! I also had a solo show, Entre deux-mondes (Between Two Worlds), at the Diego Escobar gallery in Marseille. It ends mid-July and is going rather well if we consider the current situation in France. I have recently been working with the Palmer Gallery in Saint-Tropez, which is currently exhibiting around ten works for the summer. In America, Emmanuelle G. Gallery in New York exhibited me in January at the Palm Beach art fair and we plan to present large paintings at Art Miami in December. I will also participate in a group show in September for the opening of a new gallery in Los Angeles, The New Yard Gallery with which I will start working in partnership with the Diego Escobar Gallery; A solo show is planned in LA in 2025.

Explore the groundbreaking work of Black artists like Lynette Yiadom-Boakye and Njideka Akunyili Crosby. Learn how they’re shaping today’s art landscape. Did you know that while African Americans make up 14.4% of the US population, only a tiny 2.4% of donations and museum acquisitions are by Black artists? That's a huge gap! Despite these odds, Black artists are breaking barriers and changing the art world with their unique perspectives. Artists like Kerry James Marshall and Kara Walker get inspiration from their cultural and historical roots. Think of Marshall’s massive paintings and Walker’s eye-catching silhouettes! Their art is all about heritage, personal stories, and historical moments. These artists dive into themes like identity, race, and social justice, reflecting the struggles and triumphs of Black life. Black artists employ a range of methods to express their cultural heritage. Mickalene Thomas creates dynamic collages, while Njideka Akunyili Crosby uses intricate mixed media to challenge artistic norms. Their creations are groundbreaking and influential, each piece making a powerful statement! In spite of the historical underrepresentation, Lynette Yiadom-Boakye received a Turner Prize nomination, and Amy Sherald gained national recognition for her portrait of Michelle Obama. Their art pieces are currently showcased prominently in top museums and galleries. It's important to also acknowledge Theaster Gates' win in the Artes Mundi Prize! The progress achieved by these artists creates opportunities for up-and-coming artists. For instance, Oluwaseun Osewa, known as Slawn, is gaining attention for his innovative viewpoints, and recently, even collaborated with Rolex. Having diversity within the art market is essential to support emerging talents, encourage inclusivity, and acknowledge the valuable contributions of Black artists. This not only enriches the cultural landscape but also promotes a more equitable and representative art industry for future generations to thrive in.

Gustavo Díaz Sosa drawing inspiration from literary giants like Franz Kafka and Fyodor Dostoyevsky. His paintings serve as a profound commentary on mass society, death, and the intricate relationship between humanity and the State. Gustavo Díaz Sosa’s art speaks volumes through its blend of complexity and narrative. Graduating with distinction from San Alejandro’s Fine Art Academy in Cuba, Díaz Sosa’s journey from teaching in Havana to his current base in Madrid has deeply influenced his exploration of societal dualities and human resilience. His work captivates with its tactile richness and intricate stories. From a distance, his large-scale paintings draw you in with their textured materiality. Up close, detailed drawings reveal bureaucratic labyrinths and existential struggles. Díaz Sosa’s art isn’t just visually striking—it’s a deep dive into the tensions between power, identity, and societal norms. Cultural and literary references play a significant role in his work, from biblical stories like the Tower of Babel to modern critiques such as Kafka’s “The Trial” and Orwell’s “1984”. These references provoke thought on contemporary global issues, prompting viewers to reconsider societal norms and power dynamics. His move from Cuba to Europe has profoundly shaped his perspective, infusing his art with reflections on societal imbalance and human vulnerability. Díaz Sosa’s canvases evolve, blending human figures into architectural landscapes that blur interior despair with exterior hope. Technically, Díaz Sosa employs a layered approach, using industrial materials, concentrated dyes, and charcoal to create a weathered, introspective aesthetic. Textual elements often enrich his compositions, prompting viewers to contemplate the complexities of modern existence. Gustavo Díaz Sosa’s art is more than just paint on canvas—it’s a reflection of our globalized world, inviting us to question power dynamics, identity, and societal struggles through his textured perspective.

Andrée-Anne Mercier’s work is a fresh take on blending memory and technology. Based in Montreal, she uses painting, installations, and video games to explore the digital age with a unique twist. Andrée-Anne Mercier, born in 1992 in Repentigny, is a multidisciplinary artist who calls Montreal her home. With a Bachelor’s degree in Visual and Media Arts from UQÀM and a Graduate Certificate in Arts, Creation and Technologies from the Université de Montréal, Mercier is a creative powerhouse. Her work is a thrilling blend of painting, installation, 3D modeling, 2D animation, and video games, each piece a testament to her boundless imagination and technical prowess. Mercier delves into the fascinating intersection of memory and technology, posing the question: do digital tools immortalize our experiences or distort them? This intriguing inquiry drives her diverse artistic endeavors, which dance between illusion and reality, marked by a unique process of graphic simplification. Mercier's artistic journey has taken her to international residencies in Japan, Spain, and Iceland, where she has drawn inspiration from the architectural and urban landscapes of residential neighborhoods. Her paintings capture the essence of these places, weaving together emotional, cultural, and historical threads with a touch of nostalgia and a dash of whimsy. In recent years, Mercier has received support from the Conseil des arts de Montreal and the Canada Council for the Arts to develop eco-feminist video games with her collective, "pixels·collectif." These projects push the boundaries of both art and technology, reflecting her innovative spirit. Mercier’s work has graced the walls of Galerie Robertson Arès in Montreal, Art Toronto, and the Foire Plural in Montreal. Her pieces are cherished in corporate and private collections across Canada and internationally, and her exhibitions have spanned the globe, from Canada to the United States, Japan, Iceland, and South Korea. Andrée-Anne Mercier is a vibrant force in the art world, seamlessly blending the past and future, memory and technology, in her ever-evolving body of work. 812 Maplewood Fine Art Services In conversation with Andrée-Anne Mercier Can you walk us through your typical creative process from the initial concept to the final piece? What does a day in your studio look like? Do you have any specific routines or rituals that help you get into the creative flow? My creative process begins by wandering around and taking photographs. I focus my observations on vernacular architecture, in particular the house and its surroundings, but also on the digital view we now take of these places. I simply represent places I've come across on my daily walks around the corners of different cities, usually places where I go on artist residencies. I accumulate the necessary documentation to produce paintings, digital works and mini-installations. The photos I take are usually guided by my interest in color, angular shapes and the interesting juxtaposition of houses and vegetation. I create plans for my paintings digitally, in Photoshop. I apply flat tints of color, generally guided by the initial hues of the house or site, and test different color palettes that appeal to me. After that, I have my wood panels custom-built by a local Montreal company. I often have unusual angles in my paintings, so I like to work with them for my commissions. I can finally start painting, the first step being to prepare the wood and sand before painting, and then I can start making my gradient backgrounds with my airbrush. I usually work on 2 or 3 paintings at the same time, alternating while my paint dries. The final step is always to choose the color of the sides of my paintings, a choice that can give a lot of impact to the work. I work from home, in my small studio, usually starting early in the morning to work on my paintings. I love painting, so sometimes I can't see the time passing. I think simple daily routines are ideal for creation, tea and herbal tea and podcast/music all day while working. I usually take a break to walk, swim or do yoga to help keep my energy up throughout the day. What artists or movements have influenced your work the most, and in what ways? Japanese culture influences my work in many ways. Whether on the traditional side, like ukiyo-e, or on the more contemporary side, like anime, I find a fascination in looking at the visuals that result from each movement, for their precision and the universe that results. My painting inspirations come from artists such as David Hockney, Hideo Hagiwara and Christopher Pratt. Their choice of subject and aesthetic appeal to me. Hockney for his depictions of landscape and his search for color, Hagiwara for his way of painting everyday landscapes and the nostalgia present in his paintings and, finally, Pratt for his themes surrounding the environment, architecture and memory. Certain artists, such as Agnes Martin and Hiroshi Nagai, inspire me with their color palette: very pastel and dreamy for Martin, very sharp and contrasting for Nagai. Hiroshi Nagai is a Japanese artist who produced a lot of work in the 80s, mainly depicting landscapes of California and Hawaii. I can quickly see a link between my work and his; southern kitsch is obviously something that links us: simple houses, cut-out shapes, straight lines and contrasting colors. All these similarities can also be likened to the aesthetics of the genesis of video games and pixel art. Could you elaborate on your process of graphic simplification and how it contributes to the themes of your work? In your view, how does the process of graphic simplification affect the viewer's perception of your work? Inspired by original photographs, my urban stagings are the result of an extensive digital transformation process. The scenes depicted in my work are the result of drastic graphic cuts and simplifications, giving an impression of suspended time. Their simplicity and ambiguity are intended to question the relationship between memory and technology. In particular, I question whether the use of digital tools contributes to celebrating our memories and experiences, or rather distorts them. I compare this decomposition of the image to the layers that time applies to our memories, leaving behind the details we remember. Through my two-stage works, I reflect on how the blending of the real and the virtual alters our perception of the original place. The different layers and transformations applied, as well as the digital superimposition, generate a result that can blur or accentuate the memory. The simulation of places encountered, whether in my paintings or videos, reappropriates the codes of video games in a playful and sensitive approach. How have your artist residencies influenced your perception and representation of architectural and urban landscapes? What inspired you to focus on the architectural and urban landscape of residential neighborhoods in your paintings? Artist residencies have always been an important part of my current artistic process. My first solo trip outside Canada was for an artist residency in Japan at Studio Kura, in the village of Itoshima in 2016. I'd never really had the opportunity to travel, but getting out of the country to discover a fascinating culture obviously marked the beginning of several subsequent stays abroad as part of a creative residency. During my first residency at Studio Kura, I mainly explored the angle of Japanese popular culture; the "kitsch" of Japanese culture. For example, I worked with images from Nintendo video games, the holographic pop singer Hatsune Miku and reproduced sculptures of the food on display in front of restaurants. I think you can always find this playful angle with popular connotations and this questioning of mass culture in my digital work and in my aesthetic choices. My interest in houses and buildings also began during my second residency in Japan at AIRY, in the city of Kofu. Architecture is the element that most fascinates me in every new environment I visit. I find myself observing the differences between the way certain places are inhabited and how they adapt to different climates. The colors found on Japanese houses and streets also captivate me; their use is unusual and differs from the more sober hues that usually populate Western living environments. Choosing houses in residential neighborhoods was a natural choice for me, simply because these are the places I grew up in, the places I know. I also like art to be accessible, so choosing subjects that everyone can relate to at some point is important to me. The house is part of someone's daily life, not only the owners, but also the neighbors and passers-by. I think there's a strength in the everyday that we often forget. The recurrence of elements that we observe every day can, over time, bring us peace. That's what I like to observe in my neighborhood, but also abroad, in the towns and villages I come across. As a multidisciplinary artist, how do you see the evolution of digital art and its impact on traditional forms of art like painting? As mentioned above, I paint pictures in the traditional way, with acrylic, but a whole digital process is present before the painting stage. Taking elements from everyday life, I analyze and reuse these elements to create pictorial projects using digital tools, questioning their effect on our memory and the way we interact with different environments in everyday life. The paradox of the mediums chosen gives rise to a dialogue between fine art and digital art; both art forms revive the age of technology, a subject at the center of quintessential capitalism. On the one hand, I like using digital tools - like everyone else, they make life easier - but on the other hand, I often feel uncomfortable using them, which is part of a movement towards speed and immediate consumption. I like to use this method, which allows me to try out a lot of things before painting, so more possibilities in less time. However, I believe that technology is a double-edged sword that shouldn't be over-exploited. The search for memories and the parallels between different retro eras allow me to experiment with different techniques for pictorial purposes, while raising questions about the accessibility of digital tools and their relevance to the commemoration of experiences. They also allow me to echo the growing collective anxiety about the climate crisis and the fragility of the places that surround us. In my opinion, I believe that digital technology will continue to affect traditional art forms, but not too directly. We're seeing a big movement towards slow tech and a return to nature that's more and more present. People want to slow down, which is a bit contradictory to technology, which values speed and innovation. The more artists use digital art as a medium, the more the subject will serve to question digital art itself, it goes without saying. In a way, that's what we're doing with my group pixels-collectif. It's a collective that allows my team-mates Frédérique Bordeleau, Sandrine Cadieux and I to appropriate a medium historically dominated by men and with commercial connotations, the video games, but also to question the place of this medium in today's art. With pixels-collective, we aim to present alternative narratives and aesthetics, tackling feminist and anticapitalist themes in particular. Do you have any upcoming events or exhibitions in 2024 that you are particularly excited about, and what can audiences expect from these showcases? I am currently in production for my next solo exhibition at Galerie Robertson-Arès in Montreal, which will take place in December. The series of paintings for this show will be inspired by my last residency, which took place in Fujiyoshida, Japan last April.