Search Results

Marta Fàbregas i Aragall, a Barcelona native born in 1974, is an artist whose lens captures more than just images—it captures stories, perspectives, and voices often overlooked. Trained at the Institute of Photographic Studies of Catalonia, Marta Fàbregas' journey into photography was driven by a deep-seated commitment to feminist principles. Accordingly, Fàbregas's work goes beyond aesthetics; it's a reflection of her belief in the power of art to provoke thought and inspire change. From co-founding Estudi La Fotogràfica in '98 to her current prominence in the Barcelona art scene, she has carved out a space where her vision resonates with audiences far and wide. Fàbregas' role extends beyond the confines of galleries; she's an educator, sharing her expertise through workshops aimed at empowering others to find their voice through photography. Through Fàbregas' collaboration with the SETBA Foundation, she brings art to marginalized communities, demonstrating its transformative potential. Fàbregas' exhibitions, whether solo showcases or contributions to international art fairs, are invitations to her audience to engage with complex issues and perspectives. Fàbregas's work challenges viewers to see the world through a different lens and encourages dialogue about pressing social issues. Among Fàbregas' notable exhibitions are showcases at esteemed institutions such as the Museu Frederic Marés in Barcelona and participation in events like the Barcelona Gallery Weekend and the Kronos Festival at Palau Robert. Additionally, her presence in international art fairs—from Paris to Los Angeles—underscores her global impact as an artist and advocate. One of Fàbregas' significant exhibitions, "Universos en suspensión," held at Pigment Gallery in Barcelona during the 2019 Barcelona Gallery Weekend, exemplified her ability to engage viewers in nuanced conversations about identity, society, and the human experience. As Marta Fàbregas continues to navigate the intersections of art, activism, and education, her work serves as a testament to the transformative power of creativity in shaping our understanding of the world. Inside the Lens: An Interview with Marta Fàbregas i Aragall What initially drew you to the medium of photography, and how has your relationship with it evolved over the years? I've always been captivated by the power of photography—it's a technique that allows one to freeze a moment and then recall it infinitely. I'm also passionate about the immediacy of the photographic technique, which I suppose aligns with my active and dynamic nature. From a very young age, I loved photography. My father was a civil servant, but photography and cinema were his hobbies. I remember the red light of the darkroom... when he used to develop photos at night. As a child, I covered my entire room with photos from magazines, but they weren't fashion photos—they were classic photographs, mostly in black and white - though I wasn't yet conscious of that. I would simply see a photo I liked, cut it out, and paste it on my bedroom wall. As I grew older, I realized that, unknowingly, I already had a special sensitivity for strong composition within photography. At 19, I knew I wanted to be a photographer, primarily for the artistic and creative aspects that photography offered me. I studied, graduated, and opened my own photography studio with my husband and photographer, Marc Vidal. That brought us to our shared studio located in the heart of Barcelona. I always combined commercial and advertising photography with artistic projects in collaboration with my husband, but it wasn't until 2016 that I began developing my own artistic and creative work individually.  Have there been any significant milestones or moments that have shaped your journey as a photographer? An important moment in my artistic career was in 2018 when Ferran Josa from Pigment Gallery signed me and started showcasing my work at international fairs. Since then, it's been like riding a rocket. Your exhibitions serve as platforms for engaging with complex issues. Could you discuss how you approach the curation and presentation of your work to spark dialogue and reflection among viewers? Are there specific techniques or strategies you employ to encourage audience engagement with your art? I'm passionate about antique photography. It's through the compilation of images that I begin to piece together the puzzle, starting with an idea (always centered around the world of women). I seek out old images that, when combined and filtered through my technical and aesthetic lens, can tell a contemporary and current story anew. Women from the past make us reflect on our present to build a better future. In the end, it's meticulous selection work... almost like curating. I integrate images from different photographers, taken at different times and years, of frequently anonymous women. This culminates in a visual story. I aim for their combination to form a single voice and convey something new. How has your experience showcasing your work internationally, especially in art fairs, influenced your artistic process and perspective? What insights have you gained from presenting your work on a global stage, and how do these experiences shape the way you approach your art? First of all, it has been a great opportunity that Ferran Josa from Pigment Gallery offered me. Going out into the world and showing what you do is a privilege. Though challenging, it's also a magical moment when other galleries show interest in your work and new doors, new markets, and collectors open up. That said, being able to showcase my work internationally has once again shown me that women's issues, unfortunately, exist worldwide. It's necessary to give voice to these issues, and my tool is to do so through art and my works.I suppose the themes I present are so current that it's inevitable they capture the public's attention. As artists, we have the responsibility to expose societal issues, make them visible, and be a voice. Artists must address these issues and find new and creative solutions. Whenever I have the opportunity, I like to explain my work and the inspiration behind my work or the series. I enjoy it when people ask who these women were, where they came from, or what their names were... I don't always have that information, but suddenly a new discourse is created and a new perspective on that image emerges. A new woman is born in the imagination of the viewers. Could you discuss a specific project or series that holds particular significance for you and share the story behind its creation? What inspired the themes explored in this project, and what do you hope viewers take away from experiencing it? Perhaps the most emblematic series is "Colonizadas" (Colonized), which was where I started, continue to this day, and is the most extensive. I now have over 100 works in the series. I began with portraits of women who were clearly colonized by men, society, culture, traditions, and even by themselves. But gradually, I realized that deep down, we are all still colonized in one way or another. We need to find our own identity. Afterwards came "Hijas de Lilith" (Daughters of Lilith), "Perfectas Imperfectas" (Perfectly Imperfect), and "Divers." Looking ahead, what are some of the themes or projects you're excited to explore in your future work? Are there any new techniques or approaches you're eager to experiment with, or any specific subjects or concepts you're drawn to exploring further in your art? Right now, I have started a new series called "Ama," reflecting on those incredible women who worked collecting pearls freely on the coasts of Japan, a practice that is nearing extinction. The series is a tribute to those brave women and also the goddesses of the sea. At the same time, it's a reflection on our planet and how we must take care of it. Another project is the "Dóna Oportunitat" project, which I will carry out in September in my home city, Sant Cugat del Vallès. I am experimenting with transferring large-format images onto ceramic tiles. It is an artistic mediation project with a group of migrant women. Together with the art historian Berta Navarro, we will create a mural artwork measuring 3x4 meters. Can you give us a glimpse into any other upcoming events or shows you have planned for 2024? In addition to "Dóna Oportunitat," we are fully engaged in the project "Traspassant l’Objectiu" with the Setba Foundation, where I serve as artistic director and trainer. I share my passion for photography and portraiture with women in prisons and correctional facilities. The transformative power of art and photography is incredible, and I experience it in each of these sessions. This project will be exhibited again in the city of Lleida, also in mid-September. In December, I will also participate in one of the most important art fairs in the world in Miami, alongside Blink Group Gallery. Right now, I'm working on these pieces. I have such gratitude for where my career has taken me and the opportunities I have be granted.

Explore Fernando Suarez Reguera's visionary sculptures—masterful blends of iron, bronze, and resin, capturing dynamic movement and neorepresentational artistry. Fernando Suarez Reguera emerges as a profoundly versatile sculptor, navigating a diverse artistic landscape with unwavering creativity and a meticulous approach to craftsmanship. His journey is marked by a mastery of materials—iron and bronze being his preferred mediums—yet it is his innovative use of materials like resin and mirrors that adds an unexpected dimension to his repertoire. Suarez's sculptures defy convention, exploring spatial dynamics with a keen eye for movement and weightlessness, creating pieces that seem to capture the essence of motion frozen in time. Central to Suarez's artistic vision is an intense exploration of the human form, particularly the muscular physique pushed to its limits in dynamic poses. These figures, often portrayed in acts of physical prowess—leaping, climbing, running, or maintaining balance—reveal his deep psychological insight and skill in capturing fleeting moments of action with precision. Critically acclaimed for his ability to interpret objects with intelligence and visceral impact, Suarez's work reflects a refined constructive technique that transcends traditional realism. Drawing from a firm academic foundation, his sculptures evolve into a neo-representational expressionism, where each piece offers a disintegrating view of its subject, emphasizing structural solidity amidst a backdrop of movement and dynamism. María Luisa Alonso, in her review "Symphonies in A Major," paints Suarez's sculptures as elaborate theatrical stages teeming with life. Imaginative and dramatic, his works feature a diverse cast of characters—from acrobats and athletes to warriors and astronauts—set against a backdrop that includes crashed cars, helicopters, and artifacts from distant shores. This fantastical scenery, adorned with oriental huts, industrial-era ships, and floating cities, resonates with a futuristic allure, evoking a realm where magic and reality converge. The interaction of iron, bronze, and various resins in Suarez's sculptures not only showcases his technical prowess but also underscores his contribution to contemporary sculptural processes. His works challenge viewers to contemplate, understand, and engage deeply with the themes of transformation, innovation, and the human spirit that pervade his art. Through his intricate and thought-provoking sculptures, Fernando Suarez invites us into a world where imagination knows no bounds. Each piece is a testament to his ability to blend creativity with craftsmanship, leaving an indelible impression on those who encounter his visionary creations. As spectators, we are called to complete the narrative woven into each sculpture, to appreciate the passion and ingenuity that define Suarez's distinctive artistic voice. 812 Maplewood in conversation with Fernando Suarez Reguera Can you describe your creative process, from the initial concept to the finished piece? Walk us through the stages of your artistic process. In every journey a moment of action creates an uncertainty before the events that are to come, just as in the process of realization of a creative work, a creator is surrounded by a permanent uncertainty. During this period of time, the artist must answer and face different questions and issues that frequently come up during the creative process. You have a clear idea of the creative work but not of its complete form. For this reason, the search for formal solutions is constant and requires an enormous mental and cognitive effort. This uncertainty of the mind is what stimulates the author to develop as an artist and also motivates him to take on new projects It is dangerous to fall into monotony and conformism, either by the exhaustion of ideas or, even if it seems contradictory, by the rewards of success. You must always ask new questions that lead you to doubt and cause you to think anew without considering what has already been done. The creative process is by no means linear, there are many failures. Mistakes that lead to corrections and changes in the way you work in order to continue to grow in your personal career. As stated by Alfredo Muñoz, a social psychologist at the Universidad of Complutense in Madrid: 'You should not lose the ability to have fun' Can you share your journey as an artist and what initially drew you to sculpture? What early experiences or influences sparked your interest in sculpture, and how have these evolved over time? From an early age I was clear about my love for art. I have always loved drawing and working with my hands. I didn't like to copy, I preferred that the characters and animals emerge from my head. From a very young age I spent a lot of time in the studio of my grandfather, who was a landscape painter. While he worked on his paintings I was at his side watching him attentively and fascinated by how the shapes and colors were emerging on those blank canvases. It seemed magical to me. When I finished my high school studies and entered the University to study Fine Arts, my main idea was to paint but in the first year of the course - when you worked with all the specialties -[but instead] I fell in love with sculpture. What challenges do you face as a sculptor, and how do you overcome them? How do you navigate issues related to material limitations, scale, and public reception? What strategies do you use to push through creative blocks or logistical hurdles? This profession is a constant challenge, I like to continually challenge myself in my work. I don't want to settle into what I already know or master, you always have to take new paths that allow you to grow as an artist. That makes you arrive at the studio every day with the hope of discovering new things. In fact, in my creative dynamic, I usually work [on] several [sculptures] at the same time, which gives me a continuous work rhythm and maximum creative attention. I have a great variety of themes that allows me not to pigeonhole myself and give freshness to my sculptures. It is evident that not every day you have the same inspiration but, since sculpture involves a lot of elaboration process, the lowest days creatively speaking, I dedicate to doing more mechanical work such as molds, supports, structures, etc. As Picasso said; “When inspiration comes, may it find me working.” Since sculptors work in three dimensions, we always have constant thought about all the external and logistical factors that surround the creation of a work. How it will be transported and what machinery will be needed, the resistance of the materials if it is going to be placed outside, the creation of specific structures and supports for that work, etc. It is important to be surrounded by a good team of professionals and decisive people who can face any problem that may arise in the transfer or assembly of a work in its final location. In large-scale works, it is essential to make a prior visit to the place where the work will be located and see what foundation it needs and what personnel, vehicles and machines are necessary for its assembly. How do you decide which materials to use for each piece? What factors influence your decisions, such as the intended effect, the theme of the work, or the physical properties of the materials? The predominant materials in my work are metals. I work mainly with bronze, corten steel and iron, combining them with many others such as stone, wood, resin, mirrors, plastic, waxes. In other cases I give them chrome, nickel or silver baths. A very important factor in choosing materials when creating a sculpture is its final destination. If it is outdoors, they have to be materials that hold up well to the elements, such as bronze and Corten steel. I love coming across my works again over the years and observing how climatology has interacted with them, enriching them with nuances and new textures. And of course, another important factor in choosing materials is what you want to convey in the work: lightness, solidity, strength, fragility, energy, calm, tension, etc. In this case, the final patinas and colors of each work are also important. Can you elaborate on the inspiration behind your fusion of human and mechanical elements within your sculptures? What attracts you to the intersection of humanity and machinery, and how do you explore this relationship through your art? How do these hybrid forms reflect your views on technology and the human experience? When I began to create my own language, I observed the great force that works transmitted with than fusion of organic and mechanical. Since the 19th century the relationship between man and machine has been of relevant importance. Thanks to them, humanity has grown and developed enormously in recent times. But the dark side of all this has also been seen with an already irreversible Climate Change, which is causing serious consequences for nature and life. An enormous danger is also beginning to be seen in Artificial Intelligence, where it can be seen that the machine can become independent of its creator and act on its own. We see that authors like Isaac Asimov and films like Blade Runner are more current than ever. Also as an artist and person who is attentive to current events, I see with sadness and regret the problems of emigration, wars, borders, famine, etc. For that reason, in many of my works I like to reflect all these issues that affect us all. But also in many of them I work with a more constructive message, to transmit positive energy and optimism to the viewer. I'm especially taken with your Villages pieces. Can you delve into the inspiration and concept behind this series? What themes or narratives do you explore through these works, and what do you hope your audience takes away from these works? I started working with this series following an exhibition I had at the Museum of Contemporary Art in the city of Chang Won in South Korea, in 2001. After that trip I returned to Spain full of ideas about this new line of work I wanted to start. In my Villages, I want to take the viewer to past times where man and nature were in harmony, to cities lost and frozen in time. Constructions that survived today's technological tsunami and voracious development. Looking ahead, are there any new themes or materials you are excited to explore in your future works? Are there particular themes or concepts you are eager to investigate further? Now I am thinking about a couple of new paths that I want to open in my artistic career, without abandoning any of the ones I have already taken. Vestiges and Extinction will be the titles of the series that I will begin working on in the coming years. I also want to work with human beings, but not as an individual entity but as a piece or cog within a more complex social whole. Lastly, what projects or exhibitions do you have planned for your artistic calendar in 2024? I currently have in the gardens of the Ricardo Severo Palace, in Porto (Portugal), the individual exhibition Intemperie, of large-form art works, curated by the Perspective Art Gallery of Paris. After the summer I will have two simultaneous individual exhibitions in two Spanish art galleries. Gabriel Vanrell from Palma de Mallorca and Luisa Pita from Santiago de Compostela.

Discover the captivating journey of Raul Lara, the artist whose blend of photorealism and mixed media paints a profound exploration of the human condition. Growing up in Morón de la Frontera, Raul Lara's early passion for painting was overshadowed by the practicalities of life. But fate intervened when he met his wife, who reignited his artistic spark. Fuelled by his wife's encouragement, dove back into painting, experimenting with new techniques beyond the traditional forms he'd known. His work evolved into a unique blend of photorealism and mixed media, capturing the essence of human emotion and identity. Through meticulous image transfer processes, Lara infuses his paintings with layers of depth and texture, inviting viewers to peel back the surface and delve into the complexities of the human experience. A stroke of luck came when a New York gallery discovered Lara's work, thanks to his wife's covert submission of his art to an art contest. This unexpected recognition catapulted Lara onto the international stage, marking the beginning of his journey as a full-time artist. Lara's style, a blend of photorealism and mixed media, defies easy categorization. His paintings are not just visual spectacles but windows into the human soul, revealing the myriad masks we wear and the inner conflicts we wrestle with. During a crucial phase of artistic exploration, Raul Lara again found inspiration in his wife, who became his primary muse and would shape his entire body of work. He began painting her, seeing the naked female form as a representation of purity and the origin of life. Through these portraits, Lara delved into the depths of human emotion and experience, using each brushstroke to explore the complexities of the human soul. This intimate subject matter provided him with a profound connection to his own inner world, allowing him to unravel the layers of identity, vulnerability, and resilience. From the bustling streets of Manhattan to the galleries of London and Paris, Lara's work has garnered attention and accolades. Notable exhibitions include "Portals of Perception" at Agora Gallery in New York (2012), "Elements of Abstraction" at Agora Gallery in New York (2013), and shows at VEDO Corporate Art Exhibition in London (2016), Gallery Different in London (2017), and Galerie Montmartre in Paris (2019). His art graces private collections worldwide, speaking to the universal appeal of his message. Publications like Artisspectrum Magazine and Saatchi Art catalogs have showcased his work, while book covers for international publishers have further cemented his presence in the art world. At the heart of Raul Lara's art lies a profound exploration of the human condition, delving into themes of identity, duality, and emotional vulnerability. His paintings serve as mirrors, reflecting the myriad masks we wear and the inner conflicts we face. Through his work, Lara invites viewers to confront their own truths and embrace the beauty of imperfection. 812 Maplewood in Dialogue with Raul Lara What does a typical day look like for you in the studio? Do you have any rituals or routines that help you get into the right mindset for creating art? The truth is that I'm a bit chaotic and disorganized, something I'm trying to improve, although I'm not sure if I'm succeeding. Nowadays, besides painting, there are many tasks to do, like answering emails, managing social media, attending to customer inquiries, organizing shipments, etc. As if that wasn't enough, I'm also very restless and like to always be learning new things about topics that interest me, which don't necessarily have to be related to my work but also take up some of my time—a jumble of things I manage as best as I can. I try to prioritize tasks based on their urgency or importance (though this doesn't always happen), which makes it difficult to maintain an orderly routine, especially for me, as I mentioned, since I'm quite chaotic. When it comes to artistic creation, however, I'm very consistent. Once I start a piece, I don't stop until it's finished. I'm talking about the painting part, which usually takes me between 4 and 8 sessions, depending on how inspired I feel. After that, I let it dry for several days to apply the image transfer. As for rituals, I don't really have anything special, but over the years I've noticed that what works best for me is to arrive at the studio, make sure I have nothing pending, and gradually immerse myself in the painting. Sometimes I do this with some music, and increasingly, I listen to a podcast or interviews with inspiring people. This relaxes me and helps me focus on what I'm doing, to the point where, sometimes, after a while, I lose track of what I'm hearing and only perceive a background voice that somehow keeps me company. Walk us through your creative process.. How do you translate an initial idea into a finished artwork? Are there specific stages or processes you follow, and how do you know when a piece is complete? Normally, I start with an idea, a feeling, or a sensation that I want to represent. It could be a gesture I've seen in a model that has stayed imprinted on my mind. From there, I take photographs of the model or seek inspiration from image banks. I often use these images, making certain modifications, as it is difficult to find exactly what I want. My case is a bit special because my paintings represent two figures, either opposed or superimposed, and they must be perfectly designed in terms of their placement before I start painting. My sketches are very advanced digital representations of what I want the final painting to be, so when I begin working on the physical piece, I have an exact idea of how it should look. This makes it easier to know when the painting is finished. Once I have the reference images ready, which I do with Photoshop, I begin with the painting part that corresponds to the color figure. Once finished, I let it dry for a few days or even weeks. Then, I perform an image transfer onto that painted figure using gesso, let it dry, remove the paper, and finally, do some final touch-ups. With that, the piece is ready. Your art is a blend of photorealism and mixed media. What sparked the evolution of this style? Were there any specific influences or experiences that led you to explore this fusion of techniques? My training was always in realistic painting, but like all artists, I was unconsciously searching for something different, although I didn't know exactly what. One day, which I remember perfectly, I came across a crafts book that explained how to make image transfers to decorate objects. This caught my attention, and I started applying it to canvas. The first thing I did was print an image of a portrait of Chris Cornell, the lead singer of Soundgarden. The result was interesting, but it still wasn't what I was looking for. At that time, about 20 years ago, I worked in the family business and sold pastel portraits to people in my town who already knew about my work through word of mouth. In the afternoons, I dedicated myself to my passion, which was painting. Following that first attempt with the portrait of Chris, I kept experimenting. I started using much more gesso than usual because I liked the texture it gave to the canvas. Initially, I painted over the transfer using many glazes, until I arrived at what I do now, where I separate the painting and the image transfer and combine them. Are there any new themes or concepts you're delving into in your work? Additionally, are there any experimental techniques or mediums you're itching to incorporate into your artistic repertoire? The central theme or concept I like to delve into is the human psyche: our duality, fears, hopes, the various layers we all have, etc. I’m also drawn to playing with the concept of body and soul. I believe there is much to explore in these areas through my work. Lately, I’ve been inspired by the fleeting nature of life, which brings me to your question about incorporating new techniques or media into my artistic repertoire. While I constantly try small evolutions, right now I am immersed in using transparent media and deforming the transferred image. Drawing on the idea of life's transience, I seek to create images that seem to blur, both due to the transparent nature of the medium and the evanescent appearance of the image itself. As someone whose art has been showcased around the world, do you notice differing interpretations to your work across different cultures and audiences? In your view, what impact does art have on societal and cultural dialogues, and how does your work contribute to these conversations? Art is something very global, as you say, I've been extremely fortunate to exhibit in different parts of the world, and my work is in private collections on all five continents and I can truly say that I haven't noticed substantial differences in how people perceive my work across various cultures and audiences. I believe art is everywhere, and although not everyone might realize it, we all definitely approach it in its different forms. Art plays a fundamental role in shaping societies and cultures by inspiring social progress, raising awareness about critical issues, fostering intercultural understanding, catalyzing social movements, and enriching the human experience. Art motivates, educates, communicates, and gives voice to the human condition; there aren't many things capable of achieving all this. As for my own work, I don't know how it contributes to these dialogues, or even if it does. I don't think about it. I do my part, which is to put an element on the table, and from there, I no longer own the work. You'd have to ask people if it says something to them or if they feel it adds any value beyond mere aesthetic value. Looking towards the future, what exciting exhibitions or projects do you have on the horizon for 2024? How are you preparing for these upcoming opportunities? This year, I'm more focused on developing the use of transparent media, as I mentioned earlier. I'm also about to start a new project of small portraits with image transfers encapsulated in resin. This idea comes almost as a thank you to all the people who have supported me over the years, and of course, to the new art lovers who approach my work daily. Initially, I will organize some pieces for lucky followers to take home for free. If the project is well-received and goes further, I will consider future options. There is information on my website for anyone interested in this idea. Regarding exhibitions, I have a couple of things pending but nothing concrete yet. I just finished with a gallery that represented me in London for several years, which was a great experience. Now I want to take some time to reflect on the next steps to take in the future.

Step into the captivating world of Conchita Bardají, where hyperrealistic landscapes reveal the subtle beauty of nature through meticulous graphite artistry. Conchita Bardají, born near the Pyrenees Mountains, developed a profound appreciation for nature from an early age, influenced by the breathtaking landscapes surrounding her childhood home. She pursued her passion for art by studying Fine Art in Bilbao, Spain, where she honed her skills in capturing natural scenes with graphite. Bardají's connection to nature is central to her work. She views her artistic process as a dialogue with the environment, a means of communicating with the divine within nature. This deep bond is evident in her meticulous attention to detail, as she strives to portray the natural world as faithfully as possible. "My love for [nature] makes me represent her as she is, wanting to reproduce all her splendor," Bardají explains, emphasizing her commitment to depicting the beauty of nature in its purest form. While her landscapes are hyperrealistic, Bardají approaches nature as an abstract concept rather than depicting specific locations. By de-contextualizing her scenes, she aims to capture the essence and beauty of the natural world. She believes her strongest connection to her subject matter occurs when she creates a sense of reality through her art. Bardají's use of pencil contributes to the "subtle, elegant, and ethereal" quality of her landscapes, allowing viewers to feel as though they have discovered an enchanting new world. Bardají's work has been showcased in numerous group and solo exhibitions, including "Modportrait" at the European Museum of Modern Art in Barcelona. Since 1998, she has been living and working in Pamplona, where she directs the Conchita Bardají Drawing and Painting Workshop, nurturing new talent and continuing her exploration of the natural world through her art. In Conversation with Conchita Bardají: Hyperrealism and Nature How has your artistic process evolved since you began your career? Can you walk us through some key changes or developments in your approach to creating art? I started drawing when I was a child, my parents say I was drawing all the time.I went to a painting school for children, as an extracurricular activity, since I was 7 years old, where I had a great time. I always knew that I was going to study fine arts at the university. I started my fine arts studies very excitedly, I learned and enjoyed the experience a lot, and during those years, and the following years, I went off the path of drawing and painting, experimenting with a more avant-garde art. I don't deny it, because it taught me to look and understand all kinds of art, and I opened my mind to things I didn't know, but it took me several years to resume drawing and painting, with which I really feel more identified, and which is the most authentic part of me. Drawing and painting is where I connect the most with my true self. What drew you to focus on graphite as your primary medium for capturing natural landscapes? Was there a particular moment or influence that led you to choose graphite over other mediums? Have you experimented with other mediums, and if so, what brought you back to graphite? When I was little, I always drew, and in my adolescence, I loved to draw with graphite and charcoal. I also learned to paint with oil, pastel, waxes, watercolor, ink and I really like all those techniques. Then at the university, I experimented with all possible materials, pictorial and non-pictorial: sands, industrial paint, metal shavings, resins... When I resumed painting, oil was my main material, and it had a style similar to Impressionism, with very loose brushstrokes. I began to have the need for more precise strokes that better define the characteristics of the trees, which was my favorite topic. It was a natural process, since the drawing has always been there, in some times more asleep than in others. My way of drawing, realistic, allowed me to convey the beauty of nature in my works, and little by little I abandoned the oil. Although I really like to evolve and experiment, I do not rule out taking up techniques that I used previously. In fact, I am currently picking up the watercolors. Can you explain your thought process when beginning a new piece? What are some specific challenges you face when trying to represent the essence of nature authentically in your art, and how do you overcome them? My inspiration begins with my nature walks. I am lucky enough to live in a place where I am surrounded by beautiful forests, and I take my walks every day. I take photographs of the vegetation, and I think about how beautiful they could look in a drawing. I like abstract compositions, where there is no specific landscape scene, with a horizon or a perspective. Among the weeds I intuit disorderly compositions, which in my head are ordered by composing a scene. My drawings start from the photographs I take. How important is it for you that viewers interpret your work in a certain way, or are you open to varied interpretations? What feedback have you received from viewers that has resonated with you or impacted your work? I believe that in my drawings the beauty of nature is transmitted, and I think I transmit it in its most serene state, the one that gives peace to the soul. It is the way I like to see nature and enjoy it, and without intentionally doing it, I have ended up transmitting those feelings in my drawings. I see nature as a pleasure for the soul and body, as a place of peace, where we reconnect as human beings with our essence. When I draw it, I express these feelings in the way I know best: drawing is something natural for me. The response of the public is of admiration and surprise at the realism of my drawings, as well as a romantic feeling of serenity and beauty. Is there a specific exhibition or event that stands out as a turning point in your career? How did this experience shape your perspective or approach to your art? I learned painting as a child at the art school, Olga Rubio. It was my favorite place in the world; my place of play and learning, and where I reaffirmed that I wanted to dedicate myself to this. When I finished college, I had to look for a way to live and work related to art, and I opened a school inspired by Olga Rubio. Thanks to this, I started my working life strongly, as the school works very well. Soon my personal work began to take shape, and I began to exhibit with the Ormolú gallery in Pamplona, where I live. There I did 4 individual and several collective exhibitions, and during this period, my work was evolving. From 2020 I started exhibiting in the United States, with two galleries: CK Contemporary, in San Francisco, CA, and Meyer Vogl Gallery, in Charleston, SC. I feel very fortunate that my work can be enjoyed by an international audience, beyond my city. How do you see your work evolving in the future, and are there new mediums or styles you are interested in experimenting with? How do you anticipate your connection to nature influencing your future projects? I continue my work on drawing, but recently I'm experimenting with watercolor, I want to debug the technique, and use it in a way more approximate to drawing than to painting, but I'm on it. I still have to work a lot until I get where I want. Another topic that I love, and that I have never completely abandoned is the portrait, I have always painted portraits, in some times more than in others. I have a great time doing them. At the moment, nature is my favorite subject, but we will see in the future, you never know what will happen. Do you have any exhibitions and/or fair participation on the calendar for 2024? If so, can you share some details about these upcoming events? On June 7, a collective exhibition opens in my beloved gallery in Charleston, SC, Meyer Vogl Gallery, in which I participate, entitled "Yellow Is". Katie Geer, the director of the gallery, proposed the color yellow as an inspiration for this exhibition, and I have made 4 pieces based on this color. On June 21, a collective exhibition called "Luna en el Agua" opens at The Museum of Navarra, in my city, Pamplona, where I show a large-format drawing. In this exhibition, the curator, Celia Palacio, has proposed the theme of Nature as a common thread for the exhibition.

Adam Umbach, a Brooklyn-based painter, captures the essence of childhood memories through a unique combination of photorealism and expressive mark-making. Born in Chicago, Adam Umbach currently lives and works in Brooklyn, New York. From an early age, Umbach was inspired by the modern masters' collection at the Art Institute of Chicago, which led to the pursuit of a BFA in painting from the University of Wisconsin. Before relocating to Brooklyn in 2019, Umbach lived in mid-coast Maine and East Hampton, New York, where the coastal imagery profoundly influenced his artwork. Umbach's paintings delve into a collective nostalgia for childhood memories by juxtaposing photorealistic representations of everyday objects with expressionistic mark-making. He uses his non-dominant hand to create thickly rendered lines and forms, fostering a sense of play reminiscent of childhood drawing. This approach results in a formal tension that mirrors the balance between his playful, often humorous subjects and the weight of the memories they symbolize. There is a sense of loneliness pervading the depiction of a single teddy bear, toy, or boat, which is counterbalanced by the comfort and hope these objects bring. One of Umbach's projects, entitled "Father & Child," is rooted in memories of the artist's early years. As a child of divorce, he clung to building Legos and drawing favorite characters as a form of control in an ever-changing environment. As an adult, painting Legos requires the same focus and precision that these tasks took during childhood. Creating expressionistic marks with his non-dominant hand allows for a freedom and playfulness in the art that he missed as a child. Father & Child offers an addition to the long history of the Madonna and child, while also referencing Umbach's own childhood when his father was the primary caregiver. The threatening rain clouds release droplets, though both real mallards and Lego ducks would be impervious to the rain. When Umbach lost his father at seventeen, adapting to adversity was a necessary skill, much like "water off a duck’s back." At times, looking at this painting, he now also sees his wiser self leading a more anxious self out of the rain. Another project, "Barbie World," connects to a feeling of nostalgia for childhood. Painting Legos now as an adult provides the same satisfaction Umbach had when building them as a kid. The Lego T-Rex is of particular interest because, depending on the perspective, the dinosaur could be smiling with joy or clenching its teeth in anxiety. The contrast between the enduring quality of plastic and the extinction of the dinosaur is significant. Created during the summer when the movie Barbie was a cultural phenomenon, the painting reflects a "boy" toy happily existing in a feminine world and celebrates the power of the female lens in culture. Choosing to pursue art over his prior goal of Hospitality Management was influenced by the loss of Umbach's father at seventeen. His loss provided the freedom to choose a path as an artist without the fallback of his father's restaurant. After being denied admission to the Art Institute of Chicago's graduate program, Umbach worked at his family's ACE hardware store in Chicago. A near-fatal accident and a funeral encounter led to mentorship with Thomas O’Gorman, resulting in Umbach's first meaningful art sales. Moving to Islesboro, Maine, allowed Umbach to focus on painting and exhibiting in pop-up galleries, leading to significant connections and representation by Carver Hill Gallery. Relocating to East Hampton brought him closer to the NYC art market. Working at Starbucks, Umbach connected with Janet Lehr, who began representing his work and provided opportunities to exhibit at art fairs. The pandemic allowed Umbach to paint full-time, leading to a solo show with Damien Roman and features in Elle Decor. Despite initial struggles at a Bridgehampton solo show, a recommendation led to a contract with Cavalier Ebanks Galleries, marking a turning point in his career. Returning to Stout 15 years later for a show titled Shit Out of Luck, Umbach reflects on his father's motivational phrase, reminding that moments of adversity often lead to unexpected opportunities. In summary, Adam Umbach has exhibited work at Cavalier Ebanks Galleries, Virgil Catherine Gallery, Carver Hill Gallery, and Chase Edwards Contemporary. He has also participated in numerous art fairs, including Art Miami, Moniker Art Fair in New York, Market: Art & Design in Bridgehampton, NY, and the Philadelphia Art Fair. His work has been featured in several publications, including Elle Decor and Hamptons Magazine. 812 Maplewood In Dialogue with the Artist: Five Questions with Contemporary Artist Adam Umbach Can you walk us through a typical day in your studio? From the moment you arrive to when you leave, what does your creative process look like and how do you approach your work? Each day is a little different. I tend to use the morning to take care of errands and admin things so my mind can be clear for the rest of the day. Then, I start cleaning palettes and preparing paint. I make my paintings in batches, so I will start by covering a collection of canvases in their background colors. Typically the colors I've chosen for that batch are a set of colors that connect to recent inspiration. On days that I have these backgrounds completed, I start with the oil painting process for the photorealistic parts of my work. Typically after I start the photorealistic objects, I will begin to add oil stick drawings to the work. Can you discuss your process of pairing abstraction with your photorealistic depictions of recognizable objects? How do you balance abstraction with realism in your paintings? The balance is based on the traditional training I have, which means that the abstract parts of the painting are typically there to serve the composition. I'm usually inspired first by what I want the photorealistic object to be, and then I use the drawing process to help ground the figure within its environment. How do you approach creating a connection between your personal and familial iconography and the viewer's own experiences and memories? What do you hope viewers take away from your work? The subjects of my paintings are always personal to me, but I do try to choose things that might also have meaning for others. I actually try not to control how the viewer connects with and what they take away from my work. For me, that's part of the magic. I am fortunate to learn stories all the time from collectors who have quite personal memories that have been evoked by my paintings. I love that different people can connect the work to totally different things, but share in that same feeling of nostalgia. How do you envision your work evolving in the future? Are there any new techniques or themes you're eager to explore? For me, it's always about continuing to test the physicality of paint, and improving my skill at controlling it. I push myself to constantly build that skill. My work evolves as I evolve, so rather than anticipating the future, I try to be present with where I am. Could you share any upcoming projects or exhibitions that you're particularly excited about? This summer, I have a solo show, Finding Home, with Carver Hill Gallery in their popup location in Rockland, ME for the month of July. It's a large, playful space across from the Center for Maine Contemporary Art, and I can't wait to fill it with my paintings. The work is always on display with Cavalier Ebanks Galleries, and I'm excited for their Nantucket gallery season to start.

In the fast-paced world of business, creating a conducive and inspiring environment is essential for productivity, creativity, and employee satisfaction. One often overlooked yet powerful tool for transforming corporate spaces is fine art. When chosen thoughtfully and strategically, as with the help of an art advisor, art has the potential to significantly impact the atmosphere and aesthetics of a workspace. Here are five ways the right art can change a corporate space: 1.Fine Art Enhances Brand Image: Art can serve as a visual representation of a company's values, culture, and identity. By selecting artwork that aligns with the brand's ethos, corporate spaces can exude professionalism, creativity, and innovation. Whether it's through vibrant abstract paintings, thought-provoking sculptures, or curated photography, art communicates the essence of the brand to clients, partners, and employees alike. 2. Fine Art Fosters Creativity and Innovation: The presence of art in a corporate environment stimulates creativity and inspires innovative thinking. Thoughtfully curated artwork can spark new ideas, encourage out-of-the-box thinking, and promote a culture of experimentation and risk-taking. By infusing creativity into the workspace, companies can nurture a dynamic and forward-thinking mindset among their employees. 3. Fine Art Creates a Welcoming Atmosphere: Art has the power to transform sterile office spaces into inviting and welcoming environments. Whether it's through the use of vibrant colors, soothing landscapes, or engaging artwork, the right pieces can evoke positive emotions and make employees and visitors feel more at ease. By cultivating a warm and inviting atmosphere, companies can enhance employee morale and satisfaction. 4. Fine Art Sparks Conversation and Connection: Art has a unique ability to spark conversation and foster connections among employees. Whether it's discussing the meaning behind a particular artwork or sharing personal interpretations, art encourages dialogue and collaboration. By creating opportunities for interaction and engagement, companies can strengthen team cohesion and foster a sense of community within the workplace. 5. Fine Art Boosts Productivity and Well-being: Research has shown that exposure to art in the workplace can have positive effects on employee productivity and well-being. Art has been linked to reduced stress levels, increased creativity, and improved overall mood and morale. By investing in art that enhances the visual appeal of the workspace, companies can create a more conducive environment for productivity and employee satisfaction. By carefully selecting artwork that reflects the brand's identity, fosters creativity, creates a welcoming atmosphere, sparks conversation, and boosts productivity and well-being, companies can harness the transformative potential of fine art to create inspiring and dynamic work environments.

Discover the captivating journey of Ngozi-Omeje Ezema, a distinguished Nigerian installation artist whose work has garnered international acclaim. Ngozi-Omeje Ezema, born in 1979 in Nsukka, Nigeria, has carved out a remarkable niche in the world of contemporary ceramics. Her journey into the arts began at the University of Nigeria, Nsukka, where she graduated in 2005 with a degree from the Department of Fine and Applied Arts. Her passion and dedication to her craft led her to pursue a Master of Fine Arts from the same institution. Upon completion of her MFA, her exceptional talent and commitment to ceramics were recognized, leading to her appointment as a lecturer at her alma mater in May 2009. Since joining the academic staff, Ngozi-Omeje has been a cornerstone in the Department of Fine and Applied Arts at the University of Nigeria, Nsukka. Her role as an educator allows her to impart her vast knowledge and skills to the next generation of artists, fostering a vibrant community of ceramicists. Ngozi-Omeje's artistry transcends borders. She has participated in numerous prestigious national and international art fairs, exhibitions, and biennials. Some highlights of her extensive exhibition record include the 154 Contemporary African Art Fair in New York, USA, and Marrakech, Morocco, both in 2024; the Abu Dhabi Art Fair in Abu Dhabi, United Arab Emirates, in 2022; “The Fire Made Me” OFF in Dakar, Senegal, in 2022; “Matters of Essence” at Kó Gallery in Lagos, Nigeria, in 2022; “Boundless Vases” at Kó Gallery in Lagos, Nigeria, in 2021; “AF!R!KA ARTFEST (Africa 2020)” in Chambery, France, in 2021; “Mu'awyia's Thread” at the 32Bis Biennial in Tunis, Tunisia, in 2022; “I NDAFAA” at the 14th Edition of Biennial of Contemporary African Art in Dakar, Senegal, in 2022; “Ambiguous Adventure” at the Biennial of Sculpture in Ouagadougou, Burkina Faso, in 2021; “Peace through Clay” at the Korea International Ceramics Biennial at Icheon World Ceramics Centre in South Korea in 2019; “Craft in Future and Dream - Spread out Mongyudowon” at the Cheongju Craft Biennial in Cheongju, South Korea, in 2019; and “Ceramics Now” at the 60th Contemporary Ceramic Biennial – Premio Faenza in Italy in 2017. Ngozi-Omeje’s work has not only been exhibited widely but also recognized with numerous awards, reflecting her profound impact on the art world. Some of her notable accolades include the Fondation Blachère Award at the Biennale of Sculpture in Ouagadougou, Burkina Faso, in 2021; the High Excellence Award at the Cheongju Craft Biennale in Cheongju, South Korea, in 2019; the Outstanding Concept Award at the National Art Competition in Lagos, Nigeria, in 2015; and the Overall Winner Award at the Life in My City Art Competition in Enugu, Nigeria, in 2014. Ngozi-Omeje’s work is characterized by its intricate detail and conceptual depth, often weaving powerful narratives through her sculptural installations. Each piece is a testament to her skill and vision, making significant contributions to the contemporary art scene. 812 Maplewood In Dialogue with the Artist: Five Questions with Ceramicist Ngozi-Omeje Ezema Can you walk us through your journey as a ceramic installation artist, from your early beginnings to where you are today? How did you select ceramics as your focus, and how did you come up with your installation style? I was born and raised in a hilly community filled with gravel, a stony hill all over. Thus, a waterway, a hole through which rainfall’s runoff passes through the block fence surrounding our home helps to deposit fine sand particles on half of the compound. This provided an opportunity for me to play with sand as a young girl; as well an opportunity to explore and mould with sand while growing up on a stony hill. As a playful child, I explored widely, built sand houses with my feet as a mould and support, creating little animals, especially lizards to decorate the sand castles, as well as tacking (hitting) offcuts from my mother’s sawing with stone to create pockets. I think these were all indications of creativity at that tender age. However, a striking experience triggered my interest in clay. While exploring the sand heap after each rain, of course the rain makes the sand wet and cool to play with, I made a bigger lizard. Hoping to lift the lizard up when it dries, on the contrary, the lizard disintegrated back to sand. Thus, I inquired about that from my father, the reason for the disintegration. Then I learnt about clay as a medium for modelling and the craving to mould with clay began. On enrollment into the tertiary institution to study Fine and Applied Art, I was introduced to three dimensional modelling and the long awaited clay in my first year in the university. Eventually, I specialized in ceramics for a closer relationship with my medium and also feeling the material with bare hands. Subsequently, in the course of my MFA, I was exploring the techniques of fishing in one of my projects titled ‘Imagine Jonah‘ as was described by a colleague who came from a fishing community. The project involved utilizing fishing techniques and some similar materials -bait (clay coil), sinker (flip-flops) and fishing lines. The images were configured with the sinker (flip-flops) in the formation of the whale and the gardens while the clay baits (coils) steadies the fishing lines. Finally, being pleased with the drama of creating in space and the undulating movement of the artwork got my devotion. Lead us through your creative process. How do you select the subject and your materials for each work? Is there a trial and error element, or do you plan out the final form through sketches and smaller scale prototypes? I love working on subjects that borders around womanhood (their challenges, strength, vulnerability and responsibilities), in a reflective manner and the surrounding environment. So, the subject matter and the idea to express direct the materials and forms. Looking at ‘Connecting Deep’ exhibition as an example, I wanted to have a proper closure of a traumatic experience of losing my father. Therefore, I thought of what could describe his personality, and then discovering that nothing could attest better than his pet name ‘Oruimenyi‘ (strength of an elephant). A name given to him by his mother because of his tireless nature. Hence, I created a herd of eight elephants representing each member of my family. However, the eighth elephant which was the largest and representing the deceased was cut down by the audience to perform a passage of rites of letting go with the artist (me). Thereby co-creating with the audience through the performance, sharing experiences and letting go. In furtherance of his pet name, I found the elephant suitable because of its emotional qualities (celebration of birth, death and reunion) shared with humans. And the leaves were used to articulate the years spent together. In configuring a piece, subtractive and additive methods of modelling are employed, especially subject matter with different or intricate contours. Mostly, I work with a mid frame sketches of the idea or form. Shading in the contours -that is adding leaves or any other clay units in varying numbers to achieve the desired outcome or form. Instances with the designed vases, the decorative diagrams were also included in the sketches. Your works often incorporate unconventional materials such as plastic flip-flops alongside traditional ceramic elements. What inspired you to integrate these disparate materials into your installations? ‘In My Garden there are many Colours‘, the flip-flops were salvaged from the environment, invariably discussing someone’s sisters, mothers, aunts and grandmothers. Anonymous figures with dreams that could have been realised on a fertile land. Occasionally, different materials were utilized to juxtapose clay with non-pliable material in order to highlight or emphasize an issue. As a ceramics professor at the University of Nigeria, Nsukka, how does your role as an educator intersect with your identity as an artist? What advice would you give to aspiring ceramic artists who aim to make a mark in the art world? As a ceramics lecturer in the University of Nigeria, Nsukka and a professional artist is like serving two masters of equal needs. It is a difficult challenge, however, it is surmountable. If you can avoid the drag and pull, do. In what ways do you see your work evolving in the future? Are there any new techniques or materials you're excited to explore? The future is exciting as I see myself projecting into a multi-discipline artist. There are many ideas that I want to explore, other fields of art. All bubbling inside my head with equal intensity, areas like painting, sculpture and textile. Textile, I have delved into, exploring floating bricks. What's on the calendar for 2024? Do you have upcoming exhibitions, fair participation, or other projects you can share? In this year’s calendar, I was in the 154 Marrakech art fair, and am part of the ongoing 154 art fair New York. Currently, I am creating vases of varying sizes for a solo exhibition in Design Museum in Munich, Germany.

Delve into the captivating evolution of Braxton Fuller's artistry, from poetic origins to innovative text and abstract works, exploring the emotive depth of his unique visual language. Braxton Fuller, a contemporary American artist born in 1992 and based in Kansas City, Missouri, emerges as a distinct voice in the realm of contemporary art. His creative journey, initially seeded in the world of poetry, has blossomed into a dynamic exploration of text and abstract expressionism, capturing the essence of human experience with striking clarity. Drawing inspiration from the rich tapestry of life, Fuller's artworks serve as vivid chronicles of his personal odyssey. Each piece acts as a window into pivotal moments and profound emotions, offering viewers a glimpse into the depths of his soul. Through a masterful interplay of mediums, including his own devised alphabet and language, Fuller crafts visual narratives that resonate on a visceral level. Bold and minimalist in design, Fuller's compositions are often punctuated by thought-provoking quotes that beckon introspection and contemplation. His work transcends mere aesthetic appeal, serving as a catalyst for dialogue and connection in an increasingly fragmented world. Represented by esteemed galleries such as Artitude Galeria, Fuller's artistic footprint extends across the globe, with solo and group exhibitions captivating audiences with their raw emotional power and thought-provoking themes. Gain Insight into Braxton Fuller's Inspirations and Creative Process through a Series of In-depth Questions with the Artist! Could you guide us through a typical day in your studio and your approach to the creative process for each piece? A typical day for me always starts with coffee. Every day I go through some kind of creative exercise to get my brain going. The more you write, the better you get. The more you paint, the better you get. When it comes to my work, I really try to hone in on subconscious thoughts that we all have.  I like to create works that have an edge to them but are easily digestible. With text artwork, it's all about your tone and your style. I try to remain consistent on one of those aspects. I'm able to use all of my background with my current work. Its almost like I did everything over the years for a reason. (lol) I try to hold on to my audience for a period longer than what their attention span holds. I want a simple sentence to take them through a unique experience. You've mentioned that each artwork represents a significant period in your life and acts as a means of communicating your experiences. Could you share a specific work that holds significant personal meaning for you, and delve into the emotions and experiences that inspired its creation? I would say that my "internal conflicts" series that I recently finished holds a significant meaning to me. I did a series of artworks representing conflicts we all face daily. It was a series of works that I felt like I had inside of me and I just had to get them out at the time. Quotes like "Pretending everything is okay just to feel something," & "The wars fought inside my head could change the world" were just a couple of pieces I created for the series. It was almost like I realized I had trauma and had to immediately address it. Through my experiences, I was able to make work extremely relatable to my audience. This series was all about the urge to let go of the inner conflicts that I faced daily. I might've lost the battle on some days, but throughout my time on this earth, I plan to conquer the war called life. 2. Kansas City, Missouri, is your home base for creating art. How does the local community and environment influence your artistic process and the themes you choose to explore in your work? Kansas City is a huge art city. There are murals everywhere you turn. We have established museums with established artists, blue-chip artists, and famous deceased artists as well. The world here influences me greatly. It reminds me of what is capable when you refuse to give up and work hard every day. The possibilities are endless when you keep your head down and roll with the punches. There are art exhibitions every weekend it seems like, so I'm constantly surrounded by art but also inspired. I aim to create works that resonate with the everyday person. My vulnerabilities are my superpowers. Once a person learns that, they are capable of anything they put their mind to. you never know who you're going to help when you put yourself out there. Kansas City has ample opportunities for you to do that. How do you balance maintaining the intimacy of your own story while inviting viewers to interpret and connect with your art through their own perspectives and experiences? I wouldn't say I balance it very well. I actually try not to balance it. I open myself up to interpretation with every painting I finish. I like to blend my story with theirs. Doing that, allows me to open up conversations that maybe would've never been had before. It also gives me a way to connect with people who are scared to talk about their experiences and perspectives. I want my audience to know that they aren't alone in this world. My story is unique, and it is slowly being revealed with each brush stroke that I finish. My goal is to meet my audience half-way, so that they can be a part of my story when it's all said and done. Sometimes, I try to work from different perspectives of people. It allows me to tap into potential stories that I may or may not have been through. But someone else has, and that means it relates to someone else out there. Life is all about experiences, art helps tell my story. What's on the docket for 2024? Do you have any exhibitions or fair participation on the schedule or a new series of works you are potentially looking to explore? 2024 is my biggest year yet! May 6th, I have a group exhibition in Chicago at Artist Replete. May 15th, I have another group exhibition in Chicago at Gino & Marty's.September 6th, I have a solo exhibition in Kansas City with Kansas City Artist CoalitionSeptember and October, I have two group shows in Philadelphia with Noname Gallery. I'm hoping to participate in more art fairs and exhibitions as well, its only May!!

In the heart of Berlin's thriving art scene resides Kyte Tatt, an American-born mixed media artist whose work seamlessly blends abstract expressionism with profound philosophical inquiry. With roots tracing back to Pittsburgh, Pennsylvania, Kyte's artistic evolution has been shaped by a nomadic lifestyle and a diverse array of influences. Kyte Tatt's artistic journey commenced in childhood, marked by early recognition in primary school art competitions. However, it was his decision to embark on a decade-long journey living in a caravan, spanning 22 countries, that catalyzed his artistic development. Immersed in various cultures and landscapes, Kyte's nomadic lifestyle fueled his creativity and laid the groundwork for his later works. In 2015, Kyte Tatt found himself drawn to Berlin's vibrant artistic community, where he began to hone his skills as a painter. Inspired by the city's cultural diversity and spirit of experimentation, he delved into abstract floral compositions, utilizing simple tools like the palette knife and squeegee to create evocative imagery. Central to Kyte Tatt's artistic vision is his exploration of nature, consciousness, and the human condition. Drawing parallels between the formation of diamonds under intense pressure and the creation of his own art amidst the chaos of a decaying world, he infuses his work with a profound sense of interconnectedness and resilience. Tatt's art is informed by a wide range of influences, spanning mystics, poets, philosophers, and artists. Figures such as Terence McKenna, Charles Bukowski, and Salvador Dali have left an indelible mark on his artistic sensibilities, shaping the themes and motifs present in his work. As Tatt continues to refine his craft, he remains committed to pushing the boundaries of his artistic expression. His aspirations include participating in international residencies, exhibiting his art globally, and further exploring the intersection of art, philosophy, and spirituality. Tatt's art serves as a reflection of his ongoing exploration of the world around him and the depths of human consciousness. Through his work, he invites viewers to contemplate the intricacies of existence and the beauty found amidst life's chaos. As he continues to evolve as an artist, Kyte Tatt's legacy is poised to leave a lasting impression on the art world and those who engage with his thought-provoking creations. Dive deeper into Kyte Tatt's artistic journey and inspirations through a few questions with the artists! Describe your typical studio day and creative process. How do you maintain focus and productivity? Take us through your abstract floral composition creation, from concept to execution, including color, shape, and texture decisions. My typical studio day begins with administrative work. I tackle all the emails and inquiries that have come through the day before. I find it difficult to begin creating and dreaming while I have tasks waiting on me. Once those are cleared out of my way I can begin painting. My most current body of work, “The Gardens of Liberty Collection,” which I have been working on for over two years, is characterized by gestural movements and freedom on the canvas. Too much planning or thinking only muddles the process. I allow intuition and impulse to guide me through each painting, allowing whatever pleases me in the moment to come through. This is where my best work is done. Given your extensive travel experiences and diverse sources of inspiration, how has travel impacted your artistic style? Can you recount a specific travel memory or encounter that deeply influenced a particular artwork or series? Yes, I have traveled extensively during my lifetime, 24 countries now visited. Particularly, my experiences living on the road in my RV for 10 years has impacted my current body of work. During that time, I lived in my RV and worked seasonally on farms. In many instances, I would be in one place for several months or returning to the same place over years. I built and left many gardens along my way. The last farm that I was a part of, I orbited for about three years. I overhauled the landscape and planted many flowers that grew into a lush little paradise. Moving onward, I left that life in 2015 and moved myself to the metropolis of Berlin Germany. I found myself longing for the countryside and gardens that I left behind in the USA. As a means of coping with my new life, I began painting flowers to remind and reminisce on the freedom and joy of my caravan days. How do you expect your surroundings and cultural experiences to shape your art as you pursue international exhibitions and continue traveling? As I continue to grow as a person and an artist, slowly my experiences begin to leech into my work. I find new symbols for my expression in each new place that I go. These symbols commingle with metaphor and my own personal story to generate new ideas and representation in my work. Balancing personal expression and audience resonance can be challenging.Does this play into your creative process? If so, how do you navigate this, and what do you hope viewers glean from your art? Mentally, it can be a challenge to balance audience resonance and personal expression. It’s something that I believe many artists struggle with. When the brush hits the canvas, this mental struggle leaves me. I believe that my audience trusts me as an artist to put forth honest work and allows me to demonstrate what exactly I want to show. I hope that my viewers glean a sense of humanity, the desire for freedom, and the struggle in life to obtain a sense of it outside of the oppression of day to day life. I paint what is true to me, and in this honesty my audience will resonate with what I create. We are all more alike than we are different after all. What are your artistic career goals and upcoming projects? How do you plan to continue to grow and challenge yourself? Do you have exhibitions or art fair participation on the calendar for 2024? My artistic goals for 2024 is the embarking of a new body of work. I will be painting less florals and moving on to more figurative style pieces as well as abstracts. I have begun collaboration with more galleries and wish to pursue this path more. I currently have an exhibition at the end of May with Kunstraum Kreuzberg, here in Berlin.

Daryl Thetford is an artist who defies easy categorization. His work melds graphic design, modern aesthetics, and pop art with a touch of the contemporary. Is it photo collage? Digital art? Digital mixed media? While the debate continues, one thing is certain, Thetford's creations are truly unique and captivating. The Process Daryl Thetford’s artistic journey begins with the selection of a single original photographic image. What follows is a meticulous process of digital layering and combining of dozens of additional original photographs. On average, this labor-intensive process consumes about 40 hours of his time. The resulting images are a blend of culturally familiar subjects such as bikes, cowboys, guitars, and cityscapes, as well as more introspective series that delve into man's struggle with modern society or the human sense of isolation amidst the noise of contemporary life. The process doesn’t stop there. Daryl Thetford transforms these digital artworks into one-of-a-kind mixed-media pieces. Using torn and weathered handmade paper, various artist mediums, and acrylic paint, he creates stunning paintings that bring his digital creations to life in a tactile and tangible form. Life and Inspiration Currently residing in Chattanooga, Tennessee, Daryl Thetford is married to Dana Shavin, a talented writer and also an artist. Together, they find joy in travel, savoring great food, exploring great art, and cherishing the company of good friends. This vibrant life undoubtedly fuels Thetford’s creativity, adding depth and richness to his work! Exhibitions and Recognition Thetford’s art has been showcased in solo and group exhibitions across the United States, gracing the walls of prestigious museums and galleries. Some notable venues include the Ormond Museum of Art in Florida, the Art Museum of the University of Memphis, the Knoxville Museum of Art, and the Annenberg Space for Photography in Los Angeles, among others. Commissions and Collections In addition to exhibitions, Thetford has been commissioned by a diverse range of public agencies and corporations. His client list includes the Chattanooga Parks and Recreation Department, Sony Records in Nashville, Scripps Networks in Knoxville, and many more. His artwork can also be found in public and corporate collections across the country, from the Mayor’s Office in Hoover, Alabama, to the Texas Office of Tourism in Austin. Be sure to check out Daryl Thetford's Instagram for more of his incredible artworks!

Step into the hyper-realistic world of contemporary artist, Yoel Diaz Galvez, where art and illusion converge to challenge perception. Born on May 24, 1979, in Ciudad de La Habana, Cuba, Yoel Diaz Galvez is a distinguished hyper-realist painter currently based in Guadalajara, Jalisco, Mexico. He honed his skills at the Academy of Fine Arts San Alejandro in Cuba, specializing in oil on canvas artworks celebrated for their meticulous detail and lifelike quality. Galvez's hyper-realistic approach reveals his profound grasp of anatomy, still life, and the dynamics of light and shadow. His mastery of achieving 'Mimesis' captivates viewers with intricate illusions that challenge the eye. Deeply rooted in Cuban culture, Galvez's work often reflects the island's intricate relationship with the ocean. The ocean, embodying sustenance, entertainment, tragedy, and freedom, resonates as a recurring motif in his art, reflecting the Cuban collective psyche. In Galvez's compositions, subjects are depicted with precision against softened, blurred backgrounds, forging a compelling dialogue between realism and abstraction. His works eloquently convey the delicate balance between reality and fantasy, inviting viewers into mesmerizing new realms. What's more, Galvez's color palette tends towards subtle, grayish hues, resulting in monochromatic tones that are beautifully burnished and textured. Galvez's works have found homes in prestigious institutions and collections worldwide, including the Guayasamín Foundation, the San Alejandro National Academy of Fine Arts in Havana, Cuba, the European Museum of Modern Art (MEAM) in Barcelona, Spain, and the Major Seminary of Guadalajara in Mexico. Additionally, his pieces are held in both public and private collections across Germany, the Netherlands, the United States, Puerto Rico, France, and Canada. Currently, Galvez resides and works in Guadalajara, Mexico, where his art continues to transcend cultural boundaries, offering a universal language that resonates with the human spirit. In addition to his artistic pursuits, Galvez is a committed educator. He teaches at the very art department where he trained, sharing his knowledge of Artistic Anatomy and natural drawing with emerging artists. Yoel Diaz Galvez's work has earned him widespread recognition and acclaim, solidifying his prominent position in the contemporary art landscape. His paintings possess a timeless allure, inviting viewers to delve into the intricate details and narratives concealed within each piece. As a versatile artist and educator, Yoel Diaz Galvez remains a source of inspiration in the art world, showcasing his exceptional talent, unwavering dedication, and passion for hyper-realism.

Framing is an art in itself, a delicate craft that has the power to transform a mere piece of paper or canvas into a captivating and timeless masterpiece. Whether you're an aspiring artist looking to showcase your work or an art collector seeking to preserve and enhance the beauty of your cherished pieces, framing plays a pivotal role in the world of art. Here, we delve into why framing your artworks is not just important but an integral aspect of the art world. Preservation and Protection One of the primary functions of framing is to protect your artwork from the elements and potential damage. Without proper framing, your art is vulnerable to dust, humidity, sunlight, and physical harm. A well-designed frame creates a barrier that shields your art from these threats, ensuring it remains in pristine condition for years to come. Museums and galleries understand the significance of preservation through framing, and you should too! Enhancing Aesthetics Framing is more than just protection; it's a powerful tool for enhancing the visual impact of your artwork. The right frame can complement the colors, style, and theme of your piece, guiding the viewer's eye and drawing attention to specific details. Whether it's a minimalist frame for a contemporary painting or an ornate, vintage frame for a classic artwork, the choice of frame can significantly influence how your art is perceived. Creating a Focal Point A well-chosen frame doesn't just enhance your artwork; it also provides a focal point, directing the viewer's gaze to the heart of the piece. It acts as a visual guide, inviting viewers to engage with the art in the way you intended. The frame can serve as a bridge between the artwork and its surroundings, harmonizing the piece with its environment. Personal Expression Framing allows artists and collectors to express their personal style and preferences. The frame you choose reflects your taste, adding a layer of individuality to the artwork. It's a chance to customize and tailor the presentation of your art to match your personality or the ambiance of the space where it will be displayed. Value and Investment For art collectors, framing is an essential aspect of preserving and enhancing the value of their investments. A framed artwork not only looks more appealing but also holds its value better over time. When it comes to selling or appraising art, a well-framed piece often commands a higher price than an unframed one. Final Thoughts Framing is more than just a finishing touch; it's a critical component of the art world. Whether you're an artist striving to showcase your work in the best possible light or an art enthusiast looking to safeguard your collection, framing is your ally. It preserves, protects, enhances, and personalizes art, ensuring that it continues to captivate and inspire for generations to come. So, the next time you encounter a framed artwork, take a moment to appreciate the craft and care that went into making it a true masterpiece.