Artist focus Paris 2021
Jihye YOO
Jihye YOO, artiste sud-coréenne, prend plaisir à connaître le caractère des personnes qu’elle rencontre car chaque individu est différent. Cette diversité de personnalités se manifestant sous plusieurs facettes
intéressent l’artiste.
Ces multiples rencontres lui ont fait prendre conscience qu’elle n’était pas en phase avec son Moi intérieur et uniquement captivée par les sentiments de l’Autre. Ainsi, cette nouvelle série est l’occasion pour Jihye YOO d’entamer une introspection à travers ses tableaux. Il n’était pas aisé pour l’artiste de se détacher de son thème de prédilection: l’Autre. C’est donc, à travers ses œuvres, qu’elle décide de communiquer ses
sentiments.
Cette production est, pour l’artiste, l’opportunité de mener une introspection et, aussi, une auto-thérapie
dûe aux traumatismes subis durant sa jeunesse.
La série “Interior” qu’offre Ji Hye YOO est composée de douze portraits dans lesquels le spectateur est invité à découvrir des univers différents. L’artiste y décrit la vie quotidienne de douze individus chez eux dans le but de comprendre leur personnalité.
intéressent l’artiste.
Ces multiples rencontres lui ont fait prendre conscience qu’elle n’était pas en phase avec son Moi intérieur et uniquement captivée par les sentiments de l’Autre. Ainsi, cette nouvelle série est l’occasion pour Jihye YOO d’entamer une introspection à travers ses tableaux. Il n’était pas aisé pour l’artiste de se détacher de son thème de prédilection: l’Autre. C’est donc, à travers ses œuvres, qu’elle décide de communiquer ses
sentiments.
Cette production est, pour l’artiste, l’opportunité de mener une introspection et, aussi, une auto-thérapie
dûe aux traumatismes subis durant sa jeunesse.
La série “Interior” qu’offre Ji Hye YOO est composée de douze portraits dans lesquels le spectateur est invité à découvrir des univers différents. L’artiste y décrit la vie quotidienne de douze individus chez eux dans le but de comprendre leur personnalité.
Kseniya OUDENOT
Kseniya Oudenot is a multi-award-winning designer with works ranging from art to theatre costumes and high fashion. Her early design career creations utilized high tech materials and were exhibited in the Science Museum in London, the Science Gallery in Dublin, and were showcased on BBC and Sky. Hailed as a “Best New Talent” by The Wall Street Journal, Vogue and many other publications, Oudenot is now focusing her talents to creating fine art.
Trained in academic painting, I moved to UK to study Performance Design at St. Martins College. My background influences are frequently spotted in the dramatic shapes, rich textures and bold use of contrasting components. Through a convergence of interest in nature, science and time perception; my art explores the allegorical resonance and fantasy involved in man-made, altered nature within our society and juxtaposition of time.
Studying performance design and working in theatre in the early stage of my career has had a profound impact on the way I convey ideas and express artistic value in my practice. Although I was trained in Academic drawing and painting, I was always drawn to contemporary forms of expression and the sculptural dimensionality of art.
Thematically my practice revolves around the concept of time and nature: altered or artificial nature, modification of environments, acceleration of growth and changing ecosystems. My work investigates the juxtaposition of times and contexts, exploring how time is irrelevant in some situations, how various time frames coexist in our minds.
Trained in academic painting, I moved to UK to study Performance Design at St. Martins College. My background influences are frequently spotted in the dramatic shapes, rich textures and bold use of contrasting components. Through a convergence of interest in nature, science and time perception; my art explores the allegorical resonance and fantasy involved in man-made, altered nature within our society and juxtaposition of time.
Studying performance design and working in theatre in the early stage of my career has had a profound impact on the way I convey ideas and express artistic value in my practice. Although I was trained in Academic drawing and painting, I was always drawn to contemporary forms of expression and the sculptural dimensionality of art.
Thematically my practice revolves around the concept of time and nature: altered or artificial nature, modification of environments, acceleration of growth and changing ecosystems. My work investigates the juxtaposition of times and contexts, exploring how time is irrelevant in some situations, how various time frames coexist in our minds.
Léo&Steph
Léo&Steph duo Franco-Brésilien passionnés de «Pop Art» qui aime détourner les objets de la vie courante en œuvres d’arts uniques et exclusives.
Léo, Brésilien installé à Paris depuis 2008, est designer (graphique et d’intérieur). Il peint, moule et joue avec les matières et les pinceaux.
Steph, Lyonnais, travaille dans les médias depuis plus de 20 ans. Féru de décoration, il souhaite créer des pièces ludiques et colorées.
Léo, Brésilien installé à Paris depuis 2008, est designer (graphique et d’intérieur). Il peint, moule et joue avec les matières et les pinceaux.
Steph, Lyonnais, travaille dans les médias depuis plus de 20 ans. Féru de décoration, il souhaite créer des pièces ludiques et colorées.
Théotime RITZENTHALER
Born 1999, I am an artist of French and Swiss citizenship, I started metalworking as a hobby while I was in high school, and continued teaching myself for 5 years through experimentation and online ressources. In 2018 I decided to go after what makes me happy, and I have since joined the metal art programme at HDK-Valand, Gothenburg university where I continue to develop my artistic practice. Having followed strict scientifical educations before, my main interest now lies in material expression and materiality.
Lionel GRASSOT
Né le 7 décembre 1975 à Mulhouse en Alsace, Lionel Grassot est diplomé des beau-arts de Toulon (Diplome national des arts plastiques) et de Tourcoing (Diplome national supérieur d'expression plastique). Il vit et travaille actuellement à Lagny-sur-Marne (Seine-et-Marne). S’abandonner dans l’univers de Lionel Grassot, c’est voyager dans une atmosphère fantasmagorique et onirique. Un croisement entre l’étrangeté inquiétante du colosse de Francisco Goya et la nature puissante, hypnotique des tableaux de Peter Doig.
La ligne devient matières, textures d’où naissent forêts, plans d’eau, corps inertes et silhouettes errantes. Les personnages y sont rejoués comme des motifs, dans un moment suspendu… Le regard se perd, voyage à l’intérieur du dessin où se télescopent éléments figuratifs, signes abstraits.
La ligne devient matières, textures d’où naissent forêts, plans d’eau, corps inertes et silhouettes errantes. Les personnages y sont rejoués comme des motifs, dans un moment suspendu… Le regard se perd, voyage à l’intérieur du dessin où se télescopent éléments figuratifs, signes abstraits.
Patrice PIECHOCKI
Artiste peintre français né en 1960.
Vit et travaille à Besançon.
Études à l’École des Beaux-Arts de Besançon de 1979 à 1985. Diplôme National Supérieur d'Expression Plastique en 1985. Expositions collectives à Besançon de 1985 à 1987 : Galeries ‘’Cimaise’’, ‘’Forum d’Artémis’’ et 2ème Triennale des Arts Plastiques. Exposition personnelle : Galerie Maxence en 1988.
Interruption de la pratique de la peinture pendant près de 30 ans pour se consacrer à l’enseignement. Professeur d'arts plastiques depuis 1989.
Reprise de la peinture en 2016.
La plupart du temps, quand je me présente devant ma toile, j’ignore ce que je vais peindre. J’ai, comme point de départ, le geste qui se libère sur le support et qui laisse une grande place à l’imprévu, à l’inconnu, à l’aventure picturale... Mais, ma peinture n’est pas que le fruit du hasard, elle naît de ce double mouvement : d’un jaillissement spontané et d’un travail de construction qui s’élabore au rythme d’un dialogue incessant entre ce que me suggère la toile et ce qui se vit en moi. Dans cet échange, des figures porteuses d’énergie se dressent dans l’espace. La couleur se déverse en gerbes, en vagues tourmentées comme si elle s’identifiait à des forces naturelles. Devant ce déferlement de possibilités et pour renouer avec le « plaisir de peindre » un choix plastique s’impose à moi. L’ensemble s’intensifie, s’étoffe, se ramifie, s’harmonise. Comme des vagues qui se brisent en écume, les tons vifs s’éclatent, s’embrasent en une conflagration lumineuse. Une valse de couleurs me suggère des formes éclatées et un espace mouvementé.
La couleur a une place prépondérante dans mon travail, et à travers elle, j’essaye d’exprimer une sensualité très vaste reposant sur une intensité chromatique où force et subtilité peuvent se rejoindre sans s’opposer. Mon univers pictural naît ainsi de sensations fortes, vives et subtiles à la fois. Il est ponctué de signes virevoltants, de formes à peine suggérées, d’organisations “chaotiques”, où l’esprit peut voyager sans jamais être enfermé ou replié sur lui-même.
Vit et travaille à Besançon.
Études à l’École des Beaux-Arts de Besançon de 1979 à 1985. Diplôme National Supérieur d'Expression Plastique en 1985. Expositions collectives à Besançon de 1985 à 1987 : Galeries ‘’Cimaise’’, ‘’Forum d’Artémis’’ et 2ème Triennale des Arts Plastiques. Exposition personnelle : Galerie Maxence en 1988.
Interruption de la pratique de la peinture pendant près de 30 ans pour se consacrer à l’enseignement. Professeur d'arts plastiques depuis 1989.
Reprise de la peinture en 2016.
La plupart du temps, quand je me présente devant ma toile, j’ignore ce que je vais peindre. J’ai, comme point de départ, le geste qui se libère sur le support et qui laisse une grande place à l’imprévu, à l’inconnu, à l’aventure picturale... Mais, ma peinture n’est pas que le fruit du hasard, elle naît de ce double mouvement : d’un jaillissement spontané et d’un travail de construction qui s’élabore au rythme d’un dialogue incessant entre ce que me suggère la toile et ce qui se vit en moi. Dans cet échange, des figures porteuses d’énergie se dressent dans l’espace. La couleur se déverse en gerbes, en vagues tourmentées comme si elle s’identifiait à des forces naturelles. Devant ce déferlement de possibilités et pour renouer avec le « plaisir de peindre » un choix plastique s’impose à moi. L’ensemble s’intensifie, s’étoffe, se ramifie, s’harmonise. Comme des vagues qui se brisent en écume, les tons vifs s’éclatent, s’embrasent en une conflagration lumineuse. Une valse de couleurs me suggère des formes éclatées et un espace mouvementé.
La couleur a une place prépondérante dans mon travail, et à travers elle, j’essaye d’exprimer une sensualité très vaste reposant sur une intensité chromatique où force et subtilité peuvent se rejoindre sans s’opposer. Mon univers pictural naît ainsi de sensations fortes, vives et subtiles à la fois. Il est ponctué de signes virevoltants, de formes à peine suggérées, d’organisations “chaotiques”, où l’esprit peut voyager sans jamais être enfermé ou replié sur lui-même.
Qiuchi CHEN
Qiuchi CHEN est un artiste chinois. Il a commencé sa carrière comme artiste (indépendant) depuis le début des années 1990 lors du « Yuanmingyuan Stage » en Chine. Ses travaux ont été exposés à plusieurs reprises dans de nombreuses villes chinoises mais également internationales telles que Changchun, Shenyang, Pékin, Shanghai, Hong-Kong, Séoul, Londres, Cologne et Berlin. Par ailleurs, il a participé à des foires telles que l’Art Cologne ou encore la Seoul International Art Fair.
Il a reçu un enseignement très strict sur les techniques de modeling et peinture à l’huile. Cependant, en tant qu’artiste contemporain, il a sa propre conscience. Il ne peut pas se dissocier de la réalité, des changements et des problèmes que font face notre société.
Ses travaux sont des schémas composés d’images symboliques dans l’esprit de l’Homme. Ces « symboles » s’accumulent et se répandent comme un virus, un rire ou bien un cri pour exprimer le choix cornélien de l’Homme face au développement. Ce terrible choix : la paix et l’environnement ou la guerre et le développement économique aux dépens de la protection environnementale.
Ce désir grandissant de l’Homme, cette folle course à l’armement, les développements scientifiques et technologiques, les inégalités sociales, la pollution et la crise énergétique, torturent notre planète comme la peste.
Il est vrai que la technologie est l’une des seules méthodes que l’Homme connaisse pour développer notre planète mais elle n’est pas l’unique moyen de transformer notre planète. Cependant, le concept de technologie a pénétré notre esprit et toutes les sphères de notre vie. L’esprit humain est, aujourd’hui, inconsciemment contrôlé par la technologie moderne et nos désirs.
Le pinceau de Chen provoque un long soupir, essayant de susciter l’amour chez l’Homme au moyen de ses travaux et sa conscience qui est dans un profond sommeil, afin de créer une planète où les hommes et les animaux vivent en paix.
Pour de nombreuses raisons que nous connaissons, il peut seulement envoyer quelques travaux comme ses peintures à l’huile sur l’étagère, des images digitales et des sculptures datant de 1998 à nos jours. Il espère sincèrement qu’il aura la chance de coopérer avec votre organisation et permettre à un plus grand public de connaître ses œuvres.
Il a reçu un enseignement très strict sur les techniques de modeling et peinture à l’huile. Cependant, en tant qu’artiste contemporain, il a sa propre conscience. Il ne peut pas se dissocier de la réalité, des changements et des problèmes que font face notre société.
Ses travaux sont des schémas composés d’images symboliques dans l’esprit de l’Homme. Ces « symboles » s’accumulent et se répandent comme un virus, un rire ou bien un cri pour exprimer le choix cornélien de l’Homme face au développement. Ce terrible choix : la paix et l’environnement ou la guerre et le développement économique aux dépens de la protection environnementale.
Ce désir grandissant de l’Homme, cette folle course à l’armement, les développements scientifiques et technologiques, les inégalités sociales, la pollution et la crise énergétique, torturent notre planète comme la peste.
Il est vrai que la technologie est l’une des seules méthodes que l’Homme connaisse pour développer notre planète mais elle n’est pas l’unique moyen de transformer notre planète. Cependant, le concept de technologie a pénétré notre esprit et toutes les sphères de notre vie. L’esprit humain est, aujourd’hui, inconsciemment contrôlé par la technologie moderne et nos désirs.
Le pinceau de Chen provoque un long soupir, essayant de susciter l’amour chez l’Homme au moyen de ses travaux et sa conscience qui est dans un profond sommeil, afin de créer une planète où les hommes et les animaux vivent en paix.
Pour de nombreuses raisons que nous connaissons, il peut seulement envoyer quelques travaux comme ses peintures à l’huile sur l’étagère, des images digitales et des sculptures datant de 1998 à nos jours. Il espère sincèrement qu’il aura la chance de coopérer avec votre organisation et permettre à un plus grand public de connaître ses œuvres.
Stéphanie Poppe
Née en 1984 à Anvers, Stéphanie P.J.E. Poppe est une artiste qui travaille le papier et la broderie, influencée par l'histoire de sa famille, des industriels du textile au 19ème et 20ème siècle. De temps en temps, elle aime mettre en œuvre les techniques de son métier dans ses œuvres. Outre la création artistique, elle est également active en tant qu'écrivain et restauratrice.
Born in 1984 in Anvers, Stéphanie P.J.E. Poppe is an artist who works on paper and embroidery influenced by her family background, we traced textile manufacturers in her family back to the 19th century. Sometimes, she loves to implement her occupation's skills into her works. In addition to artistic creation, she is also active as a writer and a restorer.
Depuis 2013, elle a commencé à développer son propre style artistique, calculé mais intuitif, en restant toujours curieuse de la relation synergique entre l'art et l'architecture, la nature et la culture, l'histoire et le présent. L'état harmonieux de la coexistence entre un état plus permanent et l'éphémère. Comme une araignée, elle crée des structures complexes mais minimalistes qui reflètent ce fragile équilibre.
Since 2013, she began to develop her own artistic style, calculated but intuitive, always curious about nature and culture, history and present. Coexistence's harmonious state between a more permanent state and the ephemeral one. Like a spider, she creates complex but minimalist structures which reflect this fragile equilibrium.
Born in 1984 in Anvers, Stéphanie P.J.E. Poppe is an artist who works on paper and embroidery influenced by her family background, we traced textile manufacturers in her family back to the 19th century. Sometimes, she loves to implement her occupation's skills into her works. In addition to artistic creation, she is also active as a writer and a restorer.
Depuis 2013, elle a commencé à développer son propre style artistique, calculé mais intuitif, en restant toujours curieuse de la relation synergique entre l'art et l'architecture, la nature et la culture, l'histoire et le présent. L'état harmonieux de la coexistence entre un état plus permanent et l'éphémère. Comme une araignée, elle crée des structures complexes mais minimalistes qui reflètent ce fragile équilibre.
Since 2013, she began to develop her own artistic style, calculated but intuitive, always curious about nature and culture, history and present. Coexistence's harmonious state between a more permanent state and the ephemeral one. Like a spider, she creates complex but minimalist structures which reflect this fragile equilibrium.
CHEN Ching- Jung
Le professeur CHEN Ching- Jung, âgé de plus de 80 ans, est un artiste contemporain taïwanais de talent ayant à son actif une cinquantaine d’années d’expérience dans le monde artistique. Ayant une passion et une ténacité sans commune mesure pour l’art, il allie son art avec ses expériences de manière intime.
Né à Changhua en 1934, il étudie les beaux-arts à l’Université Normale Nationale de Taïwan en 1952. Il suit les cours de croquis de Chang Yi-Hsiung. Entre 1960 et 1967, Chen se rend au Japon pour approfondir ses études. Il est diplômé d’abord à l’Université de Musashino puis à l’Université de Tokyo (Fresco Graduate School). Il est directeur du département des beaux-arts à l’Académie Nationale des Beaux-Arts de Taïwan. Il exerce également le métier de professeur en enseignant les arts plastiques à l’Université Normale Nationale de Taïwan. Il est actuellement professeur émérite à l’Université Normale Nationale de Taïwan.
En outre, il a reçu de nombreux prix dont le prix Golden Goblet de l’Association des Artistes Chinois, le prix Wu San-Lien, les médailles de bronze et d’argent du Salon des Artistes Français ainsi que le prix Wen-Xin du Conseil des Affaires Culturelles de Taïwan (aujourd’hui Ministère de la Culture de Taïwan). Il a également reçu d’autres distinctions telles que Citoyen Honoraire de Taïpei et Alumnus Eminent de l’Université Normale Nationale de Taïwan.
L’œuvre du professeur CHEN Ching Jung montre un sentiment de tranquillité et de solitude. Son style fortement raffiné se marie bien avec les tons classiques. Son art va au-delà des images et des symboles, le Réalisme et le Surréalisme, ce qui donne un style unique à son travail. A travers ses œuvres, le public peut saisir la compassion de Chen pour la société. Mais également, ce sentiment qu’il éprouve pour les souffrances de la vie quotidienne.
CHEN Ching-Jung obtient un master en peinture murale à l’Université Nationale des Beaux-Arts de Tokyo au Japon. Il vit et travaille entre Paris et Taïpei. Il organise régulièrement des expositions dans des foires de grande envergure telles que le Salon d’Automne et le Salon des Artistes Français où il remporte de nombreux prix.
Ses travaux parviennent à obtenir une grande force par le biais de tons classiques. Tous les personnages et les objets apparaissant dans ses peintures sont remplis de symbolisme. Ainsi, aller au-delà des réalisme et surréalisme peut être considéré comme la spécificité de ses œuvres. Plutôt que de se concentrer sur des matières proportionnelles, ses portraits mettent en évidence le processus d’assimilation à travers son aspect métaphysique. Les personnages qui apparaissent dans ses peintures ont également un sens idéologique, et ils représentent plus une expression de fragilité que la beauté féminine. A travers l’œuvre de Chen, le public peut venir comprendre et compatir des souffrances dans la vie et la société. Les personnages de ses peintures sont pour lui une manière de communiquer avec nous au moyen du langage artistique et réconforter nos cœurs.
Né à Changhua en 1934, il étudie les beaux-arts à l’Université Normale Nationale de Taïwan en 1952. Il suit les cours de croquis de Chang Yi-Hsiung. Entre 1960 et 1967, Chen se rend au Japon pour approfondir ses études. Il est diplômé d’abord à l’Université de Musashino puis à l’Université de Tokyo (Fresco Graduate School). Il est directeur du département des beaux-arts à l’Académie Nationale des Beaux-Arts de Taïwan. Il exerce également le métier de professeur en enseignant les arts plastiques à l’Université Normale Nationale de Taïwan. Il est actuellement professeur émérite à l’Université Normale Nationale de Taïwan.
En outre, il a reçu de nombreux prix dont le prix Golden Goblet de l’Association des Artistes Chinois, le prix Wu San-Lien, les médailles de bronze et d’argent du Salon des Artistes Français ainsi que le prix Wen-Xin du Conseil des Affaires Culturelles de Taïwan (aujourd’hui Ministère de la Culture de Taïwan). Il a également reçu d’autres distinctions telles que Citoyen Honoraire de Taïpei et Alumnus Eminent de l’Université Normale Nationale de Taïwan.
L’œuvre du professeur CHEN Ching Jung montre un sentiment de tranquillité et de solitude. Son style fortement raffiné se marie bien avec les tons classiques. Son art va au-delà des images et des symboles, le Réalisme et le Surréalisme, ce qui donne un style unique à son travail. A travers ses œuvres, le public peut saisir la compassion de Chen pour la société. Mais également, ce sentiment qu’il éprouve pour les souffrances de la vie quotidienne.
CHEN Ching-Jung obtient un master en peinture murale à l’Université Nationale des Beaux-Arts de Tokyo au Japon. Il vit et travaille entre Paris et Taïpei. Il organise régulièrement des expositions dans des foires de grande envergure telles que le Salon d’Automne et le Salon des Artistes Français où il remporte de nombreux prix.
Ses travaux parviennent à obtenir une grande force par le biais de tons classiques. Tous les personnages et les objets apparaissant dans ses peintures sont remplis de symbolisme. Ainsi, aller au-delà des réalisme et surréalisme peut être considéré comme la spécificité de ses œuvres. Plutôt que de se concentrer sur des matières proportionnelles, ses portraits mettent en évidence le processus d’assimilation à travers son aspect métaphysique. Les personnages qui apparaissent dans ses peintures ont également un sens idéologique, et ils représentent plus une expression de fragilité que la beauté féminine. A travers l’œuvre de Chen, le public peut venir comprendre et compatir des souffrances dans la vie et la société. Les personnages de ses peintures sont pour lui une manière de communiquer avec nous au moyen du langage artistique et réconforter nos cœurs.
Jonathan SHIMONY
Keun-tai KIM
The window opened to the earth
The meaning of the series < Discourse> by Kim Keun-tai
Yoon Jin Sup (Art Critic)
Ⅰ.
There was an act in the beginning of the world. It is before the language was created. What would be the most primitive behavior of humans? That is what Kim Keun-tai wants to find. Through the dirt. His desire to return to the dirt is realized through the act of pouring stone powder, which is the raw material of ceramics, into a binder and pouring it onto the canvas, which is the most primitive act and it does not need any explanation. The reason why explanation is not necessary is that the primitive behavior is before language and beyond language. That's why I said at the outset, "There was an act in the beginning of the world."
Kim Keun-tai's work, which makes the desired shape while dilutely kneading stone powder and pouring it on the canvas, tilts the canvas around and lets it flow, takes the method of allowing objects to draw on their own along with the artist's will. In other words, it can be said that the artist's intention of ‘let things speak for themselves' was revealed. What is “let things speak for themselves”? Isn't that the renunciation of the subject of perception as an artist? No, isn't it the most passive form of 'active' statement that tries to let go of the artist's consciousness, not giving up?
What does this paradox say? Isn't this the so-called generosity of restraining the eruption of passion and letting things shine themselves? This is why 'physical property' is important in Kim Keun-tai's work. The physical property is the name of the nature of an object, its existence has been degraded in the world of traditional paintings. Throughout the long history of Western painting, the expression of this property has maintained its name by relying on the contrast method, but faces a crisis with the invention of the camera in the early 19th century.
According to Plato, a painting corresponding to the shadow of a shadow is merely an illusion that makes it appear as though it does not exist by recreating the object. It was considered as deviating from the truth because it was three steps away from the original idea. For example, in Johannes Vermeer's <The Milkmaid> (oil on canvas/c.1660), the depiction of the texture of the rough clothes worn by a maid is an expression of physical properties through a representational technique. However, it is just an illusion because it does not actually exist in the picture. Plato argues that this is why poets and painters spreading the lies should be expelled from the republic.
In a realism painting, the hierarchy is formed according to the angle of the observer's gaze. Looking down from a higher place creates a vertical hierarchy. In painting, the spatial perspective is a device of 'visual rationalization' that is set to express the close area large and clear, and the distant area small and blurry. On the other hand, the arts in the era of Go-gu-ryeo show that the ruling class and the dominated class are expressed according to their status. In other words, high-ranking royalty or nobles were expressed large, while commoners and slaves of low status were expressed small.
However, if you look at the object from the same eye level, a horizontal relationship is formed and no hierarchy is established. Human relationships are also expressed in the same way when grasped in terms of equality. It is like in a democratic political system in which all voters, regardless of status, exercise equal voting power. Kim Keun-tai emphasizes this view of equality. He gazes on things at a horizontal level. This point of view may have come from his deep engagement and practice of ‘Ganhwaseon’ for the past several decades. In one interview, he said:
Question: What does it mean to look at everything horizontally?
Answer: Let’s take me and you as an example. There is a huge gap in time between us. But is it meaningful to count those gaps? What if I just kick it all off? Wouldn't I be able to be you anytime and be in your position? It is like Yeok-ji-sa-ji (a Korean idiom). That doesn't mean I can treat you poorly. Applying this idea to everyone is the first step in horizontal viewing. Developing this, I tried to find the act of 'to see' and its meaning horizontally as a painter who captures and draws images.” (NOBLESS, from the January and February 2021 interview articles)
So what Kim Keun-tai devised is so-called 'horizontal drawing'. It is a way of drawing on the canvas laid down. He first tried this technique in 2000 when he was invited to the [Artist of the Year] hosted by Sungkok Museum of Art. It was a peculiar technique of pouring thin stone powder dough onto the side of the canvas and then tilting the canvas back and forth to spill the dough. It is a conscious movement that frees paints from the artist's consciousness and gives autonomy to the paints. It is evident that Kim Keun-tai's methodology is not only the minimization of artistic actions performed by the artist, but also the active attitude of objects upside down. The first precedent painted with the canvas laid down in world art history is the “Dripping” technique in Jackson Pollock's Action Painting. Following the so-called “automatism” of surrealism, Pollock poured the paint while stepping and running over a wide canvas. Pollock's famous remark, “I don't know what I did while painting,” suggests that he painted unconsciously. This is the end of the so-called easel painting. Kim Keun-tai also paints with the canvas laid down, but he is not unconscious. Rather, they draw with clear consciousness. He pours a lot of thin stone powder like porridge on the canvas and finishes the work at once. It reminds of the “one stroke theory” in calligraphy. As if a stream of water flows from a high place to a low place to find its place, the material is left to nature's method. It is the manifestation of so-called ‘physical property'. While painting, there is one thing Kim Keun-tai does. When the stone powder dough flows and does not get caught in something, he opens the path with a brush. This minimal intervention is a factor that can be referred to as 'painting' in his work. If there is not even this minimal act, Kim Keun-tai's work will deviate from the concept of painting and would require another name.
Ⅲ.
Ceramic art is the most primitive genre of art in that it uses dirt. The potter sits in front of the wheel, shapes the bowl, and works with the soil all day. At this time, the most important is the so-called 'the sense of touch'.
Kim Keun-tai uses stone powder, a ceramic material. The floor of his studio is covered with traces of the hardened stone powder porridge. Kim Keun-tai's stone power porridge work, which is made with only one try, requires the creation of a canvas base that is close to penance until it is achieved. It is the result of 40 years of his painting work. Only he knows the subtle know-how for his painting. The secret of the know-how around the manufacturing process for the best work based on nature, such as color and texture, the proper condition (viscosity) of the stone powder dough, weather, humidity, etc. comes from the long training and practice. It is in this area that he is hesitant to confine his work within the linguistic fence of 'Dan-saek-hwa'. Then, what does Kim Keun-tai's work ultimately aim? The general rhetoric usually overlaid on monochromatics, which aims at the color and texture of the skin of the Joseon white porcelain represented by the moon jar, is literally nothing more than an investigation. Such modifiers risk trapping monochrome in the frame of nationalism. As seen in Kim Keun-tai's work, monochrome must be pushed further for aesthetic universality that the world can relate to.
Ⅳ.
Going beyond so-called geometricism and expressionism. From the perspective of Western art, you might be able to see ‘the third way' which is deviated from the context of geometric abstraction and abstract expressionism (Alfred H. Jr. Barr), which was divided into the so-called post-Impressionist Paul Cezanne and Paul Gauguin. The key is to get out of sight and restore ‘the sense of touch’.
Yes. Vision is a capture. This is the strategy that “Western modernity” took after the Renaissance. After the invention of perspective during the Renaissance, the West began to conquer the world on the rush of Enlightenment. Western imperialism conquered the other according to a grand project of visual capture of perspective. It was an active expression and action of a strong will for the world.
Kim Keun-tai pays attention to the sense of touch, not to the sight. Of course, the act of seeing the works has no choice but to rely on sight, but the more important factor in his work is 'the sense of touch'. This is why intersubjectivity and ecological perspective stand out in his work. In that context, Kim Keun-tai pays attention to nature. The reason he pays attention to nature is the consistency of nature. Through constant observation and approach to the elements that make up nature such as clouds, sky, rocks, mountains, waves, etc, he is asking 'ontological questions about the truth of nature'. His work is more meaningful in light of the recent corona crisis caused by human rebellion against the law of nature. Ultimately, Kim Keun-tai's <Discourse> series is a warning against human errors by the world delivered through Kim Keun-tai's body. It comes as a reminder of meaning through natural elements.
The hospitality of natural elements, including soil, practiced by Kim Keun-tai also contains disasters such as the devastation of nature and retribution of nature. It is at this point when artists including poets shine with their foreknowledge. Kim Keun-tai's work belongs to the “silent language”. There is absolutely no word. It doesn’t mean that it’s never spoken. When recalling the proverb “Silence is gold,” his silence comes more meaningful than eloquence. Especially in a world where garrulity, sophistry, and false claims are rampant like these days.
Ⅴ.
In the same interview article, Kim Keun-tai said:
“What is it like to see an image? (Omitted) Are we really seeing it right? What about seeing and judging? We think we see what we see, but that’s not necessarily true. (Omitted) When we face the work, we intuitively feel something on the screen we see, but in the end, we always have to think about the power that makes us see it and the window we can see with.” (From the interview articles in the January and February 2021 issue)
What does it mean by 'the window where you can see with'? We need to pay attention to Kim Keun-tai's “physicality”. A painter is a person who lends his body to the world to fulfill his dreams and visions. From that point of view, Leonardo da Vinci is the person who “lent” his eyes (body) to the world in order to allow people in the Renaissance to see the world from a perspective. Considering the fact that post-Renaissance paintings were compared to “windows”, what should mankind now see the world through? I want to say that it is none other than the 'hand' and ‘the sense of touch' from the hands. And I would like to invite you to look back on the “Earth,” which is reminiscent of the sense of touch, that rich motherland. If so, how fortunate is it that Kim Keun-tai's work is from the dirt, the ground and the matrix of the world?
The meaning of the series < Discourse> by Kim Keun-tai
Yoon Jin Sup (Art Critic)
Ⅰ.
There was an act in the beginning of the world. It is before the language was created. What would be the most primitive behavior of humans? That is what Kim Keun-tai wants to find. Through the dirt. His desire to return to the dirt is realized through the act of pouring stone powder, which is the raw material of ceramics, into a binder and pouring it onto the canvas, which is the most primitive act and it does not need any explanation. The reason why explanation is not necessary is that the primitive behavior is before language and beyond language. That's why I said at the outset, "There was an act in the beginning of the world."
Kim Keun-tai's work, which makes the desired shape while dilutely kneading stone powder and pouring it on the canvas, tilts the canvas around and lets it flow, takes the method of allowing objects to draw on their own along with the artist's will. In other words, it can be said that the artist's intention of ‘let things speak for themselves' was revealed. What is “let things speak for themselves”? Isn't that the renunciation of the subject of perception as an artist? No, isn't it the most passive form of 'active' statement that tries to let go of the artist's consciousness, not giving up?
What does this paradox say? Isn't this the so-called generosity of restraining the eruption of passion and letting things shine themselves? This is why 'physical property' is important in Kim Keun-tai's work. The physical property is the name of the nature of an object, its existence has been degraded in the world of traditional paintings. Throughout the long history of Western painting, the expression of this property has maintained its name by relying on the contrast method, but faces a crisis with the invention of the camera in the early 19th century.
According to Plato, a painting corresponding to the shadow of a shadow is merely an illusion that makes it appear as though it does not exist by recreating the object. It was considered as deviating from the truth because it was three steps away from the original idea. For example, in Johannes Vermeer's <The Milkmaid> (oil on canvas/c.1660), the depiction of the texture of the rough clothes worn by a maid is an expression of physical properties through a representational technique. However, it is just an illusion because it does not actually exist in the picture. Plato argues that this is why poets and painters spreading the lies should be expelled from the republic.
In a realism painting, the hierarchy is formed according to the angle of the observer's gaze. Looking down from a higher place creates a vertical hierarchy. In painting, the spatial perspective is a device of 'visual rationalization' that is set to express the close area large and clear, and the distant area small and blurry. On the other hand, the arts in the era of Go-gu-ryeo show that the ruling class and the dominated class are expressed according to their status. In other words, high-ranking royalty or nobles were expressed large, while commoners and slaves of low status were expressed small.
However, if you look at the object from the same eye level, a horizontal relationship is formed and no hierarchy is established. Human relationships are also expressed in the same way when grasped in terms of equality. It is like in a democratic political system in which all voters, regardless of status, exercise equal voting power. Kim Keun-tai emphasizes this view of equality. He gazes on things at a horizontal level. This point of view may have come from his deep engagement and practice of ‘Ganhwaseon’ for the past several decades. In one interview, he said:
Question: What does it mean to look at everything horizontally?
Answer: Let’s take me and you as an example. There is a huge gap in time between us. But is it meaningful to count those gaps? What if I just kick it all off? Wouldn't I be able to be you anytime and be in your position? It is like Yeok-ji-sa-ji (a Korean idiom). That doesn't mean I can treat you poorly. Applying this idea to everyone is the first step in horizontal viewing. Developing this, I tried to find the act of 'to see' and its meaning horizontally as a painter who captures and draws images.” (NOBLESS, from the January and February 2021 interview articles)
So what Kim Keun-tai devised is so-called 'horizontal drawing'. It is a way of drawing on the canvas laid down. He first tried this technique in 2000 when he was invited to the [Artist of the Year] hosted by Sungkok Museum of Art. It was a peculiar technique of pouring thin stone powder dough onto the side of the canvas and then tilting the canvas back and forth to spill the dough. It is a conscious movement that frees paints from the artist's consciousness and gives autonomy to the paints. It is evident that Kim Keun-tai's methodology is not only the minimization of artistic actions performed by the artist, but also the active attitude of objects upside down. The first precedent painted with the canvas laid down in world art history is the “Dripping” technique in Jackson Pollock's Action Painting. Following the so-called “automatism” of surrealism, Pollock poured the paint while stepping and running over a wide canvas. Pollock's famous remark, “I don't know what I did while painting,” suggests that he painted unconsciously. This is the end of the so-called easel painting. Kim Keun-tai also paints with the canvas laid down, but he is not unconscious. Rather, they draw with clear consciousness. He pours a lot of thin stone powder like porridge on the canvas and finishes the work at once. It reminds of the “one stroke theory” in calligraphy. As if a stream of water flows from a high place to a low place to find its place, the material is left to nature's method. It is the manifestation of so-called ‘physical property'. While painting, there is one thing Kim Keun-tai does. When the stone powder dough flows and does not get caught in something, he opens the path with a brush. This minimal intervention is a factor that can be referred to as 'painting' in his work. If there is not even this minimal act, Kim Keun-tai's work will deviate from the concept of painting and would require another name.
Ⅲ.
Ceramic art is the most primitive genre of art in that it uses dirt. The potter sits in front of the wheel, shapes the bowl, and works with the soil all day. At this time, the most important is the so-called 'the sense of touch'.
Kim Keun-tai uses stone powder, a ceramic material. The floor of his studio is covered with traces of the hardened stone powder porridge. Kim Keun-tai's stone power porridge work, which is made with only one try, requires the creation of a canvas base that is close to penance until it is achieved. It is the result of 40 years of his painting work. Only he knows the subtle know-how for his painting. The secret of the know-how around the manufacturing process for the best work based on nature, such as color and texture, the proper condition (viscosity) of the stone powder dough, weather, humidity, etc. comes from the long training and practice. It is in this area that he is hesitant to confine his work within the linguistic fence of 'Dan-saek-hwa'. Then, what does Kim Keun-tai's work ultimately aim? The general rhetoric usually overlaid on monochromatics, which aims at the color and texture of the skin of the Joseon white porcelain represented by the moon jar, is literally nothing more than an investigation. Such modifiers risk trapping monochrome in the frame of nationalism. As seen in Kim Keun-tai's work, monochrome must be pushed further for aesthetic universality that the world can relate to.
Ⅳ.
Going beyond so-called geometricism and expressionism. From the perspective of Western art, you might be able to see ‘the third way' which is deviated from the context of geometric abstraction and abstract expressionism (Alfred H. Jr. Barr), which was divided into the so-called post-Impressionist Paul Cezanne and Paul Gauguin. The key is to get out of sight and restore ‘the sense of touch’.
Yes. Vision is a capture. This is the strategy that “Western modernity” took after the Renaissance. After the invention of perspective during the Renaissance, the West began to conquer the world on the rush of Enlightenment. Western imperialism conquered the other according to a grand project of visual capture of perspective. It was an active expression and action of a strong will for the world.
Kim Keun-tai pays attention to the sense of touch, not to the sight. Of course, the act of seeing the works has no choice but to rely on sight, but the more important factor in his work is 'the sense of touch'. This is why intersubjectivity and ecological perspective stand out in his work. In that context, Kim Keun-tai pays attention to nature. The reason he pays attention to nature is the consistency of nature. Through constant observation and approach to the elements that make up nature such as clouds, sky, rocks, mountains, waves, etc, he is asking 'ontological questions about the truth of nature'. His work is more meaningful in light of the recent corona crisis caused by human rebellion against the law of nature. Ultimately, Kim Keun-tai's <Discourse> series is a warning against human errors by the world delivered through Kim Keun-tai's body. It comes as a reminder of meaning through natural elements.
The hospitality of natural elements, including soil, practiced by Kim Keun-tai also contains disasters such as the devastation of nature and retribution of nature. It is at this point when artists including poets shine with their foreknowledge. Kim Keun-tai's work belongs to the “silent language”. There is absolutely no word. It doesn’t mean that it’s never spoken. When recalling the proverb “Silence is gold,” his silence comes more meaningful than eloquence. Especially in a world where garrulity, sophistry, and false claims are rampant like these days.
Ⅴ.
In the same interview article, Kim Keun-tai said:
“What is it like to see an image? (Omitted) Are we really seeing it right? What about seeing and judging? We think we see what we see, but that’s not necessarily true. (Omitted) When we face the work, we intuitively feel something on the screen we see, but in the end, we always have to think about the power that makes us see it and the window we can see with.” (From the interview articles in the January and February 2021 issue)
What does it mean by 'the window where you can see with'? We need to pay attention to Kim Keun-tai's “physicality”. A painter is a person who lends his body to the world to fulfill his dreams and visions. From that point of view, Leonardo da Vinci is the person who “lent” his eyes (body) to the world in order to allow people in the Renaissance to see the world from a perspective. Considering the fact that post-Renaissance paintings were compared to “windows”, what should mankind now see the world through? I want to say that it is none other than the 'hand' and ‘the sense of touch' from the hands. And I would like to invite you to look back on the “Earth,” which is reminiscent of the sense of touch, that rich motherland. If so, how fortunate is it that Kim Keun-tai's work is from the dirt, the ground and the matrix of the world?
Lee. K.
"Je ne veux pas répondre aux questions personnelles. C'est l'une des raisons pour lesquelles je ne dessine jamais la bouche."
Le déni du langage est au cœur de la pratique de Lee K. La bouche, seul organe qui communique par la parole, peut exprimer des sentiments de différentes manières. Mais pour l’artiste, cette communication implique une perte de sensibilité qui peut induire un malentendu, un quiproquo. Les souffrances causées par cette incompréhension sont exprimées dans ses tableaux. Avec le temps, les sentiments et les émotions de l'artiste se sont accumulés et figés dans une composition révélant ces portraits sans bouche. La distorsion de la bouche dans son œuvre est définie comme « le déni de langage ».
Le déni du langage est au cœur de la pratique de Lee K. La bouche, seul organe qui communique par la parole, peut exprimer des sentiments de différentes manières. Mais pour l’artiste, cette communication implique une perte de sensibilité qui peut induire un malentendu, un quiproquo. Les souffrances causées par cette incompréhension sont exprimées dans ses tableaux. Avec le temps, les sentiments et les émotions de l'artiste se sont accumulés et figés dans une composition révélant ces portraits sans bouche. La distorsion de la bouche dans son œuvre est définie comme « le déni de langage ».
Sooman MOON
Graduated from Hannam University in South Korea, Master of Fine Arts
Solo Exhibitions (Includes booth private exhibition)-28times
Group exhibitions, Art fairs and Other related exhibitions-more than 200 times
Residency-JH Gana Atelier in South Korea (2020~present)
Collection-Korean National Assembly Speaker's Office, U.A.E. Korea Embassy…
Series of Cloud
“Time flies like an arrow.”
When it gets older, the speed of lifetime gets faster. It means there are more incidents originated from hardship and the impact on us is felt more severe and harsh. A lot of incidents originated from hardship in lifetime are orderly organized just like folders of cloud, as a small grain of rice. When the incidents of folders stored in cloud are sometimes released by themselves, they are staying in our mind as a déjà vu.
Chefs have their own recipes. I don't have anything like that. So, even if the concept of the work is the same, my work is expressed subtly differently each time because I do not memorize the process and always like to try new things. So, my works have the charm of allowing viewers to discover slightly different things from work to work.
Solo Exhibitions (Includes booth private exhibition)-28times
Group exhibitions, Art fairs and Other related exhibitions-more than 200 times
Residency-JH Gana Atelier in South Korea (2020~present)
Collection-Korean National Assembly Speaker's Office, U.A.E. Korea Embassy…
Series of Cloud
“Time flies like an arrow.”
When it gets older, the speed of lifetime gets faster. It means there are more incidents originated from hardship and the impact on us is felt more severe and harsh. A lot of incidents originated from hardship in lifetime are orderly organized just like folders of cloud, as a small grain of rice. When the incidents of folders stored in cloud are sometimes released by themselves, they are staying in our mind as a déjà vu.
Chefs have their own recipes. I don't have anything like that. So, even if the concept of the work is the same, my work is expressed subtly differently each time because I do not memorize the process and always like to try new things. So, my works have the charm of allowing viewers to discover slightly different things from work to work.
Dirk CALUWAERTS
Dirk Caluwaerts is a 21st century romanticist. At night his quest for beauty in a polluted world makes him wander desolate and undiscovered inner landscapes. His oil paintings are his ultimate hide-outs. They breathe solitude and melancholy, but also the desire for what Michel Houellebecq described as ‘the possibility of an island’, the desire for a ‘love in which everything seems simple and is given at this very moment.’
What about his Art?
Caluwaerts is painfully aware that something essential got lost, something hard to restore. This sense of loss ultimately results in a tempestuous fury. In the unsettling backgrounds of his canvases he evokes the pain of a human being deprived of social interaction or life itself and puzzled by the way mankind has spoilt the beauty of nature. The topics Caluwaerts addresses are obviously not lighthearted, but they do not necessarily result in sadness either. His darkest shades of black contain colourful brush strokes. This love of colour brings lightness as well as a suggestion of hope that is equally present on the content level of his works.
What about his Art?
Caluwaerts is painfully aware that something essential got lost, something hard to restore. This sense of loss ultimately results in a tempestuous fury. In the unsettling backgrounds of his canvases he evokes the pain of a human being deprived of social interaction or life itself and puzzled by the way mankind has spoilt the beauty of nature. The topics Caluwaerts addresses are obviously not lighthearted, but they do not necessarily result in sadness either. His darkest shades of black contain colourful brush strokes. This love of colour brings lightness as well as a suggestion of hope that is equally present on the content level of his works.
Fabian SOMMER
Born on March 10th, 1989 in Burgdorf near Bern, Switzerland. After school and apprenticeship as a draftsman, I studied interior design in Bern. Now I'm still working professionally in architecture. In addition to my job, I invest a lot of time in photography, writing or with experimental instrumental music. With a
constant eagerness to gain knowledge and experience, as well as an eye for visual aesthetics, I am determined to pursue my ambition in seeking opportunities in new and diverse environments.
My first inspiration was an encounter with a photo of Michael Wesely. I liked the possibility to show more in a photo than a single moment or a long-term
exposure with some blurred lights in the night. Now, to catch several moments
in a single photo and also to break the straight lines of an object is the main
claim of my work. I try to create a transition from a real object into a surreal
atmosphere, which can also be understood as an homage to transience. The
blurred look of my photography will catch the viewer to take a closer look to see and understand the whole image.
constant eagerness to gain knowledge and experience, as well as an eye for visual aesthetics, I am determined to pursue my ambition in seeking opportunities in new and diverse environments.
My first inspiration was an encounter with a photo of Michael Wesely. I liked the possibility to show more in a photo than a single moment or a long-term
exposure with some blurred lights in the night. Now, to catch several moments
in a single photo and also to break the straight lines of an object is the main
claim of my work. I try to create a transition from a real object into a surreal
atmosphere, which can also be understood as an homage to transience. The
blurred look of my photography will catch the viewer to take a closer look to see and understand the whole image.
Skima
Artiste en mouvement, pluridisciplinaire, Skima, de son vrai nom Maxime Thevenet, nait en 1994 en Bourgogne. Initialement formé au dessin technique, destiné aux lignes architecturales, régulières et en perspective, Skima sort bientôt de ce cadre pour découvrir son goût pour l’hyperréalisme et vivre de cette passion, nouvelle mais évidente.
Dans cette dynamique, Skima décide en 2018 de se consacrer de manière exclusive et professionnelle à son art. Il a créé à ce jour plus d’une cinquantaine de toiles, fidèles au mouvement de l’hyperréalisme, mais toutes empreintes d’une émotion bien singulière.
Dans cette dynamique, Skima décide en 2018 de se consacrer de manière exclusive et professionnelle à son art. Il a créé à ce jour plus d’une cinquantaine de toiles, fidèles au mouvement de l’hyperréalisme, mais toutes empreintes d’une émotion bien singulière.
Ibim COOKEY
My artworks for the past five years have been used to reveal different aspects a of black history, promote black power and project Africans as persons who had and will certainly have a great impact on contemporary culture today. Considering the various findings in our generation, I believe that black history has more relevance as well as competence than it is given because I find myself continually retracing my steps to the part of black history that has been hidden or misinterpreted to belittle black culture in form of records like the historical materials or perhaps in the society we find ourselves today. Through the diverse ways of creating art and projection of my works through exhibitions, I believe these views concerning the African culture can be corrected. The context of my work is basically to show the impact of art by pointing out the relationship between black people and their culture; this in turn extends to the society which is given the chance to find themselves.
My works differ from time to time; I create mostly portrait drawings embellished with contemporary African motif symbols or Ankara material patterns. My works are usually exhibited in galleries and art shows and so I make use of the opportunity by capturing the power and rituals needed for the sole purpose of invoking feelings and struggles of the black race; their successes as well as the experiences they tend to face in the present society. I believe I give a voice to most of them who have been wrongly misinterpreted, unheard in one way or the other or have been limited in one form or the other from speaking up for themselves which in turn forces them to go into hiding, perhaps in their self-induced bubbles of worthiness and insignificance because of where society has placed them through stereotyping. This feeling of worthiness should be corrected due to the advancement of a revelation of their power through their language and culture. History has made this possible. My works take various forms that I intend to use to entice the viewer; to make them understand as witnesses to the experiences faced by many in the past and current society as a whole. I want to create a new and unpredictable cycle or lines of thoughts and associations providing the chance to challenge the handicap perceptions of who Black people are and what we represent in the society. My current project for the Paris exhibition which I would love to call exploring identities is a multimedia kind of art. A work is created with charcoal and acrylic colour pens (for the background) and each of these projects takes about 250 hours to produce. They are equally meticulously drawn because I want the viewer to look at the portrait and not only appreciate the elegance of its darkness but also be able to transcend the monochromic nature of the drawing to the colourful background, thereby representing blacks not just in the stale black and white colours (which is synonymous to dullness) but colours representing vibrancy as to our resonate culture and heritage which has been evident throughout history from the pre-colonial period till now. Even during the colonial period—people have tried to project their culture through artefacts which have also served as a means of preserving their history. My art remains a strong way of showing how we share our thoughts as black people and how we were able to survive through the pre-colonial and post-colonial times. Over time there has been a lot of wars that have occurred within the African society and it has served as an unpredicted source of inspiration with the possibilities of changing a person's thoughts and opening them to new ideas of which they're also bound to embrace these ideas that are not common to our educational system because most of the history and perceptions are not taught. I have no wild illusions that the art will create a revolution in the traditional sense but I've witnessed powerful changes that art can instigate in an individual by emphatic fixation technique of making others feel the experiences of other persons.
The world may not change instantly through my art but I feel it will create a sense of awareness in the mind of the viewer and make them understand where I and my people come from and where we are heading to, our contributions to the society and how well we try to synchronize with the people in this current dispensation. I don't intend to repeat this but the use of my materials for my works are well calculated and I often source for new opportunities to explore and provoke the viewer to examine the chaotic placement of colours in the portrait and equally wonder what is going through the eyes of the African and this is the major reason why I pay close attention to the eyes of my models. This is what I intend to prove.
As an artist I want the viewer to look at it and experience something they've never experienced before.
Trailblazing art!
My works differ from time to time; I create mostly portrait drawings embellished with contemporary African motif symbols or Ankara material patterns. My works are usually exhibited in galleries and art shows and so I make use of the opportunity by capturing the power and rituals needed for the sole purpose of invoking feelings and struggles of the black race; their successes as well as the experiences they tend to face in the present society. I believe I give a voice to most of them who have been wrongly misinterpreted, unheard in one way or the other or have been limited in one form or the other from speaking up for themselves which in turn forces them to go into hiding, perhaps in their self-induced bubbles of worthiness and insignificance because of where society has placed them through stereotyping. This feeling of worthiness should be corrected due to the advancement of a revelation of their power through their language and culture. History has made this possible. My works take various forms that I intend to use to entice the viewer; to make them understand as witnesses to the experiences faced by many in the past and current society as a whole. I want to create a new and unpredictable cycle or lines of thoughts and associations providing the chance to challenge the handicap perceptions of who Black people are and what we represent in the society. My current project for the Paris exhibition which I would love to call exploring identities is a multimedia kind of art. A work is created with charcoal and acrylic colour pens (for the background) and each of these projects takes about 250 hours to produce. They are equally meticulously drawn because I want the viewer to look at the portrait and not only appreciate the elegance of its darkness but also be able to transcend the monochromic nature of the drawing to the colourful background, thereby representing blacks not just in the stale black and white colours (which is synonymous to dullness) but colours representing vibrancy as to our resonate culture and heritage which has been evident throughout history from the pre-colonial period till now. Even during the colonial period—people have tried to project their culture through artefacts which have also served as a means of preserving their history. My art remains a strong way of showing how we share our thoughts as black people and how we were able to survive through the pre-colonial and post-colonial times. Over time there has been a lot of wars that have occurred within the African society and it has served as an unpredicted source of inspiration with the possibilities of changing a person's thoughts and opening them to new ideas of which they're also bound to embrace these ideas that are not common to our educational system because most of the history and perceptions are not taught. I have no wild illusions that the art will create a revolution in the traditional sense but I've witnessed powerful changes that art can instigate in an individual by emphatic fixation technique of making others feel the experiences of other persons.
The world may not change instantly through my art but I feel it will create a sense of awareness in the mind of the viewer and make them understand where I and my people come from and where we are heading to, our contributions to the society and how well we try to synchronize with the people in this current dispensation. I don't intend to repeat this but the use of my materials for my works are well calculated and I often source for new opportunities to explore and provoke the viewer to examine the chaotic placement of colours in the portrait and equally wonder what is going through the eyes of the African and this is the major reason why I pay close attention to the eyes of my models. This is what I intend to prove.
As an artist I want the viewer to look at it and experience something they've never experienced before.
Trailblazing art!
Niko Schröder (Dionyss)
My journey as an artist began when I was given a camera by my uncle in 2018. This gave me a passion for photography. At some point, it was no longer enough for me to merely be able to depict things. I wanted to create something new out of, instead of depicting reality. So I started to edit the pictures with photo programs. In 2019, I came to the attention of the gallery "Alte Vogtei" in Bielefeld (Germany), so I had my first exhibition there, entitled "Träumereien". In 2020, I participated in two group exhibitions in Milan. In November 2020, I was supposed to take part in an Artfair in Brussels. However, due to the Corona pandemic, this was postponed by one year.
Marc GÖNZ
SAMPY
Sampy Sicada is a Manchester based artist, designer and youtuber from Hong Kong. He mainly practises art in traditional medium such as graphite, colour pencils and oil paints. The themes depicted in his work range from being grounded in real world ideas to the abstract and theoretical. His main interest is exploring social constructions through use of objects and the human form.
isomeki
I was born in Furen-cho, Hokkaido, Japan, in 1983. I spent my childhood in India. Now I live in Sapporo, hokkaido, Japan. I started to drawing from 2002 under the influence of surrealism. In 2020, I held my first exhibition at Gallery Inukai in Sapporo.
I have composed and performed noise music as a noise artist since 2005 as well. I use papers, drawing pens, ink pens, brush pens and pencils for my drawings.
I draw one stroke figures and miniatures. Most of my works are drawn automatically. It means my hand moves without thinking.
I record the figures come from my subconscious or unconscious. The reason why I draw in that style is I want to feel and watch its behavior I dive into it through drawing and show(expose) it publicly.
I have composed and performed noise music as a noise artist since 2005 as well. I use papers, drawing pens, ink pens, brush pens and pencils for my drawings.
I draw one stroke figures and miniatures. Most of my works are drawn automatically. It means my hand moves without thinking.
I record the figures come from my subconscious or unconscious. The reason why I draw in that style is I want to feel and watch its behavior I dive into it through drawing and show(expose) it publicly.
KLA
Cléa Lugardon, surnommée KLA, née le 1er septembre 1994 en Normandie, s’épanouie depuis peu sous le soleil Lillois.
Depuis son enfance, elle peint, crée, assemble. Ses premières œuvres sont faites en aquarelle où elle représente des paysages marins, des forêts et des montagnes. Elle laisse, à vingt ans, les couleurs poétiques et douces de cette technique pour s’orienter vers l’acrylique beaucoup plus vive.
Sa pratique et ses sujets évoluent. Elle met de côté les paysages pour révéler des œuvres d’un univers très coloré avec deux thèmes principaux, celui de la Femme avec des portraits et des nus, et celui des Animaux.
Au fil des années, son chemin se dessine. Elle expérimente les techniques et les outils, s’essaie à la peinture à l’huile, au modeling paste, à la feuille d’or et à la combinaison de matériaux (bois et feuilles). Le 3D prend une place de plus en plus importante. Kla se met à la sculpture, réalisant notamment une série « Pétrole » représentant des ours recouverts d’une épaisse peinture noire satinée, allusion aux problèmes environnementaux. Son intérêt pour l’écologie se distingue également dans ses œuvres par le choix des animaux peints et des titres. La photographie vient enrichir ses toiles où Kla développe ses clichés qui servent alors de base pour peindre par-dessus. L’urbex est le thème récurrent sur sa pellicule, illustrant sa sensibilité à la végétation qui prend la relève quand l’humain s’estompe.
Ses études médicales prennent fin en 2019. Dès lors, Kla s’investit davantage dans son art et dans sa visibilité en participant à plusieurs expositions, festivales et salon d’arts en Normandie. Sur Lille, elle expose également dans divers restaurants et bars. Une des expositions en Normandie, à la Fabrique Massillon, lui permet de montrer son intérêt pour la cause féminine en participant à la journée internationale pour l’élimination de la violence à l’égard des Femmes. Elle compose, en 2016, la couverture du Livre « Une vie en Ballon » de Aude et Benoit Blanchard, et en 2019, réalise la couverture de l’album musical Alseed.
Kla se démarque par son style particulièrement coloré où le contraste est le maître mot.
Depuis son enfance, elle peint, crée, assemble. Ses premières œuvres sont faites en aquarelle où elle représente des paysages marins, des forêts et des montagnes. Elle laisse, à vingt ans, les couleurs poétiques et douces de cette technique pour s’orienter vers l’acrylique beaucoup plus vive.
Sa pratique et ses sujets évoluent. Elle met de côté les paysages pour révéler des œuvres d’un univers très coloré avec deux thèmes principaux, celui de la Femme avec des portraits et des nus, et celui des Animaux.
Au fil des années, son chemin se dessine. Elle expérimente les techniques et les outils, s’essaie à la peinture à l’huile, au modeling paste, à la feuille d’or et à la combinaison de matériaux (bois et feuilles). Le 3D prend une place de plus en plus importante. Kla se met à la sculpture, réalisant notamment une série « Pétrole » représentant des ours recouverts d’une épaisse peinture noire satinée, allusion aux problèmes environnementaux. Son intérêt pour l’écologie se distingue également dans ses œuvres par le choix des animaux peints et des titres. La photographie vient enrichir ses toiles où Kla développe ses clichés qui servent alors de base pour peindre par-dessus. L’urbex est le thème récurrent sur sa pellicule, illustrant sa sensibilité à la végétation qui prend la relève quand l’humain s’estompe.
Ses études médicales prennent fin en 2019. Dès lors, Kla s’investit davantage dans son art et dans sa visibilité en participant à plusieurs expositions, festivales et salon d’arts en Normandie. Sur Lille, elle expose également dans divers restaurants et bars. Une des expositions en Normandie, à la Fabrique Massillon, lui permet de montrer son intérêt pour la cause féminine en participant à la journée internationale pour l’élimination de la violence à l’égard des Femmes. Elle compose, en 2016, la couverture du Livre « Une vie en Ballon » de Aude et Benoit Blanchard, et en 2019, réalise la couverture de l’album musical Alseed.
Kla se démarque par son style particulièrement coloré où le contraste est le maître mot.
Frédérique SAMAMA
Née à Paris, en 1969, Frédérique SAMAMA est depuis l’enfance habitée par le dessin et la peinture.
Après des études en arts appliqués, elle poursuit son évolution dans le monde de l’art en tant que clerc de commissaire-priseur.
C’est une rencontre avec un artiste qui fût l’élément déclencheur. Une pierre fondatrice à sa motivation et à sa première exposition qui l’ont poussé à se consacrer pleinement à sa passion.
Dans ses derniers travaux, Frédérique SAMAMA place la figure humaine au centre de son œuvre. Son exploration de l’être et des couleurs s’intensifie de jour en jour. Elle s'attache à retranscrire l’âme par l'expression plutôt que la ressemblance morphologique. Et utilise du noir intense, lourdement tracé ou déposé plus légèrement pour faire ressortir l'essentiel qui nous caractérise sans jamais faire le contour du tout. Ainsi, sans limite, chacun a une perception différente et y trouve son niveau de lecture émotionnelle.
Après des études en arts appliqués, elle poursuit son évolution dans le monde de l’art en tant que clerc de commissaire-priseur.
C’est une rencontre avec un artiste qui fût l’élément déclencheur. Une pierre fondatrice à sa motivation et à sa première exposition qui l’ont poussé à se consacrer pleinement à sa passion.
Dans ses derniers travaux, Frédérique SAMAMA place la figure humaine au centre de son œuvre. Son exploration de l’être et des couleurs s’intensifie de jour en jour. Elle s'attache à retranscrire l’âme par l'expression plutôt que la ressemblance morphologique. Et utilise du noir intense, lourdement tracé ou déposé plus légèrement pour faire ressortir l'essentiel qui nous caractérise sans jamais faire le contour du tout. Ainsi, sans limite, chacun a une perception différente et y trouve son niveau de lecture émotionnelle.
Julien BURETTE
Je m'inspire principalement de l'actualité, de mes expériences personnelles. J'essaie d'exprimer ma pensée autrement que par les mots et de transposer ma vision du monde, mes croyances et mes révoltes en peinture. Je m'exprime de façon simple et brutale ; comme une claque adressée à celui ou celle qui regarde mon tableau et sculpture. Je fais très peu de travail préparatoire. J'y vais à l'intuition avec des couleurs franches. Je ne tire pas mon inspiration de grands peintres : mes goûts sont assez éclectiques. Je concède une attirance pour le mouvement expressionniste. Et j'apprécie autant les œuvres de Jérôme Bosch que celles d'Anselm Kiefer par exemple. Pour moi une œuvre artistique doit avant tout me percuter dès le premier regard.
Alison LEE
Alison Lee was born in South Korea and currently lives in Los Angeles, California, USA. Her particular style is characterized by artistic experimentation. Although many of her works are abstract paintings on canvas, Alison's restless mind has led her to combine traditional materials such as acrylics with her own mediums. The artist's personal stamp is the inclusion of tactile textures for their expressive character. The textures are used as a portion of nature that enriches the experience of aesthetic contemplation.
Jongsuk LEE
Jongsuk Lee a fait des études d’art à l’Université Nationale de Séoul. En tant qu’artiste professionnelle, elle a réalisé de nombreuses expositions, aussi bien individuelles que collectives. Elle a également participé à plusieurs foires artistiques, comme la Hongkong Art Fair ou la Seoul Open Art Fair, et elle a été invitée dans de nombreuses expositions nationales et internationales, comme la Korea-Japan National Exchange ou la LA Korean Artists Exhibition.
Elle est également membre de plusieurs associations d’artistes en Corée (Hanool, TER, PENTAS, Changmi), et c’est une artiste extrêmement productive, dont les tableaux sont populaires dans le monde entier. Après son exposition à la FOLD Gallery à Londres, elle réalisera une nouvelle exposition individuelle dans la Villa des Arts à Paris.
Elle est également membre de plusieurs associations d’artistes en Corée (Hanool, TER, PENTAS, Changmi), et c’est une artiste extrêmement productive, dont les tableaux sont populaires dans le monde entier. Après son exposition à la FOLD Gallery à Londres, elle réalisera une nouvelle exposition individuelle dans la Villa des Arts à Paris.
Lee Yeonjae
Bowyi Song
Bowyi Song, who is active in Paris and South Korea, was born in Seoul, South Korea in 1999.
She has been interested in art since she was a child, has been interested in Oriental painting since middle school, and has started working on Oriental painting since she was a high school student.
As there's a lot of art work she want to do, she held her first solo exhibition in Seoul, South Korea, under the title "ExH!bit10n," which consists of paintings about herself.
After that, she wanted to work with color, so she envisioned her work on the theme of "change", but she wanted to know what others thought and perspective they would work on this theme.
Not only that, but she also wanted to share her thoughts on painting with others, so she held a team competition in Seoul in 2021 with two high school alumni under the title "The Beauty of Flow: for all of us."
She has been interested in art since she was a child, has been interested in Oriental painting since middle school, and has started working on Oriental painting since she was a high school student.
As there's a lot of art work she want to do, she held her first solo exhibition in Seoul, South Korea, under the title "ExH!bit10n," which consists of paintings about herself.
After that, she wanted to work with color, so she envisioned her work on the theme of "change", but she wanted to know what others thought and perspective they would work on this theme.
Not only that, but she also wanted to share her thoughts on painting with others, so she held a team competition in Seoul in 2021 with two high school alumni under the title "The Beauty of Flow: for all of us."
Hojung HWANG
L'œuvre de Hojung est inspirée du néo-expressionnisme. En effet, elle a été attirée par ce style puissant qui dégage une énergie débordante. A l’instar du “Eros” de David Hockney qui offre une compréhension et une sensibilité raffinées
Son style de peinture nous fait penser au néo-expressionnisme. Il exhorte Hojung à repousser les limites en incorporant dans sa peinture des éléments psychologiques tels que le conceptualisme.
Travailler la peinture est un jeu visuel tentant de faire revenir l’Homme à sa vraie nature, le finishisme* une théorie que l’artiste met en application dans ses œuvres. Hojung se dit toujours “Ne te préoccupe pas de ce que tu dises les autres”
*Le "finishisme" une théorie sur l’art qui parle de l’expérience personnelle.
Il s’agit d’une nouvelle compréhension visuelle de la nature et de l’essence même de l’existence. La théorie essaie de rétablir les erreurs d’identité qui tirent leurs origines des us et coutumes. Le "finishisme" tente de nous faire comprendre par le biais de la méditation.
Grâce aux possibilités infinies que possède chaque être humain, l’Homme a pu se rendre compte du nombre infini de créations qu’il était capable de faire.
Son style de peinture nous fait penser au néo-expressionnisme. Il exhorte Hojung à repousser les limites en incorporant dans sa peinture des éléments psychologiques tels que le conceptualisme.
Travailler la peinture est un jeu visuel tentant de faire revenir l’Homme à sa vraie nature, le finishisme* une théorie que l’artiste met en application dans ses œuvres. Hojung se dit toujours “Ne te préoccupe pas de ce que tu dises les autres”
*Le "finishisme" une théorie sur l’art qui parle de l’expérience personnelle.
Il s’agit d’une nouvelle compréhension visuelle de la nature et de l’essence même de l’existence. La théorie essaie de rétablir les erreurs d’identité qui tirent leurs origines des us et coutumes. Le "finishisme" tente de nous faire comprendre par le biais de la méditation.
Grâce aux possibilités infinies que possède chaque être humain, l’Homme a pu se rendre compte du nombre infini de créations qu’il était capable de faire.
Hunyoung JANG
Artist Hunyoung Jang majored in painting at Hongik University Graduate School in Korea and she held 4 solo exhibitions at Space ARTWA, Jade Flower Gallery, Cyart Document and CICA museum as well as 18 group exhibitions. In her own artistic way, She has been interested in deformation and deconstruction of images, and continuing her works. Currently, She is actively engaging in her creative works by crossing between painting and installation.
Do Yup LEE
Jeongwon CHU
Her art works are call TE_Tiny Esther. TE_Tiny Esther means a bright shining star, named after QUEEN ESTHER, who saved the people of Israel from the crise in the Persian kingdom.With TE_Tiny Esther, Jeongwon Chun trust herself, believe in her and explore various in the world with a curious eye
Ko Kwon
born in Jeju, Korea / work in Jeju
“Even in small villages, the seasons come deeply and quietly and leave traces. In them, there are the harmony of small creatures near intense lives of people and the vital nature that embraces them. All of which coexist beautifully with their meanings and values.”
Jeju Island, where the artist Ko Kwon was born in 1980 and raised, was the beautiful island that achieved triple crowns from UNESCO in the area of natural science thanks to its clean air and beautiful scenery with about 20,000 Haenyeo (female divers) at that time. So, these natural landscapes like the sea, fish, and forest constantly appear in his works. In Jeju Island where shamanism developed enough to predict the year’s luck by reading the sky on the first day of the Lunar New Year, the shamanic subject matter also naturally appears in his work.
Northern shamanism and the painting styles of ancient tomb murals are very interesting elements to the artist as well. Like a child, his expression style which is free and purely independent of form or composition, started from such environmental influences and his humanities interest in his country.
Artist Ko Kwon thinks that all the living things in the universe are the wonderful creatures of nature, and that they prove the evolution of life. Therefore, he pursues work that most accurately represents his idea that “all creatures are beautiful and have value.”
“Even in small villages, the seasons come deeply and quietly and leave traces. In them, there are the harmony of small creatures near intense lives of people and the vital nature that embraces them. All of which coexist beautifully with their meanings and values.”
Jeju Island, where the artist Ko Kwon was born in 1980 and raised, was the beautiful island that achieved triple crowns from UNESCO in the area of natural science thanks to its clean air and beautiful scenery with about 20,000 Haenyeo (female divers) at that time. So, these natural landscapes like the sea, fish, and forest constantly appear in his works. In Jeju Island where shamanism developed enough to predict the year’s luck by reading the sky on the first day of the Lunar New Year, the shamanic subject matter also naturally appears in his work.
Northern shamanism and the painting styles of ancient tomb murals are very interesting elements to the artist as well. Like a child, his expression style which is free and purely independent of form or composition, started from such environmental influences and his humanities interest in his country.
Artist Ko Kwon thinks that all the living things in the universe are the wonderful creatures of nature, and that they prove the evolution of life. Therefore, he pursues work that most accurately represents his idea that “all creatures are beautiful and have value.”
Misook KIM
L'œuvre de Misook KIM est une composition d’éléments fondamentaux de l’art (points, lignes, faces, formes et couleurs). Le point est à l'origine de toute forme et le symbole de la vie. Il est le premier détail que l'œil perçoit et s’étend à l’univers.
Sa production dépeint la psychologie humaine en s’appropriant les particularités des objets du quotidien et la mise en scène d’une femme nue dans une fleur. D’un autre côté, cette fleur illustre l’aspiration de?
Misook KIM évoque le thème des fleurs par la rêverie en réinterprétant la nature à travers la composition de différentes couleurs.
La technique de l’artiste consiste à effacer les couleurs des fleurs et d’utiliser la peinture transparente afin de créer une synergie entre la vie et la nature. Par la suite, ce vide comblé par l’application de couleurs vives et monotones favorise les bienfaits thérapeutiques sur le spectateur.
L'énergie que dégage ces couleurs est tel un baume pour le corps nous invitant à oublier momentanément le poids du quotidien et à mener une introspection. Misook KIM croit aux vertus de l’art therapy. L’harmonie entre l’Homme et la nature serait une manière de retrouver une sérénité intérieure.
Sa production dépeint la psychologie humaine en s’appropriant les particularités des objets du quotidien et la mise en scène d’une femme nue dans une fleur. D’un autre côté, cette fleur illustre l’aspiration de?
Misook KIM évoque le thème des fleurs par la rêverie en réinterprétant la nature à travers la composition de différentes couleurs.
La technique de l’artiste consiste à effacer les couleurs des fleurs et d’utiliser la peinture transparente afin de créer une synergie entre la vie et la nature. Par la suite, ce vide comblé par l’application de couleurs vives et monotones favorise les bienfaits thérapeutiques sur le spectateur.
L'énergie que dégage ces couleurs est tel un baume pour le corps nous invitant à oublier momentanément le poids du quotidien et à mener une introspection. Misook KIM croit aux vertus de l’art therapy. L’harmonie entre l’Homme et la nature serait une manière de retrouver une sérénité intérieure.
Seungrak LEE
My work is to express the trace of experience revealed while combining multiple pop-up images and vibrant colors inspired by the soundless delicate shivering from deep inner being. This is an experimental joyful amusement going through boundless challenge in every moment to explore unknown world, which results in ever-changing scenes on canvas. This sense is challenging every single moment to search for metamorphosis to get new answers, it’s my artistic style and technique. The answer is nothing other than my inner expression that is free from any defined understanding paradigm. As life is flowing without staying even for a moment, my work procedure itself is the continuity of creation & extinction that must be changing as much as uncountable particles of universe. It approaches to a certain understanding little by little and converts into the resonance of work. I live earnestly wishing all these reach my ultimate hope.
Trophy J
(Né et vit à Gwangju, Corée du sud)
Trophy J est un artiste sud coréen. Il a à son actif plusieurs expositions. Il a fait des expositions solos intitulées "Warping" et "Complexity" organisées respectivement au musée Soar et à la Galerie Art 14. L'artiste a également participé à de nombreuses expositions collectives telles que "La Céramique rencontre l'Art" organisée au musée de Yanglim en Corée du Sud. Trophy J a notamment gagné le 56ème prix du concours d'art de Chollanamdo et le 39ème concours d'art de Corée du Sud.
Trophy J a fait sa première rencontre avec l’art à travers un documentaire sur la construction du pont Geoga reliant Busan et Geoje situé au sud de la péninsule coréenne. Le pont traversant la Mer du Sud passe par deux îlots intermédiaires. L’édifice a d’abord été érigé à partir de fils d’acier. Ces mêmes fils ont, par la suite, transformé les blocs de béton armé en une structure plus solide. Le fil métallique se plie selon les besoins de l'utilisateur et se déforme en fonction de la forme. Dans un même temps, les armatures métalliques deviennent rigides lorsqu'elles sont soumises à une forte tension et possèdent une résistance élevée.
Trophy J est un artiste sud coréen. Il a à son actif plusieurs expositions. Il a fait des expositions solos intitulées "Warping" et "Complexity" organisées respectivement au musée Soar et à la Galerie Art 14. L'artiste a également participé à de nombreuses expositions collectives telles que "La Céramique rencontre l'Art" organisée au musée de Yanglim en Corée du Sud. Trophy J a notamment gagné le 56ème prix du concours d'art de Chollanamdo et le 39ème concours d'art de Corée du Sud.
Trophy J a fait sa première rencontre avec l’art à travers un documentaire sur la construction du pont Geoga reliant Busan et Geoje situé au sud de la péninsule coréenne. Le pont traversant la Mer du Sud passe par deux îlots intermédiaires. L’édifice a d’abord été érigé à partir de fils d’acier. Ces mêmes fils ont, par la suite, transformé les blocs de béton armé en une structure plus solide. Le fil métallique se plie selon les besoins de l'utilisateur et se déforme en fonction de la forme. Dans un même temps, les armatures métalliques deviennent rigides lorsqu'elles sont soumises à une forte tension et possèdent une résistance élevée.
Yunha CHOI
Son travail consiste à exprimer au maximum les sens et les sentiments qu'elle éprouve par le biais de la communication. Elle a travaillé en tant que productrice pour le cinéma indépendant pendant de nombreuses années. Et, hormis le cinéma, elle a toujours eu de la curiosité pour l'art. De plus, lorsque elle éprouvait cette forte envie de s'exprimer avec des canaux autres que l'écriture, elle a fini par être intéressée le dessin, après avoir compris soi-même qu'il n'y avait pas d'équivalent linguistique, elle a adopté la conversation comme son outil d'expression.
Les sujets de son travail sont la psychologie et les sentiments. Le dripping, technique apparaissant régulièrement dans ses travaux, met en exergue les sentiments débordants et le changement de psychologie. Par l'abstrait, elle agence de manière discrète et ambigüe mes propres symboles. Ainsi, je prête attention à ce que les sentiments amplifiés apparaissent explicitement. La couleur est un élément important de mon travail. Chacune des couleurs représente un symbole personnel, je cherche à maximiser les sens que les couleurs suscitent, car les couleurs vives stimulent mes sentiments. Mon travail est d'aller au-delà des éléments de modelage et d'esthétique. Mon souhait/ but est d'englober les sentiments humains et la psychologie. Enfin, j'espère partager mes sentiments avec l'autre.
Les sujets de son travail sont la psychologie et les sentiments. Le dripping, technique apparaissant régulièrement dans ses travaux, met en exergue les sentiments débordants et le changement de psychologie. Par l'abstrait, elle agence de manière discrète et ambigüe mes propres symboles. Ainsi, je prête attention à ce que les sentiments amplifiés apparaissent explicitement. La couleur est un élément important de mon travail. Chacune des couleurs représente un symbole personnel, je cherche à maximiser les sens que les couleurs suscitent, car les couleurs vives stimulent mes sentiments. Mon travail est d'aller au-delà des éléments de modelage et d'esthétique. Mon souhait/ but est d'englober les sentiments humains et la psychologie. Enfin, j'espère partager mes sentiments avec l'autre.
Catalina BERES
I am a visual artist working primarily with acrylic on paper or canvas. My work is influenced by the cultural and emotional significance of colour and imagery, including its effect on our mood and the hopeful act of painting.
My current paintings focus on nature, emulating both natural environments and figurative art. I aim to bring emotion and atmosphere into the work through the colour palettes and titling, in order to communicate the moment of seeing, from contemplative views over airy hilltops, to joyous encounters with freshly picked spring flowers and the pleasure of standing in quiet fields lit by moonlight.
My work has dynamic compositional attributes, at times filling the frame with closely cropped exuberance and, in other works, leaving negative space to offset the poignant beauty of the painted subject.
I draw on my experiences of growing up in Romania and many years of itinerant life working in different cities before I came to settle in my new home in France. This much more settled situation is influencing my work, moving from troubled subject matter to more positive content and a powerful feminine energy. I take strength and inspiration from adapting to my new culture and environment, channeling this into the development of my practice.
My current paintings focus on nature, emulating both natural environments and figurative art. I aim to bring emotion and atmosphere into the work through the colour palettes and titling, in order to communicate the moment of seeing, from contemplative views over airy hilltops, to joyous encounters with freshly picked spring flowers and the pleasure of standing in quiet fields lit by moonlight.
My work has dynamic compositional attributes, at times filling the frame with closely cropped exuberance and, in other works, leaving negative space to offset the poignant beauty of the painted subject.
I draw on my experiences of growing up in Romania and many years of itinerant life working in different cities before I came to settle in my new home in France. This much more settled situation is influencing my work, moving from troubled subject matter to more positive content and a powerful feminine energy. I take strength and inspiration from adapting to my new culture and environment, channeling this into the development of my practice.
Cristina
VITAN
I like that it is the viewer who seeks meaning by looking at my works.
I want to give the image of a strong woman who is free to choose, of a woman who freely decides to make art with her body. Of a woman who uses her body for the reactions in the viewer. What I represent is a free woman and I decide to do so by concentrating the focus of my work on the breast. One day I woke up and decided it would be fun and provocative to put my boob on Trump's face and so I did.
In an age where we have been forced to change our lifestyle, expressing ourselves freely is the most important thing we have.
I want to give the image of a strong woman who is free to choose, of a woman who freely decides to make art with her body. Of a woman who uses her body for the reactions in the viewer. What I represent is a free woman and I decide to do so by concentrating the focus of my work on the breast. One day I woke up and decided it would be fun and provocative to put my boob on Trump's face and so I did.
In an age where we have been forced to change our lifestyle, expressing ourselves freely is the most important thing we have.
Joshua SCRANTON
My is art motivated by what I love the most in life. I love my Children, Dreams, the Bible, Mandarin, and Cyberpunk. I use these elements to create art that expresses ideas such as love, agony, resurrection, redemption, relationships, and intimate connection. All of these experiences are what gets us where we need to go and defines who we are. I draw and or paint to process my journey and consider my future destination. I draw what I love the most.
My love for my children has been so profound and has greatly influenced many art pieces. My daughter Kayna was my favorite model for years. My son Ethan or my “小男儿'' is the apple of my eye and he also appears in various digital works. You may ask why Chinese? My employer over a year ago asked me to essentially become a Mandarin student, which brings me to another
love of my life. My love of the Chinese language and the ideas that make up numerous Mandarin characters have greatly shaped my perception of the world. I use Mandarin all over my technical and fine art. Who would've thought a guy from a flyover state would be learning Mandarin Chinese, let alone writing, reading, and drawing in it.
I grew up in the midwestern USA, in a Christian household. The Bible was a rather large part of my upbringing. Its influence has grown over the years as I have gotten older. The concepts of redemption, resurrection, struggle, the light, dreams, etc have greatly influenced may art. I have really dove headfirst into biblical philosophy and surprisingly enough I have started studying it in Mandarin. The visuals and meaning of the characters has expanded my thinking and intern art, again and again.
Growing up I also took in all the cyberpunk and sci-fi movies, comics, and books I could get my hands on. My love for cyberpunk just continues to grow. It shows up in a very future shock sense in my art. Cyberpunk in my art is mixed with historical, Biblical, Mandarin, and stories about peoples lives. I visualize people in literal or spiritual scenario’s and draw it out. I love movies like BladeRunner and Aliens and the style of those show up as well. I love the gritty yet bright aesthetics of cyber punk, along with the harsh emotional undertones it possesses. I swear I dream in neon.
The art I am currently engaged in is a combination of what I love in life. My children and others, Dreams, the Bible, Mandarin, and cyberpunk. I tend to blend them all together to formulate art that expresses where I am at, and where I feel I am going. Every piece has profound personal meaning and is me processing another chapter of my journey, while looking ahead to the future.
My love for my children has been so profound and has greatly influenced many art pieces. My daughter Kayna was my favorite model for years. My son Ethan or my “小男儿'' is the apple of my eye and he also appears in various digital works. You may ask why Chinese? My employer over a year ago asked me to essentially become a Mandarin student, which brings me to another
love of my life. My love of the Chinese language and the ideas that make up numerous Mandarin characters have greatly shaped my perception of the world. I use Mandarin all over my technical and fine art. Who would've thought a guy from a flyover state would be learning Mandarin Chinese, let alone writing, reading, and drawing in it.
I grew up in the midwestern USA, in a Christian household. The Bible was a rather large part of my upbringing. Its influence has grown over the years as I have gotten older. The concepts of redemption, resurrection, struggle, the light, dreams, etc have greatly influenced may art. I have really dove headfirst into biblical philosophy and surprisingly enough I have started studying it in Mandarin. The visuals and meaning of the characters has expanded my thinking and intern art, again and again.
Growing up I also took in all the cyberpunk and sci-fi movies, comics, and books I could get my hands on. My love for cyberpunk just continues to grow. It shows up in a very future shock sense in my art. Cyberpunk in my art is mixed with historical, Biblical, Mandarin, and stories about peoples lives. I visualize people in literal or spiritual scenario’s and draw it out. I love movies like BladeRunner and Aliens and the style of those show up as well. I love the gritty yet bright aesthetics of cyber punk, along with the harsh emotional undertones it possesses. I swear I dream in neon.
The art I am currently engaged in is a combination of what I love in life. My children and others, Dreams, the Bible, Mandarin, and cyberpunk. I tend to blend them all together to formulate art that expresses where I am at, and where I feel I am going. Every piece has profound personal meaning and is me processing another chapter of my journey, while looking ahead to the future.
Shusuke Funahashi
Born on April 15, 1980.
In 1999, I entered a fashion school and took a design painting class. I aspired to become a painter.
When I was 30 years old, I gradually got better and began to teach myself to draw.
In 1999, I entered a fashion school and took a design painting class. I aspired to become a painter.
When I was 30 years old, I gradually got better and began to teach myself to draw.
Larissa Abtova
Larissa is an artist based in Amsterdam, the Netherlands. Born in Riga, USSR, young Larissa’s love for drawing was crystal clear, having spent much of her childhood sketching away since her parents gave her pencils and drawing paper. Larissa studied at the St Petersburg academy of art and graduated in 1987. In 1991, armed with decades of experience under her belt, Larissa relocated to Holland.
Hella RIDDER
As an Artist:
Born in 1974, I started painting in my early teenage years. My grandfather, a studied artist and professor of art, taught me the basics of painting when I was fourteen years old. At the age of sixteen I took part in my first exhibition, by this time already focused on abstract painting to express my inner feelings. As one result of this show I was taken in by the German artist H. Rötter as a student, a cooperation that lasted until 2001. During this period of time I already developed my own style of painting, building on the solid foundation of lessons given by my teachers.
Further Education:
1993 – 1999: Degree in mathematics and physics/University of Bonn,
2001 – 2016: Teacher of mathematics and physics/Vocational college
2016 – 2018: Deputy headmistress/Vocational college
Since 2018: Headmistress/Vocational college
Inspiration and Intention :
By painting I try to express and unlock the most inner feelings of our very souls, I want to touch the observer deep inside and awaken the most intense emotions, that may lead directly to an inner connection between viewer and the painting itself. I aim for a lasting, profound effect of the pictures on the beholder. It is more important to me, to achieve a long-term effect, which I prefer to impress immediately by intense colour contrasts. With all of my pictures, I strive to create access to light, if we are ready to let ourselves in for this magical moment. In doing so, I would like to enable the viewer to gain an access to his or her inner self, to the inner light of our very souls, that can often only be achieved through feeling but not through ratio. Painting to me is a doorway to the innermost part of the human spirit, which I try to unlock with every picture anew.
Born in 1974, I started painting in my early teenage years. My grandfather, a studied artist and professor of art, taught me the basics of painting when I was fourteen years old. At the age of sixteen I took part in my first exhibition, by this time already focused on abstract painting to express my inner feelings. As one result of this show I was taken in by the German artist H. Rötter as a student, a cooperation that lasted until 2001. During this period of time I already developed my own style of painting, building on the solid foundation of lessons given by my teachers.
Further Education:
1993 – 1999: Degree in mathematics and physics/University of Bonn,
2001 – 2016: Teacher of mathematics and physics/Vocational college
2016 – 2018: Deputy headmistress/Vocational college
Since 2018: Headmistress/Vocational college
Inspiration and Intention :
By painting I try to express and unlock the most inner feelings of our very souls, I want to touch the observer deep inside and awaken the most intense emotions, that may lead directly to an inner connection between viewer and the painting itself. I aim for a lasting, profound effect of the pictures on the beholder. It is more important to me, to achieve a long-term effect, which I prefer to impress immediately by intense colour contrasts. With all of my pictures, I strive to create access to light, if we are ready to let ourselves in for this magical moment. In doing so, I would like to enable the viewer to gain an access to his or her inner self, to the inner light of our very souls, that can often only be achieved through feeling but not through ratio. Painting to me is a doorway to the innermost part of the human spirit, which I try to unlock with every picture anew.
Maria Lorena Lehman
Maria Lorena Lehman is a visionary artist, designer, and author focusing on links between architectural design, science, and emerging technologies as explored through her research-based art practice. Lehman is author of the internationally published book entitled, Adaptive Sensory Environments, which won the Silver Medal Nautilus Book Award. ArchDaily describes Maria Lorena Lehman as “one of the leading experts on delivering exceptional occupant experience through smart building design”. Her work attracts an international audience as it bridges between architectural application and universal interpretation to unlock what environments can do to benefit people in innovative ways. The work of Maria Lorena Lehman is described as "visual poetry of motion that is a new inspiration" by Daniel Smith, the company that creates watercolors for artists worldwide.
Lehman holds the degrees of Master in Design with Distinction from the Harvard University Graduate School of Design in the United States, and a Bachelor of Architecture, Cum Laude, from Virginia Tech in the United States. Lehman is recipient of the Harvard University Digital Design Prize for the “most creative use of digital media in relation to the design professions”. While at Harvard University, Lehman worked to innovate healing environments by researching at the nexus of architectural technology, digital media, and neuroscience within the Harvard Graduate School of Design, House_n. Media Lab at the Massachusetts Institute of Technology (MIT), and the Neuroscience Department of the Harvard Medical School. Lehman also studied with Professor T. Kelly Wilson during the "Drawing from Masters" course at Harvard University.
Maria Lorena Lehman is internationally published and in numerous periodicals, including The Architect's Journal, Esquisses Magazine, Architect Magazine, and Forbes. Currently, her studio work looks for new ways environments can uplift quality of life by innovating experience, which she explores deeply through her artistic process. At the heart of her work is a motivation to push the role of architecture into more proactive realms that empower people to thrive and achieve fulfillment at their highest potential. Maria Lorena Lehman has a vision for how interdisciplinary findings between architecture, science, philosophy, and emerging technology can unlock more nurturing environmental futures that she envisions as new architectural possibilities through her artworks that inspire, amaze, and delight in ways not experienced before.
Artist statement
By primarily working with painting, sculpture, and book authorship to create visionary environmental artefacts, my research-based art practice blurs boundaries by deeply bridging between architecture, science, and philosophy. I create art that explores the future of architecture and urbanism in which my vision for the future of environmental design converges with emerging science and technology to yield architectural applications and universal interpretations that help humanity thrive as we progress into our next evolution. My creative practice of painting and sculpting is very response-based as I deeply listen to the artwork “unfold” while composing the experience that it will become. Through the creation of each piece, I explore the future of architecture – not only for its aesthetic, but also for its function and deeper meaning. In turn, this also yields poetic art that has not only a purpose for architectural application, but also a greater universal interpretation for any person experiencing the work. At the core of each art piece is focus on intervention that disrupts the status quo to awaken new possibility. My creative process asks "What if?", through my research-based artworks that transform design fiction into design trajectories. My growing body of work is a continual exploration into the future of what environments can become as a practice that awakens and inspires humanity to actualize our highest potential, as individuals and as a collective so we may thrive as we progress into our next evolution.
Lehman holds the degrees of Master in Design with Distinction from the Harvard University Graduate School of Design in the United States, and a Bachelor of Architecture, Cum Laude, from Virginia Tech in the United States. Lehman is recipient of the Harvard University Digital Design Prize for the “most creative use of digital media in relation to the design professions”. While at Harvard University, Lehman worked to innovate healing environments by researching at the nexus of architectural technology, digital media, and neuroscience within the Harvard Graduate School of Design, House_n. Media Lab at the Massachusetts Institute of Technology (MIT), and the Neuroscience Department of the Harvard Medical School. Lehman also studied with Professor T. Kelly Wilson during the "Drawing from Masters" course at Harvard University.
Maria Lorena Lehman is internationally published and in numerous periodicals, including The Architect's Journal, Esquisses Magazine, Architect Magazine, and Forbes. Currently, her studio work looks for new ways environments can uplift quality of life by innovating experience, which she explores deeply through her artistic process. At the heart of her work is a motivation to push the role of architecture into more proactive realms that empower people to thrive and achieve fulfillment at their highest potential. Maria Lorena Lehman has a vision for how interdisciplinary findings between architecture, science, philosophy, and emerging technology can unlock more nurturing environmental futures that she envisions as new architectural possibilities through her artworks that inspire, amaze, and delight in ways not experienced before.
Artist statement
By primarily working with painting, sculpture, and book authorship to create visionary environmental artefacts, my research-based art practice blurs boundaries by deeply bridging between architecture, science, and philosophy. I create art that explores the future of architecture and urbanism in which my vision for the future of environmental design converges with emerging science and technology to yield architectural applications and universal interpretations that help humanity thrive as we progress into our next evolution. My creative practice of painting and sculpting is very response-based as I deeply listen to the artwork “unfold” while composing the experience that it will become. Through the creation of each piece, I explore the future of architecture – not only for its aesthetic, but also for its function and deeper meaning. In turn, this also yields poetic art that has not only a purpose for architectural application, but also a greater universal interpretation for any person experiencing the work. At the core of each art piece is focus on intervention that disrupts the status quo to awaken new possibility. My creative process asks "What if?", through my research-based artworks that transform design fiction into design trajectories. My growing body of work is a continual exploration into the future of what environments can become as a practice that awakens and inspires humanity to actualize our highest potential, as individuals and as a collective so we may thrive as we progress into our next evolution.
AKI山 (AKIYAMA)
January 2021 M.A.D.S Exhibition Milan, Italy is the first official exhibition.
March 2021 "23rd AIDS Charity Art Exhibition" held at the Kyocera Museum, received the Excellence Award.
April 2021 Group exhibition at Gallery 21 in Grand Nikko Tokyo Exhibited at "ARTRAM"
June 2021 the group exhibition "Daiba Art Market" held at Gallery 21 in Grand Nikko Tokyo
February 2022, was selected for the 27th Japanese Art Exhibition and exhibited at the Ueno Royal Museum.
When you hear about cracks, you may have a negative assocoations. This also applies to cracks caused by corona debris, or cracks in interpersonal relationships, buildings, and social conditions.
What changes when something is cracking?
If you shift your perspective how you see the cracks you will mention the positive outcome they may lead to. Cracking opens up new possibilities. And this is your chance to change the future. Through my art, I hope you can feel that the cracks may bring new positive possibilities.
March 2021 "23rd AIDS Charity Art Exhibition" held at the Kyocera Museum, received the Excellence Award.
April 2021 Group exhibition at Gallery 21 in Grand Nikko Tokyo Exhibited at "ARTRAM"
June 2021 the group exhibition "Daiba Art Market" held at Gallery 21 in Grand Nikko Tokyo
February 2022, was selected for the 27th Japanese Art Exhibition and exhibited at the Ueno Royal Museum.
When you hear about cracks, you may have a negative assocoations. This also applies to cracks caused by corona debris, or cracks in interpersonal relationships, buildings, and social conditions.
What changes when something is cracking?
If you shift your perspective how you see the cracks you will mention the positive outcome they may lead to. Cracking opens up new possibilities. And this is your chance to change the future. Through my art, I hope you can feel that the cracks may bring new positive possibilities.
Kostritskaya Anna
Was born on July 15, 1990 in Kyiv, in the family of Kyiv artists, where the artist is a mother, uncle known nonconformist Sazonov V.Z., and native aunt sculptor at the National Opera House.
The first works were acrylic prints, engravings, in which the process of studying color, the interaction of color and form took place, and in general, the development of associative thinking as the basis of art. The main point in this study was to find a way of expressing emotion and a particular state through color and form.
Her art is simple and complicated at the same time. On the one hand her works are distinguished by clarity and painterly logic, with obvious color correlations, proportion and color harmony balance. Thanks to its clarity the canvas always conveys a particular state, mood, emotion that is expressed with the help of scale and facture. All the acquired professional skills, as well as a gift that enables to play with color like with a live substance, are all important here.
The first works were acrylic prints, engravings, in which the process of studying color, the interaction of color and form took place, and in general, the development of associative thinking as the basis of art. The main point in this study was to find a way of expressing emotion and a particular state through color and form.
Her art is simple and complicated at the same time. On the one hand her works are distinguished by clarity and painterly logic, with obvious color correlations, proportion and color harmony balance. Thanks to its clarity the canvas always conveys a particular state, mood, emotion that is expressed with the help of scale and facture. All the acquired professional skills, as well as a gift that enables to play with color like with a live substance, are all important here.
Azeizah ALHASSANI
Azeizah ALHASSANI is 28 years old mix media Artist & oil and gas Eng. She is an Emirati ARTIST by night and Oil and Gas Engineer at ADNOC & TOTAL by day. She found a unique way in the mix media art, abstract art, sound art, light art with interior design and fashion art which expressing my feelings in different shape. I look to the surrounding objectives beauty, each objective she is using in my art carries within it a story and feelings mixed with my passion.
Her art work divided into many collections and the collection that travelled from UAE to FOCUS art fair Paris is from the “gold collection” that has been released in 2012 and it is ongoing. This collection contains real gold as the gold is featured with its resistance properties to changes and the value that never changes. She used its property to be reflected in different life story where past from gold that comes all the way from our simple past which gathered all the objects that reflect the simple traditional life in UAE. The texture is 3D and light art comes with this collections which creates an interaction between it and the audience. Our life filled with stories and feelings we have to let them go and transmitting this interior energy to art work is her passion.
She has conducted many exhibition in UAE in Abu Dhabi & Dubai.
Her art work divided into many collections and the collection that travelled from UAE to FOCUS art fair Paris is from the “gold collection” that has been released in 2012 and it is ongoing. This collection contains real gold as the gold is featured with its resistance properties to changes and the value that never changes. She used its property to be reflected in different life story where past from gold that comes all the way from our simple past which gathered all the objects that reflect the simple traditional life in UAE. The texture is 3D and light art comes with this collections which creates an interaction between it and the audience. Our life filled with stories and feelings we have to let them go and transmitting this interior energy to art work is her passion.
She has conducted many exhibition in UAE in Abu Dhabi & Dubai.
HIRO
Graduated Musashino Art University, short term, graphic design Member of Contemporary Artists Society, honorary member of Royal Society of British Artists, member of Japan International Artists Society
2018 Japan - France Contemporary Art World Exhibition, after beign chosen to
participate in this exhibition, started to create as professional artist.
2019 Japan - France Contemporary Art World Exhibition, won Maruman support award
2019 solo exhibition at Honen-in Temple. Exhibited at LA, Paris, Miami
2020 FOCUS Art Fair in Porto and Paris, and other.
The endless sky, and clouds.
The color and shape of the clouds are changing as season and time of the day change.
When I'm looking at the clouds I calm down.
And when you look at the refletion of this sight in the water's surface like lake, sea or river, you can see the different colors and forms. I create the unique color by layering the paint multiple times and my works show the soft gradation of oil paint or pastel.
The world is a connected sky and sea.
Thinking about your home or loved ones
When you look at the painting, you tavel to that place, and you asorb the peaceful atmosphere and feel the pleasure. Furthermore, I want you to feel the energy of the life.
And through my paintings I want you to look into your inner world and spend some time with
yourself.
2018 Japan - France Contemporary Art World Exhibition, after beign chosen to
participate in this exhibition, started to create as professional artist.
2019 Japan - France Contemporary Art World Exhibition, won Maruman support award
2019 solo exhibition at Honen-in Temple. Exhibited at LA, Paris, Miami
2020 FOCUS Art Fair in Porto and Paris, and other.
The endless sky, and clouds.
The color and shape of the clouds are changing as season and time of the day change.
When I'm looking at the clouds I calm down.
And when you look at the refletion of this sight in the water's surface like lake, sea or river, you can see the different colors and forms. I create the unique color by layering the paint multiple times and my works show the soft gradation of oil paint or pastel.
The world is a connected sky and sea.
Thinking about your home or loved ones
When you look at the painting, you tavel to that place, and you asorb the peaceful atmosphere and feel the pleasure. Furthermore, I want you to feel the energy of the life.
And through my paintings I want you to look into your inner world and spend some time with
yourself.
Lise LADOUCEUR
I obtained a diploma in 1986 after completing the Arts and Media Technology program in the province of Quebec before working for 18 years in advertising. Art has always been an important part of my life, but I’ve never fully dive into it until now.
Cellart came into my life when no other artistic means were available to create.
I only work on my cell phone, starting with my own pictures or blankscreen and then creating images that I transformed into stunning artwork. These modified pictures are only printed on premium polished acrylic which give them brilliant luminous colors and fascinating depth. With my work I am hoping to bring awareness to mental health issue.
BIG FUNKY FISH is a representation of the choice you make either to magnify your life or simply doing the same thing over&over...again.
Cellart came into my life when no other artistic means were available to create.
I only work on my cell phone, starting with my own pictures or blankscreen and then creating images that I transformed into stunning artwork. These modified pictures are only printed on premium polished acrylic which give them brilliant luminous colors and fascinating depth. With my work I am hoping to bring awareness to mental health issue.
BIG FUNKY FISH is a representation of the choice you make either to magnify your life or simply doing the same thing over&over...again.
Meg Ozono
Born in 1973 and currently lives in Tokyo
2014 World's first photo jewelry art announced
2015.2016 Ginza Gallery, Isetan Mitsukoshi Department Store Solo Exhibition
2017 Milano Salone, Italy Exhibited at the Triennale Design Museum as "Japanese Takumi"
Solo exhibition in Paris
2018 21st Century Museum of Contemporary Art, Kanazawa, Ueno Royal Museum Exhibition
Solo exhibition in Paris
2019 Vienna Schoenbrunn Palace Exhibition
Exhibited in Abu Dhabi, Paris
2020 France Paris Grand Palais "Le Salon" Selected Exhibition
The universe I see through a lens is one that is sparkling with light. As I press the shutter, my eyes naturally well up with tears. I understood how looking at something so beautiful can make a person cry. The unassuming light was a blessing that made my spirit blossom. I want to produce that wondrous sparkle that isn't captured in a photo! It was from this emotion that I started to arrange pieces of jewelry on photos. In photos that emit light and radiance, I set jewels and Swarovski, making the image even
more dazzling. As if you've plunged into your dream...filling it with thoughts of love... Continuing to face the world before me, I want as many people to see it as possible. I'd be blessed for you to be a part of the overflowing light and love in this endless experience.
2014 World's first photo jewelry art announced
2015.2016 Ginza Gallery, Isetan Mitsukoshi Department Store Solo Exhibition
2017 Milano Salone, Italy Exhibited at the Triennale Design Museum as "Japanese Takumi"
Solo exhibition in Paris
2018 21st Century Museum of Contemporary Art, Kanazawa, Ueno Royal Museum Exhibition
Solo exhibition in Paris
2019 Vienna Schoenbrunn Palace Exhibition
Exhibited in Abu Dhabi, Paris
2020 France Paris Grand Palais "Le Salon" Selected Exhibition
The universe I see through a lens is one that is sparkling with light. As I press the shutter, my eyes naturally well up with tears. I understood how looking at something so beautiful can make a person cry. The unassuming light was a blessing that made my spirit blossom. I want to produce that wondrous sparkle that isn't captured in a photo! It was from this emotion that I started to arrange pieces of jewelry on photos. In photos that emit light and radiance, I set jewels and Swarovski, making the image even
more dazzling. As if you've plunged into your dream...filling it with thoughts of love... Continuing to face the world before me, I want as many people to see it as possible. I'd be blessed for you to be a part of the overflowing light and love in this endless experience.