BELA Biennial 2021 by Helena Cardoso

Helsinki 2021

BELA BELA BIENNIAL BIENNIAL OF OF EUROPEAN EUROPEAN AND AND LATIN LATIN AMERICAN AMERICAN CONTEMPORARY CONTEMPORARY ART ART Kaapelitehdas Kaapelitehdas -- Cable Cable Factory Factory 1

BELA BIENNIAL OF EUROPEAN AND LATIN AMERICAN CONTEMPORARY ART Kaapelitehdas - Cable Factory Helsinki 2021

Painotalo: Kirjapaino Välikangas https://valikangas.fi

Taiteilijat Ademar Galvão [8] Adilson Barbosa [10] Adriano Antoine [12] Aino Ulmanen [14] Alda Picone [16] Alexandre Pinhel [18] Almir Reis [20] Alzira Chaloub [22] Amanda Sanzi [24] Ana Paula Lopes [26] Ana Silva Kariri [28] Ângela Vielitz [30] Anna Järvinen [32] Anna Kaarina Nenonen [34] Annukka Visapää [36] Antonia Celia [38] Antti Minkkinen [40] Antti Raitala [42] Anu Nirkko [44] Bela Czitrom [46] Beré Magalhães [48] Carita Maury [50] Carmen Thompson [52] Carol Couri [54] Claudiah Arantes [56] Claudiana Loureiro [58] Cota Azevedo [60] Damiana Siqueira [62] Dan Palmgren [64] Daniele Bloris [66] Diego Mendonça [68] Edilton Gomes [70] Edith Rizzo [72] Eija Keskinen [74] Elisa Daart [76] Erja Laakkonen [78] Fabu Pires [80] Francelino Mesquita [82] Francisco Schönmann [84] Gerard Laurence [86] Goretti Gomide [88] Gui Mazzoni [90] Hanna Uggla [92] Hanna Varis [94] Iria Čiekča Schmidt [96] Isabella Leme [98] Itamar Xavier de Camargo [100]

Artists Ivo A. Almico [102] Jari Järnström [104] Jertta Ratia [106] Joni Ahonen [108] José Vasconcellos [110] Joseph Figorelle [112] Juarez Leitão [114] Judith Paone [116] Jussara Santos [118] Karol Schittini [120] Kirsti Tuokko [122] Kristina Elo [124] Laura Pohjonen [126] Lemuel Gandara [128] Liana González [130] Liisa Björn [132] Linda Achar [134] Luah Jassi [136] Luiz Macedo [138] Lupu (Bogdan Lupu) [140] Maaria Märkälä [142] Maarit Malin-Pötry [144] Madonna Domingos [146] Maj-Lis Tanner [148] Mara Pozetti [150] Márcia Chagas Duque [152] Marcus Amaral [154] Mari Isotalo [156] Maria Amélia Fonseca [158] Maria Esmênia [160] Marianne Blomqvist [162] Mariella Rauhala [164] Mariette Van de Sande Silveira [166] Marikka Kiirikoff [168] Marilu Andrasan [170] Marja Hakala [172] Marja Maljonen [174] Marjukka Paunila [176] Markku Juhani Rantala [178] Marko Viljakka [180] Mauro Trincanato - MATЯI’ [182] Maximílian Rodrigues [184] Merja Hujo [186] Mika Törrönen [188] Minna Herrala [190] Minna Jatkola [192] Mona Hoel [194]

Artistas Monsyerrá Batista [196] Nina Wiskari [198] Nonna-Nina Mäki [200] Panu Ruotsalo [202] Patricia Rachel (Patylene) [204] Paula Mikkilä [206] Paula Rocha [208] Pedro Kubitschek [210] Petri Anttonen [212] Piippa Mutikainen [214] Päivi Kukkasniemi [216] Päivyt Niemeläinen [218] Rafael Agostini [220] Rafael Lucchesi [222] Ragnaia Coutinho [224] Raija Kuisma [226] Rasmus Förster [228] Reijo Puranen [230] Riikka Ahlfors [232] Roberto Gallo [234] Roberto Negri [236] Rodrigo Cid [238] Rogerio Mariano [240] Rosa de Jesus [242] Rubia Viegas [244] São Matthias Nunes [246] Seppo Lagom [248] Sirkka Laakkonen [250] Sirpa Heikkinen [252] Smolov Maxim [254] Sonnia Guerra [256] Soraya Kolle [258] Stela Barreto [260] Susanna Hotari [262] Tarja Tella [264] Taru Tomperi [266] Teresa Asmar [268] Tytti Götsch [270] Ulla Remes [272] Ulla-Maija Vaittinen [274] Umberto Nigi [276] Ursula Kianto [278] Vera Goulart [280] Vinícius Gomes [282] Wilma Touru [284]

BELA

- Biennial of European and Latin American contemporary Art Theme of the BELA Biennial, in this fifth edition, is sustainability, aiming to show the public the importance of preserving nature, with a series of works in different artistic styles verified in contemporary times, promoting a cultural dialogue between European and Latin American art. The set of works selected to participate in the exhibition aims to offer a representative overview of the main trends in contemporary art practiced today in both continents. The theme of the works will be highlighted in the perspective of showing what is being produced in terms of contemporary art, having nature as a basis for creation, showing the artists’ concern to preserve nature.

Tämän viidennen BELA-biennaalin teemana on kestävä kehitys, jonka tarkoituksena on osoittaa suurelle yleisölle luonnon säilyttämisen merkitys kokonaisuudessaan. Näyttelyyn osallistuvien töiden joukko pyrkii tarjoamaan edustavan yleiskuvan nykytaiteen keskeisistä suuntauksista molemmilla mantereilla sekä luoda vuoropuhelu eurooppalaisen ja latino amerikkalaisen taiteen välillä. Teoksissa korostuu luomisen perustana oleva luonto ja se huoli mikä taiteilijoilla on sen säilymisestä.

A BELA Bienal, nesta quinta edição, vem com o tema Sustentabilidade, com objetivo de mostrar ao público em geral a importância de se preservar a natureza como um todo, com uma série de trabalhos em diferentes estilos artísticos verificados na contemporaneidade, promovendo um diálogo cultural entre a arte europeia e a arte latino-americana. O conjunto de trabalhos selecionados para participar da mostra, visa oferecer um panorama representativo das principais tendências da arte contemporânea praticadas hoje em dia nos dois continentes. O tema dos trabalhos será destacado na perspectiva de mostrar o que está sendo produzido em termos de arte contemporânea, tendo a natureza como base de criação, mostrando a preocupação dos artistas em preservar a natureza.

Haluamme kiittää kaikkia, jotka ovat auttaneet toteuttamaan tämän näyttelyn: Ensinnäkin kaikkia taiteilijoita Gostaríamos de agradecer a todos que nos ajudaram a realizar esta exposição: Em primeiro lugar, todos os artistas We would like to thank you all, who has helped us to realize this exhibition: First of all, all the artists and Miriam Yvone Matos Alves, Flavia Rodrigues de Almeida, Marta Maria Manassero, Bernardo de Barros Arribada, Antonio Carlos Pereira Alves, Fabio de Deus, Cable Factory, Embaixada da Finlândia em Brasília, Consulado da Finlândia no Rio de Janeiro, Centro Cultural Correios do Rio de Janeiro, Espaço Cultural Correios de Niterói, Centro Cultural Correios São Paulo, Museu Correios Brasília, CITTA Office Mall, Ednor Medeiros, Denise Anne, Neville D´Almeida, Solange Greco, Helena Severo Kiitos! – Obrigada! – Thank you! Helena & Edson Cardoso

Project Team Jari Järnström

curador / curator / kuraattori

Edson Cardoso

curador / curator / kuraattori produção / production / tuotanto

Helena Cardoso

coordenação geral / coordination / koordinointi

Victor Vicente

produção nacional / national production / paikallinen tuotanto

Thiago Bomfim

produção nacional / national production / paikallinen tuotanto

Karol Araújo

produção nacional / national production / paikallinen tuotanto

Eeva Kulmala

produção nacional / national production / paikallinen tuotanto

Sami Luoto layout / taitto

Ailton de Oliveira design

Gloria Chan

projeto social / social project

Carmen Thompson

projeto social / Social project

Karol Araújo marketing

Victoria Domingues marketing

Ademar Galvão F Brazil

Having started his studies as a self-taught and improved his training in studios of teachers and visual artists in Rio de Janeiro, he was very influenced by the works of Nicolas de Stael and Paul Klee. His passage through the Air Force as a fighter aviation pilot and childhood games have a great influence on his work, either by the constant presence of colorful aircraft and kites, or by placing the observer with a superior view on his city landscapes. The simplification of forms is the most seductive expression of Ademar’s work. With its own characteristics and sensitive vision in the use of color, the geometric abstract style prevails in his paintings. Its influences are explicit, but its translation into his own calligraphy and formalism is visible, with little saturated colors and shades in the gray scales.

Tendo iniciado seus estudos como autodidata e aperfeiçoado sua formação em ateliês de professores e artistas plásticos no Rio de Janeiro, foi muito influenciado pelas obras de Nicolas de Stael e Paul Klee. Sua passagem pela Força Aérea como piloto de aviação de caça e as brincadeiras de infância têm grande influência sobre seus trabalhos, seja pela constante presença de aeronaves e pipas coloridas, ou ao colocar o observador com visada superior em suas paisagens de cidades. A simplificação das formas é a expressão mais sedutora da obra de Ademar. Com características próprias e sensível visão no emprego da cor, prevalece em suas pinturas o estilo abstrato geométrico. Suas influências são explícitas, mas é visível sua tradução para uma caligrafia e um formalismo próprios, com coloridos pouco saturados e nuances de sombras nas escalas de cinzas.

Biplano Colorido 70 x 60 cm akryyli kankaalle / acrylic on canvas / acrílico sobre tela 2020

Adilson Barbosa

Brasil amaral1990@yahoo.com.br Instagram: adilsonbarbosart My investigations and studies in art have been following trajectories which influence the thematic of the Brazilian people’s cultural upbringing, deeply influenced by African culture during Brazil’s construction. Through searching the materials I use in art, I look for particular ways to express its psychological, magical and anthropological content. I also try to have a reflective view about art. A language which touches from the mystical and symbolic into the non symbolic, inside a broad idea of contemporaneity. Also, connected to the emerging movements coming from the peripheries of our city, as singular languages in music and art: (e.g. Graffiti). All these events in turbulence, approach social issues of disparity and violence, which come across in the communities. This way, I also build a space for investigating art.

As minhas pesquisas e estudos em arte, vem seguindo trajectórias que influem a temática da formação cultura, do povo brasileiro, profundamente influenciando pela cultura africana na construção e formação do Brasil. Procuro nos materiais que uso em arte, uma maneira própria de expressar os seus conteúdos psicológicos, mágicos e antropológicos. E também ter um olhar reflectivo sobre a arte. Uma linguagem que abranja desde o místico e simbólico ao não simbólico, dentro de um amplo conceito de contemporaneidade. Também, ligado aos movimentos emergentes que surgem nas periferias da nossa cidade, como linguagens singulares, nas áreas de arte . Todos esses acontecimentos que fervilham, vem ao enfoque de problemas da desigualdade social e a violência, que permeiam nestas comunidades. Faço também assim um campo de pesquisa de arte.

Esperança / Hope 83 x 76 cm técnica mista / mixed technique 11

Adriano Antoine 1968 – The Netherlands Photographer, scientist, language teacher, started his active life as a scientist. He obtained his PhD degree in Biomedical Sciences in 2010. At present, he teaches Dutch, Flemish and English online. As a scientist, he has obtained broad experience in microscopical techniques and digital imaging. This experience has grown his interest in the artistic aspects of photography. He has been living in Brazil since late 2004, and has translated his interest for Brazilian nature and culture in a wide variety of photographic images, with emphasis on reflections and shapes. Adriano Antoine has participated in the 2019 BELA Biennal in Rio de Janeiro.

1968 - Holanda Fotógrafo, cientista, professor de línguas, iniciou a sua vida ativa como cientista. Ele obteve seu doutorado em Ciências Biomédicas em 2010. Atualmente, ele ensina holandês, flamengo e inglês online. Como cientista, ele obteve ampla experiência em técnicas microscópicas e imagens digitais. Esta experiência aumentou o seu interesse pelos aspectos artísticos da fotografia. Morando no Brasil desde o final de 2004, traduziu seu interesse pela natureza e cultura brasileira em uma grande variedade de imagens fotográficas, com ênfase em reflexos e formas. Adriano Antoine participou da Bienal BELA 2019, no Rio de Janeiro.

Reflection of solitude 2014

Aino Ulmanen

https://kuvataiteilijamatrikkeli.fi/taiteilija/aino-kyllikki-ulmanen Elämän ja luonnon kiertokulku Löysin tuhkan 2008, kun nuohooja kävi ja veti leivinuunin hormista tuhkat ulos. Onneksi satuin olemaan samaan aikaan paikalla. Silloin sain oivalluksen, että musta noki on minun juttuni. Ajattelin, että tuosta teen maalia. Se oli näynomainen hetki. Tuhkaa ja liitua yhdistämällä saa luonnonmukaista pigmenttiä. Liitujauhoa käyttämällä tuhkaa voi vaalentaa, silloin siihen saa erilaiset valoorit. Kaadan itse puuta omalta mäeltäni ja kuivatan sekä poltan puut. Siellä kasvaa monenlaisia puita; leppä, haapa, kuusi, mänty, kataja ja tietenkin koivu. Saarnia sain Ahvenanmaalta ja lehtikuusta ystävältäni. Vaahtera ei mäelläni kasva. Eräs ystäväni poltti vaahteraa ja toi minulle pussillisen valmista tuhkaa. Eri puumateriaalista saa monia erilaisia sävyjä. Ekologisuus on minulle tärkeää, siksi haluan toimia niin, että teen ruuan ja lämmitän talon puilla, siitä syntyneestä tuhkasta teen maalin. Tuhkan käyttäminen on myös taloudellisesti iso juttu. Siinä toteutuu hyvällä tavalla elämän ja luonnon kiertokulku. Monien töitteni teemana on ilmaston lämpenemisen aiheuttama muutos luonnossa. Teema on vakava, elämän ja kuoleman kolmiyhteyden leikki: liike, vesi, tuhka. Kun työskentelee tuhkan kanssa, sitä on silloin perimmäisen ihmisyyden äärellä. Oleellista on myös kuunnella sisintään. Ajattelu on näkemistä. Kun aloitan uuden työn, joskus saan sen valmiiksi saman päivän aikana. Se jotenkin räjähtää kankaalle. Kun maalaan, en ajattele mitään, se vie mennessään.

The cycle of life and nature I found the ash in 2008 when a soot blower visited and pulled the ashes out of the oven flue. Luckily, I happened to be there at the same time. That is when I got the idea that black soot is my thing. I thought I would make a paint out of that. It was a visionary moment. Combining ash and chalk gives a natural pigment. By using chalk flour, the ash can be lightened. I fell wood myself from my own hill and dry and burn the trees. There are many kinds of trees growing there, alder, aspen, spruce, pine, juniper and of course birch. I got the ash from Åland and larch from my friend. The maple does not grow on my hill. A friend of mine burned maple and brought me a bag of finished ash. Many different shades of colour are available from different wood materials. Ecology is important to me, which is why I want to cook and heat the house with trees, from the ashes that come from it I make paint. Using ash is also a big deal financially. It realizes the cycle of life and nature in a good way. The theme of many of my works is the change in nature caused by global warming. The theme is a serious, life-and-death triad: movement, water, ash. When you work with ashes, it is then on the brink of ultimate humanity. It is essential to also listen to the inner self. Thinking is seeing. When I start a new job, sometimes I get it done in the same day. It somehow explodes on the canvas. When I paint, I do not think anything, it takes with it. 14

Soitimella / Lek akryyli kankaalle pigmenttinä tuhka ja noki acrylic on canvas, ash and soot as pigment 2020 15

Alda Picone She was born and lives in Bolzano where she paints in her art studio. He made his debut in 1994 with watercolors, exhibiting his landscapes, mountains, woods and ancient farmhouses of Trentino Alto Adige. The compositions make use of vivid contrasts in the colors and chiaroscuro that determine the brightness and transparency of the image. Later, in her artistic career, she approached oil and acrylic painting, also with abstract works full of colors, with good results. His works are very different from each other: in fact, he passes from landscapes, to flowers, to abstracts depending on the inspiration of the moment: a tribute to experimentation because each theme generates infinite variations. President of the ”Club Arcimboldo” Association of Bolzano, she has been and is the curator of numerous exhibitions by local artists and impromptu pictorial events. Various exhibitions such as solo and group exhibitions, nationally and internationally: It is present in numerous catalogs of group exhibitions and in local and non-local press articles. Castles are a feature of the area where I live. We must continue to protect these riches so that a part of our history is not lost through pollution.

E’ nata e vive a Bolzano dove dipinge nel suo studio d’arte. Esordisce nel 1994 con gli acquerelli esponendo i suoi paesaggi, montagne, boschi e antichi casolari del Trentino Alto Adige. Le composizioni si avvalgono di contrasti vivaci nelle tinte e nel chiaroscuro che determinano luminosità e trasparenza dell’immagine. Successivamente, nel suo percorso artistico, si è avvicinata alla pittura ad olio e ad acrilico, anche con opere astratte piene di colori, con buoni risultati. Le sue opere si differenziano molto fra loro: infatti passa dai paesaggi, ai fiori, agli astratti a seconda dell’ispirazione del momento: un elogio alla sperimentazione perché ogni tema genera infinite variazioni. Presidente dell’Associazione “Club Arcimboldo” di Bolzano, è stata ed è curatrice di numerose mostre di artisti locali e di eventi pittorici estemporanei. Diverse le esposizioni come mostre personali e collettive, a livello nazionale ed internazionale: E’ presente in numerosi cataloghi di mostre collettive e in articoli di stampa locale e non. I castelli sono una caratteristica del territorio in cui vivo. Bisogna continuare a tutelare queste ricchezze affinchè non si perda con l’inquinamento una parte della nostra storia. 16

Castello / Castle / Linna 80 x 70 cm acrilico / acrylic / akryyli 2017 17

Alexandre Pinhel

Engineer and neo-expressionist Visual Artist Alexandre Pinhel (Instagram @alexandre.pinhel) is an engineer and neo-expressionist visual artist. He seeks to create aesthetics from discarded materials and solid waste that are transformed from the use of hot air or fire and then joined by chemical, mechanical, or thermal methods. Packaging, bottles and plastic bags, broken pieces of glass, mirrors and ceramics, furniture parts, woods, leaves, stones, metal pieces in general, are examples of the type of material used. The transformation must ensure that the processed material is not identified by the observer, who should be surprised to be informed about the secret. An important aspect of the work is in the chosen name that must cause curiosity and suggest a story that will be imagined from the appreciation of the object. His last exhibition, Unsustainable Nonsense, is virtual and can be seen on YouTube. Alexandre Pinhel (Instagram @alexandre.pinhel) é um engenheiro e artista plástico neo-expressionista. Ele procura criar estética a partir de materiais descartados e resíduos sólidos que são transformados a partir do uso de ar quente ou fogo e, em seguida, unidos por métodos químicos, mecânicos ou térmicos. Embalagens, garrafas e sacolas plásticas, pedaços de vidro quebrado, espelhos de cerâmica, móveis, madeiras, folhas, pedras, peças de metal em geral são exemplos do tipo de material utilizado. A transformação deve garantir que o material processado não seja identificado pelo observador, que deve se surpreender ao ser informado sobre o segredo. Um aspecto importante do trabalho está no nome escolhido, que deve causar curiosidade e sugerir uma história que será imaginada a partir da apreciação do objeto. Sua última exposição, Absurdos Insustentáveis, é virtual e pode ser vista no YouTube.

Homecoming / Volta para casa 53 x 43 cm waste material 2020 19

Almir Reis

www.almirreis.com @almirreisarte (5521) 99907-4100 Almir Reis, Brasilian from São Paulo, currently divides his time between Rio de Janeiro and Lisbon. Restless and creative, he loves to test new experiences in montages, collages and reproductions, developing the image achieving a sensitive result and with authorial identity. He started his photographic work in 2000 and today has in his curriculum exhibitions in different parts of the world like Munich, Paris, Tokyo, Buenos Aires, Washington, Islamabad, São Paulo and Rio de Janeiro. Now with the series “Dives” Almir explores images and angles, adding technological resources, causing unusual and indigent results – inventing and reinventing.

Almir Reis, brasileiro de São Paulo, atualmente divide o seu tempo entre o Rio de Janeiro e Lisboa. Inquieto e criativo, adora testar novas experiências em montagens, colagens, cores e reproduções, desenvolvendo a imagem, atingindo um resultado sensível e de identidade autoral. Iniciou o seu trabalho fotográfico em 2000 e hoje tem em seu currículum exposições em diversas partes do mundo, como Munique, Paris, Tóquio, Buenos Aires, Washington, Paquistão, São Paulo e Rio de Janeiro. Agora, com a série ”Mergulhos”, Almir explora imagens e ângulos, adicionando recursos tecnológicos, provocando resultados inusitados e instigantes - inventando e reinventando. 20

Ice-Skating In Ipanema 150 x 100 cm mixed technique photography with adhesive on 3 mm acrylic plate 2019 / 2021

Alzira Chaloub RJ, doctor, visual artist, uses Drawing, Collage, Oil and acrylic painting, Porcelain, Watercolor. He bases his creation: free courses, Escola Artes Parque Lage RJ, Aquarela Dulce Nascimento, Hyper-realist E. Bork. It produces acrylic paintings in expressionist and figurative style, ink drawings, watercolors. Collective exhibitions in galleries in Rio de Janeiro, MBLOIS, PopUp Art, Arte e Vida, AVA, 30th SBBA RJ Salon; and International, Japan, Helsinki, NY, France, Berlin. Publications: Revista Arte & Estilo (2017 and 2019), BRAZIL Connection in Europe Art Catalog (2019), Artrilha virtual magazine 2nd Edition (Dec / 2020), ”Be Arte” virtual magazine 2nd edition (Dec / 2020). His work translates a different look at Nature, uses copyrighted photos and strong colors, symbolic images, unleashing a certain mystery and imagination in the viewer.

ALZIRA CHALOUB, RJ, medica, artista plástica, usa Desenho, Colagem, Pintura a óleo e acrílica, Porcelana, Aquarela. Baseia sua criação: cursos livres, Escola Artes Parque Lage RJ, Aquarela Dulce Nascimento, Hiperrealista E. Bork. Produz telas em Acrílico em estilo expressionistas e figurativas, desenhos em nanquim, aquarelas. Exposições coletivas em galerias no Rj , MBLOIS, PopUp Art, Arte e Vida, AVA, 30o Salão da SBBA RJ; e Internacionais, Japao , Helsink, NY, França, Berlim. Publições: Revista Arte & Estilo (2017 e 2019), BRAZIL Connection in Europe Art Catalog (2019),Artrilha revista virtual 2ª Edição (dez/2020), ”Be Arte“ revista virtual 2ª edição (dez/2020) .Sua obra traduz um olhar diferenciado sobre a Natureza, usa fotos autorais e cores fortes, imagens simbólicas, deflagrando certo mistério e imaginação no expectador.

Jardim dos Platicelium 1 / Garden of Platicelium 1 100 x 100 cm tela em acrílico / acrylic on canvas 2019 23

Amanda Sanzi

www.amandasanzi.com 55 (11) 98191-0802 Instagram @amandasanzi.arts hashtag #amandasanziarts www.facebook.com/amanda.sanzi.9 @AmandaSanzi | Linktree @amanda.sanzi

Poetic The artist Amanda Sanzi, in her works, seeks inspirations in organic forms and contemporary architectures of sinuoso movements curved and helical in a connection of fluidity, expressiveness and seduction. The artist’s language incorporates sinuosity, free flow, smooth of chromatic and territorial overlays constituted and characterized through its metallic palette, that defines tonality, depth, light and shadow, determining factors in the liveliness and sumptuousness of her works.

Poética A artista Amanda Sanzi, em suas obras, busca inspirações em formas orgânicas e arquiteturas contemporâneas de movimentos sinuosos, curvos e helicoidais em uma conexão de fluidez, expressividade e sedução. A linguagem da artista incorpora a sinuosidade, fluxo livre, fluídos de sobreposições cromáticas e territoriais, constituídas e caracterizada através de sua paleta metálica que define a tonalidade, profundidade, luz e sombra, fatores determinantes na vivacidade e suntuosidade de suas obras.

Biografia The contemporary artist, Amanda Sanzi, grew up in the studio of her father, craftsman and designer of lampshades, who participated in productions exported to Europe in the 1980s. With her natural skill and artistic vein she directed her senses. In addition to her post-graduate degree in Marketing, she studied Art History, among various courses. She participated in renowned national collective exhibitions and this year 2021, is scheduled her first International Exhibition in Finland with the theme Sustainability. In 2020, she had her work catalogued in the Art Yearbook. Currently she has an art column in Dolce Morumbi Magazine in which biweekly, she writes articles with themes on the history of art. The self-taught artist reinvented herself by experimenting with various painting techniques on canvases, sharing her feelings in the most perfect sinuose curves and organic shapes, disusing in metallic colors, contrasts and chromatic overlays. A artista contemporânea, Amanda Sanzi, cresceu no ateliê de seu pai, artesão e designer de abajures, que participou de produções exportadas para a Europa na década de 80. Com sua habilidade natural e veia artística direcionou seus sentidos. Além de sua pós-graduação na área de Marketing, cursou História da Arte, entre diversos cursos. Participou de renomadas exposições coletivas Nacionais e este ano de 2021, está programada para sua primeira Exposição Internacional na Finlândia com tema o Sustentabilidade. Em 2020, teve seu trabalho catalogado no Anuário de Arte. Atualmente possui uma coluna de arte na Revista Dolce Morumbi em que quinzenalmente, escreve artigos com temas sobre a história da arte. A artista autodidata se reinventou experimentando de diversas técnicas de pintura sobre telas, compartilhando seus sentimentos nas mais perfeitas curvas sinuosas e formas orgânicas, ousando nas cores metálicas, contrastes e sobreposições cromáticas. 24

“Em gritos repetitivos na tentativa do mundo de discernir pelo menos os ecos implícitos, abstratos em formas orgânicas.” Artista Amanda Sanzi. ”In repetitive screams in the world’s attempt to discern at least the implicit echoes, abstract and in organic forms.” Artist Amanda Sanzi.

Triptych Echoes 1, 2, 3 240 x 100 cm mixed acrylic on canvas May, 2021 25

Ana Paula Lopes Ana Paula Lopes is an artist whose work includes painting, performance, directing, acting, music and education. Theater teacher at CEFET Maracanã for tennagers; gratuated in Visual Art and Philosophy (PUC); Body Preparation for the Actor (Angel Vianna) and Masters in Theater (Unirio). Her most recent works are the performance The tread line in partenership with the New School (2019) and the exibitions Ovárias (2019), Coexistência (2018), Descomeço (2017) and Reverso (2016), among others. Her research investigates the relashioships between materiality and the ephemeral of existence “If in everyday life - what they call disbelief or the world’s bad joke - the abstract seems anemic in so much concrete, Ana Paula Lopes bravely offers guerrilla color in a gray reality. And behold, the ground finally breaks with the scent of a new and more human day.” (Rafael Teixeira) Ana Paula Lopes é uma artista cujo trabalho abrange pintura, performance, direção. atuação, música e educação. Professora de teatro do CEFET Maracanã, formada em Artes Visuais (UFRJ) e Artes Cênicas (Unirio), tem especialização em Arte e Filosofia (PUC), Preparação Corporal para o ator (Angel Vianna) e Mestrado em Teatro (Unirio). Seus mais recentes trabalhos são a performance The tread line em pareceria com a New School (NY/ 2019) e as exposições Ovárias (2019), Coexistência (2018), Descomeço (2017) e Reverso (2016), entre outras. A sua pesquisa investiga as relações entre a materialidade e o efêmero da existência: “Se no cotidiano - aquilo que chamam por descrença ou piada de mau gosto do mundo o abstrato parece anêmico sob tanto concreto, Ana Paula Lopes oferece, corajosa, cor guerrilheira numa realidade cinzenta. E eis que enfim o chão se rompe com o perfume de um dia novo e mais humano.” (Rafael Texeira) 26

Como sustentar o insustentável? 144 x 43 cm acrylic and pastel on canvas 2020 27

Ana Silva Kariri Instagram @anasilvakariri Email: anasilvakariri@gmail.com Contato: (21) 97984-7483 Ana Silva Kariri is part of the old Kariri of Paraíba. Art Educator, Teacher and indigenous leader of the Kariri ethnic group in Paraíba. When making her way back to her territory, the artist rediscovers the colors of the land, the plants, the flowers of the Caatinga and brings to her art the reading of the beauty of her territory. With this, she develops techniques and uses the paints extracted from the elements of nature, the flowers of the sertão and the richness of the colors of the lands found in the territory of Paraíba. She uses genipap, charcoal and annatto, developing a catalog of natural paints; but, she also creates her canvases with acrylic paint. Through research and mapping the territory of her people, the artist has developed a reading of rock art, which tells the story of her people, from the Sertão of Paraíba to the Serra da Capivara. Through art and poetry of resistance, Ana Silva Kariri strengthens the record and memory of her people and brings to the spaces of art, the cultural wealth of the indigenous people of the Northeast of Brazil.

Ana Silva Kariri faz parte dos Kariri velhos da Paraíba. Arte Educadora, Professora e liderança indígena da etnia Kariri da Paraíba. Ao fazer o caminho de volta para seu território, a artista redescobre as cores da terra, das plantas, das flores da Caatinga e traz para sua arte a leitura da beleza do seu território. Com isso, desenvolve técnicas e utiliza as tintas extraídas dos elementos da natureza, das flores do sertão e da riqueza das cores das terras encontradas no território paraibano. Utiliza o jenipapo, carvão e urucum, desenvolvendo assim um catálogo de tintas naturais; mas, cria suas telas também com tinta acrílica. Por meio de pesquisas e mapeamento do território do seu povo, a artista tem desenvolvido a leitura da arte rupestre, esta que conta a história do seu povo, desde o Sertão da Paraíba até a Serra da Capivara. Através da arte e poesia de resistência, Ana Silva Kariri fortalece o registro e a memória do seu povo e traz para os espaços da arte, a riqueza cultural dos povos indígenas do Nordeste do Brasil.

Uká- Grafismo indígena 20 x 20 cm

Ângela Vielitz THE AGGRESSORS and THE WIND The artist Ângela Vielitz uses her authorial photographic record made on trips and journeys through places where she goes as material for her creative process. It consists of moments abstracted by her gaze, which captures reflections, shadows, remains, architectures, transparencies, seas, rivers, skies, trees, among so many other forms of nature, bodies of times and colors crossed by noisy voids that the artist registers to reconstruct into new landscapes. The printed photographs are cut out and readjusted with other materials, such as different fabrics impregnated with earth and ink, threads, and leftover materials. In a gesture of tearing and composing, the artist's work continuously structures volumes, creates forms and gives life to new horizons for her poetic narrative. Her work is always about this stretching that wastes time by adjusting a gesture in order to better express both herself and the world. As in a chessboard, the works of the series “Os Agressores” [The Aggressors] (which deals with the neglect of nature, constantly attacked and disrespected), oppose the works of the series “O Vento” [The Wind] (which deals with the conscience of mankind, in an effort to save this same nature with sustainable energy), the artist tries to establish a dialogue that plays with the different realities. These processes present a well-built and powerful aesthetic that induces the viewer to pause and reflect, in a movement in the face of the work’s smooth language and strong narrative essence. OS AGRESSORES e O VENTO A artista Ângela Vielitz, tem no registro fotográfico autoral feito em viagens e percursos por lugares onde passa, a matéria para seu processo criativo. São instantes abstraídos pelo seu olhar que apreende, reflexos, sombras, restos, arquiteturas, transparências, mares, rios, céus, arvores, entre tantas outras naturezas, corpos de tempos e cores atravessados por vazios ruidosos que a artista registra para reconstruir suas novas paisagens. As fotografias impressas são recortadas e reajustadas com outros materiais, como diferentes tecidos impregnados de terra e tinta, linhas e sobras. Num gesto de rasgar e compor, o fazer continuo da artista, estrutura volumes, cria formas, da vida a novas composições de horizontes para sua narrativa poética. Todo o trabalho é sempre sobre este alongamento que perde tempo, no ajustar de um gesto para melhor dizer de si e do mundo. Como em um tabuleiro, os trabalhos da série “Os Agressores” (sobre o descaso a natureza, constantemente agredida e desrespeitada), contrapõem os trabalhos da série “O Vento” (sobre a consciência do homem, num esforço para salvar esta mesma natureza com energia sustentável), a artista tenta estabelecer um diálogo que joga com as diferentes realidades. Estes processos com uma estética bem construída e potente, induzem o espectador a um tempo de parada e reflexão, num movimento diante de sua linguagem suave, mas não menos forte em sua essência narrativa. Meg Tomio Roussenq artista visual / orientadora e curadora visual artist / art advisor and curator 30

O Vento / The Wind 50 x 56 cm foto-colagem com tecido 2021 31

Anna Järvinen Taiteellinen työskentely on minulle tila, jossa tarkempi näkökyky syrjäyttää ajan ja paikan. Tähän prosessiin kuuluu leikkiminen, tuhoaminen, luopuminen, keskeneräisyys, hyväksyntä, uhma ja uteliaisuus. Minua kiehtoo loputtomasti ristiriidat ja ihmiselon suuret ikiaikaiset kysymykset ja alkukantaiset tuntemukset. Henkilökohtaiset elämykset sekä kokemukset ovat usein työni lähtökohta yhdessä luonnostelemattomuuden kanssa. Materiaalivalintani ovat tartuntapinta sekatekniikalla toteuttamiin maalauksiini ja veistoksiini. Työskentelyni on eläimellistä tanssia, eikä liikerataani voi pysäyttää. Olen työskennellessäni ehdottoman ekspressiivinen ja läsnäoloni on puhdasta vapautta. Lopputulos, taideteos, on se mitä tästä kaikesta syntyi - tai jäi jäljelle.

For me, artistic work is a space where more accurate vision displaces time and place. This process includes playing, destroying, giving up, unfinished, acceptance, defiance, and curiosity. I am endlessly fascinated by the contradictions and great eternal questions and primitive feelings of human life. Personal experiences and feelings are often the starting point of my work along with the unsketching. My material choices are the adhesive surface for my paintings and sculptures made with mixed media. My work is an animal dance, and my trajectory cannot be stopped. I am absolutely expressive when I work and my presence is pure freedom. The end result, a work of art, is what was born of all this - or left. 32

Vähän alle puolet kauneutta

101 x 94 cm

mixed media on canvas

2021

Anna Kaarina Nenonen Taideteos ei ole kuva kokemuksesta, se on kokemus Jos voisin sanoa sen sanoin, minun ei tarvitsisi maalata. Uskon taiteen transformatiiviseen voimaan. Usein tapahtuu pettymyksiä ja joskus onnellisia onnettomuuksia, koska prosessi sinänsä ohjaa silmiä, aivoja ja kättä, mutta jos saavuttaisin täydellisen kuvan, kuten näen sen ensin mielessäni, minun olisi lopetettava maalaaminen. Puutteellisuus on liikkeellepaneva voima näennäisesti loputtomassa tehtävässä. Taiteilijalle on annettava täysin vapaa valta tunteille joita hänellä on, ja olla ottamatta huomioon kaikki, millä ei ole häneen luonnostaan vetovoimaa. Tämä häikäilemättömyys toimii minulle kurinalaisuutena, jonka avulla hylkään sen, mikä ei ole minulle välttämätöntä. Ellei tämä prosessi olisi jatkuvasti elossa, näkisin elämän yksinkertaisesti materiaalina taiteelleni. Katson jotain ja kysyn itseltäni, voinko tehdä minun tekemäni kuvan tästä? Taiteellinen työskentelyni kahdella sanalla: olin täällä.

A work of art is not a picture of an experience, it is an experience. If I could say what I see in words, I would not have to paint. I believe in the transformative power of art. There is often disappointment, and sometimes happy accidents, as the process itself guides the eye, brain and hand, but if a perfect picture were achieved, as I first see it in my mind’s eye, I would have to stop painting. It is the imperfection that is the driving force in a seemingly endless quest. An artist must be given a completely free rein to any feelings that he or she may have and reject nothing to which she is naturally drawn. This ruthlessness acts for me as the discipline through which I discard what is inessential for me. Unless this process is constantly alive, I will see life simply as material for my line of art. I look at something, and ask myself, can I make a picture by me out of this?

My work in three words: I was here.

Ikuinen jää 58 x 71 cm öljy kankaalle / oil on canvas 2012 35

Annukka Visapää Kuvataiteilija AMK

Olen sekä maalari, että taidevalokuvaaja. Töissäni luonto ja ihmisen luontosuhde on määräävä elementti. Minulle ihminen on osa universumia, missä kaikki vaikuttaa kaikkeen. Metsä, vesi, ilma, maa ovat meitä kaikkia ympäröiviä ja rakentavia elementtejä. Me kaikki Maa-planeetan kasvustot olemme samaa tähtipölyä, räjähdyksen jälkeisiä ilmentymiä. Nyt esillä olevassa maalauksessani on aiheena metsän olemus. Kun maalaan, menen metsän energiaan ja pyrin ilmentämään sen väreillä ja muodoilla.

I am both a painter and photographer. In my art the connection between nature and human is the dominant component. To me human is part of the universe where everything affects everything. Forest, water, air, earth are the elements surrounding and building us. Everything inhabiting the Planet Earth comes from the same stardust, expressing the explotion that once took place. The artwork on display reflects the wood, trees and twigs - the essence of the forest. While painting, I go deep into the energy of the forest, then expressing it through color and form. 36

Valaistunut kataja 125 x 105 cm akryyli koivuvanerille 2021 37

Antonia Celia

antonia_celia@hotmail.com I am Antônia Célia de Barros Silva, was born in Granja, Ceará, Brazil. Since the age of 14, I've lived and worked in Brasília, Brazil's capital. I have a diploma in Social Studies and my artistic formation was achieved through free courses. My work consists on contemporary abstract art and the technique I use the most is acrylic on canvas. Some of my most important individual expositions were “Transgredir" (2007), at the Teatro Nacional Brasília, “Contrastes" (2003), at the Espaço Cultural TRF 1a Região, “Pinturas" (2005) at Iate Clube de Brasília. I’ve been also part of many collective expositions in Brazil and in other countries, such as “Brazil in focus” (2017) at the Brazilian embassy in London, the inauguration of the Brazilian embassy in Berlin (2000), and “Millennium" (1999) in Rome and Paris. Most relevant prizes: Honorable mention at the 2001 Artexpo, at the Jacob Javits Convention Center in New York. 2nd place at the Salão Internacional SINAP/AIAP in São Paulo. Eu sou Antônia Célia de Barros Silva, natural de Granja, Ceará, Brasil. Desde os 14 anos, vivo e trabalho em Brasília, capital do Brasil. Sou graduada em Estudos Sociais com formação artística em cursos livres. Meu trabalho consiste em arte contemporânea abstrata e minha técnica mais utilizada é o acrílico sobre tela. Algumas das minhas exposições individuais mais relevantes foram “Transgredir” (2007), no mezanino do Teatro Nacional Brasília, “Contrastes” (2013), no Espaço Cultural TRF 1a região, “Pinturas" (2005) no Iate Clube de Brasília. Participei de várias exposições coletivas no Brasil e outros países, como a “Brazil in focus” (2017) na Embaixada do Brasil em Londres, inauguração da embaixada do Brasil em Berlim (2000), “Millenium" (1999) in Roma, Itália, and Paris, França. Prêmios mais relevantes: “Menção honrosa” na Artexpo, 2001, Jacob Javits Convention Center, em NY. 2º lugar no Salão Internacional SINAP/AIAP - SP 38

Caminho II 100 x 80 cm akryyli kankaalle / acrylic on canvas / acrílico sobre tela 39

Antti Minkkinen

Yritän maalata hyvän kuvan

I Try to paint a good picture

nimeton / nameless 40 x 40 cm akryyli / acrylic 2020 41

Antti Raitala

antti.raitala@gmail.com Instagram: anttiraitala www.kuvataiteilijamatrikkeli.fi/en/artists/1767 Member of Finnish Painters Union Antti Raitala (s.1964) on kuvataiteilija joka asuu ja työskentelee Helsingissä. Hän piirtää, maalaa, tekee veistoksia ja rakentaa installaatioita. Hänen työnsä ulottuu monien tyylien ja taiteen muotojen yli. Teoksissaan hän hyödyntää paljon kierrätysmateriaaleja.

Antti Raitala (b.1964) is a visual artist who lives and works in Helsinki, Finland. He draws, paints, makes sculptures and builds installations. His body of work stretches across many styles and art forms. In his works of art, he utilizes a lot of recycled materials.

Parhaat ystävät / Best friends 36 x 24 cm acrylic and pencil on old archive paper 2019 43

Anu Nirkko

https://kuvataiteilijamatrikkeli.fi/taiteilija/anu-nirkko Anu Nirkko työskentelee maalauksen ja ympäristötaiteen keinoin. Hänen kiinnostuksen kohteitaan ovat läsnäolo ja kohtaaminen luonnon ja ihmisten kanssa. Hän kuuluu taiteilijajärjestöihin Tml, Muu ry, Hts ja LaruArt sekä Mind mappers kollektiiviin.

Anu Nirkko is a painter and she does also enviromental art. She is intrested in presence and meeting with both nature and people. She is a member of Finnish painter’s union, Artist association Muu, Artist association of Helsinki, LaruArt and Mind mappers-collective.

Photograph: Terhi Rita 44

Omakuva Lemuntiellä / Selfportrait at Lemuntie 150 x 150 cm tempera 2020

Czitrom Bela

artist sculptor Instagram: Bela Czitrom The present work is the reflexion in the realm of the objective of experiences, spiritual accumulations of all sorts and nuances, both positive and negative, it is my aspiration for comprehending the world through my condition of a sculptor and, above all, through immediate, direct experience, the less mediators, the more profound, more painful and, finally, more real the reception, which widely operes my horizon, at the same time helping me define myself as against the infinite world. In parallel with the objective world but carefully chosen from it, I have created a world populated with symbols that I find essential and by means of which I acquire a different vision that I simply offer the objectivity. Among these symbols I should mention: the sphere, the pyramid, the mask, the ram, the palm, the suffering man; all of them are being used according to the message expressed by the works and the material applied, the bronze or the aluminium, the structure of which accompanies me and even gets ahead of me in my relation to the objective world: the aluminium, which through its colour and patina, cold and unreal, dramatizes; the metal on certain surfaces, startind from an amorphous aspect; passed through the one of organic textures, finally reaching the rigour of a pyramid angle while the bronze, having that light of the depths and the heights, guides me towards a harmonious blending of symbols. 46

Wotan 19 x 39 x 42 cm 47

Beré Magalhães Beré is a graphic designer and a São Paulo-based visual artist. He started his artistic path with urban interventions as young as 15 wheat-pasting, throw up and tag graffiti were some of his practices. As organic practices that express freedom, they have directly influenced his personal experiences that therefore reflect upon his artworks, with a strong influence of naïf art and abstract expressionism. Other elements also contributes to his creative process such as subjective perceptions of blackness, the Orisás worship and the streets’ slickness.

Beré é designer gráfico por formação e artista visual residente de São Paulo. Iniciou sua trajetória artística com intervenções urbanas ainda aos 15 anos. Lambe-lambes, pixações, throw-ups e tags foram algumas das práticas por quais transitou. Por serem práticas orgânicas que expressam a liberdade, acabaram por influenciar diretamente em suas vivências pessoais, que por sua vez, refletem em suas peças artísticas com forte influência da arte naïf e o expressionismo abstrato. Outros elementos também contribuem em seus processos criativos, como as percepções subjetivas da negritude, o culto aos Orisás e a malandragem das ruas.

Sol 60 x 40 cm acrílica, posca e giz sobre tela, canvas emoldurada 2021

Carita Maury

www.caritamaury.com Kylvin siemeneni puutarhaani. Näin siementen itävän, kasvavan ja kukkivan. Ihmettelin kukkien olemusta ja niiden valoa. Näin maalaukseni syntyivät tullakseen osaksi maailman kudosta.

I sowed my seeds in the garden. I saw them grow and flourish. I was marveled of their shape and light. This is how my paintings came into existence.

Värit maljakossa / Colors in Vase 2020

Carmen Thompson It is simply impossible to stand before a work of Carmen Thompson's and not perceive the choreography pertinent to dance. Her meticulous and elegant technique seems to follow the strict protocol of a ballet company. However, the final result of her work obeys the maxim of the French director Jean Louis Barrault "Cacher toujour l'effort'', in other words, always hide the effort you put in; preparation and sweat are transformed into beauty. I imagine her paintbrushes stretching alongside the ballerina hues, in a multicoloured pas de deux. Linoleum and canvas blend together. When she dances with gouache, ink, charcoal, and even when in a photographic performance, she brings together the steps of corporeal language and the steps of visual language. Her sculptures lend to iron, bronze and resin, the breath and pulse of a body, giving life and new meaning to these materials. The path taken by the artist raises questions about the body’s relationship to space and adopts a sensory approach, stimulating dialogue between the arts. If Degas is known as the painter of ballerinas, I suggest that we call Carmen the "Ballerina of the Arts", since the creation and construction of her images seeks an aesthetic cadence that extends to the spectator's eyes, where she achieves the "Grand Finale" of her artistic aspirations. As in the words of Cecília Meireles, Carmen does not find "easy ways to walk", but throws herself with BODY and ART into the path against and in favour of the wind.

Impossível estar diante de uma obra da artista plástica Carmen Thompson, e não perceber uma coreografia pertinente à dança. Sua técnica precisa e elegante parece seguir o protocolo rigoroso de uma companhia de balé. No entanto, o resultado final do seu trabalho obedece a máxima do diretor francês Jean Louis Barrault “Cacher toujour l'effort'', ou seja, "Esconder sempre o esforço". Toda preparação e suor se transformam em beleza. Fico imaginando seus pincéis num exercício de alongamento com tintas bailarinas, num multicolorido Pas de deux. Linóleos e telas se confundem . Quando baila com guache, nanquim, carvão, e até mesmo numa performance fotográfica, aproxima os passos da linguagem corpórea dos passos da linguagem visual. Suas esculturas emprestam ao ferro, ao bronze e a resina, a respiração e o pulsar de um corpo, humanizando e ressignificando estes suportes. Este trajeto percorrido pela artista suscita o questionamento sobre a relação corpo-espaço e sobre o approach sensório, estimulando o diálogo entre as artes. Se Degas é conhecido como o pintor das bailarinas, sugiro que chamemos Carmen de a "Bailarina das Artes", visto que seu ritmo na criação e construção de suas imagens busca uma cadência estética que se estende aos olhos do espectador, onde se realiza o "Grand Finale" de seus anseios artísticos. Como nos versos de Cecília Meireles, Carmen não encontra "caminhos fáceis de andar", mas se lança de CORPO e ARTE no caminho contra e a favor do vento. 52

- Carlos Dimuro

Paradise 120 X 75 cm fotografia expandida - impressão sobre canvas

Carol Couri Artistic talent is an irresistible force. Many artists have a versatility that allows them to take other paths. There are those who follow the paths of Engineering, Medicine, and achieve success in these areas. To later surrender to the force of a vocation that ends up exploding, revealing an essential expression channel. Visual artist Carol Couri is an example of this versatility. Carol, from São Paulo, has a law degree, working in the corporate area. Many years ago she discovered her artistic talent. And he realized that in addition to having an almost therapeutic effect, his work was pleasing to friends and family who were presented with works of originality that were totally proof. Carol devoted her time to law and family. Until the social distance imposed by the Covid-19 pandemic reduced her commuting and provided free time that she used to delve into Art. In just a few months, she created more canvases than in the past 20 years. The main elements of his style are revealed in works such as "Yellow Vibes" and "Interconnected". In one of them, there is a luminosity that comes from behind a composition of lines and figures, like a light shining in the clearing of a forest. In another, the geometric distribution coexists with sinuous lines and colors that delimit spaces and suggest people, eyes and expressions. The therapeutic side, in Carol's own words, comes from the absolute concentration on the creative process, which totally absorbs it and transports it to another world, full of possibilities, without knowing in advance what the final image will be. On each screen, the observer is invited to follow Carol, and the paths that her art proposes to the imagination, until reaching this world of revealed emotions. A connection that allows Carol Couri's love and vibrations to fulfill the artist's objective: to contribute to raising the vibration of the world. Making you more human, more harmonious and happier. Carol Couri – by Marisa Melo (Art Curator)

O talento artístico é uma força irresistível. Muitos artistas têm uma versatilidade que lhes permite enveredar por outros caminhos. Há aqueles que seguem os caminhos da Engenharia, da Medicina, e alcançam sucesso nestas áreas. Para mais tarde se renderem à força de uma vocação que acaba por explodir, revelando um canal de expressão essencial. A artista visual Carol Couri é um exemplo desta versatilidade. Carol, de São Paulo, é licenciada em Direito, trabalhando na área empresarial. Há muitos anos atrás, descobriu o seu talento artístico. E percebeu que além de ter um efeito quase terapêutico, o seu trabalho era agradável para os amigos e familiares que se apresentavam com obras de originalidade que eram totalmente comprovadas. Carol dedicou o seu tempo ao direito e à família. Até que a distância social imposta pela pandemia de Covid-19 reduziu as suas deslocações pendulares e proporcionou-lhe tempo livre que ela utilizava para mergulhar na Arte. Em apenas alguns meses, ela criou mais telas do que nos últimos 20 anos. Os principais elementos do seu estilo são revelados em obras como "Yellow Vibes" e "Interconnected". Numa delas, há uma luminosidade que vem de trás de uma composição de linhas e figuras, como uma luz que brilha na clareira de uma floresta. Noutro, a distribuição geométrica coexiste com linhas e cores sinuosas que delimitam espaços e sugerem pessoas, olhos e expressões. O lado terapêutico, nas próprias palavras de Carol, vem da concentração absoluta no processo criativo, que o absorve totalmente e o transporta para outro mundo, cheio de possibilidades, sem saber de antemão qual será a imagem final. Em cada ecrã, o observador é convidado a seguir Carol, e os caminhos que a sua arte propõe à imaginação, até chegar a este mundo de emoções reveladas. Uma ligação que permite que o amor e as vibrações de Carol Couri cumpram o objectivo da artista: contribuir para elevar a vibração do mundo. Tornar-te mais humano, mais harmonioso e mais feliz. Carol Couri - por Marisa Melo (Curadora de Arte) 54

Trilogia 30 x 30 cm cada tela / each screen acrylic on canvas / acrilica sobre tela 2021 55

Claudiah Arantes

claudia.mea@globo.com http://claudiah-arantes.com Claudiah Arantes - Rio de Janeiro - born 1956 Graduated in Architecture from Santa Ursula University in 1980 and post-graduated in Urbanism from University of Estate of Rio de Janeiro in 1982. She entered the art world quite early through drawings and different types of materials, always having the use of color as the foundation of her work. Going to several known artists studios, has improved her techiniques which contribuited in the search of new journeys. She is currently attending group and individual exhibitions, exploring the figurative combined with abstract, making use of collages with recycle materials and textures.

Claudiah Arantes - Rio de Janeiro, RJ - 1956 Arquiteta graduada pela Universidade Santa Úrsula (1980), pós-graduada em Urbanismo (UERJ, 1982). Sua incursão nas artes deu-se bem cedo através do desenho e das experimentações com materiais diversos, tendo a cor sempre como alicerce de suas obras. Tendo frequentado vários ateliers de artistas renomados, aprimorou técnicas que contribuíram na sua busca por novos caminhos. Participa de exposições coletivas e individuais, atualmente, explora o figurativo aliado ao abstrato, fazendo uso de colagens com materiais por vezes reciclados e de texturas.

Shapes and Letters / Formas e Letras 100 x 100 cm mixed media / técnica mista 57

Claudiana Loureiro Claudiana Loureiro's work reflects her constant search for knowledge and her commitment to artistic practice. Her artistic talent has been cultivated since her childhood, from her close contact with the universe of art. The sea is her source of inspiration and research, where the artist navigates and expresses herself, through her veils, splashes and overlapping organic lines, presenting art that leads us to reflect on the fluidity and strength of the tides. Her art pieces transport us to her universe, through the records of her experiences, and they are also an invitation to dive and enjoy her series “Waves”. Andréa Dall´Olio Hiluy Curatorial text

A obra de Claudiana Loureiro é reflexo da sua busca constante pelo conhecimento e pelo seu comprometimento com o fazer artístico. Uma trajetória que se iniciou na sua infância, a partir do seu contato próximo com o universo da arte. O mar é sua fonte de inspiração e pesquisa, onde a artista navega e se expressa, através de suas veladuras, respingos e linhas orgânicas sobrepostas e nos apresenta um trabalho que nos leva a refletir sobre a fluidez e a força das marés. Suas obras nos transportam para o seu universo, através dos seus registros de suas vivências, mas também são um convite a mergulhar e desfrutar da sua série “Waves”. Andréa Dall´Olio Hiluy Texto curatorial

Plenitude / Fullness 54 x 37,5 cm Number / Número: 0620 F1/3 Circulation / Tiragem: 1/3x Técnica: Impressão Mineral sobre Papel Algodão Hahnemuhle / Emolduração: Acrilico Mineral printing on Hahnemuhle Cotton Paper / Framing: Acrylic 2020 59

Cota Azevedo

is an artist and journalist, born in Bahia and resident in Rio de Janeiro, RJ – BR. It works with the experimental narrative, in which the body is the protagonist. The themes of the works address the linguistic constructions of the human in their individual, historical and / or temporal environments. Color gains prominence in his works, as well as the textured brushstrokes that bring the canvas to life. The intention is to deform ’reality’ to express the subjectivity of the nature of the body in space and to dialogue with the compositions of the imagination in the pictorial plane - the expression that imposes itself on the possible real. An expressive poetics of color in an imagined reality.

Cota Azevedo é artista e jornalista, natural da Bahia e reside no Rio de Janeiro, RJ. Trabalha com a narrativa experimental, no qual o corpo é o protagonista. As temáticas das obras abordam as construções linguísticas, do humano em seus meios individuais, histórico e/ou temporal. A cor ganha um destaque em suas obras, assim como as pinceladas texturizadas que dão vida a superfície da tela. A intenção é deformar a ‘realidade’ para expressar a subjetividade da natureza do corpo no espaço e dialogar com as composições da imaginação no plano pictórico - a expressão que se impõe sobre o possível real. Uma poética expressiva da cor em uma realidade imaginada.

Banquete Série: Pergaminhos 80 x 88 cm oil on canvas / óleo sobre tela 61

Damiana Siqueira @damianasiqueiraart

Encontrar a felicidade e satisfação no trabalho é o caminho para ter uma vida com mais propósito. Trilhando pelo mundo das artes plásticas, Damiana siqueira segue a passos largos por uma trajetória de sucesso e reconhecimento.Natural de São Gonçalo, regiāo metropolitana do Rio de Janeiro, a artista plástica mora em Cabo Frio há 16 anos. ”Estava em busca de uma mudança de vida”. Autodidata, transformou a arte em profissão há pouco mais de 4 anos. Fazendo várias exposições em sua região, incluindo exposições digitais. ”Eu sempre gostei de desenhar e pintar, sentia que tinha uma forte veia artística, porém, apenas recentemente comecei a me aventurar no campo das artes plásticas. Conheci os melhores materiais, aprendi novas técnicas e, acima de tudo, os meus trabalhos começaram a ter uma ótima aceitação. Isso me incentivou a me desenvolver cada vez mais”. Com o passar do tempo, me aprofundei no conhecimento na história da arte e, logo me tornei uma entusiasta no estilo da Pop Art movimento artístico que surgiu nos anos 50, com o objetivo de envolver e desconstruir imagens pertencentes à Cultura de massa, também chamada de cultura pop. Os quadros produzidos com muito bom gosto, revelam o interesse da artista por cores vibrantes, destacadas pelo fundo preto. Os rostos de pessoas, objetos e animais compostos por traços geométricos são a marca registrada da artista. ”Para compor as minhas obras mantenho um olhar atento por onde vou. Observo os ambientes, suas peculiaridades e a beleza de cada detalhe. Tudo o que me identifico torna-se fonte de inspiração”. Além das exposições, Damiana integra o Conselho Municipal de Cultura da Prefeitura de Cabo Frio. ”O trabalho não é remunerado. No entanto, o conselho tem um importante papel na tomada de decisões nas ações da Secretaria de Cultura. Observando a ausenca de representatividade do segmento de artes plástica perante o Poder Publico, resolvi enfrentar esse novo desafio e estou bastante animada como que está por vir”.

Finding happiness and satisfaction at work is the way to have a more purposeful life. Trekking through the world of fine arts, Damiana Siqueira is following a long path of success and recognition. Born in São Gonçalo, metropolitan region of Rio de Janeiro, the artist has lived in Cabo Frio for 16 years. ”I was looking for a change in my life.” Self-taught, she turned art into a profession a little over 4 years ago. She’s doing various exhibitions in her region, including digital exhibitions. ”I always liked to draw and paint, I felt I had a strong artistic streak, but only recently I started to venture into the field of fine arts. I got to know the best materials, learned new techniques and, above all, my works started to have a great acceptance. This encouraged me to develop more and more,”. As time went by, I deepened my knowledge of art history and soon became an enthusiast of the Pop Art style art movement that emerged in the 50s, with the aim of involving and deconstructing images belonging to Mass Culture, also called of pop culture. The paintings produced with great taste reveal the artist’s interest in vibrant colors, highlighted by the black background. The faces of people, objects and animals composed of geometric lines are the artist’s trademark. ”To compose my works, I keep a close eye wherever I go. I observe the environments, their peculiarities and the beauty of every detail. Everything I identify with becomes a source of inspiration”. In addition to the exhibitions, Damiana is a member of the Municipal Council of Culture of the Cabo Frio City Hall. ”The work is unpaid. However, the council has an important role in decision-making in the actions of the Department of Culture. Observing the lack of representation of the plastic arts segment before the Government, I decided to face this new challenge and I am quite happy excited as it is to come”. 62

Cavalo / Hevonen / Horse 50 x 70 cm 63

Dan Palmgren

www.danpalmgren.com Kun mietin sitä mihin suuntaan haluan kehittää maalausta katselen sitä, siristän silmiäni, ehkä pää vähän kallellaan… joko mitään ei tapahdu, tai sitten alan tuntea miellyttävää huimausta, päässäni suhisee ja tunnen niin vahvaa imua taulun suunnasta että tuntuu kuin ruumiini leijuisi sitä kohti, aivan kuin maalaus haluaisi syödä sieluni. Tässä vaiheessa tiedän miten jatkaa. Luonnonilmiön kokeminen on yhtä kuin henkinen aistimus. Monen mielestä maalaamisessa on kyse yksinomaan ulkoisesta estetiikasta. Minä taas näen asian aivan eri lailla; kyseessä on tunne, mielentila.

When I start to think about which direction the painting will go, I look at it, squint my eyes, maybe with my head tilted… Either nothing happens, or I start to feel a nice spin in my head, and I feel a strong pull from the painting. It feels like my body is floating towards it; as if the painting would like to eat my soul. At this point I know how to continue. To experience a natural phenomenon is equivalent to a spiritual sensation. Many think that painting a picture is only about superficial aesthetics. I think differently it’s about a feeling and a mood.

Apelsinmånen / Appelsiinikuu / Orange Moon 50 x 60 cm öljyväri pellille 2021

Daniele Bloris

danibloris69@gmail.com The artist Daniele Bloris presents in her work images that are born spontaneously and intuitively. The breath of her soul over the liquid and deep black of the nankeen, sometimes reveals paths, sometimes reveals barriers to contain the navigation of colors over the waters. Frames appear before our eyes for a chromatic experience, which happens during the escape of the colors, when, one by one, they give up the white of the paper and form a deep space, where we can dive with our eyes. It is an invitation, an encounter with one’s own imaginary that opens up in the uncertainty of the unnameable image. Aline Campelo - Artista Visual e Mestre em Arte e Cultura contemporânea

A artista Daniele Bloris apresenta em seu trabalho imagens que nascem de forma espontânea e intuitiva. O sopro de sua alma sobre o negro líquido e profundo do nanquim, ora revela caminhos, ora revela barreiras a conter o navegar das cores sobre as águas . Diante do nosso olhar surgem molduras para uma experiência cromática, que acontece durante a fuga das cores, quando uma a uma, desistem do branco do papel e formam um espaço profundo, onde podemos mergulhar com o olhar. É um convite, é um encontro com o próprio imaginário que se abre na incerteza da imagem inominável. Aline Campelo - Artista Visual e Mestre em Arte e Cultura contemporânea

Felino 80 x 80 cm fine art 2021

Crédito das Fotos: Fotógrafo Plínio

Diego Mendonça

www.diegomendonca.art.br Instagram: @diegom_arte Diego Mendonça, was born in 1982, in São João del Rei / MG. A lawyer who left the profession to dedicate himself to the arts, his great passion, he is currently studying for a Masters in Arts at the Federal University of São João del Rei. He was a student of the great painter Quaglia and is currently a disciple of Yara Tupynambá. The artist has already won prizes in several art salons. Among the awards he received Gold at the European Latin American Contemporary Art Biennial, at the Post Office Cultural Center - Rio de Janeiro, which was promoted by AVA Galerie - from Finland. Also Gold at the 42nd Salon Premier of International Association of Artists, held in Portugal, in June this year; Bronze Medal at the Principality of Liechtenstein Arts Triathlon, Bronze in the popular vote at the Contemporary Art Salon held at the Carrousel Du Louvre Museum in October 2015, among others with gold, silver, bronze and Jury Special Mention medals. With several solo and group exhibitions, he has already exhibited his work at the UN (United Nations) headquarters and at the Brazilian Consulate in New York and also at Hight Point (USA). Participated in the VII Biennial of Small Formats in Moita (Portugal). His works were exhibited at the Salon International d’Art Contemporain at Carrousel Du Louvre in Paris (France), at Galerie Koko in Vienna (Austria), in Figueira da Foz and Porto (Portugal), Miami (USA), Vaduz (Principality) from Liechtenstein), Florence (Italy), Osaka (Japan), Rome (Italy), as well as several Brazilian capitals such as Rio de Janeiro, São Paulo, Belo Horizonte, Recife, Belém and Brasília. The artist brings in his curriculum more than 50 exhibitions (individual and collective), in addition to art salons. Inspired by everyday scenes, in nature, in music and in literature, his works lead the viewer to reflect on life, on human need and, above all, make the admirer enter his pictorial world. Diego Mendonça, nasceu no ano de 1982, em São João del Rei/MG. Advogado que largou a profissão para dedicar-se às artes, sua grande paixão, atualmente é mestrando em Artes pela Universidade Federal de São João del Rei. Foi aluno do grande pintor Quaglia e atualmente é discípulo de Yara Tupynambá. O artista já foi premiado em diversos salões de arte. Entre as premiações recebeu Ouro na Bienal Européia Latino Americana de Arte Contemporânea, no Centro Cultural dos Correios – Rio de Janeiro, que foi promovida pela AVA Galerie – da Finlândia. Também Ouro no 42º Salon Premier of International Association of Artists, realizado em Portugal, em junho deste ano; Medalha de Bronze no Triatlon das Artes do Principado de Liechtenstein, Bronze no voto popular no Salão de Arte Contemporânea realizado no Carrousel Du Louvre Museum em outubro de 2015, entre outros com medalhas de ouro, prata, bronze e Menção Especial do Júri. Com várias exposições individuais e coletivas, já expôs seus trabalhos na sede da ONU (Organização das Nações Unidas) e no Consulado do Brasil em New York e também em Hight Point (EUA). Participou da VII Bienal de Pequenos Formatos em Moita (Portugal). Teve seus trabalhos expostos no Salon International d’Art Contemporain no Carrousel Du Louvre em Paris (França), na Galerie Koko em Viena (Áustria), em Figueira da Foz e Cidade do Porto (Portugal), Miami (EUA), Vaduz (Principado de Liechtenstein), Florença (Itália), Osaka (Japão), Roma (Itália), além de várias capitais brasileiras como Rio de Janeiro, São Paulo, Belo Horizonte, Recife, Belém e Brasília. O artista traz em seu currículo mais de 50 exposições (individuais e coletivas), além de salões de arte. Inspiradas em cenas do cotidiano, na natureza, na música e na literatura, suas obras levam o espectador a refletir sobre a vida, sobre a necessidade humana e sobretudo faz com que o admirador entre em seu mundo pictórico. 68

Aurora - Menina no carrossel / Aurora - Girl On The Carousel 100 x 100 cm acrílica sobre tela / acrylic on canvas 2020 69

Edilton Gomes Ferreira I’m Edilton Gomes Ferreira, Self-taught. I was born in Crato - Ceará- Northeast-Brazil. I developed the painting in 2005, where in the same year I participated in the XIII Unifor Plástica- Coletiva- Fortaleza- Ceará.In 2009XV Unifor Plástica- Coletiva- Fortaleza-Ceará.In 2011- Exhibition at the Blue Night Hall of the Gran Marquise Hotel- Collective and Art Auction- Fortaleza- Ceará.In 2020-ll Painting Contest of the 72 BIMTZ- CollectivePetrolina-Pe. These paintings were inspired by the devastating situation of our planet. So to keep nature and the environment alive, it will depend on each of us, ”Planting good deeds”.

Sou Edilton Gomes Ferreira, Autodidata.Nasci em Crato - Ceará- Nordeste-Brasil. Desenvolvi a pintura em 2005, onde no mesmo ano participei da XIII Unifor Plástica- Coletiva- Fortaleza- Ceará.Em 2009- XV Unifor Plástica- Coletiva- Fortaleza-Ceará.Em 2011-Exposição no Salão Blue Night do Gran Marquise Hotel- Coletiva e Leilão de Arte- Fortaleza- Ceará.Em 2020-ll Concurso de Pintura do 72 BIMTZ- Coletiva- Petrolina-Pe. Essas Pinturas foram Inspiradas pela situaçao devastadora do nosso planeta. Portanto para manter com vida a natureza e meio ambiente, dependerá de cada um de Nós, " Plantando boas Ações".

Sustentabilidade Está em Nossas Mãos - ll óleo sobre tela / oil on canvas 60 x 60 cm 2021

Edith Rizzo

www.edithrizzo.com Edith Rizzo was born in the interior of São Paulo, studied Mathematics at UEl, in Londrina / PR and in 1992 moved to Vila do Abraão, Ilha Grande, in Angra dos Reis / RJ. At that time she painted on the Xuxa program (TV Show). In 2003 she moved to Paraty / RJ and in 2013 she received an excellent review written by cartoonist Ziraldo. Her realistic paintings, which emphasize the beauty of the region, its beaches and waterfalls, legends and caiçaras customs, decorating walls of all continents. But it was in 2015, that her surrealist works took her to the MAA, Mondial Art Academia, occupying the chair of immortal Nº. 252, in France.

Edith Rizzo nasceu no interior de São Paulo, cursou Matemática na UEl, em Londrina/PR e em 1992 foi morar a Vila do Abraão, Ilha Grande, em Angra dos Reis/RJ. Nessa época pintou no programa da Xuxa. Mudou-se em 2003 para Paraty/RJ e em 2013 recebeu excelente crítica escrita pelo cartunista Ziraldo. Suas pinturas realistas, que enfatizam as belezas da região, suas praias e cachoeiras, lendas e costumes caiçaras, decoram paredes de todos os continentes. Mas foi em 2015, que suas obras surrealistas a levaram para a MAA, Mondial Art Academia, ocupando a cadeira de imortal n° 252, na França.

Mata Atlântica / Atlantic Forest 80 x 100 cm oil on canvas / óleo sobre tela 2014 73

Eija Keskinen

www.instagram.com/eija_keskinen

Eija Keskinen työskentelee pääsääntöisesti piirustuksen tai piirustusta ja muita elementtejä yhdistelevien kokonaisuuksien parissa. Yhtä tärkeätä kuin viiva, on myös sen sisältämä, usein säästeliään sensitiivinen, väri. Keskinen piirtää huokoiselle akvarellipaperille johon piirtyvät sekä lyijykynä että puuväri eloisalla tavalla. Eija Keskisen työskentelyn sisältökysymykset liittyvät usein rakkauden- ja hyvyyden käsitteisiin. Kuluneen kevään 2020 erikoinen ja eristäytynyt pandemiajakso on tuonut oman vakavuutensa kuva-aiheisiin. Piirtämisprosessista itsestään on tullut parantavaa, myös hitaampaa. Luonnosta löytyvät elementit tukevat kuva-aiheita ja muodostavat niille kehyksiä. Eija Keskinen (1968, Tampere) asuu ja työskentelee Helsingissä. Hän on opiskellut Kuvataideakatemiassa (KuM), Vapaassa Taidekoulussa sekä Taideteollisessa korkeakoulussa. Hän on järjestänyt useita yksityisnäyttelyitä ja ottanut osaa ryhmä- ja yhteisnäyttelyihin vuodesta 1988. Eija Keskinen on valmistanut neljä julkista taideteosta, ja hänen töitään on koti- ja ulkomaisissa kokoelmissa, mm Suomen Valtion-, Helsingin-, Vantaan-, Espoon- ja Tampereen taidemuseoiden kokoelmissa. Vapaa-aikanaan Eija Keskinen kutoo kangaspuilla mattoja, nauttii metsistä, katselee Kolmikätisen Jumalansynnyttäjän ikonia ja San Expediton pyhimyskorttia sekä uskoo ihmeisiin.

Eija Keskinen works mostly on drawings, or on entities combining drawing and other elements. As important as the line itself is the included, often sparingly sensitive, color. Keskinen draws on honeycombed aquarelle paper which gives a lively accentuation to both plain and colored pencil. The themes in Eija Keskinen’s work are often connected to love and goodness. The unusual isolation of the spring 2020 and the seriousness of the ongoing pandemia has brought new aspects to works. The drawing process itself has become not only slowlier but also healing. The elements that can be found from the nature make frames to the pictorial motifs. Eija Keskinen (1968, Tampere) lives and works in Helsinki. She has studied in The Academy of Fine Arts (Helsinki), The Free Art School (Helsinki) and The University of Art and Design (Helsinki). She has arranged several private exhibitions and participated in group and community exhibitions since 1988. Eija Keskinen has created four public works of art, and you can find her works of art in both Finnish and overseas collections among other places in the Finnish state collections and cities of Helsinki (HAM), Vantaa, Espoo (EMMA) and Tampere art museum collections. In her leisure time Eija Keskinen likes to make carpets on a loom, enjoy forests, look at the 3-handed God Birther icon and the saint card of St. Expedite. She also believes in miracles. 74

Laulu Mahdottomalle Puutarhalle (St. Philomena) / A Song for an Impossible Garden (St. Philomena) 78 x 62 cm puuväri ja lyijykynä akvarellipaperille / pencil and colored pencil on aquarelle paper 2020 75

Elisa Daart

s. 1971, Helsinki / born in Helsinki, 1971 Maalaan öljyväreillä maisemia. Asun Helsingissä, joten puistot ja joenranta ovat minulle tärkeitä keitaita, joissa voi kuljeskella ja rauhoittua. Ihmiset päätyvät harvoin maalausteni aiheiksi. Koronapandemia muutti kuitenkin tilannetta niin, että huomasin kaipaavani ihmisten pulinaa, kesäistä vilskettä ja iloista lomatunnelmaa. Toivon, että osa tästä huolettomasta kesäfiiliksestä tarttuu kaikkiin maalauksiini, vaikkei niissä välttämättä ihmisiä näy. Corona changed the topic on paintings from landscapes to sunbathers. People are carefree and in the holiday -mood. I miss that and I hope all of my paintings reflect the joy and happiness I am feeling when I paint. 76

SPR (super) 81 x 65 cm öljy kankaalle / oil on canvas 2020 77

Erja Laakkonen Erja Laakkonen asuu ja työskentelee Helsingissä. Kuvataiteilija, ympäristötaiteilija, Taidemaalariliitto ry:n ja Helsingin Taiteilijaseuran ja Valokuvataiteilijoiden Liiton jäsen. Valokuvaa, tekee ympäristötaidetta, taiteilijakirjoja, vedostaa uniikkivalokuvia ja grafiikkaa.

Erja Laakkonen is a visual artist living and working in Helsinki, Finland. She has the membership of the Finnish Painters´ Union and The Photographic Artists’ Association. Her works consist of handmade photographic and graphic prints, Atist’ books, Mail Art, paintings, installations, photographing and Environmental Art. She also has worked as a producer in several Environmental Art Exhibitions.

Mielentila / State of Mind (osa 1 / part 1) 20 x 30 cm syanotypia / cyanotype 2019

Fabu Pires

@fabulospires https://fabupires.tumblr.com www.instagram.com/fabulospires https://www.facebook.com/fabupires

Olen brasilialainen suomalainen taiteilija ja taiteen opettaja. Muutin Suomeen vuonna 2005, ja vuodesta 2010 olen työskennellyt kokopäiväisenä taiteilijana ja kulttuurivaikuttajana. Aloitin urani tuottamalla erilaisia kollaaseja ja maalauksia. Perustin vuonna 2011 taidekollektiivin ‘Fuse Art Collective’, joka on osallistunut moniin taiteellisiin tuotoksiin, kuten näyttelyihin ja seinämaalauksiin. Tänä aikana suoritin kustantamisen ja painamisen ammattipätevyyden ja julkaisin kirjan, joka esitteli taidekollektiivin työtä. Liityin vuonna 2012 Myymälä 2 -gallerian hallitukseen, jossa olin mukana suunnittelemassa taideprojekteja ja kuratoinut näyttelyitä. Olen esittänyt työni useilla yksityis- ja ryhmänäyttelyillä. Lisäksi olen tehnyt työtä TV-ohjelmien, aikakauslehtien, luistelubrändien, muotimerkkien ja tapahtumien parissa. Olen myös tehnyt sisustusmaalauksia eri yrityksille. Vuodesta 2014 lähtien olen työskennellyt taiteenopettajana useilla kursseilla. Vuonna 2018 liityin Kulttuurikeskus Interkultin hallitukseen, joka järjestää monikulttuurisia taidetapahtumia ympäri Suomea ja jonka tehtävänä on lisätä vieraiden kulttuurien monimuotoisuutta ja integraatiota. Olen tehnyt paljon luovaa työtä turvapaikanhakijoiden ja maahanmuuttajien kanssa auttaen heitä sopeutumaan paremmin yhteiskuntaan.

Collage and painting are for Fabu Pires an ingenious looping mix-and-match of cutting, tearing, weaving and layering images from our contemporary hyper reshuffled streetwise culture. For Pires collage and collage paintings are the hybrid language of urbanity—remixed, re-contextualized, and wholly built from the fragments and samples of daily life. Having experimented with several aesthetic languages, collage became a distinctly modern technique with which he could structure his subject matters. The collages allow him to play, to make spontaneous connections in a dream-like state, and somehow a divine intuitiveness to getting together countless characters, figures, cut-outs, patterns, silhouettes from vintage magazine, old biology books, posters, and ephemera. Inside Pires artistic code, collage techniques emphasise modification and alteration; is an aesthetic of cojoining that permits to him both the production of a vivid flat surface -necessary nowadays if one's was to count as, or a least look contemporary- while at the same time enabling an evocative subject to be addressed. Underlying Pires artworks might be observed a pretension and eagerness to raise intricate questions about diverse themes and topics; cultural hybridization, philosophical notions of the unconsciousness, ufology phenomena, allusions and symbolisms of spiritual human evolution. Pires emphasises the intrinsic, visceral and instinctive notion of creating art. ''Everything is intuitive of course, basically, intuitiveness might become experimental”. His art practice is a continuous summary of reinvented images. These images contain clues that allow us to synthesise, experimenting, re-envisaging and finally been able to piece them back together again.

Air

102 x 150 cm

mixed media on canvas

2020

Francelino Mesquita

Facebook: Francelino Moraes Mesquita WhatsApp: +55 91 98165-8785 @francelinomoraes Text autor: Marcos Vinícios Rego Barbosa (Presidente/Diretor Executivo da empresa PUPTI e Crítico de Arte) Born in Belém do Pará, today he lives in Ananindeua (municipality next to Belém). Over the course of 22 year artistic careers, his curriculum includes 21 individual and 14 group exhibitions, as well as awards such as the 26th Mostra of Salão Arte Pará and the 19th Ilnama de Pequenos Formaos Salon. His work, in addition to being sensitive and extremely sophisticated, is loaded with tradition, history and timeless concepts such as sustainability. Francelino makes a point of using regional Amazonian materials such as wood, miriti, ceramic clay and gourds, applying in his works historical knowledge and traditional production techniques of local artisanal production, giving them a contemporary aspect, recognized in works of art worldwide, without ignore unique features of regional culture and the specifics of the materials used. In addition, Francelino likes to design works based on the reuse of materials, such as wood, glass, metal and cardboard, giving new style and function to discarded materials.

Nascido em Belém do Pará, hoje vive em Ananindeua (município vizinho à Belém). Ao longo de 22 anos de carreira artística seu currículo possui 21 exposições individuais e 14 coletivas, além de premiações como a 26a Mostra do Salão Arte Pará e o 19o Salão Ilnama de Pequenos Formatos. Seu trabalho, além de sensível e extremamente sofisticado, é carregado de tradição, história e conceitos atemporais como sustentabilidade. Francelino faz questão de utilizar materiais regionais amazônicos como madeira, miriti, barro cerâmico e cuias, aplicando em suas obras conhecimentos históricos e técnicas produtivas tradicionais da produção artesanal local, conferindo às mesmas um aspecto contemporâneo, reconhecido em obras de artes mundo a fora, sem ignorar traços únicos da cultura regional e as especificidades dos materiais utilizados. Além disso, Francelino gosta de conceber obras a partir da reutilização de materiais, como madeira, vidro, metal e papelão, dando nova roupagem e função a materiais descartados.

Rio Amazonas / Amazon River 22 x 22 x 20 cm escultura Estilo Móbile, cuia pitinga / mobile style sulpture, cuia pitinga 2020 83

Francisco Schönmann Rio de Janeiro, Brasil

Among all the turbulences we've passed, we tasted of something that illustrates the respect we got to have for the nature, but as well for the good sense. From this cataclysmic event giving the background tone, what we artists, experiencers of the most distinct feelings, will bring literally to light with the Finland Bienal? I dont't have a need for a so big lexicon to verbalize after I begin to paint, my works talk for me, my world is already expressed and expresses itself totally through images. An imagery that I translated from all I lived in the nature and mazes of southeast Brazil trying to steal the best constructos to the liturgy I will present you with acrylics, an inovating ink for canvasses. Dentre todas as turbulências que passamos, provamos de algo que ilustra o respeito que devemos ter pela natureza, mas também pela sensatez. Desse evento cataclísmico, que dá o tom de fundo, o que nós artistas, experienciadores dos mais distintos sentimentos, traremos literalmente à luz com a Bienal da Finlândia? Eu não tenho a necessidade por um lexicom tão grande a verbalizar depois que comecei a pintar, minhas telas falam por mim, meu mundo já é expresso e se expressa totalmente através de imagens. Uma imagética que traduzi de tudo que vivi nos labirintos e natureza do sudeste brasileiro tentando roubar as melhores constructos à liturgua que apresentarei a vocês com a acrílica, uma tinta inovadora para a pintura. 84

Sorvedouro de Atavismos 60 x 60 cm acrylic / acrílica 2018 85

Gerard Laurence @glaurenceart

Born in São Paulo, but raised in Rio de Janeiro, the artist Gerard Laurence has always had contact with art from an early age thanks to the family of actors, but painting only entered his life late. Journalist with a 20-year career, he has worked for the main media companies in Brazil, such as TV Globo and Jornal Lance. Later, he graduated in gastronomy, working for a brief period in some renowned restaurants. This whole experience has influenced and continues to be remarkable in the artist’s production. For this reason, his artistic work, at this moment, has always been noted for political and social issues with strong and relevant criticisms, such as can be seen in the series of paintings ”Nature in Danger”, which will be exhibited at the European and Latin American Arts Biennial. Gerard has a strong connection with the color palette of his works that serves as a crucial tool in the artistic and communicative process between him and the public. The artist lives in a process where striking colors, abstract shapes and shadows are related between reality and fantasy.

Nascido em São Paulo, mas criado no Rio de Janeiro, o artista Gerard Laurence sempre teve contato com a arte desde muito jovem graças à família de atores, mas a pintura só entrou tarde em sua vida. Jornalista com 20 anos de carreira, já trabalhou nas principais empresas de mídia do Brasil, como TV Globo e Jornal Lance. Posteriormente, formou-se em gastronomia, atuando por um breve período em alguns restaurantes renomados. Toda essa experiência influenciou e continua marcando a produção do artista. Por este motivo, o seu trabalho artístico, neste momento, sempre se destacou por questões políticas e sociais com críticas fortes e relevantes, como pode ser visto na série de pinturas ”Natureza em Perigo”, que será exibida na BELA Bienal. Gerard tem uma forte ligação com a paleta de cores de suas obras que serve como uma ferramenta crucial no processo artístico e comunicativo entre ele e o público. O artista vive um processo em que cores marcantes, formas abstratas e sombras se relacionam entre realidade e fantasia. 86

Derretimento acrylic and water-based ink pen / acrílico e caneta de tinta a base de água 2021 87

Goretti Gomide Maria Goretti Gomide Pinheiro, 1952, Belo Horizonte, Minas Gerais. Graduated in Visual Arts at Guignard School, University of the State of Minas Gerais (2013). Graduated in Psychology (Graduation and Bachelor) by the Instituto Cultural Newton Paiva Ferreira (1981). Bachelor of Fine Arts, Guignard School, UEMG. Qualified in Woodcut, Lithography, Drawing and Painting. Lives and works in Belo Horizonte, Minas Gerais. Art teacher in her own studio, she participates in seminars, lectures and national and international exhibitions. Currently developing projects around nature, images that present themselves as an instrument of approximation and exchange of impressions of the world and that allows us to fix the fleeting moment. I use memory as the only source of presence to register the suspended moment, a look that fluctuates to different possibilities, something that inspires the imagination, like going beyond the real to build the new.

Maria Goretti Gomide Pinheiro, 1952, Belo Horizonte, Minas Gerais. Licenciada em Artes Plásticas pela Escola Guignard da Universidade do Estado de Minas Gerais (2013). Formada em Psicologia (Licenciatura e Bacharelado) pelo Instituto Cultural Newton Paiva Ferreira (1981). Bacharelado em Artes Plásticas, Escola Guignard, UEMG. Habilitada em Xilogravura, Litogravura, Desenho e Pintura. Atualmente vive e trabalha em Belo Horizonte, Minas Gerais. Professora de arte em ateliê próprio, participa de seminários, palestras e de exposições nacionais e internacionais. Atualmente desenvolvendo projetos em torno da natureza, imagens que se apresentam como um instrumento de aproximação e troca de impressões de mundo e que permitem fixar o instante fugaz. Uso a memória como única fonte de presença para registrar o momento suspenso, um olhar que flutua para as diferentes possibilidades, algo que inspira a imaginação, como um ir além do real para construção do novo. 88

Semente que não secou brota! 40 x 50 cm nanquim, lápis 2020

“Beloved spaces don't always want to be closed! They unfold. It seems that they are easily transported to other places, to other times, to different plans of dreams and memories”. (Bachelard, Gaston) Ours, mountains, peaks, forests, rivers, oceans and even more remote places have never been so threatened by human action, due to powerful groups that reduce the environment to raw materials or treat nature as the world's trash. Protecting nature means protecting life, shelter and sustenance for both us humans and wildlife in the most vital places on the planet. When carving nature (stones and rocks), I want to artistically materialize memories fostered from the spaces and places where I have been and which no longer exist.

“Os espaços amados nem sempre querem ficar fechados! Eles se desdobram. Parece que se transportam facilmente para outros lugares, para outros tempos, para planos diferentes de sonhos e lembranças”. (Bachelard, Gaston) Nossas, Serras, picos, florestas, rios, oceanos e até mesmo locais mais remotos nunca estiveram tão ameaçados pela ação humana, em função de grupos poderosos que reduzem o meio ambiente a matérias primas ou tratar a natureza como lixeira do mundo. Proteger a natureza significa proteger a vida, o abrigo e o sustento tanto para nós humanos quanto para a vida selvagem nos lugares mais vitais do planeta. Ao entalhar a natureza (pedras e rochas), desejo materializar artisticamente memórias fomentadas a partir dos espaços e lugares por onde andei e que já não existem mais.

Gui Mazzoni

Insta: gui_mazzoni Face: Gui Mazzoni Zap: +55 31 999034060 Lemos de Sá Art Gallery: +55 31 32618690 Since 2016, Gui Mazzoni has acquired ultrasound images from his body, subverting the method, in a different way from that recommended during the medical diagnosis. The probe is the paintbrush that allows the elaboration of abstract images revealed on the monitor’s electronic screen. He has worked as a doctor for 33 years, of which 30 years with ultrasound. His images are printed with mineral pigments on 100% cotton paper. Sound imagery configures his essence since, as a photographer and doctor, son of a photographer, he chose ultrasound as an area of assistance and navigates the interface between both techniques, photography and ultrasound, intertwining them, translating his history and using organically his own body as a substrate, resulting in a technique he called sonophotography: the image of sound.

Desde 2016, Gui Mazzoni adquire imagens ultrassonográficas de seu corpo, subvertendo o método, pelo uso de modo diverso ao preconizado durante o diagnóstico médico. A sonda é o pincel que permite a elaboração de abstratas imagens reveladas na tela eletrônica do monitor. Atua como médico há 33 anos, dos quais 30 anos com a ultrassonografia. Suas imagens são impressas com pigmentos minerais sobre papel 100% algodão. A imagética sonora configura a sua essência uma vez que, como fotógrafo e médico, filho de fotógrafo, escolheu a ultrassonografia como área de atuação assistencial e navega na interface entre ambas as técnicas, fotografia e ultrassonografia, entrelaçando-as, traduzindo sua história e utilizando, organicamente, seu próprio corpo como substrato, resultando numa técnica que nomeou de sonofotografia: a imagem do som.

Sonata Alato 40 x 60 cm Sonofotografia 2021

Hanna Uggla

www.hannauggla.com www.kuvataiteilijamatrikkeli.fi Väri on maalausteni ydin jonka avulla käsittelen asioita. Värit ovat nuotit ja pensselivedot ja viivat antavat rytmin. Maalatessani kankaan pinnalle nousee teemoja jotka juuri silloin mietin. Milloin mietin naisten vapautumista valmiiksi valetusta vartalon vaatimuksista, million taas miten rasismista pääsisi eroon. Tällä hetkellä olen työstänyt projektia nimeltä muusa, muisti ja melankolia.

Färgen är kärnan i mitt måleri med vilken jag behandlar olika saker. Färgerna är noterna och pensslföringen och linjerna är rytmen. Under målningsprocessen stiger olika teman fram på duken. Någongång funderar jag på hur kvinnor skall kunna frigöra sig från krav på kroppsliga former och någongång funderar jag på hur man kan minska rasismen som breeder ut sig. Nu håller jag på med ett project som heter musa, minne och melankoli.

The colours are the core of my paintings. The colors are the notes and the brush strikes give the rhythm. During the painting process different themes are rising. Somethimes I think about how women can get rid of the body demands on women in the society and sometimes themes like how to get rid of the rising rasism occupy my mind. I have now been working with a project called the muse, the memory and melancholy.

Muusa 1 / The Muse 1 130 x 110 cm oil on canvas 2020 93

Hanna Varis Tarinat ja tarinallisuus ovat olleet työskentelyssäni mukana aina. Tarinat teosteni sisällä lomittuvat ja nivoutuvat, rytmittyvät toisiinsa. Teoksissani on useita ulottuvuuksia ja yhdistelen vuosien takaisia muistiinpanoja uusiin. Olen ”tutkimusmatkailija” ajassa, seikkaileva esteetikko. Pyrin vahvasti elämän myönteisyyteen ja tietoisesti tunnelman kohottamiseen.

Stories and storytelling have always been involved in my work. The stories within my works interlocks and intertwine, rhythmic with each other. There are several dimensions to my works, and I combine notes from years ago with new ones. I am a “explorer” in time, an adventurous aestheticist. I work hard for the positivity of life and consciously uplift the mood.

Ruusu ajatuksistasi / A Rose From Your Thoughts

100 x 70 cm

sekatekniikka / mixed technique 2020 95

Iria Čiekča Schmidt

Aiheet Iria Čiekča Schmidt´in taiteeseen tulevat pohjoisen luonnosta sekä suomalaisesta kulttuurista, mutta taustalla on myös useiden vuosien taidekoulutus. Čiekča Schmidt on syntynyt lähellä Pohjoista Jäämerta. Taideopiskelut toivat hänet Etelä-Suomeen ja ulkomaille. Hän ei ajatellut omaa alkuperäänsä, kunnes työskenteli Hollannissa ryhmässä, joka tutki etnisiä taiteita. Tällöin hän löysi oman taustansa ja on tehnyt useita maalaussarjoja saamelaisuudesta.

Iria Čiekča Schmidt´s art comes from the northern nature and Finnish culture but also the number of years of art education. Čiekča Schmidt was born near Arctic Ocean. The art studies took her to the south and abroad. She did not think about her own identity, until working with the group exploring etnic arts in Holland, she encountered her own background and made a series of paintings of Sámi.

Cozumei Installation diameter 250 cm wood and glass

Isabella Leme 1998 - Brazil - São Paulo Artist, she began her career at the academy in 2017, at the Centro Universitário Belas Artes in São Paulo. She currently works as an artist and is currently pursuing her degree in college. Isabella Leme, bachelor in Visual Arts, Painting, Printmaking and Sculpture at the Centro Universitário de Belas Artes, was born in the city of São Paulo, capital. His research and artistic production involve the study of the female body, toxic relationships and their abuse and the experimentation of stains.

1998 - Brasil - São Paulo Artista, iniciou sua carreira na academia em 2017, no Centro Universitário Belas Artes de São Paulo. Atualmente, ela atua como artista e atualmente busca seu diploma na faculdade. Isabella Leme, bacharelanda em Artes Visuais, Pintura, Gravura e Escultura no Centro Universitário de Belas Artes, nasceu na cidade de São Paulo, capital. Suas pesquisas e produção artística envolvem o estudo do corpo feminino, relacionamentos tóxicos e seus abusos e a experimentação de manchas.

Vitral agressivo 42 x 30 cm nanquim vermelho, preto e amarelo, álcool etílico, 70 sobreposto no asetato 2020

Itamar Xavier de Camargo He graduated in Visual Arts at UNIMES and Pedagogy at UNOESTE, he became a master in education at UNOESTE, where he studied cultural historical theory. Performs his work between painting on canvases, mosaics and graffiti. The artist received the Good Pedagogical Practices - SEDUC (2019), Unoeste Solidaria Award - UNOESTE (2013e2014), was a semifinalist of the Arte na Escola Cidadã – Instituto Arte na Escola Award (2018); has a Brazilian record for the Largest Image Produced with Electronic Waste (2018); World record for largest mosaic with plastic covers (2019). In 2018, his works were recognized nationally when he received visits from presenter Luciano Huck and artist Eduardo Kobra.

Graduou-se em Artes Visuais pela UNIMES e Pedagogia pela UNOESTE, tornou-se mestre em educação pela UNOESTE, onde estudou ateoria histórico cultural. Realiza seu trabalho entre pintura em telas, mosaicos e graffiti. O artista recebeu os prêmios Boas Práticas Pedagógicas–SEDUC (2019), Prêmio Unoeste Solidaria– UNOESTE (2013e2014), foi semifinalista do Prêmio Arte Na escola Cidadã–Instituto Arte na Escola (2018); possui recorde brasileiro de Maior Imagem Produzida com Lixo Eletrônico (2018); Recorde Mundial de maior mosaico com tampas plásticas (2019). Em 2018, teve seus trabalhos reconhecidos nacionalmente ao receber as visitas do apresentador Luciano Huck e do artista Eduardo Kobra.

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Salvador Dali 65 x 85 cm mixed media 2020 101

Ivo Almico Ivo Almico works the restlessness of the contemporary world in images images that seek answers to his inner questions. His works use a variety of diverse techniques, in which watercolor and acrylic allow a fluid coloring and transmit the artist’s feelings. Of the works presented, “Olhar e Medir”, made in 2018, is very current, allowing, even, a certain prophetic vision of our time. They are eyes ”gazing” us, on a blue background that promises tranquility, the greatest expression of the desire to flow and pass. Eyes that seek measures, but do not impose limits. The other works, always with the characteristics that are complete a small sample of his poetics. Between figuration and abstraction, Ivo works with hermetic symbols that challenge us to decipher, open, reflect, and seek answers, humanity’s greatest desire.

Ivo Almico trabalha a inquietação do mundo contemporâneo em imagens que procuram respostas às suas indagações interiores. São obras em técnicas diversas, em que a aquarela e a acrílica permitem o colorido fluido e transmitem o sentimento do artista. Das obras apresentadas, “Olhar e medir”, realizada em 2018, é muito atual, permitindo, inclusive, uma certa visão profética do nosso tempo. São olhos “virais” a nos contemplar, num fundo azul que promete tranquilidade, expressão maior do desejo de fluir e passar. Olhos que buscam medidas, mas não impõem limites. As demais obras, sempre com as características que lhe são próprias, completam uma pequena mostra de sua poética. Entre a figuração e a abstração, Ivo trabalha com símbolos herméticos que nos desafiam a decifrar, abrir, refletir e buscar respostas, desejo maior da humanidade. Dra. Angela Ancora da Luz Historiadora e Crítica de Arte

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Olhar e medir / Looking And Measuring 110 x 70 cm acrílica sobre tela / acrylic on canvas 2018

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Jari Järnström

MFA, painter https://jarijarnstrom.weebly.com https://kuvataiteilijamatrikkeli.fi/taiteilija/jari-jarnstrom Olen työskennellyt viimeisen vuoden ajan Kertausta teeman parissa. Tämän sarjan maalauksissa olen palannut aiheisiin ja teemoihin, jotka ovat toistuneet teoksissani viimeisen 30 vuoden aikana. Näitä ovat mm. figuurit, abstraktit taustat, siivet, pallot ja planeetat. Maalaan akryylimusteilla, akryyliväreillä, spraymaaleilla ja viimeistelen työt öljyväreillä. Jari Järnström (s.1960, Lahti) on helsinkiläinen taidemaalari, joka on valmistunut Kuvataideakatemiassa kuvataiteen maisteriksi 2003. Järnström on pitänyt aktiivisesti yksityisnäyttelyitä ja osallistunut yhteis- ja ryhmänäyttelyihin niin Suomessa kuin ulkomailla. Yksityisnäyttelyitä on ollut mm. tm•galleriassa, Galleria Bakeliittibambissa, Galleria Uusitalossa, AVA galleriassa, Galleria Brondassa, Galleria Saskiassa, Galleria Katariinassa, Galleria Aarnissa, Galleria Pirkko-Liisa Topeliuksessa ja Berliinissä Galerie Pleikussa. Yhteis- ja ryhmänäyttelyihin ulkomailla hän on osallistunut Ruotsissa, Tanskassa, Virossa, Latviassa, Venäjällä, Saksassa, Ranskassa, Iso-Britanniassa, Italiassa, Unkarissa, Portugalissa, Brasiliassa, Yhdysvalloissa ja Japanissa. I have worked in the past years with theme Old Themes Revisited. With those paintings I have a recap of the motives and themes that I have repeated in my works over the last 30 years. These include e.g. figures, abstract backgrounds, wings, balls and planets. I painted with acrylic inks, acrylic paints, spray paints and finished my works with oil paints. Jari Järnström was born in Lahti in 1960, lives and works in Helsinki and he was graduated Master of Fine Arts at Helsinki Academy of Fine Arts, in 2003. He has been actively participating in exhibitions in Finland and abroad. Private exhibitions have been e.g. in tm•Gallery, Gallery Bakeliittibambi, Gallery Uusitalo, AVA Gallery, Gallery Bronda, Gallery Saskia, Gallery Katariina, Gallery Aarni, Gallery Pirkko-Liisa Topelius and Gallery Pleiku in Berlin. For collective and group exhibitions he has participated in Sweden, Denmark, Estonia, Latvia, Russian, Germany, France, Great Britannia, Italy, Portugal, Brazil, United States and Japan. 104

Mies ja kuollut auringonkukka / Man and Dead Sunflower 120 x 100 cm akryyli-, öljy- ja spraymaali kankaalle / acrylic, oil and spray paint on canvas 2020 105

Jertta Ratia (Helsinki, Finland) jertta.ratia@gmail.com, teoksia / works: taidelainaamo.fi

Maalatessani kuvaan kohdetta osin abstraktisti, en erityyppistä maisemaa tai kasvillisuutta, vaan mielessä risteileviä ajatuksia ja kuvia, jotka esitän maalarin keinoin. Teokseni ovat voimakkaita ja värikkäitä. Yritän osoittaa jotain teoksen ominaislaadusta, erilaisia tunnelmia. Yli 20 yksityisnäyttelyä vuodesta 2020 ja yhtä monta yhteisnäyttelyä. Jäsenyydet: Taidemaalariliitto (kokelasjäsen), Helsingin Taiteilijaseura, Viipurin taiteilijaseura

I paint mostly abstraction, not various types of landscape or vegetation, but ideas and images crossing my mind, which I try to represent by means of an artist’s work. I will try to show the essential character of the painting, different moods. Membership: the Finnish Painters’ union (candidate member), the Helsinki Artists’ Association, the Vyborg Artists’ Association (Finland). Over 20 solo exhibitions from 2002 and as many group exhibitions.

Taidekoulutus / Artistic education 2003 - 2004 Vapaa taidekoulu / Free Art School 1997 - 2008 Mestariluokka, Helsingin taiteilijaseura / Master class, oil painting, Finnish Painters’ Union Opintomatkat / Study trips

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2018 Casa Finlandia, Marbella, Espanja / Casa Finlandia recidence, Marbella, Spain 2016 Pietari, residenssi / St. Petersburg, residence, Russia 2006 Sardinia, Italia / Sardinia, Italy 2004 Vanha Valamo, Venäjä / Valaam, Russia

Vihreys hengittää / The Green Breaths 92 x 116 cm akryyli ja öljy kankaalle / acrylic and oil on canvas 2020

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Photographer Elmeri Härkönen, Dr. Bokeh

Joni Ahonen

www.joniahonen.com Maalauksissani muoti ja naiskauneus näyttelevät pääosaa akvarellien kaikissa väreissä ja sävyissä. Kauneus on rohkeutta, rohkeus ihailtavaa. Pääasiassa olen ihailija, mutta joskus haluan vaihtaa rooleja. Yksityisnäyttelyissäni pukeudun avajaisiin hemaisevaksi Lady Cerezaksi, joka on osa maalauksieni sarjaa. Tämä kuuluu performanssiin, jossa elän ikuistamani hahmot todeksi.

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In my work, there are often female characters whose gaze is generally aimed somewhere in the distance. Beauty and sensualness are the main themes of my works with the utilization of the optical illusion. My works often apply the mix of classic and cartoon- drawing styles.

Järven aallot käsissäni / Lake Waves In My Hands 30 x 24 cm (ilman kehyksiä / without frames) akvarelli paperille / watercolor on paper 2020 109

José Vasconcellos Nasceu Passos MG Brasil 1939. Frequentou a Nacional de Belas Artes RJ. Fou professor de História da Arte ni Instituto Villa Lobos e na Universidade Gama Filho. Casou-se com a pianista Veleria Zanini e em 1973 refugiaram-se no Chile. Mas emb1974 devido ai golpe militarcde Pinochet mudaram-se para a Dinamarca tambem como exilados políticos onde viveram 44 anos. Atualmente Vasconcellos reside na Espanha há já 4 anos. Vasconcellos trabalha com 6 galerias internacionais de Arte e está representado anualmente ni Carrousel du Louvre, na Biennale Internazionale dell Etruria Roma, na New York Art Show e na Bienal de Helsinki com a AVA galeria. Vasconcellos tem dois livros publicados sobre sua obra e um Portfólio publicado pelo Congresso Nacional. É reconhecido pela crítica internacional como um dos expoentes di Realismo Fantastico.

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Joseph Figorelle

Business person and Visual Artist Barra Mansa – Rio de Janeiro - Brazil Série ESTILHAS Tomado por uma reflexão Nietzscheana de que provavelmente as primeiras esculturas realizadas pelos homens foram os utensílios domésticos, me propulsiono a tecer algumas considerações sobre o briquebraque escultórico proposto pelo artista Joseph Figorelle. As pecinhas articuláveis das esculturas do Joseph Figorelle se assemelham (no que diz respeito aos aspectos lúdicos), aos bichos da artista modernista Lygia Clarck. Ao envolver-se com a belíssima estética proposta, os expectadores montam e desmontam emoções brincam, deliram, fazem de conta, se alimentam do que existe de mais palatável e necessário, a saber, à arte. Joseph Figorelle ao nos apresentar esse conjunto escultórico, dá-nos também uma dica preciosa para a reflexão da construção dos mosaicos. Talvez em alguns aspectos todas as coisas sejam as mesma coisas: pintura, utensílio, escultura, madeira, tecido, volume, plano, sagrado, profano, lúdico, alimento, alma e beleza... João Bosco Millen

Series ESTILHAS ( Fragments ) Taken by a Nietzchean reflexion that the first sculptures made by humans were domestic utensils, I´m prompted to make some considerations about the sculptur albric-a-bac proposed by the artist Joseph Figorelle. Joseph Figorelle´s sculpture´s articulable peaces are similar – concerning the ludic aspects – to the crittersof the modern artist Lygia Clark. Getting involved with this beautiful proposed aesthetic, expectators might assemble and disassemble emotions, play, rave, make believe and be fostered by the most palatable and necessary thing, namely, Art. Presenting this sculptural collection, Joseph Figorelle, gives us a precious tip for a reflexion over the mosaicbuilding. Perhaps in some aspects, all the things are the same ones“ painting, utensil, sculpture, wood, fabric, volume, plan, sacred, profane, ludic, food, soul and beauty. João Bosco Millen Traduçao Rosinha Pessoa

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Juarez Leitão

(31)99950-1742 juarez@unicaempresarial.com.br Instagram:@ juarez.leitao www.linkedin.com/in/juarez-leitão-91a77433 Juarez Leitão, Brazilian visual artist, born in Belo Horizonte - MG Training Administrator, postgraduate in Information Systems and MBA in Strategic Management, with long years of experience in Consulting Projects. Convergently with its business performance, where processes are mixed analytical and creative for the construction of diagnoses and solutions, the artist uses the abstract painting as a way to provoke a reaction of reflection on themes specific. These are portrayed broadly, to allow the viewer multiple possible interpretations. The first drawings appeared in adolescence, thus giving birth to his taste for Art. The artist explains that, just over two years ago, he decided to dedicate himself more: ”In 2019, I decided to buy a canvas and take a chance on the first frame”, he reveals. Self-taught, Juarez Leitão says that his impressions of his first works They were very good. ”People who saw it, liked it, and I continued to paint and exhibit the parts. Some were positively surprised by my artistic side. Including critics of art approved the style of the paintings,” he proudly explains. The works have striking features and a lot of expressive power. The technique used is the acrylic paint on canvas, having as main characteristics the contextualization of the theme supported by three aspects of immediate perception: imagination, superimposition of shapes and good chromatic taste. About what style he follows, he reports: ”I’m a fan of an abstract style own, which I titled as Abstract Thematic Painting”. Juarez Leitão, artista plástico brasileiro, nascido em Belo Horizonte - MG Administrador de Formação, pós-graduado em Sistemas de Informação e MBA em Gestão Estratégica, com longos anos de atuação em Projetos de Consultoria. De forma convergente com sua atuação empresarial, onde se mesclam processos analíticos e criativos para a construção de diagnósticos e soluções, o artista utiliza a pintura abstrata como forma de provocar uma reação de reflexão sobre temáticas específicas. Estas, são retratadas de forma ampla, para permitir ao espectador múltiplas interpretações possíveis. Os primeiros desenhos surgiram na adolescência, assim nascendo o seu gosto para as artes. O artista explica que, somente há pouco mais de dois anos, decidiu se dedicar mais: ”Em 2019, resolvi comprar uma tela e me arriscar no primeiro quadro”, revela. Autodidata, Juarez Leitão conta que as impressões sobre os seus primeiros trabalhos foram muito boas. ”As pessoas que viam, gostavam, e continuei a pintar e a expor as peças. Alguns se surpreendiam positivamente com meu lado artístico. Inclusive críticos de arte aprovaram o estilo dos quadros”, explica com orgulho. As obras apresentam traços marcantes e muita força expressiva. A técnica utilizada é a tinta acrílica sobre tela, tendo como principais características a contextualização do tema amparada em três aspectos de percepção imediata: imaginação, sobreposição de formas e bom gosto cromático. Sobre que estilo segue, relata: ”Sou adepto de um estilo abstrato próprio, que intitulei como Pintura Abstrata Temática”. 114

Santa Marta 120 x 80 cm akryyli kankaalle / acrylic on canvas / acrílico sobre tela 2021

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Judith Paone

paonejudith@gmail.com https://judithpaone.it An artistic path that of Judith Paone, which arises from pure and essential figurative art. A realism at times photographic, alive and accentuated, where reality is brought to the limit of its expression to the point of freeing the viewer's imagination and enhancing the imagination, like a dance of opposites. A path that develops in the latest production on a more intimate and spiritual side, attentive to the deepest emotions and the voice of the soul. His art therefore ranges from the detailed and realistic representation of landscapes, people, animals and still life, arriving at the expression of moods, getting closer and closer to the content locked up behind the image. The techniques used are of various kinds: pencil, charcoal, watercolor, acrylic, chalk, tempera, marbling technique, airbrush, mixed technique and oil technique. He also creates murals and trompe d’oeil. Description: the world is increasingly polluted: air, water, rivers, seas... What future awaits us? What world will we leave for our children? The painting represents the desperation of the human being who, suffocated by pollution, no longer finds a healthy place to stop and be able to live peacefully.

Un percorso artistico quello di Judith Paone, che nasce dall'arte figurativa pura ed essenziale. Un realismo a tratti fotografico, vivo ed accentuato, dove la realtà è portata al limite della sua espressione al punto da liberare l'immaginazione dello spettatore ed esaltare l'immaginario, come una danza degli opposti. Un percorso che si sviluppa nell'ultima produzione su un versante più intimista e spirituale, attento alle emozioni più profonde ed alla voce dell'anima. La sua arte spazia quindi dalla rappresentazione dettagliata e realistica di paesaggi, persone, animali e natura morta, arrivando all'espressione di stati d'animo, avvicinandosi sempre più al contenuto rinchiuso dietro l'immagine. Le tecniche usate sono di vario genere: matita, carboncino, acquarello, acrilico, gessetti, tempera, tecnica di marmorizzazione, aerografo, tecnica mista e tecnica ad olio. Realizza inoltre anche murales e trompe d’oeil. Descrizione: il mondo è sempre più inquinato: aria, acqua, fiumi, mari... Quale futuro ci attende? Che mondo lasceremo ai nostri figli? Il quadro rappresenta la disperazione dell’essere umano che, soffocato dall’inquinamento, non trova più un luogo sano dove poter vivere serenamente e mettere radici. 116

Inquinamento / Pollution 60 x 80 cm olio su tela / oil on canvas 2020 117

Jussara Santos

Visual artist @artedeadesivar Adhesive Art has a much greater pledge than just to make play a reality; than to occupy the mind; than to be an exercise in patience and creativity. It has a duty and an obligation to educate. I have been developing this technique with leftover cuts of adhesive vinyl since 2011, shaping them into a patchwork to create large, medium and small artistic panels. I was born in Brazil, in Caicó, in the state of Rio Grande do Norte, an arid region, also known as Seridó. It is part of the sertão region and it brings me memories that take me to different real and imaginary worlds. I develop my art, using paint brushes, cuts of adhesive paper, brooms or my own hands, this delights me and smothers me with my essence as a native of the sertão. I let this transpire in the colors, in the musical influences, in the family tales and in the pilgrimages to places and to known and unknown people. It emerges spontaneously and takes on forms and movements of unbalanced harmonies, cycles, inventions and deconstructions. In the end there is always a beginning, because energy is what makes me become reborn in every moment in my art of Being from the Sertão. I am a citizen of the world. I lived in Rio de Janeiro for several years, have taught courses in various parts of our country, have held exhibitions in Italy and France and I returned to live in Natal in 2018, bringing “Adhesive Art” and the project “Fé na Paisagem” (Faith in the Landscape) to Brazilian lands. But what do I really do as a visual artist? My art is also linked to something which is so good for planet Earth: recycling. I reuse disposable materials (using the technique with adhesives), to create a new way of showing landscapes and everyday occurrences, of the intuitive experience of my artistic experience.

A arte de adesivar tem um compromisso bem maior do que apenas transportar o lúdico para a realidade; de trazer uma ocupação para a mente; de ser um exercício de paciência e criatividade. Tem o dever e a obrigação de educar. Venho desde 2011 desenvolvendo a técnica com recortes de adesivos, criando a partir de pedaços retalhados de adesivos vinilicos com estiletes grandes, médios e pequenos painéis artísticos. Eu nasci no Brasil, na cidade de Caicó-RN, uma região seca, também conhecida como Seridó. E essa região do sertão me traz lembranças que me levam a mundos diferentes ̶reais ou imaginários. Desenvolvo minha arte, empunhando pincéis, recortes de adesivos, vassouras ou as próprias mãos, isso me faz deleitar e lambuzar com a minha essência de sertaneja. Deixo transparecer nos coloridos, nas influências musicais ouvidas, nos contos familiares e nas peregrinações por lugares e por pessoas conhecidas e desconhecidas. Surge pela espontaneidade e vai tomando formas e movimentos de desequilibrantes harmonias, ciclicidade, invenções e desconstruções. No final há sempre um começo, pois energia é o que me faz renascer a cada momento na minha arte de Ser do Sertão. Sou uma cidadã do mundo. Morei no Rio de Janeiro/RJ por vários anos, ministrei cursos em várias partes de nosso país, fiz exposição na Itália e na França e agora voltei a morar em Natal-RN em 2018, trazendo a “Arte de Adesivar” e o projeto “Fé na Paisagem” às terras brasileiras. Mas o que realmente faço como artista visual? A minha arte está ligada àquilo que tanto faz bem ao planeta Terra: a reciclagem. Reaproveitar materiais descartáveis (através da técnica com adesivos), criar um novo modo de mostrar as paisagens e os fatos do cotidiano, da vivência intuitiva da minha experiência artística.

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Amusement park 30 x 40 cm adhesive art technique (with adhesive scraps) 2021 119

Karol Schittini https://kkschittini.wixsite.com/karolschittini @karol_schittini European Production: BRA-FIN Consulting

Breve Biografia Karol Schittini, estreou como atriz no teatro aos 11 anos, e desde os 18 atua como profissional. Artista multilinguagem, com especializações em teatro, cinema, dança, música, palhaçaria, contação de histórias, arte-educação e cenotécnica. A formação passa pelas Artes Cênicas/ UFMG, pela Escola Técnica de Teatro Martins Pena/ RJ e pela Pós-Graduação em Encenação e Performance Afro-Ameríndia na UNIRio. Com o primeiro solo teatral são 9 turnês internacionais, sendo o segundo solo fruto de residência artística na Península Ibérica. No terceiro solo happening “E-ZOO” (2020) reúne sua perplexidade com a distância criada entre (pelo) o ser humano em relação à Natureza e o disparate nos hábitos de consumo e descarte. Atuou em mais de 20 espetáculos, 10 curta-metragens, 02 longas e 02 vídeo-clipes. Karol Schittini, debuted as an actress in the theater at the age of 11, and since she was 18 she has been a professional. Multilingual artist, specializing in theater, cinema, dance, music, clowning, storytelling, art education and scenotechnics. The training includes the Performing Arts / UFMG, the Escola Técnica de Teatro Martins Pena / RJ and the Post-Graduation in Staging and Afro-Amerindian Performance at UNIRio. With the first theatrical solo, there are 9 international tours, the second solo being the result of an artistic residency in the Iberian Peninsula. In the third solo happening “E-ZOO” (2020) he gathers his perplexity with the distance created between (by) the human being in relation to Nature and the nonsense in consumption and disposal habits. She acted in more than 20 shows, 10 short films, 02 features and 02 video clips. RELEASE DA OBRA E-ZOO nasce na pandemia de 2020 pela inspiração direta em Exu, polêmico e controverso guardião e mensageiro entre o mundo dos humanos e o mundo das divindades no panteão afro-barsileiro. A perda de um futuro outrora considerado por alguns como grande, brilhante e humanitário cria preocupações, e E-ZOO é dança-ode à sinfonia da Natureza, com tudo que ela contém. Ele não é um personagem, antes uma provocação. Vômito do mar, entupido de lixo plástico e tecnológico. Como podemos sonhar e interpretar o futuro a partir do que temos hoje? E-ZOO was born in the 2020 pandemic by direct inspiration in Exu, a controversial and controversial guardian and messenger between the world of humans and the world of deities in the Afro-Barsilean pantheon. The loss of a future that was once considered by some to be big, bright and humanitarian creates concerns, and E-ZOO is the ode dance to Nature’s symphony, with everything it contains ... Is not a character, rather it’s a provocation. Sea vomit, clogged with plastic and technological waste. How can we dream and interpret the future from what we have today? 120

E-ZOO sewing, discarded plastic material, percussion, happening (performance-installation) Trupiniquim Produções Artísticas 2021

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Kirsti Tuokko

www.kirstituokko.fi tuokko@hotmail.com

Red Suit ja minä, 2018 Maalaukseni kertovat kuinka ihmiset esittävät itseään vaatteiden, pukeutumisen, muodin asentojen ja asenteiden kautta. Käytän lähtökohtana muotikuvia. Maalaan öljyvärillä pleksin nurjalle puolelle vaakatasossa. Pleksin pinnalla liukkaasti liikkuva väri on yhteistyökumppani, jonka ehdotukset otan huomioon. Puolisokkona nurjalla puolella maalaaminen mahdollistaa pitkälle harkitun muotikuvan altistumisen sattumalle ja hahmojen vinksahtamisen groteskimmiksi. Saan myös päällipuolelle kiiltävän pinnan, joka sopii kuvaamaani maailmaan. Kiiltävässä pinnassa voi myös katsoja peilailla omia poseerauksiaan. Muodin seuraaminen ja kulutus on ilon ja häpeän yhdistelmä. Maalaan nautintoa ja syyllisyyttä.

My paintings are about clothes, outfits and fashion and about how people present themselves. Many of my works are based on fashion editorials. I paint on the backside of plexiglass. Oily, rich paint is my collaborator, whose proposals are important. Painting on the backside in a way halfblind allows accidental procedures, these cool fashion characters getting twisted, more grotesque. This way I also manage to save the upper surface shiny, which fits in fashion world..Shiny surface reflects also the spaectator as a part of the painting. 122

Following and consuming fashion is both joy and shame. My paintings are about pleasure and guilt.

Pink Dandy 170 x 130 cm öljy pleksille / oil on plex 2020 123

Kristina Elo

www.kristinaelo.com Kristina Elo viettää 30-vuotistaiteilijajuhlaa 2021. Hän on tunnettu kehittämästään tyylisuunnasta laatukuvanaivismi, jossa klassisen maalaustaiteen asetelmamaalaus yhdistetään epäortodoksisesti naivismiin. Tekninen taituruus on luonteenomaista hänen teoksissaan, mutta kuin parodioidakseen tuota klassista maalaustaitoa on tauluihin usein pölähtäneet kuin pilkatakseen asetelman pysähtyneisyyttä Kristina Elon satukirjoista tutut hahmot Varis, Franz-jänis, Lohikäärme, Sammakko tai Kettu. Tunnusomaista Elon taiteelle on myös usein älykäs mutta hieman piilossa oleva kantaaottavuus, jossa kuitenkaan ei ole poliittista kantaa vaan kuvattuna on sivustakatsojan näkemys. On nykyajalle harvinaista että Elo haluaa tuoda helpostikin näkymättömän laatutietoisuuden teoksiinsa, sillä kuka muu maalaa kaikki taulunsa pellavakankaalle muinaisten mestareiden tapaan.

Kristina Elo celebrates her 30th anniversary as an artist in 2021. She is known for her genre painting of naïve art, a style which she has created by combining the classical theory of still life with naïve art in an unorthodox way. Technical mastery is distinctive in her works, but as if making fun of the classic technique, her beloved children’s book characters (the Crow, Franz the Rabbit, the Dragon, the Frog or the Fox) make their way into the paintings, creating a juxtaposition between the stillness of the composition and the energy of the characters. Another characteristic of Elo’s paintings is that they take an intellectual but often slightly hidden standpoint; never political but rather illustrating the viewpoint of a bystander. It is rare in today’s world that an artist, like Elo, chooses t o bring up the often forgotten trait which is quality cons like ciousness in her work. For who else paints her works on linen canvas the old masters used to do?

Photo: Mimosa Elo 124

Storyteller 80 x 120 cm oil on canvas 2021 125

Laura Pohjonen www.laurapohjonen.fi https://kuvataiteilijamatrikkeli.fi/ taiteilija/laura-pohjonen www.instagram.com/laurapohjonen

Laura Pohjonen on taidegraafikko, joka on opiskellut Taideteollisessa korkeakoulussa ja Kuvataideakatemiassa. Vuodesta 1998 hän on pitänyt aktiivisesti yksityisnäyttelyitä ja osallistunut yhteis- ja ryhmänäyttelyihin niin Suomessa kuin ulkomaillakin. Hänen teoksiaan on mm. Valtion taidekokoelmassa ja useiden taidemuseoiden kokoelmissa. Hän on Suomen Taidegraafikoiden ja Helsingin Taiteilijaseuran jäsen. Lauran teosten aiheena on jo pitkään ollut lapsuus. Hänen kuvissaan kasvava lapsi haaveilee, leikkii ja pohdiskelee omissa maailmoissaan sekä kokeilee erilaisia rooleja. Laura ihailee lapsen kykyä elää tässä hetkessä ja heittäytyä täysillä kulloinkin tekemäänsä asiaan. Laura toteuttaa teoksensa useimmiten yhdistelemällä grafiikan eri tekniikoita kuten etsausta, akvatintaa, puupiirrosta, chine colléta ja imagonia.

Laura Pohjonen is a Finnish graphic artist. She studied at AALTO University of Art and Design and at Finnish Academy of Fine Arts. She is represented in many art collections, for example collections of State of Finland and many Finnish art museums. She has had exhibitions in many galleries in Finland and abroad. Laura Pohjonen is a member of Artists’ Association of Finland. The main theme in Lauras works is childhood. The growing child is dreaming, playing and pondering in his own world. He is also experimenting with different roles. Laura is impressed by the child’s ability to live in the moment. Laura combines different printmaking techniques such as etching, aquatint, woodcut, imagon and chine collé in her artworks. 126

Here Comes The Sun 100 x 50 cm etsaus, puupiirros, chine collé vanerille / etching, woodcut, chine collé on plywood 2019 127

Lemuel Gandara lemuelgandara.com

Born in 1984, lives in Brazil / Nascido em 1984, mora em Brasília A visual artist and film director with works exhibited in Brazil and abroad. In my artistic works, I investigate the elements and figures synthesis to present collective and individual experiences that range from microorganisms to the cosmos. They come to be in synecdoche and metonymies wrapped by an atemporality feeling in a sort of a flagrant of the memory. Those are scenes and characters that follow me, provoke and insist to gain form and sound in the visible world by means of fabric, paper and screens in the great and infinite time of art. I am also a PhD in Literature and professor researcher of the inter-artistical receptive processes with extensive scientific and critic production. QUEIMADA, jaguar, spotted, for the rain biennial All nature is made of colors - from the incidence of light on the thing and the reflection of the thing on the retina of the beast-being that aims and sees. But one being receives the colors in its name: it is the jaguar (onça pintada — spotted jaguar in Brazilian Portuguese). Out comes the panthera onca (scientific name) and in comes the jauaretê (name in the indigenous Tupi language). Colored on Lemuel Gandara’s canvas, the game of colors is revealed in several layers. In a mirroring game the yellow and black of spots and ink, stains and marks - unique, each spot pattern of each jaguar in the world is unique. But the jaguar looks at us and the white that illuminates, the white that frames the retina - of the observer of the canvas - is illuminated with a matte that tries to burn the canvas - only because it is part of nature, since it is beautiful it reveals. What it, the canvas, reveals is the same thing that destroys and kills in the middle of the forest. If before, the minimalist artist built his work in order to then, in an art for art’s sake, Gandara’s canvas makes a reverse movement: his eco-minimalism reconstructs and denounces the destruction of lives by burning. The primordial function of fire is inverted: instead of feeding, it takes lives. And each life of each being in the world is unique. Velazquian mirroring is overcome. It is no longer possible, in the 21st century, to get lost in the painting of kings, courts, dresses, and gestures considered noble. In Gandara’s mirror, the jaguar looks outside the canvas: it knows who set the fire: the same hand, human, that paints, is the same hand, dehumanized, that sets the fire. In the heat of the colors there are several layers: the suspended canvas catches fire, slowly falls apart, and agonizes under the smoke that goes beyond the canvas itself and reaches the eyes of those who observe it. Between the heat of the yellow and red smoke that hurts the retina are perceptible layers of blood paints that also catch fire. In the middle of the fire a jaguar rexists. In the white iris of its eye, paper cast on canvas, it (the jaguar) is the universe watching from a window. On its popular name is imprinted on canvas: the jaguar made of paint (onça pintada — can also be translated as painted jaguar), painted to draw the attention to a crime, it survives amidst the predatory movement of the human. The human that kills the fauna, the flora, the fluvia creates a new minimalism. A maximum eco-minimalism that remains because it denounces everything that disappears from the face of the Earth. The canvas, for beautiful, appears as memory, as denunciation, as the creation of subtle layers of the sensitive. The monochromatic gray wants to overcome colors, to erase other densities, and the fire that deforests and kills sets fire to the painter’s soul, to the observer, to the wall of the museum of the world called nostalgia. 128

Queimada 90 x 90 cm técnicas mistas (fotografia, ferramentas digitais e desenho) em giclée sobre papel museológico 2021 129

Liana González

www.facebook.com/arteslianagonzalez @arteslianagonzalez Série: “TOTENS E TOAS” TOA: Caminho pendular entre o recôndito e o abismo A paisagem do deserto é o céu. É como um amplo espaço, sem caminhos. A necessidade de verticalidade é latente na criação de totens, que são indicadores de territórios. E descobrir os TOAS foi mágico, porque são pequenos totens marcadores de caminhos. De volta ao atelier, me propus inventar territórios e caminhos num deserto que ficou em mim. Criei uma série de TOTENS e TOAS em papel, priorizando o reuso do papel descartado, do papel de propaganda, jornal, papel pós-consumo. Series: “TOTENS AND TOAS” TOA: Pendular path between the recondite and the abyss The desert landscape is heaven. It is like a vast space, without paths. The need for verticality is latent in the creation of totems, which are indicators of territories. And discovering TOAS was magical, because they are small totems marking paths. Back at the studio, I set out to invent territories and paths in a desert that remained in me. I created a series of TOTENS and TOAS on paper, prioritizing the reuse of discarded paper, advertising paper, newspaper, post-consumer paper. Série: TOTENS E TOAS ”Os totens, norteadores do território e da vida das sociedades desde tempos pretéritos, têm constituído sempre um timão dos caminhos terrenais e espirituais do ser humano. As formas naturais que se transfiguram com aparências tanto geológicas, como vegetais ou animais, vivificam esta conexão que se estabelece entre ambos mundos. Da mesma forma, e reconfigurados pelos pequenos totens (TOAS) apresentados pela artista Liana González, observamos que estes objetos ancestrais nos oferecem metáforas orgânicas que nos lembram um mundo imaginado que reflete, na poética da artista, nosso mundo de contrastes atual. A partir da coleta de papeis de descarte, representantes de nossa tumultuada cultura material, os elementos reciclados se transformam genuinamente num processo de ressignificação que apenas a arte pode conseguir, para revertê-los como objetos de qualidades estéticas e poéticas que nos levam a estabelecer novos vínculos entre nossa inata fisicalidade e nossa etérea subjetividade.” David Ruiz Torres – Doutor em Artes pela Universidade de Granada (Espanha). Professor no Departamento de Teoria da Arte e Música da Universidade Federal do Espírito Santo – UFES (Brasil) Series: TOTENS E TOAS "Totems, guiding the territory and the life of societies since past times, have always constituted a helm of the earthly and spiritual paths of the human being. The natural forms that are transfigured with geological, as well vegetable and animal appearances, vivify this connection that it is established between both worlds. Similarly, and reconfigured by the small totems (TOAS) presented by the artist Liana González, we observe that these ancestral objects offer us organic metaphors that remind us of an imagined world that reflects, in the artist's poetics, our world of current contrasts: from the collection of disposal papers, representatives of our tumultuous material culture, the recycled elements are genuinely transformed into a re-signification process that only art can achieve, to revert them as objects of aesthetic and poetic qualities that lead us to establish new links between our innate physicality and our ethereal subjectivity." David Ruiz Torres - PhD in Arts from the University of Granada (Spain). Professor in the Department of Theory of Art and Music at the Federal University of Espírito Santo - UFES (Brazil) 130

Caminho pendular entre o recôndito e o abismo (Pendular Path Between The Recondite And The Abyss) escultura feita totalmente em papel de reaproveitamento (sculpture made entirely of reuse paper) 2019 131

Liisa Björn

https://hytakoilta.yhdistysavain.fi/lb/ Hyvinkään taiteijaseuran ja Taidemaalariliiton jäsen. Memberships: Artist Association of Hyvinkää, Finnish Painters’ Union Valmistunut Eesti Kunsti Akadeemia maalausosastolta 1998. Yksityis- ja ryhmänäyttelyitä vuodesta 1994 alkaen Suomessa, Eestissä, Puolassa, Liettuassa, Italiassa ja Venäjällä. Opettanut Hyvinkään taidekoulussa 1999 lähtien. ”Teokseni tekevät matkaa alitajunnan tummalle merelle; se on yleisesti ihmisen retki itseensä ja sisäänpäin käännetty katse.”

Graduated from the Estonia Art Academy Department of Painting in 1998. Solo and group exhibitions in Finland, Estonia, Poland, Lithuania, Italy and Russia since 1994. Teaching at the Hyvinkää Art School since 1999. ”My works make a journey to the dark waters of the subconcious; a trip to oneself and a glance turned inside.”

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Meren tähti / The Star of the Sea 124 x 96 cm hiili, muste ja pastelli vanhalle merikartalle / charcoal, ink and pastel on the old sea map 2020 133

Linda Achar

www.lindaachar.com www.instagram.com/linda.achar_arte_ www.facebook.com/lindaachar_arte_ My name is Linda Achar, I am an artist and graphic designer. Since I was a little girl I’ve dabbled in art, expressing my creativity through dance, music and currently, through my paintings. I love to paint, but furthermore, I love that through my paintings I can express myself. Artworks are beautiful, aesthetic and decorative, but more than that, they speak and send messages. My artwork is full of messages I want to share with the world, speaking for myself and for those who cannot speak for themselves. I want to contribute in making this a better world and to inspire society and humankind to be better and I do so with every single brush stroke. I consider myself lucky to be able to live surrounded and immersed in art. I am lucky to have this gift and to be able to paint for a living. My goal is to share this gift with every single soul and to be an inspiration for artists and people to become better artists and better Human beings. I do what I love and I love what I do.

Mi nombre es Linda Achar, soy artista y diseñadora gráfica. Durante toda mi vida, he expresado mi creatividad a través de la danza, música, diseño, dibujo, fotografía y hoy en día a través de Ia pintura. Me fascina pintar, pero lo que más me gusta es que puedo expresarme a través del arte. Las obras de arte pueden tener un sentido estético, hermoso y decorativo, pero para mí, más que eso, pueden hablar y dar mensajes muy profundos. Mis obras están Ilenas de mensajes e inquietudes que quiero compartir al mundo, hablo por mí y hablo por todos aquellos que no pueden hacerlo por ellos mismos. Yo quiero poner mi granito de arena a mejorar nuestro mundo y con mi corazón y con cada pincelada busco inspirar a la sociedad y humanidad a ser mejores. Considero que soy muy afortunada de poder tener una vida alrededor del arte. Mi objetivo es tocar todas Ias almas posibles y crecer como artista y persona cada día a lo largo de este camino. Esto es lo que yo elijo todos los días, es un regalo para mí amar lo que hago y dedicarme a lo que amo.

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Grita Por mi 60 x 80 cm oleo sobre lienzo 2019 135

Luah Jassi

www.instagram.com/luahjassi luah55@icloud.com +55 48 9997401-30 Luah Jassi is the artist who blossomed from a law woman, called Jassirene. She already existed, latent, inside this woman. It just took the right time to emerge; this time is now, and brings to us works full of expression and enthusiasm. The colors, the brushstrokes full of paint reveal an expressive and expressionist facet, whose theme does not bring only the pain and anguish of the past movement, but the joy and freshness of a today´s lively spirit too, that is enchanted with the magic of existing. Luah Jassi’s works have magic, joy, vibrancy and emotion. It is impossible not to fall in love with the colors and images that pulsate on her canvas, even those with reflective content about life. Her works show us playful and at the same time tragic figures, raising, at times, the youthful and relaxed side of existing; and, in others, the poignant and disconcerting side of real life. Luah Jassi, a born artist, who will still reveal many surprises to us.

Luah Jassi é a artista que desabrochou de uma mulher das leis, chamada Jassirene. Ela já existia, latente, no interior dessa mulher. Só precisou do tempo certo para vir à tona; tempo esse que é o agora, e nos traz obras repletas de expressão e entusiasmo. As cores, as pinceladas carregadas de tinta revelam uma faceta expressiva e expressionista, cuja temática não traz apenas a dor e a angústia do movimento de outrora, mas também a alegria e o frescor de um espírito vivaz dos dias de hoje, que se encanta com a magia do existir. As obras de Luah Jassi têm magia, alegria, vibração e emoção. Impossível não se apaixonar pelas cores e imagens que pulsam em suas telas, mesmo as de teor reflexivo sobre a vida. Seus trabalhos nos mostram figuras lúdicas e ao mesmo tempo trágicas, suscitando, em alguns momentos, o lado jovial e descontraído do existir; e, em outros, o lado pungente e desconcertante da vida real. Luah Jassi, uma artista nata, que ainda nos revelará muitas surpresas.

Texto por: Tania de Souza, Curadora, artista plástica e escritora.

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Polinizar p/ Frutificar 120 x 120 cm acrílica sobre tela 137

Luiz Macedo The aim of this artwork was to create an amazing texture using oil, stucco, brushes, and comb originating an innovative context and sharpen all the senses, beyond vision. Luiz Macedo had the opportunity to share some working experience with Lorenzato, but always try to create artworks that represented his own perspective bringing some special outlines and contours to natural landscapes. This artwork exhibits clouds in the sky in its incredible shapes surrounded by a forest with colored and lived butterflies. It’s an artwork that highlighted the simplicity of Nature under the artist’ perception. The colors and the texture created a reality that jumps from the surface of the painting and originate its own reality.

A obra de arte foi desenvolvida com o objetivo de criar uma textura, construída por meio de tinta a óleo, pincéis, estuque e pente que conferem um contexto inovador e aguçam os sentidos além da visão. Tendo como ponto de partida os anos de aprendizado com Lorenzato, Luiz Macedo procurou criar trabalhos que, de alguma forma, dessem um contorno especial àquilo que a natureza já nos proporciona, a começar pelas nuvens e sua infinidade de formas, continuando pela apresentação de uma mata rodeada de borboletas de cores intensas e vivas.É uma obra que tenta realçar a simplicidade de um aspecto da Natureza, sob a ótica do artista que, por sua vez, proporciona um contexto próprio no qual as cores se misturam, se entrelaçam com a textura consistente das tintas, de forma a criar uma realidade que ”salta” do plano do quadro e se integra de maneira própria à realidade.

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Natura öljy vanerille / oil on plywood / óleo sobre compensado 2019

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Lupu Lupu C. Bogdan bogdanlupu90@hotmail.it www.bogdanlupuart.com Instagram: LUPULUPULUPU Bogdan Lupu, Romanian blood, Italian heart, and life experience from all around the world. Lupu, which is his family name, nickname and also art name, started to paint full-time three years ago when he moved in the heart of Helsinki city, Punavuori, into a 30 square meters apartment, where emotions ran deep and visions expanded far. “I had many nightmares, many thoughts and anxieties, then I decided to do what I loved to do the most when I was a kid: drawing and painting! During those three years, painting it turned to be a therapy for my soul, a habit, a passion, a lifestyle!” Lupu considers himself a self-thaught intuitive expressionist painter, 360 degrees influenced. Everything that he’s influenced by, makes an appearance in his art. “My art is a dynamic combination of styles, methods, materials and concepts. Art doesn’t have a proper rule. It ́s a trio of purpose, vision and prosperity. What is real will prosper, it s just emotionally pure!” In those three years, Lupu experimented colours in many different ways and styles of painting reaching a capability to express his versatility in the field making around 200 paintings. In September 2020 Lupu achieved his dream to own a painting studio where he’s constantly working.

Profile picture photographed by: Jussi Riekki Artwork photographed by: Antero Semi 140

Angelo Ferito / Broken Legs But I Chase Perfection 205 x 175 x 4 cm mixed media 2020 141

Maaria Märkälä

www.maariamarkala.com Maaria Märkälä on maisemamaalari, jonka maalauksiin vaikuttavat oma elämä ja arki, mutta myös tehdyt matkat. Koko maalausprosessi on taiteilijalle hidasta matkantekoa. Maalatessaan Tähtiyö -sarjaa Märkälä on miettinyt erämaassa taivasalla nukuttua yötä ja yön mittaan alati muuttuvaa tähtitaivasta linnunratoineen. Märkälä maalaa kerroksittain ja haluaa maalata päällimmäiseksi valon muistoksi elämän hyvistä puolista ja kauneudesta. Maaria Märkälällä on ollut lukuisia yksityisnäyttelyitä Suomessa ja ulkomailla. Hänen töitään on mm. Suomen Kansallisgallerian, Helsingin taidemuseon, HAM:n sekä monissa koti- ja ulkomaisissa yksityiskokoelmissa.

Maaria Märkälä is a landscape painter whose paintings are inspired by her own everyday life and trips abroad. For Märkälä, the entire painting process is a form of slow travel. While painting The Starry Night series Märkälä has thought about the night that she spent sleeping under the stars in a desert and how the starry sky has slowly changed during the night. Märkälä paints in layers and wants to paint light on top as a reminder of the good aspects and beauty of life. Maaria Märkälä has held numerous private exhibitions in Finland and abroad. Märkälä's works are included, among others, in Finnish National Gallery, HAM, Helsinki Art Museum's collection and many private collections in Finland and abroad. 142

Tähtiyö -sarjasta / from Starry Night series Toistaiseksi nimeämätön / so far untitled 190 x 100 cm öljyväri kankaalle / oil on canvas 2020 Teoskuva: Jussi Tiainen

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Maarit Malin-Pötry Teen puukolla ja kirveellä pieniä karkeita veistoksia puusta. Veistoksieni aiheina ovat viime aikoina olleet käärmeet, kalat ja linnut. Teoksissani olen yhdistänyt ihmisen tunnelmia luonnonilmiöihin. Piirrän hiilellä piirustuksia luonnosta, eläimistä ja ihmisistä. Olen ympäristötaiteilija. Teokseni ovat puisia ja ovat hedelmällisyyteen ja veteen liittyviä mm. vettä kerääviä ja kuljettavia rännejä. Olen ollut mukana perustamassa ja järjestämässä Palas Taidepolkua Hyvinkäälle. Olen galleriassa ja taidelainaamossa hoitajana sekä taideopettajana. Kuulun Taidemaalariliittoon.

I make small, rough, wooden sculptures with a knife and an axe. The subjects of my sculptures have recently been snakes, fish and birds. In my works I joined the human moods into natural phenomenas. I use charcoal to draw images of nature, animals and people. I´m environmental artist. My works are wooden and are related to fertility and water, e.g. water collecting and transporting chutes. I have been involved in founding and organizing Art Path Palas to Hyvinkää. I work in the gallery and in the Art Lending Service as an caretaker and as an art teacher. I'm a member in the Finnish Painters' Union.

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Huilistit (osa teoksesta) / Flute Players (part of the artwork) puu, tuohi / wood, birchbark 2020

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Madonna Domingos Madonna Domingos (synt. 1989 Mosambikissa) on Saimaan ammattikorkeakoulusta valmistunut video- ja korutaiteilija. Teoksissaan hän yhdistelee taidetta ja muotia, symmetriaa ja teknologiaa. Lähtökohtana on mallinukke, jota hän käyttää ketjuharness-korujen suunnittelussa ja virtuaalisen vaatteen luomisessa. Virtuaalinen vaatemallisto syntyi vahingossa valokuvaaja lehtori Päivi Erosen videokurssilla ”Ihminen”. Kokeellisesta kännykällä kuvaamisesta, editoinnista ja videon katselusta nuken muoviselta pinnalta syntyi ”Virtuaalinen vaatemallisto”, joka oli ensi kertaa esillä Imatran taidemuseolla 2019 ja Madonnan lopputyö. Sittemmin nukke on ollut esillä Keravalla Purkutaide näyttelyssä 2020 ja osallistunut Saimaan ammattiopistossa Sampossa SAKUstars Iisalmi 2021 kilpailuun, josta sai kunniamaininnan videotarina kategoriassa. Samasta kisasta tuli pronssia musiikkivideolla ”Trawelling Inwards 2021”. Madonna Domingos (born 1989 in Mozambique) is a video and jewelery artist who graduated from Saimaa University of Applied Sciences. In her works, she combines art and fashion, symmetry and technology. The starting point is the mannequin she uses to design chain harness jewelry and create a virtual garment. The virtual fashion collection was accidentally created with the video course “Human” by lecturer and photographer Päivi Eronen. Experimental mobile phone shooting, editing and video viewing from the plastic surface of the doll created the ”Virtual Fashion Collection”, which was on display for the first time at the Imatra Art Museum in 2019 and was Madonna’s final work in Art school. Since then, the doll has been on display at the Demolition Art Exhibition in Kerava in 2020 and participated in the SAKUstars Iisalmi 2021 competition at Saimaa Vocational College in Sampo, which received an honorable mention in the video story category. The same competition brought bronze with the music video “Trawelling Inwards 2021”. 146

Virtuaalinen vaatemallisto: Tekna 2021 / Virtual clothing collection: Tekna 2021 videoprojisointi nukkeen / video projection on a doll Uudenvuoden ilotulitus, Tampere 2019 / New Year’s fireworks, Tampere 2019 videon kesto 53s / video duration 53s 147

Maj-Lis Tanner maj-lis@tanner.fi

Luonto on teosteni lähtökohta ja inspiraatiolähde. Kauneinta on koskematon, villi luonto, sellainen mistä löytyy korpea, kosteikkoja, soita, jopa kuivaa aavikkoa sekä tietysti eläimiä. Maalauksissani luontorakkauteni tulee esille luonnolle kuuluvina väreinä. Erityisesti pidän vuodenajoista, jolloin maa välkehtii punaisena, ruskeana, kaikilla mahdollisilla tummilla sävyillä. Kaikkea tätä olen maalannut ekspressiivisellä tyylilläni teokseeni Wilderness.

Nature is the starting point and basis for my inspiration when I am painting. The most beautiful part is pristine, untouched nature, where you find gloomy wooded swamps, wetlands, bogs, dry desert and of course animals. My love of nature can be seen in colors that occur in nature. The most beautiful range of colors are related to the autumn colors, when the ground glimmers with reds and browns, and all kinds of dark shades. In my painting Wilderness I have included all this with my expressive style.

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Villi maa / Wilderness 80 x 120 cm akryyli pleksille / acrylic on plexiglass 2021 149

Mara Pozetti

Instagram: maraespozetti.artesplasticas My name is Mara Estela Saggioratto Pozetti, I was born in 1962, in Catanduva city and i’m currently living in São Paulo city. I have a degree in Visual Arts from Faculdade Paulista de Arte. I work as an art educator in public and private schools. I am passionate about colors and the deformation of shapes, elements that enchant me for their visual impact. That’s why I use them frequently in my paintings.

In this work I used symbolic and dreamlike elements to represent the human appeal to nature. The last stage of nature's destruction; The seed, the last surviving one, refuses to germinate, and below the ground it bends in a negative phototropism. The man, in an act of despair, puts his hand on the ground begging for a new chance. The dry logs reveal an environment subjected to burning and destruction. In this work I represent the consequences of human attitudes to the planet and propose a reflection on the present moment.

Usei nesta obra, elementos simbólicos e oníricos para representar o que seria a último apelo humano à natureza. Último estagio da destruição da natureza. A semente, última sobrevivente, recusa a germinar e, abaixo do solo, curva-se para baixo num fototropismo negativo e intencional. O homem, em atitude de desespero, crava sua mão na terra, como que a implorar por uma nova chance. Ao redor do homem troncos secos, denunciam queimadas e um ambiente que foi totalmente destruído. Represento nesta obra, as consequências das atitudes humanas para com o planeta, destruindo todos os recursos naturais que lhe foram dados de presente e, de maneira "ainda" poética, proponho uma reflexão sobre nossas atitudes agora!

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Causa e Efeito / Cause and Effect 40 x 60 cm acrílica sobre tela / akryyli kankaalle / acrylic on canvas

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Márcia Chagas Duque

www.instagram.com/_coloridamente_/ http://marciaduquearq.wixsite.com/coloridamente Description of the art of Márcia Duque by Denise Pimentel: One of the artist’s strengths is the ease of working with mixtures of colors and she shows us this when she makes her colorful drawings and marked lines, although light. Marcia distributes her paper forms perfectly, perhaps this is due to her background in architecture, postgraduate studies in art history and design. At no time do we perceive figures that refer us to academic themes despite her training, on the contrary, her works are always fluid and offer us a liberating and transcendental experience, even when it comes to geometric works, a style that she also excels in. Márcia’s art reveals a strong artist in the choice of themes and smooth in dealing with shapes and colors, an artist with so much potential that we hope to see all of it explored throughout contemporary times. Marcia Duque is, without a doubt, a revelation of the Brazilian plastic arts. Denise Pimentel: Marchand, curator and director of artistic events

Descrição da arte de Marcia Duque por Denise Pimentel: A arista tem como ponto forte a facilidade de trabalhar com misturas de cores e nos mostra isso quando realiza seus desenhos coloridos e de traços marcados apesar de leves. Marcia distribui de maneira perfeita suas formas no papel, talvez isso ocorra pela sua formação em arquitetura, pós graduação em história da arte e design. Em momento algum percebemos figuras que nos remetem a temas escolásticos apesar de sua formação, ao contrário, seus trabalhos são sempre fluidos e nos proporciona uma experiência libertadora e transcendental, mesmo quando se trata de obras geométricas, estilo que também domina muito bem. A arte de Marcia revela uma artista forte em suas escolhas de temas e suave ao lidar com as formas e cores, uma artista com muito potencial que esperamos ver todo ele explorado no decorrer dessa era contemporânea. Marcia Duque é sem dúvida uma revelação, das artes plásticas brasileiras. Denise Pimentel: Marchand, curadora e realizadora de eventos artísticos

Sobre a artista: Natural do Rio de Janeiro, nascida em 13/11/1963. Graduada em Arquitetura e Urbanismo e Pós Graduada em História da Arte e Design. Os primeiros contatos com a Arte foram através de fotos em preto e branco, que coloria com canetinhas hidrográfica, ainda criança. Exposições: MuMA-Curitiba 2019 Vogue Square - Rio 2019 Carrousel do Louvre - Paris 2019 Via Parque - Rio 2020 Sobre os materiais uso técnica mista com acrílica, aquarela, tinta spray geralmente sobre papel. Se pensarmos em coisas boas, coisas boas retornarão. A felicidade é um estado de espírito e esse estado é comandado pelos nossos pensamentos. Eu pinto o que passa pela minha mente. Meus pensamentos são de amor, fé, coragem e muita energia positiva. Se eu conseguir passar essa energia, me fortaleço para continuar pintando. O que almejo é receber aquilo que estou doando! 152

Felícia 43 x 58 cm ASP 2020

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Marcus Amaral Marcus Amaral is a visual artist from Minas Gerais, Brazil. Over the years, he has developed non-academic work with vivid colors and shapes that vary between the geometric and the organic. Using varied techniques and fire as its main forging element, he uses everyday objects displaced from their original functionalities, creating unusual elements that are ordered in a rhythmic way, giving life to sculptures or arts objects. Influenced by constructivist aesthetics, his works tighten the relationship between the universe of reason and the universe of senses. The result is a series of three dimensional arrangements with textures and sensorial impressions. His work aims to instigate and raise questions about the technique and the types of materials used, leading the public to question what materials are (or aren’t) disposable. The artist believes that there are different possibilities in almost everything. Nothing is essentially lost, showing that we are immersed in an universe of possibilities.

Marcus Amaral artista plástico Mineiro ao longo dos anos desenvolveu um trabalho não Acadêmico com Cores Vivas e formas que variam entre o geométrico e o orgânico. Com suas técnicas variadas tendo o fogo como principal elemento forjador utilizautiliza objetos do cotidiano deslocados de suas funcionalidades originais, criam elementos inusitados que são ordenados de forma ritmada e dão vida às telas esculturas ou objetos Artes. Com influência da estética construtivista, as obras tencionam relação entre o universo da razão e do sentidos. O resultado é uma série de arranjos tridimensionais com texturas e impressões sensoriais. A obra propõe instigar e gerar com questionamentos sobre a técnica e os tipos de materiais usados, deixando ao público a dúvida sobre o que realmente precisa ser descartável. O artista acredita que existem possibilidades diversas em quase tudo. Nada é essencialmente perdido, evidenciando que somos imersos no universo de possibilidades.

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45 x 69,5 x 7 cm Técnica mista: caixa em madeira pintada conforme dimensões acima, utilizando preças de acrílico riscada e pintada, arame de alumínio, tinta, fumaça de lamparina e utilização de fogo com maçarico para criar efeitos e texturas. Peça tridimensional. Mixed technique: wooden box painted according to the dimensions above, using scratched and painted acrylic, aluminum wire, paint, lamp smoke and use of fire with a blowtorch to create effects and textures. Three-dimensional piece.

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Mari Isotalo

www.mariisotalo.com Taidemaalari, s. Kouvolassa 1973. Asuu ja työskentelee Hämeenlinnassa. Olen kiinnostunut valokuvauksesta sekä valokuvan ja maalauksen välisistä rajapinnoista. Käytän valokuvaa teosten luonnosteluvälineenä, mutta en koskaan maalaa teosta 1:1 samanlaiseksi kuin sen lähtökohtana ollut kuva, vaan muuttelen rajausta ja valotusta sekä lisään kontrastia, väriä ja ”filttereitä” tietyn tunnelman tavoittamiseksi. Värit ovat minulle hyvin tärkeitä ja minulla on selkeitä värikausia. Olen kiinnostunut myös värien psykologisesta puolesta; siitä, millaisen olotilan tietyn värin näkeminen saa aikaan. Käytän usein puhtaita, kirkkaita värejä luodakseni tarkoituksellisia ristiriitoja vakavamman aiheen taustalle. Teosteni aihepiirit käsittelevät usein ihmisyyteen liittyviä kysymyksiä, kuten läsnäolon, näkemisen ja nähdyksi tulemisen tematiikkaa. Tunnelma kuvissani on usein melko hiljanen, pysähtynyt ja sisäänpäinkääntynyt. Huoli lasten tulevaisuudesta muuttuvassa maailmassa on myös vahvasti läsnä. I am interested in photography and the interfaces between photography and painting. I use photographs as means of drafting my pieces, but my paintings are never replicas of the source photos. I change the cropping and lightning, and add contrast, colour and ”filters” to capture a certain atmosphere. Colours are very important to me and I tend to have different colour periods. I am also interested in the psychological side of different colours; what kind of a mood does seeing a specific colour generate. I often use clean, bright colours on more serious subjects to create intentional juxtapositions. The subject matters of my works often have to do with humanity, like presence, seeing and being seen. The atmosphere in my pictures is often rather quiet, still and turned inward. A worry about the future of children in the changing world is also strongly present. 156

Kuvaaja sekä teoskuvassa että omakuvassa: Mari Isotalo

Vielä tyyntä 120 x 90 cm öljy kankaalle 2020 157

Maria Amélia Fonseca Maria Amelia Fonseca graduated in Interior Design in 1995 at UEMG (State University of Minas Gerais). During her studies she also had the opportunity to take painting classes with the renowned visual artist Fernando Vignoli, whom made her interest in art increase exponentially. The artist says that being in contact with Fernando was a determining factor to her work and technique inspiration. However, the artist is always improving her artistic individuality. Maria Amélia Fonseca se formou em Design de Interiores em 1995 pela então FUMA - Fundação Mineira de Arte Aleijadinho, e hoje, Universidade do Estado de Minas Gerais - UEMGNA época do curso, teve a oportunidade incomum de ter aulas de pintura ministradas pelo Artista Plástico Fernando Vignoli. Também assistiu sua prática de pintor, quando se interessou profundamente pela arte da pintura. A Artista diz que a convivência com Fernando foi fator determinante para a inspiração do seu trabalho e técnica. Acredita na aptidão com frutificação. Contudo, aprimora sempre sua individualidade artística.

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Corais 80 x 90 cm acrílico e aquarela sobre tela

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Maria Esmênia mariesmenia@gmail.com www.mariaesmenia.art Instagram: esmeniaribeiro Facebook fanpage: Maria Esmênia +55 48 99101-0417

A look at the Artwork Maria Esmênia is an aquarellist artist who brings in her poetics the intention of not dictating norms, but just following the ”how to do” in her own. Being almost totally devoid of corporeality due to the transparency of the paint, the watercolors are practically reduced to a formal expression that favors a search linked to the language itself. A concern is observed in her watercolors to explore the characteristics of her technique, in a metalinguistic process in which the artist exercises her poetic language. From a more philosophical point of view, her watercolors distinguish from other painting techniques due to the emphasis on the spiritual meaning of life, where colors, shapes, textures and water colors express attitudes and feelings. Perhaps due to some kind of symbiosis, the watercolorist appropriates the virtues of water, especially its ability of adaptation and constancy, so that, through the soft and the weak, achieve victory over the hard and the strong. According to Renina Katz, ”watercolor is the colloquium instead of discourse” and complete, ”it determines the appropriate space for an involvement that substitutes the impact for the revelation”. Meg Tomio Roussenq Visual artist / Curator and Artistic Projects Advisor

Um Olhar sobre a Obra Maria Esmênia é uma artista aquarelista que traz em sua poética, a pretensão de não ditar normas, mas apenas seguir no próprio fazer o "como fazer''. Sendo quase totalmente destituída de corporeidade devido a transparência da tinta, as aquarelas ficam praticamente reduzidas a uma expressão formal que favorece uma procura ligada a própria linguagem. Observa-se nas suas aquarelas uma preocupação em explorar as características da própria técnica, num processo metalinguístico em que a artista exerce sua linguagem poética. De um ponto de vista mais filosófico suas aquarelas distinguem-se das outras técnicas de pintura pela ênfase no sentido espiritual da vida, onde as cores, formas, texturas e aguadas, expressam atitudes e sentimentos. Talvez por algum tipo de simbiose, a aquarelista se aproprie das virtudes da agua, principalmente de sua capacidade de adaptação e constância, para, por meio do macio e do fraco conseguir a vitória sobre o duro e o forte. Segundo Renina Katz, "a aquarela é o colóquio em lugar do discurso" e completa, "ela determina o espaço conveniente para um envolvimento que substitua o impacto pela revelação”. Meg Tomio Roussenq Artista visual / Curadora e Orientadora de Projetos Artísticos

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Brazlian bird ”quero, quero” 38 x 57 cm 2020

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Marianne Blomqvist Maalaan luontoaiheisia teoksia, viimeaikainen aihemaailmani ovat kukat. Minulle tärkeitä aiheita ovat elämykset, tunnelma ja väri. Maalausteni tekniikkavalikoima on laaja: öljyväri, akryyli ja alkydimaali, tussi ja liidut mm. Vuodenajat liittyvät kasvin elinkaareen ja koen siinä yhtäläisyyden ihmisen kasvuun. Kukat kuvaavat isoa muutostapahtumaa ja kiertokulkua maailmankaikkeudessa ja jokaisella vuodenajalla on oma tunnelma ja rytmi. Keväällä alamme näkyä, kukkia ja versota uutta. Avaudumme luonnon viisauden ja kasvun kukoistukseen. Talven aikana luonto rauhoittuu lepoon ja syksyssä yhdistyy kaipaus ja kypsyys. Luonnon monimuotoisuus lisää luovuutta ja auttaa kohtaamaan erilaisia tunnetiloja.

I paint nature-themed works, my recent subject world is flowers. Topics that are important to me are experiences, atmosphere and color. The range of techniques in my paintings is wide: oil paint, acrylic and alkyd paint, ink and chalks among others. Seasons related to the lifecycle of the plant and feel the similarity to human growth. The flowers depict a major event of change and orbit in the universe and each season has its own atmosphere and rhythm. In the spring we start to see, flowers and sprout new things. We open ourselves to the flourishing of the wisdom and growth of nature. During the winter, nature calms down to rest and autumn combines longing and maturity. The diversity of nature increases creativity and helps to encounter different emotional states.

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Leinikki 135 x 95 cm öljy kovalevylle 2018 163

Mariella Rauhala

(Kuhmoinen, Finland)

Kirkkaat ja eläväiset värit, aiheet ja ideat ilmentävät jokapäiväistä elämääni: värikkäitä keskusteluja, hiljaisuuden ääniä ja havaintoja – näkymätön muuntuu näkyväksi. Kuvataiteen ja muotoilun yhdistämisen koen luontevaksi välineeksi. Sekatekniikassani hyödynnän valokuvaa, maalausta ja tietokoneavusteista kuvankäsittelyä. Valmiit kuvat tulostetaan digitaalisesti kestävillä ja ympäristöystävällisillä reaktiiviväreillä raskaalle puuvillakankaalle.

Bright and vibrant colors are characteristic of my work and everyday life as well as the ideas of my subjects. Colorful converstions, sounds and perceptions of the invisible phenomena. Combining of visual art and design seems like the natural medium for me. In my mixed media, I combine photography, painting and computer-aided image processing. Finished images are printed digitally with durable and eco-friendly reactive inks on heavy cotton.

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Pop Horn 1 136 x 100 cm sekatekniikka, digitaalinen reaktiivitulostus puuvillalle photography, mixed media, digital reactive printing 2017 165

Mariette Van de Sande Silveira mariette_vd_sande_silveira

Many species of animals are threatened by the actions of our species, Homo Sapiens Sapiens. Whether it’s interference and destruction of ecosystems or indiscriminate killing, we’re causing irreparable damage to the planet’s wildlife. With my work I aim to awaken awareness and responsibility for the protection of these species. In an ever-changing process, I use painting with vibrant colors as a means of sensitizing the viewer’s gaze to understand that the planet is not the property of the human species, and that our own livelihood depends on the harmony of nature with its plants and animals that cohabit the earth and the seas.

Muitas espécies de animais estão ameaçadas por ações da nossa espécie, o Homo Sapiens Sapiens. Seja pela interferência e destruição de ecossistemas, ou pela matança indiscriminada, estamos causando danos irreparáveis na fauna do planeta. Com meus trabalhos tenho por objetivo despertar a consciência e a responsabilidade pela proteção destas espécies. Num processo sempre em transformação, uso a pintura com cores vibrantes como meio de sensibilizar o olhar do espectador para entender que o planeta não é propriedade da espécie humana, e que nossa própria subsistência depende da harmonia da natureza com suas plantas e animais que coabitam a terra e os mares.

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Tigre / Tiger 60 x 70 cm Óleo sobre tela / oil on canvas

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Marikka Kiirikoff Marikka Kiirikoff valmistui Kuvataideakatemian maalauslaitokselta, Helsingistä, 2002. Alusta alkaen maalaaminen on ollut minulle toisin tekemistä. Se on kiihkeimmilläänkin rauhallista toimintaa: mielekkyyden metsästämistä. On seurattava polkua ilman kannattavuuslaskelmia. Maalaaminen voi olla rinnakkaistodellisuus, jossa järki ja tunne, looginen sekä myyttinen ovat yhtä muodostaen kielen. Maalaukseni ovat ajallisesti ja paikallisesti määrittelemättömiä jännitteisiä kenttiä asenteiden ja tunteiden moninaisuudelle. Jatkuvasti, toistuen loputtomiin, maalauksen tehtävänä on ollut löytää kaoottiselle tilanteelle ilmaisu, jossa ristiriidat voivat olla olemassa sovussa. Ja nyt, tässä muodostuvassa rauhantilassa, saavat näkyä menneiden taisteluiden merkit. From the very beginning, for me, painting has been an alternative way to act. Even at its most intense manifestation it is still a calm process: hunting for meaning. You have to follow your path without calculativeness. Painting can be a parallel reality where reason and emotions, logic and myth unite to form a language. My paintings are emotionally charged fields of attitudes and feelings, indefinite in time and place. Continuously, endlessly repeating, painting has had a mission to find expression where ambivalent plurality of attitudes can exist peacefully side by side. And now, when the peace finally forms, the marks of the past struggles still remain. 168

Once Upon A Time In Human Nature 98 x 125 cm akryyli kankaalle / acrylic on canvas 2021

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Marilu Andrasan Curious, investigative, restless, Marilu explores the most diverse media, from clay to computer science, looking for those which will fit best what she is looking for. Controlling these media, she expands their limits: sewing the clay and making it produce sounds, challenging its rigidity creating new possibilities of articulation, using computer science so that her (analogical) photos gain movement, making her works occupy the space that will involve the visitors. In the works now exhibited these characteristics (you this character) appear in the mixture of conventional and unconventional materials collected in her wanderings everywhere. Workers surrender their insistence and extract tabatinga, very white, from the bottom of a channel; the partner is subject to several stops to allow her to collect clay, of various colors, in Chapada Diamantina, in Ibitipoca, in Ouro Preto, in Teresópolis; waterproofing material dropping on a coat becomes a gravel’s adhesive. That is, perhaps, where this artist’s strength comes from. Maria Tornaghi May 24th, 2021

Curiosa, pesquisadora, irrequieta, Marilu explora os mais diversos meios, do barro à informática, rocurando os que se prestam melhor às suas propostas. Com pleno controle destes meios, expande seus limites: costura o barro e o faz produzir sons, desafia sua rigidez criando possibilidades de articulação, usa a informática para que suas fotos (analógicas) ganhem movimento, faz suas obras ocuparem o espaço que envolverá o visitante. Nos trabalhos agora expostos essas características aparecem na mistura de materiais convencionais e não convencionais recolhidos em andanças por vários lugares. Trabalhadores se rendem a sua insistência e extraem tabatinga, muito branca, do fundo de um valão; o parceiro se sujeita a várias paragens para ela recolher saibro de várias cores na Chapada Diamantina, em Ibitipoca, em Ouro Preto, em Teresópolis; pingos de impermeabilizante caídos no casaco viram fixador de saibro. Vem daí, talvez, a força dessa artista. Maria Tornaghi 24 de maio de 2021

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Maré 53 x 53 cm tecnica mista; saibro colorido, gesso, tinta acrílica mixed technique; colored clay, plaster, acrylic paint 171

Marja Hakala

www.marjahakala.net Olen tehnyt akryylimaalauksia paljon ”palapeli” menetelmällä. Pienten työskentelytilojen vuoksi olen päätynyt maalaamaan palan kerrallaan ja yhdistelemään niitä sitten suuremmaksi kokonaisuudeksi. Aikaisemmin olen työskennellyt monella eri tekniikalla; olen tehnyt ympäristötaidetta, taidetta kierrätys- ja luonnonmateriaaleista, installaatioita, kolmiulotteisia objekteja, piirustuksia, valokuvia ym. ym.. Yhteisenä nimittäjänä on intohimo taiteen tekemiseen ja elämän näkeminen taiteen osana ja taiteen osana elämää.

I’ve done acrylic paintings a lot of ”puzzle” method. due to small spaces, I have decided to paint a piece at a time, and then combine them to enlarge entity. In the past, I have worked with a variety of techniques; I have made environmental art, the art of recycling and natural materials, installations, three-dimensional objects, drawings, photographs, etc., etc... The common denominator is a passion for art making and seeing life as part of the art and art part of the life.

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Harlekiini / Harlequin 170 x 170 cm akryylimaalaus (teoksessa on 49 kpl 15 x 15 cm maalauspohjaa) acrylic painting (the work has 49 15 x 15 cm painting bases) 2020

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Marja Maljonen

www.marjamaljonen.com I am an visual artist in city of Espoo and I work mainly in oil and acryl colors. I paint translucent layers of color with shades of color from one color to another. The broken world of colors refers to nature. The paint has flowed onto the canvas, dripping and splatterinng, leaving its mark on the paintting. When painting I also study how the material base can acquire an intangible essence.

Olen espoolainen kuvataiteilija ja työskentelen pääasiassa öljy- ja akryyliväreillä. Maalaan läpikuultavia värikerroksia, värisävyillä yhdestä väristä toiseen. Hajonnut värimaailma viittaa luontoon ja sen ajattomuuteen. Maali on valunnut kankaalle, tippuen ja roiskuen ja näin jättänyt jälkensä maalaukseen. Teoksissani mietin myös sitä, miten aineellinen pohja voi saada aineettoman olemuksen.

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Sataman valot / Haven lights 100 x 100 cm öljy kankaalle / oil on canvas 2020

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Marjukka Paunila

Photograhped by Eva Maria Lopez

www.marjukkapaunila.fi www.kuvataiteilijamatrikkeli.fi Marjukka Paunila on valmistunut Suomen taideakatemian koulusta 1973 ja suorittanut Taiteilijan pedagogiset opinnot Taideteollisessa korkeakoulussa 1996 - 2000. Hänellä on ollut lukuisia yksityis- ja yhteisnäyttelyitä Suomessa ja ulkomailla vuodesta 1970 alkaen. Hänen teoksiaan on useissa julkisissa kokoelmissa mukaan lukien monet museot. Hän on saanut useita palkintoja ja huomionosoituksia. Maalaus riivaa vetäen puoleensa. Sen maagisuus täyttää sielun, mielen ja kehon. Se puhdistaa mielen. Maalaus on myös rukous. Se siirtää pois ahdistuksen ja kuljettaa uusien näköalojen eteen. Maalaus on kotini, se on ystäväni. Se on myös kohtu, mihin voi paeta ja jossa voi syntyä uudelleen. Surinaa -maalauksessa pörriäiset pörräävät Kylmäkoskella.

Marjukka Paunila Art studies: The Finnish Academy of Fine Arts, 1969 - 1973; University of Arts and Design, 1996 - 2000 Artist`s art pedagogics; Several private and group exhibitions in Finland and abroad since 1970, several prizes and honors. Paintings in many museums and collections. The painting possesses you. The magic of painting is filling your soul, mind and body. It is washing your mind. It´s also a pray. It takes away your depression and gives new views to you. Painting is my home. It´s my friend . It´s the womb there you can flee and there you can be born again. In the painting ”Buzz” insects are buzzing in my summer studio at Kylmäkoski. 176

Barco Negro 110 x 145 cm tempera 2019

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Markku J Rantala 1950 – 2007

Markku Juhani Rantala oli suomalainen taidemaalari. Hän valmistui Vapaasta taidekoulusta vuonna 1980 ja opiskeli sittemmin myös avoimessa yliopistossa länsimaista filosofiaa sekä sosiaalipsykologiaa. Rantala opetti akvarellimaalausta Vapaassa taidekoulussa vuosina 1983–93 ja Taideteollisessa korkeakoulussa värioppia. Hän toimi myös Taidemaalariliiton varapuheenjohtajana. Markku J Rantala: “Koloristina väri on minulle tärkeä. Maalatessani etsin ja tutkin värien muodostamia keskinäisiä suhteita, joilla pyrin kommunikoimaan”

Markku Juhani Rantala was a Finnish painter. He graduated from the Free Art School in 1980 and also studied western philosophy and social psychology at the Open University. Rantala taught watercolour painting at the Free Art School in 1983–93 and at the University of Art in Helsinki. He also served as vice-president of the Painters’ Union. “As a colourist, colour is important to me. When I paint, I look for and explore the interrelationships formed by colours, in which I try to communicate.”

Väriportaat / Colour Stairs 178

150 x 90 cm

öljy kankaalle / oil on canvas --------->

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Marko Viljakka

https://kuvataiteilijamatrikkeli.fi/taiteilija/viljakka-marko Olen Marko Viljakka, 54 v. taidemaalari Varkaudesta, Itä-Suomesta. Maalaus tekniikkana mahdollistaa nopeat muutokset ja se sopii minulle. Pyrin maalauksissani aina ensisijaisesti tunnelmaan. Työskentelin aiemmin teemallisesti ja olin uskollinen työn alla olevalle aiheelle tai ”maailmalle”, mutta vanhemmiten olen antanut itselleni oikeuden poukkoilla ja hyppiä asiasta toiseen. Annan ilmaisun vaihdella tunnetilojen tavoin. Olen nyt enemmän uskollinen itselleni. Se saa välillä aikaan epätasaista tuotantoa, mutta se ei minua haittaa. Näin pidän ilmaisun tuoreena. Kokeilen jatkuvasti uutta ja joskus se yllättää iloisesti. Minua innostavat nykyisin varjot, heijastukset, aika, vesi ja hetkellisyys. Nämä ”hiljaiset” aiheet eivät kuitenkaan tarkoita, että teokseni olisivat tyyniä. Tämä ristiriita on yksi työskentelyäni eteenpäin vievä voima. En näe lopputulosta ennalta. Se tulee mikä on tullakseen. I am Marko Viljakka, 54 years old painter from Varkaus, Eastern Finland. Painting as a technique allows for rapid changes and it suits me. In my paintings I always strive primarily for the mood. When I worked in the past I was thematically faithful to a topic or the ”world”, but later I gave myself the right to bounce and jump on another. I let the expression vary, just like emotional states. I am now more true to myself. Sometimes it produces uneven production, but it doesn’t bother me. This is how I keep the expression fresh. I keep trying something new and sometimes it surprises me. Nowadays I am inspired by shadows, reflections, time, water and momentum. However, these ”quiet” themes do not mean that my works are calm. This contradiction is one driving force behind my work. I don’t see the end result in advance. It will come what is to come. 180

Asiat, jotka haluan unohtaa / The things I want to forget 160 x 122 cm öljyväri / oil 2020 181

Mauro Trincanato - MATЯI’ mauro.trincanato@gmail.com www.artematri.com

Mauro Trincanato, MATЯI’, was born in 1960 in Bolzano (Italy). He began to paint in the 1970s, as a self-taught - figurative art. At the end of the 1980s, the transition to abstract art took place, with the aim of giving shape and color to the invisible, to sensations, emotions, sentiments and moods. A multifaceted and multifaceted artist, he develops and experiments paths also in the field of informal art and poor art, with the use of different techniques and materials. Since 2000 he has held solo and group exhibitions, as per the website: www.artematri.com MATЯI ’is also a writer: he has published a collection of poems and aphorism entitled; ”Thoughts of ..... verses ” (Il gabbiano publishing house). The painting for exhibition entitled ”Vacuum” wants to highlight the difficulty of freeing oneself from the frenzy of life and from increasingly unnatural rhythms. Where are we going? How can we find a true identity and a fulfilling meaning to our existence? The nylon and the ropes that wrap the painting metaphorically represent a border from which it is difficult to get out. The work was built during the lockdown period.

Mauro Trincanato, in arte MATЯI’, nasce nel 1960 a Bolzano (Italia). Inizia a dipingere negli anni ’70, come autodidatta – arte figurativa. Alla fine degli anni ’80 avviene il passaggio verso all’astrattismo, con l’obiettivo di dare forma e colore all’invisibile, a sensazioni, emozioni, sentimenti e stati d’animo. Artista poliedrico e multiforme, sviluppa e sperimenta percorsi anche nell’ambito dell’arte informale e dell’arte povera, con l’uso di tecniche e materiali diversi. Dall’anno 2000 ha tenuto esposizioni personali e collettive, come da sito www.artematri.com MATЯI’ è anche scrittore: ha pubblicato una raccolta di poesie ed aforismi dal titolo; ”Pensieri di.....versi” (Casa editrice Il gabbiano). L’opera per l’esposizione dal titolo “Sottovuoto” vuole evidenziare la difficoltà di liberarsi dalla frenesia della vita e da ritmi sempre più innaturali. Dove stiamo andando? Come possiamo trovare una vera identità e un senso appagante alla nostra esistenza? Il nylon e le corde che avvolgono il quadro rappresentano metaforicamente un confine dal quale difficilmente si riesce ad uscire. L’opera è stata realizzata nel periodo del lockdown. 182

Sottovuoto / Vacuum 50 x 70 cm tecnica mista su tela (acrilico, nylon, corde) / mixed media on canvas (acrylic, nylon, ropes) 2020

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Maximílian Rodrigues Visual artist, researcher and professor of arts residing in Manaus, Amazonas. He obtained a license to act as a teacher in 2017, when he also began his artistic career, and is currently doing a Master’s Degree in Visual Arts in the line of visual poetics. He researches and works with photography and digital manipulation, and exposes his productions on Instagram, Facebook and on his website platforms. He uses his smartphone’s camera and walks around the city and the forest to capture images that can make a contrast between urban and nature in the Amazon. The search for the element of water as a reflection source both in the city and in the forest becomes very relevant in his work. In addition, his personal experiences and affective memories are reflected in his creative process with a strong influence of digital arts. The results are works with subjective perceptions about new layers, possibilities and worlds.

Artista Visual, Pesquisador e Professor de Artes residente em Manaus, Amazonas. Obteve Licença para atuar como professor em 2017, onde também iniciou sua trajetória artística, atualmente estuda Mestrado em Artes Visuais, na linha de poéticas visuais. Pesquisa e trabalha com fotografia e manipulação digital, expõe sua produção nas plataformas Instagram, Facebook e em seu site. Utiliza a câmera de seu smartphone e caminha entre a cidade e a floresta para capturar imagens que contrastam entre o urbano e a natureza na Amazônia. A busca pelo elemento água como fonte reflexão tanto na cidade quanto na floresta se torna muito relevante em seu trabalho. Além disso suas vivências pessoais e memórias afetivas refletem em seu processo criativo com forte influência das artes digitais. Os resultados são trabalhos com percepções subjetivas sobre novas camadas, possibilidades e mundos.

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Parintins 30 x 30 cm smartphone photography and digital manipulation / fotografia com smartphone e Manipulação digital fine art, canvas printing / impressão fine art, canvas 2021 185

Merja Hujo

https://kuvataiteilijamatrikkeli.fi/taiteilija/hujo-merja Asun ja työskentelen Helsingissä. Olen pääasiallisesti taidemaalari mutta työskentelen vallattomasti muillakin tekniikoilla ja materiaaleilla. Tämä vuosi on ollut melko erilainen koskien taiteellista työskentelyäni. Ihmisiä on taas alkanut ilmaantua teoksiini. Tunnen seikkailevani jossain ajattomuuden tilassa, jossa menneisyys kohtaa nykyisyyden ilman selkeää aikaa tai paikkaa.

I am mainly a painter but I also work freely with other techniques. This year has been fairly different concerning my artistic work. People have started to appear in my paintings again. It feels like having an adventure in some kind of timeless state without clear time or space. A space where the past meets the present. I was born in Helsinki but I have been studying and working in London for six years in 1980’s. At the moment I am based in Helsinki. 186

Pääsiäinen Johann Sebastianin kanssa / Spending Easter with Johann Sebastian 119 x 109 cm tempera ja öljy 2020 187

Mika Törrönen

www.mikatoronen.com Useimmiten teokseni ovat katunäkymiä Helsingistä. Kaupunkikuvien maalaamiseen minua ei niinkään innosta arkkitehtuuri vaan katujen kiehtova valo ja tunnelma eri sääoloissa ja vuoden- ja vuorokauden aikoina. Siitäkin huolimatta, että olen maalannut kaupunkiaiheita jo yli kahden vuosikymmenen ajan. Akvarelli maalaustekniikkana on minulle innostava koska se ei ole koskaan täysin tekijänsä hallittavissa ja minua kiehtoo ajatus, että maalaan yhdessä pigmentin, veden ja sattuman kanssa ja olen vain yksi osa teoksen syntyprosessia.

I paint mostly cityscapes with watercolor, but I’m not so excited about architecture. Light and athmosphere about cities still inspire me a lot even after two decades. Watercolor is perfect and exhilarating medium for me because it’s so unpredictable way to paint. I like the idea that I never can control it totally. Water, bigments and also coincidence have a big part of that process where I’m only one participant.

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Marraskuinen iltapaiva 36 x 26 cm akvarelli 2021 189

Minna Herrala

www.minnaherrala.com On mieleltään utelias ja perinteisiä totuuksia kyseenalaistava kuvataiteilija. Herralaa kiinnostavat erityisesti eläinetiikkaan, ilmastonmuutokseen, ihmisten käyttäytymiseen ja ihmisten eriarvoistumiseen liittyvät kysymykset. Hän käsittelee asioita empaattisesti , tutkivasti ja toisinaan myös huumorin kautta. Herrala valitsee työskentelytekniikan ideansa mukaan. Kuten hän sanoo, työskentelytekniikka vain palvelee Ideaa. Hän tekniikoitaan ovat mm maalaus, valokuva, installaatiot, piirustus,monotypiat ja sekatekniikat. Herralan teokset ovat täynnä symboliikkaa ja viittauksia ympäröivään yhteiskuntaan sekä politiikkaan.

Minna Herrala is a Finnish artist whose creativity stems from an exploring and thoughtful stance on life. Having years of broad experience in the field of painting, she has also created notable works utilising various other mediums, including photography, installations and drawings. Yet, as she says, the medium only works to serve the idea. Herrala’s works are full of symbols and references to the world around us as she perceives it. Human interaction and behaviour, animal rights and commentary on politics and ethics are found in Herrala’s works - but recently, above all else - it has been the concept of Empathy that has been under the artist’s scrutiny.

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Epitaph II 170 x 90 cm akryyli / acrylic 2018

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Minna Jatkola 192

Pieni epäilys 120 x 100 cm akryyli kankaalle / acrylic on canvas 2019 193

Mona Hoel Valkoisessa kankaassa on jotakin odottamassa sen löytämistä ja minun tehtäväni on löytää se. Uuden teoksen aloittaminen on aina uuden löytämistä, mahdollisuus oppia jotakin uutta. Käytän inspiraationa valokuvia, yleensä itse ottamiani. Työn edetessä syntyy ongelmia, tulee vastaan valintoja ja joudun tekemään päätöksiä. Tekemäni ratkaisut toimivat joskus, toisinaan eivät. Teokseni kumpuavat pitkälti itse luomisprosessista; tutkimuksesta, löytämisestä, oppimisesta, ymmärtämisestä, kehittämisestä. Koen, että työssäni on punainen lanka, jota kehrään ja ilmaisen aina uusissa teoksissa. Teema tai idea siitä, mitä haluan tutkia, muodostaa teoksissani lähtökohdan puoli-figuratiivisiin hahmoihin. Maalauksissani käsittelen ihmisten olemista ja heidän välistä vuorovaikutusta eri perspektiiveistä kuten läsnä olemista sarjassa ”Being There”, ajan kulkua sarjassa ”As Time Goes By” ja yksinäisyyttä ja yhteisyyttä sarjoissa ”Alone Together” ja “Twisted Perspective”.

There is something in the white canvas waiting to be found and it is my job to find it. Starting a new work is always a new discovery, an opportunity to learn something new. I use photos as inspiration, usually my own. As the work progresses, problems will arise, choices and decisions will be made and the solutions I make will sometimes work, sometimes not. My artworks largely emerge from the creative process itself; from examining, discovering, learning, understanding, developing. I feel that there is a common thread in my work that I continue to spin on and express in new works. A theme or idea that I want to explore forms the starting point for my oftentimes semi-figurative works examining interpersonal relationships from different perspectives such as being present in the series “Being There”, the passage of time in the series “As Time Goes By” and loneliness, togetherness and community in the series “Alone Together” and “Twisted Perspective”. 194

Blue 100 x 100 cm öljy ja tempera kankaalle / oil and tempera on canvas 2021 195

Monsyerrá Batista

31- 9 9975 0166 vivo Skype: monsyerraoguia monsyerrabatista@hotmail.com www.facebook.com/monsyerra

Monsyerrá Batista is an indigenous artist and spiritualist free thinker, graphic designer, visual artist, caricaturist. In the environmental area, he is an ecotourism consultant and guide in Serra do Cipó, an environmentalist and cultural agent. The artist is featured in the various Confraternities of Art and Culture as an academic member and became known as the “Indian Poet of Serra do Cipó”. Researches and writes about indigenous ancestry, philosophy, environment, spirituality, in addition to participating in the Indigenous Movement in defense of rights and other indigenous causes. As an environmentalist, he uses recyclable materials in his arts, production and construction soil, stones, glass and wood. To all this material that is disposable waste in nature, Monsyerrá Batista brings light, life and aesthetic wealth, because with his sensitivity and creativity, he transforms into art, bringing beauty and printing themes that lead to reflection on the current political situation, also strengthening the culture ancestor of the indigenous people of Brazil. Monsyerrá Batista é um artista indígena e livre pensador espiritualista, designer gráfico, artista plástico, caricaturista. Na área ambiental, é consultor e guia de ecoturismo na Serra do Cipó, ambientalista e agente cultural. O artista é destaque nas várias Confrarias de Arte e Cultura como membro acadêmico e ficou conhecido como o “Índio Poeta da Serra do Cipó”. Pesquisa e escreve sobre ancestralidade indígena, filosofia, meio ambiente, espiritualidade, além de participar do Movimento Indigenista em defesa dos direitos e demais causas indígenas. Como ambientalista, usa em suas artes, materiais recicláveis, solo de produção e construção, pedras, vidros e madeiras. A todo esse material que é resíduo descartável na natureza, Monsyerrá Batista traz luz, vida e riqueza estética, pois com sua sensibilidade e criatividade, transforma em arte, trazendo beleza e imprimindo temas que conduzem à reflexão sobre a atualidade política, também fortalecendo a cultura ancestral dos povos originários do Brasil. 196

Retomada da espiritualidade ancestral indigena 197

Nina Wiskari

kuvataiteilija / visual artist ninawiskari@gmail.com Nina Wiskari, syntynyt Helsingissä, kuvataiteilija, asuu ja työskentelee Tuusulassa. Maalaan teemaan sopivilla tekniikoilla, usein esittävällä tavalla. Viime vuosina olen tehnyt minimalistisia asetelmia, joissa on suomalaisia vanhoja astioita, esineitä ja lempiyrttikukkia (Achillea Millefolium). Näillä maalauksilla tallennan suomalaista kulttuurihistoriaa. Toisinaan täydennän teoskokonaisuutta installaatiolla. Taidegrafiikassa minua inspiroi etenkin puupiirros sekä carborundum, monotypia. Jälkimmäinen tekniikka sallii mielikuvituksen, alitajunnan sekä käden yhteistoiminnan. Onnistunut vedos yllättää aina tekijänsä. Samalla kuvalaatalla vedostettaessa, syntyy tunnetilasta riippuen aina erilaista ja värikylläistä jälkeä. Teosteni tematiikkaan ja värimaailmaan, vaikuttavat maailman tapahtumat, luonnon ja ympäristön rajut muutokset, sekä omat kokemukset.

Nina Wiskari, born in Helsinki, visual artist, lives and works in Tuusula Finland. I paint with techniques appropriate to the theme, often in a figurative way. In recent years, I have done minimalist still lifes with old Finnish dishes, objects and favorite herb flowers (Achillea Millefolium). In this way I record Finnish cultural history. Sometimes I complete the work with an installation. In art graphics I was particularly inspired by the woodcut and the carborundum monotype printmaking. The latter technique allows the imagination, the subconscious and the hand to work together. A successful print always surprises its creator. When printed on the same image plate, depending on your emotional state, you always get a different and saturated mark. The themes and colors of my works are influenced by world events, dramatic changes in nature and the environment, and my own experiences.

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Kun kuudes lapsenlapsi syntyi / When The Sixth Grandchild Was Born 2017 199

Nonna-Nina Mäki Olen Tampereella asuva ja työskentelevä kuvataiteilija. Valmistuin 1995 Lahden Taideinstituutista taidemaalariksi, jonka jälkeen olen toiminut kuvataitelijana ja pitänyt lukuisia näyttelyitä niin kotimaassa, kuin ympäri maailmaa. Kuvamaailmani on saanut vaikutteita matkoiltani Intiaan ja muihin inspiroiviin kohteisiin vuosien varrella. Matkoillani olen kokenut niin pyörremyrskyn kuin köyhyydessä elävien ihmisten sydämellisyyden. Jokaisella ihmisellä on tarina, jonka kuuleminen vaatii välillä heittäytymistä ja uskallusta asettua toisen ihmisen asemaan. Matkoillani olen imenyt itseeni värien koko kirjon. Intian slummeissa olen nähnyt, miten ihmiset tulevat toimeen kovin vähällä, värit he kuitenkin ovat ottaneet osaksi elämäänsä, niiden moninaisuus suorastaan pökerryttää länsimaalaisen matkaajan. Kierrättäminen ja siihen liittyvät oivallukset riemastuttavat minua yhä uudelleen, ihminen on suunnattoman kekseliäs, kun tarve niin vaatii. Vuosien aikana olen käyttänyt paljon pöytäliinoja, pitsejä, lakanoita, vaatteita sekä muita kierrätysmateriaaleja. Kehitän ajatusta koko ajan eteenpäin ja siitä inspiroidun siitä yhä uudelleen. Potentiaali ja mahdollisuus on jokaisen löydettävissä, hyvin erikoisistakin paikoista ja tilanteista.

I am an artist living in Tampere, Finland. I graduated as a painter from the Lahti Institute of Arts in 1995, after which I have had multiple exhibitions in my home country, as well as abroad. The milieu of my art has influence from my trips to India and other inspiring locations from the past years of my life. During my traveling I have experienced everything from a hurricane to the hospitality and warmth of the people who live in poverty. Every person has their story and to hear it, you sometimes have to have courage and be open minded in order to step in to their shoes. While traveling I have sucked in to my art the whole spectrum of colors. In the Indian slums, I saw how people get by with so little while still having colors all around them, to the point where the multitude of those colors sometimes makes a Western traveler feel a bit dizzy. Also, the innovative recycling by the people there still makes me exhilarated. People can be so innovative, when the need arises. During the years I have used a lot of tablecloth, lace, clothing, sheet and other recycled materials in my art. I am developing the concept ahead all the time and that brings me great inspiration. The potential and chance are to be found by everybody by themselves, sometimes from places and situations. 200

Kukkakypärätäti mopokypärä / kangas / sekatekniikka 2019

Avaruusseikkailu 170 x 150 cm akryyli / sekatekniikka pöytäliinalle acryl / mixed media to tablecloth 2020

Viereisen sivun profiilikuvassa Profile picture at previous page Rakas 120 x 120 cm akryyli / sekatekniikka pöytäliinalle acryl / mixed media to tablecloth 2020 201

Panu Ruotsalo

www.panuruotsalo.com Panu Ruotsalo (s.1971) on Kuvataiteilija, jonka esittämistapa on kahdenkymmenen vuoden aikana vaihtunut värikylläisestä ja paikoin expressiivisestä vähäeleisempään ja monikromaattisempaan suuntaan. Ruotsalo on perehtynyt yhä enemmän tunteiden ja tuntemusten kuvaamiseen, näkymättömien asioiden esittämiseen ja muodon antamiseen muodottomille, abstrakteille asioille. Hän pitää abstraktia esittämistä tarkkana ja konteksteista vapaana tapana lähestyä taiteensa aiheita.

Panu Ruotsalo (b.1971) is a visual artist whose expression has moved in the past two decades from a bold use of colors and, at times, expressivity, in a more subtle and monochrome direction. In recent years, Ruotsalo has engaged more and more with the depiction of emotions and sensations, the portrayal of the invisible and giving form to shapless and abstract things. He believes that abstract axpression is a precise way of working and one free of associations and thereby suitable for approaching the topics of his art.

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Täältä sinne / From Here To There 120 x 108 cm akryyli kankaalle / acrylic on canvas 2021 203

Patricia Rachel (Patylene) www.patylenearts.com patylene.arts@gmail.com Instagram: @patylene.arts

My paintings are dense and have a lot of texture, they are practically sculpted. I discovered texture by chance and it became a passion, especially the works that crack. The craquelados form incredible crevices where you can create many effects by working with various colors, making unusual mixtures, overlapping, using other materials to create shapes, shadows that, in the end, result in incredible works. I use different materials to compose the textures of the works such as sand, marble dust, coffee powder, sawdust, earth, bandage, ash, etc. and I am always looking for new materials to represent different and unusual forms. The inspiration for my works are everyday elements that go unnoticed or are considered ugly and spoiled by most people such as holes in the street, cracked and peeling walls, limbo, mud, rust and elements of nature such as rocks, vegetation, sea, etc. Minhas pinturas são densas e possuem muita textura, são praticamente esculpidas. Descobri a textura por acaso e se tornou uma paixão, principalmente os trabalhos que craquelam. Os craquelados formam fendas incríveis onde se podem criar muitos efeitos trabalhando com várias cores, realizando misturas inusitadas, sobrepondo, usando outros materiais para criar formas, sombras que, ao final resultam em obras incríveis. Utilizo diferentes materiais para compor as texturas das obras como, areia, pó de mármore, pó de café, serragem, terra, bandagem, cinza etc. e sempre estou buscando novos materiais para representar diferentes e inusitadas formas. A inspiração para minhas obras são elementos do dia-a-dia e que passam despercebidos ou são considerados feios e estragados pela maioria das pessoas como, buracos na rua, paredes rachadas e descascadas, limbo, lama, ferrugem e elementos da natureza como rochas, vegetação, mar etc. 204

O Mundo Visto de Cima / The World Seen From Above 100 x 120 cm mixed / mista 2021

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Paula Mikkilä

www.paulamikkila.fi www.instagram.com/paulakyllikkimikkila/ Olen ollut päätoiminen kuvataiteilija nyt muutaman vuoden. Ennen sitä nelisenkymmentä vuotta vierähti opetustyössä. Merkittävän osan luovuushetkistäni jaoin luokkahuoneessa lasten ja nuorten kanssa. Taidematkat, maalaaminen ja viimeisinä vuosina erityisesti kuvanveisto kulkivat päivätyöni rinnalla. Pronssiveistoksillani olen ottanut osaa moniin valtakunnallisiin jurytettyihin yhteisnäyttelyihin ja pitänyt myös yksityisnäyttelyitä. Taideyhdistystoiminnassa olin mukana kymmenisen vuotta, joista pari puheenjohtajana. Nyt suuntaan kaiken luomisvimmani yksinomaan taiteeseeni. Pronssivalussa on monta työvaihetta, ja siksi veistoksia syntyy vain muutama vuodessa.Työ on raskasta mutta palkitsevaa, aivan kuten itse materiaali. Teokseni aiheet ammennan kodista, luonnosta, ihmisistä ja eläimistä.Veistokseni synnyttävät tarinoita ja satuja, jotka alkavat elää omaa mielikuvituksellista elämäänsä. Taiteilijan aika kuluu siivillä. Ehkäpä siksi moni pronssihahmoni on saanut siivet selkäänsä. Viimeisessä yksityisnäyttelyssäni yhdistin vanhoja valokuvia veistoksiini. Lasi ja pronssi sopivat oivasti yhteen. Pitsinen pinta antaa raskaimmallekin veistokselle sipauksen keveyttä. Taiteeseeni voit tutustua Instagramissa (@paulakyllikkimikkila) tai kotisivuillani, josta löydät myös CV:ni. I have been a full-time visual artist for some years now. Before that I worked as a primary school teacher for some forty years. That means I shared a great deal of my creative moments with children and teen-agers. Alongside my work I travelled on art trips, painted, and in particular in the last years immersed myself in the art of sculpture. My bronze sculptures have featured in a number of juried joined exhibitions as well as in individual exhibitions in Finland. I was also active in art societies for about a decade – of which two years as the chair. But now I direct all my creative energy exclusively towards my art. Bronze casting has a number of steps, which means that you can only produce a few sculptures a year. Working on bronze is hard but rewarding, like the material itself. My art work is inspired by the home, nature, people, and animals. My sculptures bring about stories and fairly-tales that take on an imaginative life of their own. For an artist, time flies. Perhaps that is also why many of my bronze figures have acquired wings. In my latest individual exhibition, I merged old photographs with my sculptures. Glass and bronze go very nicely together. A lacy surface gives a light touch even to the heaviest of sculptures. You can learn more about my art on Instagram (@paulakyllikkimikkila) or on my home page where you can also find my CV. 206

Kuollut aiti ja lapsi / Dead Mother And Her Children 20/30/8 cm pronssi / bronze 2017

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Paula Rocha

Carioca, I develop researches on painting and arts. With a degree in painting from National Fine Arts School, Federal University of Rio de Janeiro/UFRJ, I participated in several exhibitions, including one at the National Museum of Fine Arts. Recently I was in a solo exhibition at Modernistas Art Gallery, in the neighborhood of Santa Tereza. I work whit art direction in the audiovisual area, in TV and cinema. I produce works for movies as well as for the film “The Dream Seller” directed by Jayme Monjardim, based on the book of Augusto Cury, where the screens I present with the work Invisible Spaces were composing sets. I approach the sustainability theme from my reinterpretation of abandoned spaces by the city. Forgotten spaces, invisible to the majority’s perception, attract my gaze. I seek to reframe fragments of spaces I see, revealing in my paintings flashes of places inhabited. Light reveals these spaces in my memory. From my brushes, I evidence the insistence of these spaces to exist in the permanence on the canvas – sustainability.

Carioca, desenvolvo pesquisas sobre pintura e arte. Com graduação em pintura pela Escolas de belas Artes, Universidade Federal do Rio de Janeiro/UFRJ, participei de diversas exposições, entre elas no Museu Nacional de Belas Artes e recentemente numa individual na Galeria Modernistas, no bairro de Santa Tereza. Atuo na direção de arte na área audio visual, em TV e cinema. Produzo obras para cinema como para o filme “O Vendedor de Sonhos” de Jayme Monjardim, baseado na obra de Augusto Cury, onde as telas em que apresento com o trabalho Espaços Invisíveis, estiveram compondo cenários. Abordo o tema sustentabilidade a partir da minha ressignificação de espaços abandonados pela cidade. Espaços esquecidos, invisíveis à percepção da maioria atraem meu olhar. Busco resignificar fragmentos de espaços que vejo, revelando em minhas pinturas flashes de lugares não habitados mais. A luz revela esses espaços na minha memória. A partir de meus pincéis, evidencio a insistência desses espaços existirem como permanência na tela – sustentabilidade. 208

Espaço Invisível 138 x 88 cm 2018

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Pedro Kubitschek

pedrokubitschek@gmail.com + 55 31 998351210 www.pedrodinizkubitschek.art Pedro Diniz Kubitschek - Belo Horizonte, 1984 - where he lives and works. The search is continuous to provoke the viewer to pay attention to details, colors, shapes and textures in the world that is increasingly fast in which the delicate is run over. Contemplate, reflect and meditate: stop for seconds and look away for a journey to composition, either in the landscape hidden in the black and white of memory, or in the color that is the activation of emotions. The lived image, kept in flash or the flower that has its ephemeral life cycle, results in the poetics of impermanence. His production is a constant search among oil paintings, watercolors, pastels, studies and sketches in notebooks. From the training in Graphic Design by INAP-BH and Medicine at FASEH - MG, a scientific basis, which instigates curiosity and research, which are present in the methodology and deepening of the entire production. Since he was a child he started his first jobs with his father, who was trained in industrial design. At the age of 15, he went to the Ateliê Ana Amélia Diniz Camargos, great influence of Brazilian painters like Guignard, Ana Amélia's master. He held solo exhibitions at D / IT Casa and another at Ateliê Wäls, both in Belo Horizonte in 2018. Works commissioned for Petronas Brazil, as gifts for Formula 1 drivers, Lewis Hamilton and Valtteri Bottas. In 2021, he delivered commissioned work for the collection of the Emigration Museum Ralsko - Czech Republic.

Pedro Diniz Kubitschek - Belo Horizonte, 1984 - onde vive e trabalha. A busca é contínua para provocar o expectador a prestar atenção aos detalhes, às cores, às formas e texturas em um mundo que é cada vez mais veloz e em que se atropelam o que é delicado. Contemplar, refletir e meditar: parar por segundos e fugir o olhar para uma viagem à composição, seja na paisagem escondida no preto e branco da memória, seja na cor que é a ativação das emoções. A imagem vivida, guardada em flash ou a flor que tem seu ciclo de vida efêmero resultam na poética da impermanência. Sua produção é uma pesquisa constante entre pinturas á óleo, aquarelas, pasteis, estudos e croquis em cadernos. Através da formação em Design Gráfico pelo INAP-BH e Medicina pela FASEH - MG, adquiriu uma base científica, que instiga a curiosidade e pesquisa, que estão presentes na metodologia e aprofundamento de toda a produção. Desde criança iniciou os primeiros trabalhos com o pai que era formado em design industrial. Aos 15 anos entrou para o Ateliê da Ana Amélia Diniz Camargos, com grande influência dos pintores brasileiros como Guignard, mestre de Ana Amélia. Realizou exposições individuais na D/IT Casa e outra no Ateliê Wäls, ambas em Belo Horizonte no ano de 2018. Além de obras comissionadas para a Petronas Brasil, como presentes aos pilotos da Fórmula 1, Lewis Hamilton e Valtteri Bottas. Em 2021, entregou obra comissionada para a coleção do Emigration Museum - Ralsko - República Tcheca. 210

Árvore caída no rio São Francisco / Fallen Tree in the San Francisco River 100 x 80 cm oil on canvas / óleo sobre tela 2021 211

Petri Anttonen

www.petrianttonen.com

Petri Anttonen (s. 1961) on helsinkiläinen valokuvaaja ja kuvataiteilija. Hän aloitti taiteellisen työskentelynsä 1990-luvun alussa ajan ja liikkeen esittämistä tarkastelevilla teoksilla. Uuden hankkeen lähtökohta on autostereoskooppinen kolmiulotteinen valokuvausmenetelmä ja sen avulla tuotetut kuvat. Kolmiulotteiset valokuvat valmistetaan lentikulaarisella tekniikalla, jossa toisiinsa limitetyt valokuvat luovat syvyyden ja liikkeen vaikutelman. Menetelmän avulla 3D-kuvat esitetään ilman erikoislaseja. Silmien verkkokalvokuvat yhdistävä binokulaarinen stereonäköjärjestelmä tulkitsee välittävänsä aistikokemusta todellisuudesta. Hetken lumous kiehtoo yhä uudelleen. Petri Anttosen työn keskeisiä elementtejä ovat kuvallisen ilmaisun katselukäytäntöjen tutkiminen ja kehittäminen. Hänellä on ollut lukuisia yksityis- ja ryhmänäyttelyjä Suomessa ja kansainvälisesti, ja teoksia on useissa kokoelmissa. Anttonen valmistui taiteen tohtoriksi Aalto-yliopiston taiteiden ja suunnittelun korkeakoulusta (Taideteollinen korkeakoulu) vuonna 2005. Hän asuu ja työskentelee Helsingissä.

Petri Anttonen (b. 1961) is a Helsinki-based photographer and visual artist. He began his artistic career in the early 1990s with works investigating the representation of time and motion. The new project takes as its starting point an autostereoscopic three-dimensional photographic method and the imagery produced with it. The 3-D photographs are made using the lenticular technique in which the illusion of depth and movements are created by interlaced photographs. It is a method of displaying 3-D images without the use of special glasses. The binocular system of stereoscopic vision combining the retinal images of the eyes interprets transmitted sensory experience of reality. The allure of the moment fascinates the view time after time. The key elements in Petri Anttonen’s work are investigation of the practices of viewing and development of pictorial expression. He has exhibited extensively in solo and group exhibitions in Finland and internationally, and he has works in several collections. Anttonen received his Doctorate in Fine Art from the Aalto University School of Arts, Design and Architecture (University of Art and Design) in 2005. He lives and works in Helsinki. 212

Kaste

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Piippa Mutikainen

Teos taustalla on ”Rakkauden kiertotiet” 2020

www.piippamutikainen.com Olen kuvataiteilija Piippa Mutikainen. Asun ja työskentelen Jämsässä. Kuulun Jyväskylän taiteilijaseuraan. Oma työhuoneeni Pikku Galleria on ollut myös kesägalleria 16 vuotta. Minulle tärkeitä asioita ovat luonto, kaikkine vivahteineen, etenkin linnut ja äänet. Olen kuvannut teoksissani myös paljon naiseutta ja naisena olemista, sen kimallusta ja kipupisteitä. Tällä hetkellä elän omaa kultakauttani ja sen myötä teoksiini on löytynyt lehtikulta. Maalaukset, esinekoosteet ja installaatiot vuorottelevat. Käytän ilmaisukeinona myös valokuvausta. I am a visual artist Piippa Mutikainen.. I live and work in Jämsä. I’m a member of the Jyväskylä Artists’ Association. My studio Little Galleria has also been a summer gallery for 16 years. Things that are important to me are nature, with all its nuances, especially birds and sounds. I have visualised in my works also a lot of femininity and womanhood, its sparkles and pains. Currently, I live in my own golden age and with that, leaf gold has found its way into my artwork. Paintings, assemblages and installations rotate. I also use photography as a means of expression. 214

Maan antimet / Treats Of The Garden 100 cm akryyli ja kultapigmentti / acrylic and gold pigment 2019 215

Päivi Kukkasniemi

www.paivikukkasniemi.com

Only one thing in life is constant. Everything changes. Päivi Kukkasniemi participates to BELA Biennial with the painting which name is Tomorrow comes. You can see the tomorrow as you like. When Kukkasniemi paints, she lets emotions, body, impulses and instincts prevail while the eyes act as a leader. She trusts that the language of the painting is strong enough without explanations or words.

Vain yksi asia elämässä on pysyvää. Kaikki muuttuu. Päivi Kukkasniemi osallistuu BELA Biennaaliin maalauksella nimeltä Huominen tulee. Katsoja saa nähdä huomisen niin kuin haluaa. Kun Kukkasniemi maalaa, hän antaa tunteiden, kehon, viettien ja impulssien ohjata katseen toimiessa johtajana. Hän luottaa maalauksen kielen olevan riittävän kuuluva ilman selityksiä tai sanoja.

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Huominen tulee 130 x 140 cm akryyli kankaalle 2021 217

Päivyt Niemeläinen www.paivytniemelainen.fi pniemelainen@yahoo.com

Olen tehnyt vuodesta 2005 alkaen kollaasiteoksia (ensimmäinen näyttely: Galleria Nunes 2005). Kollaasitekniikkaa olen kehitellyt etenemään plastisuuteen, pintamuotorakenteiseksi. Töihini käytän mieluiten kierrätysmateriaaleja, joissa on jo mukana ihmisen käden jälki. Silloin materiaali muotoutuu helpommin haluamallani tavalla. Useimmiten teen rakenteelliset kollaasini kuitulevylle puupohjaisista materiaaleista, pahvista, kartongista, papereista. Värit töihini saan itse tekemilläni maaleilla, toisinaan myös öljyväreillä. Menetelmä on hidas ja monivaiheinen. Se edellyttää kunnollista kuivumista eri työvaiheiden välillä. Koen sen antoisana, koska tekniikka on ”rajaton”, myös kokojen suhteen. Kun työhuoneeni tila rajoittaa teosteni kokoa, niin teen niitä osina, ja nämä osat voivat muodostaa vierekkäin ripustettuina kookkaitakin töitä. My chosen medium is collage on hardboard, painted with self-made paints and oil paints. The use of pastel colors is intended to touch the forces of universe, to be like a window into space, where emotions manifest themselves.

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Yö / Night 81 x 90 cm kollaasi kovalevylle / collage on hardboard 2019

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Rafael Agostini Where is the shelter of the sad child out there kind mothers arms, without laugh or tear, in the marks of hostile past? Where is the hands that turn over the procreative womb and felt pain that? Who ignored the eyes of somebory placed on between the battefield and the place of the soul? In this painting is the woman, is the young, is the mother and is the child. They coexist, in the forms, traits and brushstrokes free, connect to compose in hot colors of virgin forest that resist still. The silence of pain and caution in a paralyzed look the soul saddens us. The violeted womb that severe pain got sick the young and creating scars. But the rhythm of life, the rhythm of people and the rhythm of a time, the mother nation keeper hope still.

Aonde o recanto da criança ausente do colo de mãe gentil, sem riso ou choro, nas marcas de um passado hostil? Onde as mãos que se perdem em um entrelaçar entre o ventre criador e a dor sentida? Quem ignorou o olhar de alguém petrificado entre o campo da alma e o campo de batalha? Neste quadro está a mulher, a jovem, a mãe e a criança, que coexistem, entre linhas e pinceladas livres, que se unem para compor, nas cores quentes de uma mata virgem que ainda resiste. O recolhimento da dor e da cautela, em um olhar petrificado, nos tinge a alma. O ventre violado que pungente dor lhe adoeceu uma marca registra no passado. Mas o ritmo da vida, os ritmos de um tempo e de um povo, e porque não de uma nação-mãe ainda guarda a esperança.

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Descendencia 80 x 70 cm oil on canvas / óleo sobre tela 2016 221

Rafael Lucchesi

www.rafaellucchesi.vsble.me instagram.com/rafa_lucchesi Rafael Lucchesi was born in 1987, is a designer and visual artist resident in Belo Horizonte. He spent his childhood coloring the drawings of his father Eduardo and always flipping through art books with the works of his uncle Fernando Lucchesi. It is defined as a Cubist Urban. His works have the themes of Resistance, Equality, Bohemia, Inferiorities, Tropicalism and Liberation. He prefers that the mind describes his works, without having to read their titles and so the work speaks more than the artist’s voice and with this he can understand what each human being perceives.

Rafael Lucchesi nasceu em 1987, é designer e artista visual residente de Belo Horizonte. Passou a infância colorindo os desenhos do seu pai Eduardo e folheando sempre os livros de arte com as obras do seu tio Fernando Lucchesi. Defini-se como um Cubista Urbano. Suas obras tem as temáticas de Resistência, Igualdade, Boêmia, Inferioridades, Tropicalismo e Libertação. Prefere que a mente descreva suas obras, sem precisar ler seus títulos e assim o trabalho falar mais que a voz do artista e com isso conseguir entender o que cada ser humano percebe. 222

All The Same 96 x 130 cm mixed technique; spray, acrylic paint and oil pastels in wood 2021

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Ragnaia Coutinho My sources are the cerrado, the folk festivals of the Congo, Mozambique with their colorful costumes and dances typical of the interior of Brazil. I look for references in the colors of Van Gogh, Beatriz Milhazes, Mondrian and Tarcila do Amaral. In The Green Line, the multiple colors refer to the joyful atmosphere of the parties, the dances with ribbons, oscillating between the lines, the geometric shapes, the colors and the mandalas. multicolored joy and religiosity, in movements, colors, joy and religiosity.

Em A linha verde as múltiplas cores remetem ao ambiente alegre das festas, das danças com fitas, oscilando entre as linhas, as formas geométricas, as cores e as mandalas vou criando composições que remetem ao mundo lúdico do folclore do interior do Brasil, com sua alegria e religiosidade multicoloridas, nos movimentos, nas cores, na alegria e na religiosidade. Minhas fontes são o cerrado, as festas folclóricas do congado, Moçambique com seus trajes coloridos e danças típicas do interior do Brasil. Busco referência nas cores de Van Gogh, Beatriz Milhazes, Mondrian e Tarcila do Amaral.

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A linha verde 110 x 150 cm oil on canvas / óleo sobre tela 2019 225

Raija Kuisma

http://www.raijakuisma.fi http://www.kuvataiteilijamatrikkeli.fi/fi/taiteilijat/3156 http://www.finnishdesigners.fi/portfolio/raija.kuisma https://taiko.fi/artists/raijakuisma?lang=fi Tärkeätä on tässä ja nyt läsnä oleva. Katselen esineitä tai muuten vaan muotoja. Katsellessani huomaan näkeväni niissä jotain muuta. Koskettelen pehmeää kangasta tai sileää metallia, rosoisuutta, tekstuuria. Olen huolestunut siitä mitä jäljelle jää. Otan useimmiten käyttöön jo olevan ja muokkaan sitä mieleisekseni. Muoto visuaalisena elementtinä on tärkeä. Tällä hetkellä katselen maailmaa paljolti kameran linssin läpi. Kuvaan ja tarkastelen kuvia tietokoneen kautta yhdistellen erilaisia pintoja ja näkymiä uusiksi kokonaisuuksiksi. Värit ovat tulleet elämääni ja taiteeseeni täysillä. Kuvien tulostaminen polykarbonaatille/plexille tai lasille antaa niille uudenlaista syvyyttä ja hohtoa, joka miellyttää silmääni. Alumiinin keveys luo oman ulottuvuutensa teoksiin. I try to be here and now. I examine things or simply shapes. Looking at them I often seem to find something new in them. I touch soft fabric or shiny metal, roughness, texture. I am worried about what we leave behind us, what is our heritage for our children. I try to take things that already exist and mold them to shapes that please my visual eye. Shapes in themselves are important. Presently I explore the world mainly through the lens of my camera. I shoot a lot of photos and examine them with my computer combining various surfaces and sights to entities. Colors have entered to stay in my art. Printing my photos to polycarbonate or glass gives them new depth and shine which pleases my eye. The lightness of aluminium makes an impression of its own.

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Soutaja, 30 x 60 cm, uv-tasotulostettu valokuva lasille, editio 1/1, 2019

Sarvikuono, 30 x 60 cm, uv-tasotulostettu valokuva lasille, editio 1/1, 2019

Naamiot, 30 x 60 cm, uv-tasotulostettu valokuva lasille, editio 1/1, 2019

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Rasmus Förster

https://cargocollective.com/rasmusforster rasmus.forster@koti.fimnet.fi Olen Rasmus Förster (s. 1994), suomalais-saksalainen Helsingissä työskentelevä kuvataiteilija. Viime vuosina keskeisimpänä välineenäni on toiminut maalaaminen. Maalausten taustalla vaikuttavat lukemattomat piirustukset, polaroid- ja filmivalokuvat, sekä digipiirustusten ja -kollaasien rakentaminen. Tällä hetkellä työskentelen viipyilevän mietteliäisyyden parissa, jota pidän tunnustuksena meissä asuvalle haikeudelle ja peloille. Se on sekä pehmeää että kauhistuttavaa: kuuman asfaltin peittämä kaupunki on yhtä lailla kaunis ja surullinen, sitä pitkin vaeltava ihminen groteski ja hellyttävä. Siihen sisältyy myös jatkuva haparointi epävarman tulevaisuuden äärellä: miten luovia urbaaneissa ympäristöissä pahenevan ekokriisin aikakautena? Nykyhetki vaatii ihmisyyden uudelleen arviointia, ja yritän taiteellisen työskentelyni kautta yhdistää tämän muutoseetoksen mystiikan yksinkertaisiin huomioihin siitä, millaisia olentoja olemme ja mihin toimillamme pyrimme.

I’m Rasmus Förster (1994), a finnish-german artist from Helsinki. The past few years I have focused mainly on painting. For my paintings I also create a lot of drawings, polaroids and photos on film, as well as digital drawings and collages. I’m working on topics around lingering contemplation, something I consider a confession to the melancholy and fears we harbour. It is soft and frightening at the same time: the hot asphalt city is both beautiful and sad, the human roaming it’s streets grotesque and endearing. It also asks questions about the uncertain future. How to navigate urban spaces in a time of worsening ecological crisis? Our time requires a re-evaluation of what being human is. In my artistic work I try to combine this ethos of change with more simple notions of what kind of creatures we are and what we aim for with our actions. 228

A city full of rats, dead electrics. Take me to the forest, skip the beat. 130 x 110 cm öljy kankaalle / oil on canvas 2020 229

Reijo Puranen

reijo.puranen@gmail.com www.emikratti.com Olen Pellossa, Lapissa syntynyt, nykyisin Hyvinkäällä asuva kuvataiteilija. Piirtäminen ja ympäristötaide ovat minulle mieluisimpia ilmaisumuotoja. Piirrän sarjoittain, viimeksi surrealistisia piirustuksia sarjaan: Niin metsä vastaa. Minua kiinnostaa kovasti aika ihmisen sukupuuton jälkeen, millaista mahtaa olla elämä puhtaassa luonnossa. Olen myös järjestänyt kesänäyttelyitä Pellossa, ARTakatie, johon olen kutsunut suomalaisia nykytaiteilijoita. Samoin olen yhtenä ollut järjestämässä ympäristötaidenäyttelyä, Palas Taidepolku, Hyvinkäällä. Kotisivuillani; www.emikratti.com on CV ja kuvia teoksistani.

I’m a visual artist, born in Pello, Lapland, nowadays I live at Hyvinkää. Drawing and enviromental art are the forms of expression I enjoy the most. I draw as series, latest series is called; ”So the Forest Answers”. I am very interested about the time after humans have gone to extinction, what would life be like in pure nature. I’ve also organized summer exhibitions at Pello, ARTakatie, in which I have invited Finnish contemporary artists. Also I have been part of organizing enviromental art exhibition; Palas Art Path at Hyvinkää. From my homepage; www.emikratti.com you can find my CV and images of my artwork.

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Krusifiksi / Crucifix 100 x 70 cm lyijy- ja värikynät 2020 231

Riikka Ahlfors

www.riikkaahlfors.com Riikka Ahfors (s.1975, Helsinki) on kuvataiteilija, joka maalaa öljyväri- ja temperamaalauksia, joissa realistinen tila pelkistyy muodoiksi ja väreiksi. Hän pyrkii keveään ilmaisuun, jossa keveys on valoa ja sen värejä ja pigmentti niiden väline. Suhde luontoon on ilmeinen Ahlforsin teoksissa.

“Riikka Ahlfors is a visual artist who has graduated as Master of Fine Arts from the Finnish Academy for the Fine Arts. She did her Bachelor studies in York University, Toronto, Canada. Her oil paintings depict realistic spaces that are constructed and abstracted as forms and colours. Her spacious style creates lightness to her works. The playful art works are strongly situated in the tradition of abstract painting.” – Veikko Halmetoja, 2019 (transl. R. Ahlfors)

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Traum 100 x 120 cm öljy kankaalle / oil on canvas 2021

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Roberto Gallo I am primarily a landscape painter. The landscape, in a broad sense, is the scenery where life on the planet unfolds. My seascapes are always created from a horizon. It is in the linear form of painting, in long brushstrokes, that I find the ideal technique to express my idea. The horizons and outlined horizons, or distant and vaporous, represent feelings related to limits, future, hope among others. With each step in their direction, more they move away, transform, renew themselves. At In search of new horizons, I find inspiration for art. All the energy and vibration natural source is recorded on the canvas. In counterpoint, in urban canvases, the city is a landscape charged with energy and movement, devoid of horizons. Totally humanized, such a landscape is immediately recognizable as the signature of man's action over the environment. In Urban Scene, man is not present. From the memory of a natural world, only fragments of sky remain sky, among the constructions of concrete, steel and glass. The absence of interaction with others with others represents a paradox in the life of modern man, who lives isolated in large urban centers. In my paintings, I reveal the absence of horizons, replaced by a tangle of connections, mosaics of colors and perspectives that have become urban landscapes. Human signatures in the landscape.

“Para mim, pintar é como sonhar. Minha inspiração surge da contemplação do universo ao meu redor no entanto para mim, a arte não tem inicio nem um fim e existe muito antes e muito alem do momento criativo. As formas que utilizo para me expressar encontro na observação pura e simples dos materiais e suas propriedades. Um céu de chumbo ou um olho de gato refletindo a luz da rua. O momento que revela uma obra de arte é resultado de um longo processo de evolução dos sentidos da paixão e do amor pela vida em uma relação única entre o criador e a criação.” É artista plástico. Nasceu em Campinas SP Brasil em maio de 1957. Aluno de Aldo Cardarelli, Francisco Biojone, estudou na Academia di Belli Arti di Firenze Metodologia e Técnica de Afrescos. Trabalhou como paisagista, desenhista, escultor, especializou-se em aquarelas e pinturas acrílicas. Participou de inúmeras mostras coletivas e individuais em museus, galerias e salões, podendo destacar a VIII Bienal do Mexico DF, Individual no Centro Cultural Sao Paulo Vergueiro, Centro Cultural da Caixa Económica em Sao Paulo e Centro Cultural dos Correios no Rio de Janeiro. A partir 1990 se especializou em cenografias de grandes dimensões e na construção de habitats para aquários de visitação pública, a saber Aquário Marinho do Rio de Janeiro, Aquário Oceanic em Balneário Santa Catarina, Aquário de Ubatuba Sao Paulo entre outros. Campo Grande - MS- BR. Jun\2021 234

Maresia 100 x 80 cm tecnica mista \ canvas

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Roberto Negri

www.robertonegri.com @robertonegri Born in Campinas, São Paulo, Brazil, Roberto Negri is a visual artist who graduated from the school of drawing and painting of Campinas. He attended workshops and painting courses at the MUBE Brazilian Sculpture Museum - São Paulo Photography, The Casa Fotoarte Rio de Janeiro and he is a member of the Circolo Culturale Arti Decorative Rovigo (Italy). For over 35 years he has participated in collective and individual exhibitions in São Paulo, Rio de Janeiro, Curitiba, Rovigo, Rome, with works sold in Brazil, Italy, USA, Canada, Spain. His work is known for transporting the observer from his real world to the magical world of the arts and emotions. His art is based on different techniques that show movement and provoke sensations that trigger new and past experiences. Expressing this transforming power through images, colours and shapes, his art creates an intimate relationship between the observer and his works. His artistic proposal is to invite the viewer to connect with the energy of the creative process by sharing the transformative experience of expressing and knowing yourself through art.

Natural de Campinas, São Paulo, Brasil, Roberto Negri é artista visual formado pela escola de desenho e pintura de Campinas com curso de ateliê e pintura do MUBE Museu Brasileiro de Escultura – São Paulo, SP. Fotografia A Casa fotoarte Rio de Janeiro e membro Circolo Culturale Arti Decorative Rovigo Itália. Exposições coletivas e individuais São Paulo, Rio de Janeiro, Curitiba, Rovigo, Roma. Sua obra é responsável por transportar o observador do seu mundo real para o mundo mágico das artes e das emoções, surge para comover, provocar sensações e liberar os sentimentos, através da multiplicidade de trabalhos e técnicas ter uma nova experiência ou relembrar sensações passadas. Expressando pelas imagens, cores e formas esse poder transformador criando uma relação intima entre o observador e as obras Sua Proposta artística é convidar ao expectador se conectar com a energia do processo criativo compartilhando da experiência da transformação de se expressar e se conhecer através da arte. 236

Índia Karajá 80 x 80 cm acrílico sobre tela 2021

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Rodrigo Cid This work deals with Walter Benjamin’s concept of aura. It questions the nature of reproducibility in art and the role of institutions in aesthetic appreciation. The glued frames intend to show the repetition of reproducibility, and the role of institutions is represented by the own frame. It is also colored gold in order to talk about the superficiality of economic values in the world of art. There is nothing inside the frame, in order to talk about the empty choices of some contemporary curators. It is also in a frame (the black frame) in order to criticize my own work. Rodrigo Cid is a contemporary artist, PhD philosopher and art collector from Rio de Janeiro, who works with assemblages, paintings, collages and NFTs. His idiosyncrasy can be seen in his conceptual and reflective works, which question the very nature of art and our aesthetic and moral values. He has participated in several solo and group exhibitions in Brazil and Finland, including the Bela Biennial. His NFT works can be seen at platforms such as Hic et Nunc and Open Sea, and he is currently represented by the traditional AVA Galleria and the digital Binaria Contemporary Art Gallery.

Este trabalho trata do conceito de aura de Walter Benjamin. Questiona a natureza da reprodutibilidade na arte e o papel das instituições na apreciação estética. As molduras coladas pretendem mostrar a repetição da reprodutibilidade, e o papel das instituições é representado pela própria moldura. Também é dourado para falar sobre a superficialidade dos valores econômicos no mundo da arte. Não há nada dentro da moldura, para falar das escolhas vazias de alguns curadores contemporâneos. Também está em uma moldura (a moldura preta) para criticar a minha própria obra. Rodrigo Cid é um artista contemporâneo, doutor em filosofia e colecionador de arte carioca, que trabalha com assemblagens, pinturas, colagens e NFTs. Sua idiossincrasia pode ser notada em suas obras conceituais e reflexivas, que questionam a própria natureza da arte e dos nossos valores estéticos e morais. Já participou de várias exposições individuais e coletivas, no Brasil e na Finlândia, incluindo a Bela Bienal. Seus trabalhos em NFT podem ser vistos em plataformas como Hic et Nunc e Open Sea, e atualmente é representado pela tradicional AVA Galleria e pela galeria digital Binaria Galeria de Arte Contemporânea.

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Pieces of Aura / Pedaços da Aura mixed media / técnica mista (assemblagem e pintura) 2018

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Rogerio Mariano Series title: Latitudes and Longitudes One of the artist’s skills is to propose encounters, to think about different perspectives, to make the “accustomed eye” stick to broadness again. A river flowing in contrast to a riverside forest, generating a unique combination of colors, the shadow of a tree that moves because of the sunbeams. What is learned and apprehended in nature is that its intense plasticity of colors is movement, encounter and intense happening. When nature and art break frontiers and blend into each other, they break into new ways of thinking about our existence and belonging to the world. There is poetry in the temporary vertex of this contact, a horizon yet to be discovered (“poetically man dwells” F. Holderlin). This might be Rogerio Mariano’s goal, to capture from the intense contact of colors, new sensibility towards new contrasts and renewed perceptions and sensations. To highlight from this plastic resonance, with beauty woven by the meaning of the artist, the importance of recovering the sensation that our presence can only be in the world, allied to this essential natural that is the flow of life as well as the flow of art.

Título da série: Latitudes e Longitudes Um dos ofícios do artista é propor encontros, pensar outras perspectivas, fazer a visão viciada ater-se ao amplo novamente. Um fluxo de rio que contrasta com uma mata ribeirinha gerando uma combinação única de cor, a sombra da árvore que se movimenta por conta dos feixes de luz solar. O que se aprende e apreende na natureza é que sua plasticidade intensa de cores é movimento, encontro e acontecimento intenso. Quando a natureza e arte perdem suas fronteiras e se misturam, irrompem novos modos de pensar a existência e nosso pertencimento no mundo. Há uma poética no vértice provisório deste contato, um horizonte ainda não descoberto (“poeticamente o homem habita” F. Holderlin). Talvez esse seja o objetivo de Rogério Mariano, ao apresentar estes trabalhos, captar desses contágios intensos de cor, sensibilidades novas para novos contrastes e renovadas percepções e sensações. Destacar desta ressonância plástica, com a beleza enovelada pelo sentido do artista, a importância de se resgatar a sensação de que nossa presença só pode ser no mundo, aliada a esse essencial natural que é fluxo de vida e também fluxo de arte.

Texto: Marcelo Soares Mariano

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Amazônia - Rio Madeira e Lagoa Araçá 50 x 88 cm fotoarte sobre tela

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Rosa de Jesus Rosa de Jesus was born in Portugal, in the city of Porto, in 1929, graduated as a fashion designer, and immigrated with his family to Brazil in 1957, taking up residence in the state of Rio de Janeiro. In 1981 she moved to the city of Niterói, also in RJ. In her youth she devoted herself to fashion design, until her anxiety and sensitivity led her to the ways of painting as a way of expressing her feelings. Meeting point and tension are both compatible with the artist’s solitary and reflective attitude. His works have the dimension of the feeling that the colors express, sometimes gray, opaque and indeterminate, clear signs of oppression and anguish, sometimes the lyrical sense is reinforced by the use of red, black, yellow, blue, in short, joy and the affectionate presence of amorozity, highlighting what the symbolic content can rescue from reality.

Rosa de Jesus nasceu em Portugal, na cidade do Porto, no ano de 1929, formou-se em designer de moda, e imigrou com a família para o Brasil em 1957, fixando residência no estado do Rio de Janeiro. Em 1981 mudou-se para a cidade de Niterói, também no RJ. Na juventude dedicou-se ao desenho de moda, até que sua inquietude e sensibilidade levaram-na aos caminhos da pintura como forma de expressar seus sentimentos. Ponto de encontro e tensão são ambos compatíveis com a atitude solitária e reflexiva da artista. Suas obras têm a dimensão do sentimento que as cores expressam, ora cinza, opacas e indeterminadas, sinais claros de opressão e angustia, ora o sentido lírico é reforçado pelo uso do vermelho, do preto, do amarelo, do azul, enfim, da alegria e da presença afetiva da amorozidade, pondo em evidencia o que o teor simbólico pode resgatar da realidade.

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Burns 06 mista s/tela 2019

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Rubia Viegas Rubia Viegas was born in Santos (Brazil) and has lived in Presidente Prudente (Brazil) for over 40 years. Her artistic development happened naturally. Considered self-taught, she took only a short course in watercolor and studied the life and works of several artists on her own initiative. Most of her work is done with watercolor and nankin on canvas. According to the artist, ”doodling” has always been in her life. Rubia started creating on paper, with crayons, pastel chalk, and charcoal. Later, she moved on to acrylic paint and oil. ”I decided to broaden my horizons. I took on the canvas in search of satisfying my needs for expression. Then I mixed the techniques: I arrived at watercolor and nankin on canvas”, explains the artist. Rubia’s inspirations are nature as sovereign - especially the element that most moves her, the sea - and children’s imagination. ”These canvases watercolor my heart, entertain my mind. Images that represent the little playful ones inside me”, Rubia concludes.

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Rubia Viegas é nascida em Santos (Brasil) e mora em Presidente Prudente (Brasil) há mais de 40 anos. Seu desenvolvimento artístico se deu de forma natural. Considerada autodidata, realizou apenas um curso breve de aquarela e estudou vida e obras de vários artistas por iniciativa própria. A maioria de suas produções são feitas com aquarela e nanquim sobre tela. Segundo a artista, o “rabisco” sempre esteve na sua vida. Rubia começou a criar no papel, com giz de cera, giz pastel e carvão. Depois, foi para a tinta acrílica e óleo. “Decidi ampliar meus horizontes. Assumi a tela em busca de satisfazer minhas necessidades de expressão. Então, misturei as técnicas: cheguei na aquarela e nanquim sobre a tela”, explica a artista. Rubia possui como inspirações a natureza como soberana - principalmente o elemento que mais a emociona, o mar - e o imaginário infantil. “Essas telas aquarelam meu coração, divertem minha mente. Imagens representativas dos pequenos brincantes dentro de mim”, finaliza Rubia.

Ontem 67 x 86 cm aquarela, lápis metálico e nanquim sobre tela 2020 245

São Matthias Nunes

Instagram: @matthiasnunes www.saomatthiasnunes.com www.facebook.com/saomaiasnunes www.facebook.com/retratoartisticoemtela

Visual Artist :: Performer :: Actress Born in Benguela, Angola. She graduated in Performing Arts and holds a Master’s in Intermediate Visual Arts at the University of Évora School of Arts with research on Ludus Interface – The random in artistic improvisation in real time. She has done a Sculpture course at ARCO (Center for Art and Visual Communication) and a music course at the Academia dos Amadores de Música in Lisbon. She also took a scientific path alongside her artistic one. She won a research grant at the National Nuclear Engineering Laboratory, where she was a scientific researcher between 1987 and 1990. Since 1990, she regularly exhibited in galleries, biennials and other public and private places. She has held more than 15 individual and 20 collective exhibitions. From 1995, she started openning her own exhibitions, presenting Performances in a mingling with other artistic expressions such as music and dance. She interpreted plays such as Anjos no Cabeça do Diabo, Sr. Urbano, Túmulo de Caes, Feras Amestradas. Has also created, staged and choreographed several multidisciplinary projects, namely Action Painting and Playing (2003), 60 seconds (2004), Pro*vocação (2004), Pintar a Música (2009), Ecos do Amor (2013) and Paradoxys (2014). She regularly collaborates with contemporary music and jazz orchestras and groups.In 2019, she was invited to participate in the MIA Festival (Improvised Music by Atouguia da Baleia). Artista plástica :: Performer :: Atriz Nasceu em Benguela, Angola. Licenciou-se em Artes Performativas e mestrado em Artes Visuais Intermédia na Escola das Artes da Universidade de Évora com a investigação Ludus Interface – O aleatório na improvisação artística em tempo real. Terminou o curso de Escultura na ARCO (Centro de Arte e Comunicação Visual)e o curso de música na Academia dos Amadores de Música em Lisboa. Fez um percurso científico a par do seu percurso artístico. Ganhou uma bolsa de investigação no Laboratório Nacional de Engenharia Nuclear, onde foi investigadora científica entre 1987 e 1990. Desde 1990 que expõe regularmente em galerias, bienais e outros espaços públicos e privados. Já realizou mais de 15 exposições individuais, 20 colectivas. A partir de 1995 começou a inaugurar as suas exposições com a realização de Performances num entrosamento com outras expressões artísticas como a música e a dança. Interprete em peças como Anjos no Cabelo do Diabo, Sr. Urbano, Túmulo de Cães, Feras Amestradas, Martírios e outras. Criou, encenou e coreografou vários projectos pluridisciplinares como Action Painting and Playing (2003), 60 segundos, Pro*vocação (2004), Pintar a Música (2009), Ecos do Amor (2013) e Paradoxys (2014). Colabora reguarmente com orquestas e grupos de música contemporâna e jazz. Em 2019 foi convidada para participar no Festival MIA (Música Improvisada da Atouguia da Baleia). 246

Blue Sea 100 x 100 cm sekatekniikka kankaalle / mixed technique on canvas 2021 247

Seppo Lagom Maalaukseni ovat sidoksissa luontoon, niiden rakenne syntyy alitajunnan kautta tietoiseen minääni, jossa niitä käsittelen ja piirrän luonnoskirjoihin näkyväksi. Nämä kuvat ovat tärkeitä minulle, koska saan nähdä sisäisiä näkemyksiäni kuvina, ne ovat kuin käsikirjoituksia puheen pitäjälle. Pidän luonnossa liikkumisesta, siksi muutimme maaseudulle vuosia sitten, täällä näkee valon ja värien muutokset varjoja unohtamatta. Luonnoskirjoihin syntyneitä kuvia en käytä teoksieni pohjana, vaan aloitan maalata teosta suoraan spontaanisti omasta sielustani, jota olen ruokkinut luonnossa tekemieni havaintojen siivittäminä. Aihemaailma on muuttunut enemmän kohti abstraktia ilmaisua. Nämä näyttelyyn syntyneet maalaukset olen tehnyt tänä keväänä.

My paintings are tied to nature, their structure is created through the subconscious into my conscious self, where I process them and draw them for display in sketchbooks. These pictures are important to me because I get to see my inner views in pictures, they are like manuscripts to a speaker. I like moving around in nature, that is why we moved to the countryside years ago, here you can see the changes in light and colours without forgetting the shadows. I do not use the pictures created in sketchbooks in my works basis, but to begin to paint spontaneously directly from my own soul, which have nourished winged by my observations in nature. The subject world has changed more towards abstract expression. These paintings for this exhibition I have done this spring.

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Toscanan muistoja / Memories of Toscana 19 x 19 cm öjypastelli paperille / oil pastel on paper 2020 249

Sirkka Laakkonen

www.sirkkalaakkonen.fi www.kuvataiteilijamatrikkeli.fi/fi/taiteilijat/2727

Miten maalaan Maalaamiseen liittyy aina riski siitä, miten onnistun saamaan jotain konkreettista hyvää mielestäni ja sielustani, sisimmästäni. Lähtökohtana saattaa olla jokin, mitä olen nähnyt, kokenut, pelkkä ajatus tai uni. Maalaan kaikenlaista omasta maailmastani, pientä ja suurta. Muotokuvan ihmisestä, muotokuvan kukasta. Kumpaankin yritän luoda sielun. Maalaan tunteella pieniä kertomuksia. Maalaamista voi verrata kirjoittamiseen tai säveltämiseen, kertomista asiasta jollekin toiselle omalla ilmaisullaan, omalla kielellään, maalaamisen kielellä. Onnistumisen tunne on aina jokaisella kerralla hieno ja uusia ideoita synnyttävä. Taide on kansainvälinen kieli, se yhdistää ihmiset riippumatta siitä, mistä päin maailmaa kukin on kotoisin. Olen osallistunut viime vuosina aktiivisesti ulkomaisten gallerioiden ja yhdistysten näyttelyihin. Olen myös mukana monessa ulkomaisessa julkaisussa, joista merkittävin on ”ATLANTE DELL’ARTE CONTEMPORANEA” - DE AGOSTINI EDITORE.

Tunnustus, Biennale Milano, Kansainvälinen taiteilijatapaaminen, 11. – 15. lokakuuta, Brera Siten luona Milanossa esittäjä, Vittorio Sgarbi Sirkka Laakkonen on taidemaalari, jonka ilmiselvä lahjakkuus koostuu tietämyksestä ja opituista taidoista, joista hän on halunnut koota yhteen tekniikat inspiraation kanssa ja tuoda niihin sielun innoituksen, jonka kaikki taiteilijat hyvin tuntevat. Hän maalaa vahvoin värivalinnoin kukka-aiheita, ihmisiä ja kotitalouskäyttöön tarkoitettuja elementtejä, joiden tarkoitus ei ole olla vain koristelua vaan käsitellä sellaisia merkityksiä, jotka tuovat näkyväksi näkymättömät katoavat tunteet, tunteiden voimakkuuden. Siksi Sirkka Laakkonen ei ole vain lahjakkuus, hänellä on lahja, joka harvoin löytyy taiteilijalta, armolahja. Professori Alberto D´Atanasio Museo Modiglianin ja taidehistorian johtaja How I paint There is always a risk of failure when trying to create something new. The inspiration may be a thing I have experienced, seen or just a dream. I paint the world around me, large or small objects. Portraits of people or flowers, having feelings and telling their own, small stories. My painting can be be compared to writing a book or composing music. Telling stories with my own media, own language art painting. If and when I like the tresult it makes me happy and the flow of new ideas continue. Art is an international language, it connects people no matter where they come from. Since 2009 I have been invited to and participated at art exhibitions in various countries in Europe, also in China and Canada. 250

Vanhat vaasit / Old Vases 100 x 100 cm öljy kankaalle / oil on canvas 2014

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Sirpa Heikkinen

Hakakatu 14 A 9, 90140 Oulu, Finland +358445170548 sirpa.heikkinen@pp4.inet.fi https://artoulu.fi/kaikki-taiteilijahaastattelut/ https://taidelainaamo.artoulu.fi/public/go.php?artist_id=106899 https://omapienipixeli.wixsite.com/mysite/sirpa LinkedIn Sirpa Heikkinen independent artist Kesä 2021 tarkoittaa minulle taiteilijana 10-vuotistaipaleen täyttymistä. Tätä ennen työskentelin useamman vuosikymmenen sanan parissa. Loikkasin siis Independent Artistin saappaisiin toimittajuuteni ja kriitikkouteni jälkeen. Taidealan koulutus on pitänyt minua sen jälkeen liikkeellä. Kirjallinen taustani johdattaa edelleen työskentelyäni, eritoten valmistelu- ja taustointivaiheissa. Iso tehtävä julkituloissani – kuten luomusteni esittelyä kutsun – on valokuvillani. Ne ovat osa ajatushautomoani, vähintään alkuluonnoksia tulevalle. Ja olen sitä mieltä, että julkitulo on aina kommentti, jolla on yhteiskunnallis-sosiaalinen sidos.

Summer 2021 will mark my 10 years of being an artist. Before this I worked with writing for several decades. I became an Independet Artist after working as a journalist and a critique. Art studies have kept me busy after that. My background with writing still guides my working, specially during preparation and background phase. My photographs have a big role in my ”disclosures”, as I like to call the presentation of my works. They are a part of my think tank, outlines for the emerging at least. And I believe that a disclosure is always a comment, that has a societal and social connection.

Teoksen nimi / TITLE: Gaia Tekniikka / TECHNIQUE: pigmentin siirto (valokuva-akvarelli) collagrafia / pigment transfer (photographic aquarelle) collagraphy. Vedosmäärä / Edition: 1/1 Vuosi / YEAR: 2021 Koko / SIZE: 97,5 cm x 200 cm (paperi/paper), kuva-alueen koko / image area aprox. 73,5 cm x 157,5 cm Paperi/PAPER: kiinalainen wenzhou / Chinese wenzhou 30 g/m² Taiteilijan signeeraus / SIGNATURE: Taiteilijan leima / Artist’s stamp valokuva itsestä ©Sirpa Heikkinen valokuva teoksesta Gaia ©Sirpa Heikkinen 252

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Smolow (Maxim Smolov) December 6, 1980, Russia

He graduated from art school, participated in regional and international painting competitions. Currently lives and works in Yekaterinburg. The painting workshop in Yekaterinburg opened in 2019. The direction is abstract art painting, drawind and collage. 254

Babilon 79 × 99 cm oil on canvas 2019 255

Sonnia Guerra

is a graduate in Fine Arts, Universidade Federal do Rio de Janeiro, 1981. Along the maturation process of her art she created paintings in almost all de styles until finding her real vocation in geometrical abstract, in which she obtains a subtle sense of third dimension and transparencies, all together a very personal use of colors. Although she uses relatively few colors, they seem to multiply as a result of her sensibility in harmonizing them. Another characteristic of her works is the meticulous – nevertheless simple – arrangement of lines and geometric forms in the final composition of each painting. As a photographer, Sonnia keeps the fidelity to the abstract vision and reaches her best with the authorized works on the kinetics sculptures by Daniel Wurtzel. In this way, she attains complete unity of color and space in the canvas and photographs and provides the viewer moments of pleasant feeling. Sonia Guerra Cardoso (Sonnia Guerra) graduou-se em Belas Artes pela Universidade Federal do Rio de Janeiro em 1981. Em seus geométricos abstratos prepondera a emoção na integração da cor com a forma, o que lhe permite materializar sua intenção para a observação do espectador. A composição com diagonais e ortogonais, marcantemente linear, recebe das camadas espessas ou veladas um sutil sentido de profundidade, propiciando ao observador vivenciar a pleno a mensagem de harmonia da artista. Harmonia que se verifica também no conjunto da obra, por intermédio das passagens cromáticas graduais de tons e de saturação da cor. Esse sentimento vem acompanhado de um senso de ordem, ambos transmitidos ora por imagens expressivas confinadas ao espaço da tela, ora pelos quadriláteros de cor soltos, como que flutuantes. Assim, Sonnia consegue transmitir uma impressão de plenitude do espaço pictórico. Ao delimitar as formas e restringir a quantidade de cores – as quais obtém com muita pesquisa –, ela multiplica, ao contrário do que se poderia esperar, as possibilidades de expressão de suas telas. Isso graças à capacidade de fazer flutuarem as cores e os matizes e de fazê-los vibrar de uma forma que as pessoas se tornem atraídas pelo conjunto. Mesmo assim, ao atingir a essência da simplicidade, obtém completa comunhão entre a tinta, as formas e a tela, dando-lhes unidade. 256

Série Geo 22 100 x 100 cm acrylic on canvas / acrílico tela 2020 257

Soraya Kolle Soraya Kolle (São Paulo,1963) Visual Artist and Set Designer, postgraduate in History of Arts, Theory and Criticism from Faculdade Paulista de Artes – FPA (2011) and graduated in Visual Arts from Centro Universitário Belas Artes de São Paulo (1985). Her work explores the accumulation, reorganization and reinterpretation of leftover materials that have become dysfunctional such as: plywood, fabrics, various paints, glue, cement, Styrofoam, iron, wire, nails, solder and pigments, seeking in manual work and in gestures, a potent force for ennoblement, renewal and revitalization, giving the material elements, a high value that impels an aesthetic relationship in which hues, textures, volumes and lights coexist. Her creative process arises from the intertwining of her initial trajectory in a scenographic universe without resources, where alternative materials opened up a range for experimentation and research and which now result in her sculptures, paintings and assemblages. Everything that is waste and leftovers, for me it is the driving force, gestural, manual, and transformative. The nature of Assemblage comes from an archeological and intuitive process. The work is born and emerges from the collection of time-worn materials, mainly stacked wood waiting for incineration. The materials are selected and organized in groups – I feel the textures, colors, softness/rigidity, smells, roughness, shapes, sizes. The material culture, its production, consumption and disposal are the thematic thread of my artwork, providing artistic and aesthetic visibility. Fragments of materials left behind, abandoned along the human trajectory, pulsing inside me, sensory reframing and creative power. I see them as fragments of feelings, healing fragments. Under a careful, thorough and sensitive eye, cuts, grooves and cracks reveal material wounds crying out for liberation, personification, and revitalization. The poetic of the artwork seeks to express, by the driving force of the art, how the material elements can become active, agents and present reflections about today’s most urgent issues in aesthetic-formal arrangements, such as building an ecological awareness and pro-life. The purpose of my artwork is to challenge the viewer’s eye and raise questions about painful dualities such as wealth/poverty, beautiful/ugly, construction/destruction, new/old, useful/useless.

Soraya Kolle (São Paulo,1963) Artista Visual e cenógrafa, pós-graduada em História das Artes, Teoria e Crítica pela Faculdade Paulista de Artes – FPA (2011) e graduada em Artes Visuais pelo Centro Universitário Belas Artes de São Paulo (1985). Seu trabalho explora o acúmulo, a reorganização e a reinterpretação a partir de sobras de materiais que se tornaram disfuncionais como: madeiras compensadas, tecidos, tintas variadas, cola, cimento, isopor, ferro, arame, pregos, solda e pigmentos, buscando no trabalho manual e no gestual uma força potência para enobrecimento, renovação e revitalização, dando aos elementos materiais, um valor elevado que impele uma relação estética na qual convivem matizes, texturas, volumes e luzes. Seu processo criativo surge do entrelaçar de sua trajetória inicial em um universo cenográfico sem recursos, onde materiais alternativos abriram um leque para experimentações e pesquisas e que agora resultam em suas esculturas, pinturas e assemblages. Tudo que é lixo e sobras é para mim força propulsora, gestual, manual e transformadora. A natureza da Assemblage provém de um processo arqueológico e intuitivo. A partir do recolhimento de materiais desgastados pelo tempo, principalmente madeiras empilhadas à espera de incineração, o trabalho emerge ao meu olhar, é fecundado. Acolho os materiais em grupos e os reorganizo – sinto texturas, cores, maciez/rigidez, cheiros, rugosidades, formas, tamanhos... A cultura material, sua produção, consumo e descarte constituem um fio temático da minha criação, conferindo-lhes visibilidade artística e estética. Fragmentos de materiais deixados para trás, abandonados nas trajetórias humanas, pulsam, em mim, ressignificação sensorial e potência criativa. Assim os traduzo como fragmentos de sentimentos, fragmentos de cura. Sob olhar cuidadoso, minucioso e sensível, cortes, sulcos e frestas se despem como feridas materiais que clamam por libertação, por personificação, por revitalização. A poética da obra busca exprimir como, pela força propulsora da arte, os elementos materiais podem se tornar ativos, agentes e, em arranjos estético-formais, propor reflexões sobre questões urgentes da atualidade, como a construção de uma consciência ecológica e pró-vida. Desafiar o olhar do espectador, instigando-o a pensar sobre dualidades dolorosas como riqueza/pobreza, belo/feio, construção/destruição, novo/velho, útil/inútil... – esse é o propósito da minha criação. 258

Folha / Leaf / Lehti 89 x 57 cm assemblage, plywood, different types of wood, glue, dyeing, shellac, beeswax and nails assemblage, madeira compensada, madeiras diversas, cola, tingimentos, goma laca, cera de abelhas e pregos 2021 259

Stela Barreto

www.artmajeur.com/stela-barreto www.facebook.com/stelabarretogallery stelabarretopintora@gmail.com (00 351) 966 507 921

Stela Barreto, 69 years old, was born in the Algarve in Portugal, where she studied and started drawing and painting with a Spanish background. She lived in Lisbon, had several masters among which the great abstract painter Fernando Azevedo. She received several outstanding awards, exhibited in Europe with BAZART International in 2003, 2004. In 1999 she joined the group of world painters UNITAS HUMANA project, painting and exhibiting alive at UNO CITY in Vienna, Austria. She participated in several Art Fairs, namely in Barcelona 2001 at the V International Salon of Independent Contemporary Artists. She lives and work in Portimão, exhibits in national and foreign galleries with an abstractly constructed painting that gives rise to a dreamlike imagery of naive and childlike expression. Proliferous and insatiable in artistic demand, she works in acrylic with mixed techniques on canvas or paper. Stela Barreto com 69 anos nasceu no Algarve em Portugal, onde fez os seus estudos e se iniciou no desenho e pintura com formação espanhola. Viveu em Lisboa ,teve vários mestres entre os quais o grande pintor abstrato Fernando Azevedo. Recebeu vários prémios de destaque. Expôs na Europa com BAZART Internacional em 2003 e 2004 .Em 1999 integrou o grupo de pintores mundiais no projeto UNITAS HUMANA, pintando e expondo ao vivo na UNO CITY em Viena de Áustria. Participou em várias feiras de Arte nomeadamente em Barcelona 2001 no V Salão Internacional de Artistas Contemporâneos Independentes. Vive em Portimão, expõe em galerias nacionais e estrangeiras com uma pintura de construção abstrata onde faz surgir uma imagética onírica de expressão ingénua e infantil. Prolífera e insaciável na procura artística, trabalha a acrílico com técnicas mistas sobre tela ou papel.

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2M 139 - Sugestões Inovadas II 73 x 60 cm acrylic and mixed techniques on canvas / acrílico e técnicas mistas sobre tela

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Susanna Hotari www.ruukkumaa.fi www.instagram.com/susannahotari

Maailma- työ kertoo ahdistuksesta ja uudesta toivosta. Se on syntynyt sotadokumentin aiheuttamassa jälkitilassa, puhdistautumisessa. Koen tekemisen usein puhdistautumiseksi, ajatusten uudelleen luomiseksi. Maailma – työn ensimmäinen versio syntyi jo vuonna 2019 ja sen jälkeen se on pienin askelin muuntautunut nykyiseen olomuotoonsa. Keraamikkona työskentelyni keskiössä on usein arjen kauneus, sen yksinkertaisuus, rosoisuus ja tärkeys. Työt valmistuvat joko uniikiksi teokseksi tai niistä tulee pieniä sarjoja. Pieni sarja tarkoittaa aina käsityötä, jossa jokainen esine valmistuu yksilöksi. Esineen esteettisyyden lisäksi minulle on tärkeää, että työt myös tuntuvat hyvältä. Värimaailmani on välillä kylläinen, kirkas ja monien värien täyttämä, toisinaan hyvinkin pelkistävä ja ainoastaan saven väriin nojautuva, kuten Maailma- teoksessa.

World -piece is about anxiety and new hope. It was born in the aftermath of a war documentary, in purification. I often experience creating new objects is to cleanse oneself, to recreate thoughts. The world -piece’s first version was born already in 2019, and since then it has been transformed into its current form in small steps. The beauty of everyday life, its simplicity, roughness and importance are often at the heart of my work as a ceramicist. The work is either completed as a unique work or they become small series. A small series always means handicraft; where each object is made into an individual. In addition to the aesthetics of the object, it is important to me that the work also feels good. My colour scheme is sometimes saturated, bright and filled with many colours, sometimes very reductive and based solely on the colour of clay, as in World.-piece. 262

Maailma / World korkeus n. 50 cm, leveys n. 100 cm / height approx. 50 cm, width approx. 100 cm käsinrakennettu keramiikka, mustasavi ja paperiposliini / handmade ceramics, black clay and paper porcelain 2019 - 2021 263

Tarja Tella

kuvataiteilija, taidemaalari, yhteisötaiteilija tarjamarittatella@gmail.com www.kuvataiteilijamatrikkeli.fi https://bioartsociety.fi syntymäpaikka: Imatra asuinpaikka: Joensuu

Maalaan, piirrän ja valokuvaan/ +video (pääasiassa dokumentoinnin välineenä). Ajattelen maalaamista ja maalausprosessia itsereflektiona ja vuorovaikutuksena niin, että myös työstyvä maalaus on osapuolena tapahtuvassa, oikeastaan subjekti. Maalaaminen fyysisenä tapahtumana on kehoa hyödyntävää että kuormittavaa. Koen, että maalatessa työskentely tapahtuu mielen ja aistien sekä kehon kautta. Fyysisyys on osa ilmaisua. Valokuvani ja videoiden still -kuvat ovat tallentamista tai maalauksenomaista kokemuksen ilmaisua. Valokuvista ja niiden sisällöistä muodostuu myös lyhyitä tai vuosien kestoisia prosesseja ja sarjoja. Pitkäkestoisimpia prosesseja kutsun sisältöjensä rakentumisen takia prosessitaideteoksiksi, jotka dokumentoituvat valokuvissa. Piirtäminen erilaisilla viivaa tekevillä välineillä erilaisille materiaaleille on pienimuotoista ja henkilökohtaisempaa, hiljaisempaa ilmaisua. Erilaiset sosiaaliset tilanteet, yhteisötaide, haastavat minussa sosiaalisuuteen ja vaikuttamiseen pyrkiviä puoliani. Henkilökohtaisesti merkityksellisiä yhteiskunnallisia asioita minulle ovat ympäristönsuojelulliset, ekologiset, sisällöt ja alkuperäiskansojen sekä etnisten vähemmistöjen oikeuksien tukeminen. Toisin sanottuna ihmisen paikan ymmärtäminen osana ympäröivää ekosysteemiä - ja ihmisyhteisöjen toimintakyvyn säilymisen mahdollistuminen - velvoittaa henkilökohtaista egon tarkastelua, ja nöyrtymistä.

I´m a painter, visual artist and community artist. I live and work in Joensuu in the eastern part of Finland. My mainly working manuals are oilcolor, drawing and fotographing. In last years I´ve painted with oil on plexy glass, metal plate and canvas. Drawing means me almost all possible matherials and tools with which I can make a line on f.ex. paper, fabric, glass or metal plate. Fotographs I make in small or larger series. I have some long term art processes which I documentate with foto or video. For example Jänis - The Hare (2002- ), Punaista viivaa/ The Red Line (2002- ) and Värikartta/ The Color Map (2002-2017). The latest foto series are Human x and Yellow - Grey, which started in year 2017. Painting with oilcolor is the most personally manual for me. I operate with it also without tools with pale hands and fingers. While working in this way I can feel the temperature and flexibility of oil and oilcolor and the painting`s base matherial. In the other hand f.ex. a biger painting can be a companion in the painting process. My opinion is that paintig is rather physical activity because I use my whole body, muscles and of course brains and nervous system in same time I handle with my conscious and unconscious mind, thoughts and feelings. More information, CV and fotos in the websites of Register of the Artists` Association of Finland: https://www.kuvataiteilijamatrikkeli.fi https://bioartsociety.fi

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In Darkness valokuva alumiinille / photograph on aluminium 90 x 70 cm 1/3, 2019 265

Taru Tomperi

www.tarutomperi.fi www.kuvataiteilijamatrikkeli.fi Member of Finnish Painters Union Abstraktio antaa minulle suurimman ilmaisuvapauden. Maalausteni sisällöt pulppuavat mentaaliselta tasolta. Uskon, että se mieliala, tunnelma, kokemus tai mahdollisesti ongelma, joka maalaamishetkellä on kiteytynyt teoksen ilmiasuun, voi jollain tavoin välittyä katsojalle hänen omaan kontekstinsä suodattamana. Töitäni voi ja saa tulkita monella tavalla. En halua kuvittaa tunteitani, enkä kertoa sormella osoittaen syvimmistä ajatuksistani ja vaikuttavimmista kokemuksistani. Haluan maalata niitä. Maalaukseni saattavat olla hiljaisen vähäeleisiä tai rajuun liikkeeseen perustuvia. Myös väriasteikko määrittää sisältöä. Sekin saattaa olla neutraali tai voimakkaasti värillinen. Voimakkaat väri- ja/tai valöörikontrastit kuljettavat usein tarinaa, joka liikkuu figuratiivisen ja abstraktin rajoilla tai on täysin abstrakti. Teosteni teema on käteni jälki, maalaustapani.

Taru Tomperi is visual artist, painter and teacher of visual arts. She has had several individual exhibitions and participated over hundred group exhibitions in Finland and in other countries. She mostly use aquarelle technique nowadays. Her interest towards watercolour was awakened partly through the possibilities that lie in this technique. The challenge of the technique is huge, but the reward can be as well. Water and pigment often react in an unexpected way with each other due to the changing factors in the way of working. The final result is influenced by e.g. the proportion of the colour and water, their relationship to each another, quickly changing wetness of the painting surface and the temperature of the surrounding. Taru´s pictures often move between the abstract and realistic. The themes arise out of her inner world and experiences. They sometimes change in her mind to unidentifiable forms. The works can be interpreted in many different ways. Every intepretation is equally right.

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Runollinen keskustelu / Poetic Conversation 140 x 113 cm vesiväri / watercolour 2019 267

Teresa Asmar

teresa.asmar@gmail.com http://teresaasmar.blogspot.com.br Contemporary artist, with expressionist language. Her focus in painting are abstract figures and colours. She has received many prizes for her work which The Premium of Travel’s painter to Paris, France in 1985, gave the Roberto Marinho’s Foundation. She has taken part on collective and individual exhibitions. Among them, for the National Museum of Fine Arts /MNBA in Rio de Janeiro, which possesses two of her works on painter and engrave at XX century at them permanent Collection. She also has many paintings at Public and Private Collections in Brazil and abroad as well. She’s also the author of very important masterpiece entitled “Ecological Mural -Homage to Chico Mendes”, about the world famous ecologist from the Amazon Forest, shown at State Library on the Rio de Janeiro at the Exhibition Rio Eco-92, it was catalogue and published at the United Nation’s Cultural Agenda - ONU. Exhibitons in New York, Paris/Louvre, Finland, MNBA/RJ/ Brazil, MNH/RJ/Brazil

Artista contemporâneo, com linguagem expressionista. Seu foco na pintura são cores e figuras abstratas. Ela recebeu muitos prêmios por seu trabalho tal como: " The Premium of Travel to Paris", França em 1985, que foi dado à Fundação Roberto Marinho. Ela participou em exposições coletivas e individuais, entre eles, para o Museu Nacional de Belas Artes / MNBA do Rio de Janeiro, que possui duas de suas obras sobre pintor e gravura do século XX no acervo permanente. Ela também tem muitas pinturas em coleções públicas e privadas no Brasil e no exterior. É também autora da importantíssima obra-prima intitulada “Mural Ecológico - Homenagem a Chico Mendes”, sobre o mundialmente famoso ecologista da Floresta Amazônica, exibida na Biblioteca Estadual do Rio de Janeiro na Exposição Rio Eco-92, foi catálogo e publicado na Agenda Cultural das Nações Unidas - ONU. Exposições em Nova York, Paris / Louvre, Finlândia, MNBA / RJ / Brasil, MNH / RJ / Brasil

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Sugar Loaf/Urca 100 X 100 cm A/tela com colagens

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Tytti Götsch

www.kuvataiteilijamatrikkeli.fi Lapsena katselin usein Punakardinaalin kuvaa Luonnon Kultainen Kirja-teoksessa. Yllättäen linnun hahmo ilmestyi uudelleen silmieni eteen pari vuotta sitten – juuri samoihin aikoihin, kun olin alkanut tutkia tähtilinnoitusten pohjapiirustuksia... Näin teokseni usein syntyvät. Vaeltelen aiheissani kuin erilaisissa huoneissa tai tiloissa, poimien matkan varrelta aina joitakin tärkeiltä tuntuvia kappaleita mukaani. Myöhemmin usein huomaan, että poimimani palaset ovatkin ehkä palapelin osia, joihin jostakin toisesta huoneesta saatan löytää yhteen sopivia paloja...

When I was little I often watched an image of the Red Cardinal in a book called The Golden Book of Nature. Surprisingly the silhouette of the bird returned to my mind a couple of years ago – during a time when I was studying plans of star fortresses... My works are often born like this. I wander inside themes and subjects as if I moved inside rooms and spaces- picking meaningful looking pieces from here and there to carry with me. Later on I often notice that the pieces I took are maybe parts of a puzzle, to which I ́ll find adaptible pieces in another room...

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Henkilö- ja teoskuvan valokuvaus: Tomi Kallio Photographs by Tomi Kallio

Bastion No 1. / Linnoitus No 1. 67 x 67 cm akryyli + sekatekniikka / acrylics + mixed media 2020 271

Ulla Remes

Photographer: Timo Hartikainen

www.ullaremes.net https://kuvataiteilijamatrikkeli.fi/en/taiteilija/ulla-remes Ulla Remes on kuva- ja yhteisötaiteilija, jonka teemat liikkuvat ihmisyyden ja yhteiskunnan kysymyksissä, viime aikoina ympäristöaiheissa. Maalarina hän on vahva koloristi. Väri ja siihen latautunut tunne ovat merkityksellisiä hänen intensiivisissa, energisissa sekatekniikkateoksissaan. Hän ottaa vaikutteensa usein ensin luonnosta ja maalatessaan abstrahoi teosta. Ulla Remes on pitänyt yli 30 yksityisnäyttelyä ja osallistunut samaan määrään yhteis- ja ryhmänäyttelyitä Suomessa ja ulkomailla. Hänen teoksiaan on nähty mm. Japanissa, Yhdysvalloissa, Ranskassa, Kreikassa, Iso-Britanniassa, Virossa, Unkarissa, Espanjassa ja Portugalissa ja niitä on monissa julkisissa kokoelmissa. Kuopiolainen Ulla Remes on mukana Luovien alojen keskus Myllyn ja Kuopion kuvataiteilijat ry Ars Liberan toiminnassa. Hän on Taidemaalariliiton jäsen. Ulla Remes on toiminut myös yhteisötaiteilijana vuodesta 2005 lähtien monissa erilaisissa projekteissa.

Ulla Remes is a strong colourist. The paintings are very intensive and loaded with emotion and social themes too. Remes takes starting points for her abstract works from nature. The paintings are expressing the landscape of the mind. Remes has had 30 solo exhibitions and the same number of joint exhibitions during her 20-year carrier. Her works have been exhibited in Greece, Japan, Portugal, Spain, Hungary and Great Britain, and she has worked several periods in various international residencies in Greece, Italy and Spain. Her works are in many public collections, for example many artmuseums. Ulla Remes acts also as a community artist (social artist). She has taken part in European Capital of Culture of Turku and Helsinki Design Jubilee Year projects, the nationwide Church Days in Kouvola and Helsinki Arts’ Night. 272

Levoton yö 89 x 116 cm sekatekniikka kankaalle / mixed technique on canvas 2021

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Valokuvannut Raakel Kuukka

Ulla-Maija Vaittinen

www.ulla-maijavaittinen.fi ulla-maijavaittinen@gmail.com Lasten kohtalot eri puolilla maailmaa ovat olleet viimevuosina teosteni keskiössä. Teosten sisältönä on ollut halu keskustella kuvieni välityksellä lasten kohtaloista. Symboleina teoksissani olen käyttänyt keinuja. Ympäri maailmaa tyhjiksi jääneet keinut keinuvat edelleen varjoissa ja valoissa sekä pyhinä että pahoina muistoina. Kuvieni keinut ovat symboleja lapsien elämästä tässä kaoottisessa maailmassa. Jäävätkö keinut tyhjiksi vai löytävätkö ne uudet keinujat. Teokset ovat toteutettu valokuvavedoksina ja kollaaseina. Koronakevät 2020 on laajentanut teosteni sisältöä ja muuttanut niiden tekniikkaa. Nyt ne ovat ekspressionistisia maalauksia pleksilasille. Lastenkohtalot ovat edelleen mukana teoksissani mutta nyt ne ovat saaneet laajemman sisällön. Ulla-maija Vaittinen on opiskellut Taideteollisessa oppilaitoksessa ja Taideteollisessa Korkeakoulussa nykyisessä Aalto Yliopistossa. Vaittinen elää ja työskentelee Helsingissä. My current works reflect on the position of children in this violent and chaotic world. Around the world abandoned swings swing away in light as well as in shadow as symbols of both dark and sacred memories. These images of empty swings symbolise the lives of our children in the world of today. Will they ever be used again or will they remain abandoned? Ulla-Maija Vaittinen first exhibited at the National Youth Exhibition in 1972. Since then she has participated in several group and solo exhibitions. Her techniques vary from works in bronze, graphics, painting, installations, videos, frottage technique, readymade and enviromental works. Her most recent works have been videos and photograph collages. Corona Spring 2020 has expanded the content and technology of works. Ulla-Maijas motto is: Art may not change the world, but it can impact people´s emotions and their way of thinking and arise discussion. Vaittinen has studied at Art Industrial High School of Helsinki, now called Aalto University. She has taught visual arts in many sectors since year 1979. Vaittinen is a member of many Art societies. Ulla-Maija Vaittinen lives and works in Helsinki, Finland. 274

Elämä on 65 x 50 cm akryyli pleksille 2020

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Umberto Nigi Umberto Nigi was born on May 13, 1945, on the island of Gorgona in the Tuscan region of Italy. It grows in the city of Livorno, home to the painter Amedeo Modigliani and composer Pietro Mascagni. In that city, he began his painting studies. In 1963, he was attracted to Van Gogh's Impressionist painting, which influenced his early works. In 1976, he participated in the Second International Biennial of Naif Art and drew the attention of critics to his work. He participates in exhibitions in Paris and New York, as well as traveling through various Italian cities, such as Turin, Milan and Florence. In 1986, he moved to Egypt, where he also exhibited his paintings. In this country, it receives a strong influence from Egyptian and Arab art. Afterwards it lives in the Arab Emirates, South Africa and the former Yugoslavia. From there he leaves for visits and studies in countries like Sudan, Libya, Turkey and Greece. He returns to Italy in the 1990s, where he resizes his work abandoning the figurative style. Part for works with recycled material, such as construction wood, sand, plaster, metal net and glue. She performs several expositions with this new technique. The dramaticity of her brushstrokes, the bold style, elegant sensuality and the use of colors in their different shades attract the attention of the specialized critic and the public. Diverse and intense colors that mix blacks, browns, yellow reds, oranges, blues and greens, cause chromatic explosions of impressive visual effect, revealing the excellence of his technique and the mastery of the mysteries of the art of expressing feelings through colors and In 1998, he visited Brazil and moved to Rio de Janeiro and, later, to Belo Horizonte. The landscapes and the customs of the native land and the pilgrimages by several countries, including by Brazil, were fundamental to lapidate his style.

“[...] As pinturas de Umberto Nigi fundem as cores do universo, alimentando-se de amarelos, vermelhos e de azuis que absorvem a energia solar; as cores misturam-se umas às outras – obedecendo às principais regras da criação – e direcionam-se ao êxtase final, filtrando a obscuridade e demonstrando uma mensagem de pureza, de harmonia, de elegância. Seu método é fascinante. A ausência de representação figurativa absorve o drama humano para resumir medos, ansiedades e horrores, reduzindo os dramas terrenos a uma sofisticada multidão de sublimes arranhões, instintivos, espontâneos e viscerais. As pinceladas decisivas, mas compostas, não sobrepõem simplesmente cores, mas criam outra dimensão, um novo complexo arquitetônico, uma linguagem moderníssima que não observa o homem, mas explora-o, em todos os seus segredos e mistérios. Nigi medita sobre a eternidade e dialoga sobre o claro e o escuro da alma, junto com o excelente Goethe, para o qual ‘onde há muita luz, há também muita sombra’. Refinado.” Andrea Baldocchi Museólogo italiano. Em 2007, foi selecionado pelo Metropolitan Museum of Art, de Nova York, e docente de História da Arte, na Universidade de Harvard e na Universidade de Princeton.

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Ursula Kianto

ursul.tapsa@gmail.com www.kuvataiteilijamatrikkeli.fi/en/artists/1848 Olen Vapaasta Taidekoulusta v. 1989 valmistunut helsinkiläinen taidemaalari, kesäisin eteläkarjalainen. Olen pitänyt lukuisia yksityis- ja yhteisnäyttelyitä Suomessa ja ulkomailla, usein yhdessä myös vuonna 2018 kuolleen mieheni taidemaalari Tapio Lötjösen kanssa. Aloitan maalaamisen yksittäisen öljyvärin valinnalla. Lisään värejä ja muotoja ilman ajatuksia tai aihetta. Annan tilaa kokeilulle ja sattumalle. Maalaaminen merkitsee minulle vapautta, alitajuista seikkailua, iloakin, sekä yhteyttä luontoon.

I live and work in Helsinki, but I am spending the summers in South Karelia. I have held numerous private exhibitions and have participated in joint and group exhibitions both at home and abroad, often with my husband, painter Tapio Lötjönen, dead year 2018. For me painting is freedom, meditation, playing, harmony with nature and adventure in subconscious. 278

Adventurers / Seikkailijat 110 x 81 cm oil on canvas 2019 - 2020 279

Vera Goulart Vera Goulart: - Brazilian-Swiss artist, started her career in 1967 and developed her artistic activity in drawing, painting, objects, installations, poetry, performances and also theatrical texts, costumes, scenery. -The artist was discovered by the founder of Museu do Pontal in RJ: .. Jack van de Beuque and art critic Mark Berkovitz ... exhibits regularly since -75 in national and international exhibitions in museums, galleries. For 25 years she divided her time between studios in Switzerland and Brazil. Currently lives in Rio de Janeiro.

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Vera Goulart:- Artista brasileira-suíça, iniciou sua carreira em 1967 e desenvolveu sua atividade artística em desenho, pintura, objetos, instalações, poesias, performances e também textos teatrais, figurinos, cenários. -A artista foi descoberta pelo fundador do Museu do Pontal no RJ:..Jack van de Beuque e o crítico de arte Mark Berkovitz...expõe regularmente desde -75 em exposições nacionais e internacionais em museus, galerias. Durante 25 anos dividiu seu tempo entre os ateliês da Suíça e Brasil. Vive atualmente no Rio de Janeiro.

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Vinícius Gomes In the middle of the Pandemic, I started painting for a refuge. Without understanding techniques, I let my unconscious gain more and more color and shapes, and today I feel each canvas as a catharsis of my complexity as a human being, in a genuine way. This canvas enchants me, because every time I look at it I feel a connection with something past, maybe from another life.

No meio da Pandemia comecei a pintar atrás de um refúgio. Sem entender de técnicas, fui deixando meu inconsciente ganhar cada vez mais cor e formas, e hoje sinto cada tela como uma catarse da minha complexidade de ser humano, de forma genuína. Essa tela me encanta, pois sempre que olho, sinto uma conexão com algo passado, talvez de outra vida.

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O portal

acrílica

26.12.2020

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Wilma Touru

kuvataiteilija, visual artist www.kuvataiteilijamatrikkeli.fi/en/artists/1786 Maalausprosessi on Wilma Tourulle kehollisesti kokonaisvaltaista työtä. Maalausten intensiteetti ja taiteilijan läsnäolo teoksissa on aistittavissa ja tunnistettavissa. Maalaaminen on luonnollinen valinta, jolla Wilma Touru puhuttelee ihmistä; sen perusta on itsekoetussa elämässä. Spontaani, intuitiivinen ote on olennaista maalausprosessissa.

To Wilma Touru the painting process is holistic, involving all aspects of her being. The intensity of the artist’s paintings and her presence in the works is both sensed and recognised. Painting is a natural choice for Wilma Touru, through which she speaks to people, based on her own life’s experiences. A spontaneous, intuitive approach is essential to her as an artist.

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Kevättuuli / Spring Wind 60 x 60 cm acrylic on canvas 2018 285

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