Observica Magazine Winter 2019 | Discover the Artist Media

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Issue# 1 Winter 2019

Galina Raspopina Paola Santagostino Fereshteh Setayesh Ricardo Venturi Nevena Ivanovic Guagliumi Malcolm Koch Pygmalion Karatzas Experience Music Project, Seattle | W:100.00 H:70.00 cm | by Pygmalion Karatzas

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OBSERVICA M a g a z i n e

Issue# 1 Winter 2019 February - 2019

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15-Feb-2019

Publisher:

Discover the Artist

Observica is a Canadian contemporary art magazine published by "Discover the Artist� media holding. It focuses on telling the compelling story of signi cant arts created by brilliant artists from all around the world. Our publications are available to millions of art lovers, experts, collectors and enthusiasts in both digital and print format and reaches readers in over 100 countries.

Observica is a registered trademark.

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No part of this publication may be reproduced in whole or part without written permission from the publishers.

The magazine can assume no responsibilities for unsolicited manuscripts, photographs or illustrations.

Galina Raspopina Paola Santagostino Fereshteh Setayesh Ricardo Venturi Nevena Ivanovic Guagliumi Malcolm Koch Pygmalion Karatzas

Hello everybody; We are happy to announce that from now on, we will have Observica quarterly. As we always think, this magazine is what was missing in the art media. We try to keep it unique and engaging to add value to the art world.

In this issue, we have valuable critiques from famous art writers for brilliant artists. A set of psychic paintings, distinguished mixed media and fabulous photography is what you can expect to see.

We hope a very cheerful winter for you all!

Observica Team

Life-Giver Painting, Oil Color on Canvas W:60 H:80 cm 2016 Ga lina Ra spopina

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Galina Raspopina Painting

Raspopina Galina was born in 1957 in Buguruslan, Orenburg region. In 1976, she graduated from the Buguruslan Oil Technical School with honors and entered the Irkutsk Polytechnic Institute in the same year. After graduating from the institute in 1981, Galina worked at the Irkutskzhilstroy municipal construction organization as an engineer. Galina had an energetic career in the construction business, but was always ready to receive new knowledge, new contacts and to be advanced. Since 1987, Galina began working in the Irkutsk Regional Executive Committee ( rst the Governor of the Irkutsk Region, Yuri Nozhikov) as a department manager in the management of the regional administration. In 1994, due to unbelievable circumstances, Galina was diagnosed with a serious illness. She was under treatment, hoping for a return (she had small children), but she became disabled for life.

Galina understood that she must continue to live with a treacherous disease, decent and with a great interest in life. Her children studied at art school, she watched their studies and wanted to draw herself. The picture was her cherished dream at a distance of 10 years. She asked art school teachers to teach her to draw, but instead of drawing, she was o ered handicrafts ...

In 2006, Galina met the famous Irkutsk artist Sergei Zhilin, and he agreed to teach her to draw. For almost 10 years, Galina stubbornly mastered her artworks. The initial goal was art therapy, but then, with the approval of the great Irkutsk painter Vitaly Smagin (his works serve as an example for Galina), she began to take the works of art seriously.

For the purpose of personal growth, in 2015, Galina entered the Irkutsk Technical University at the Academic Cathedral of Monumental Painting under the name of V. Smagina (teacher was N. Dovnich), and in parallel she began her studies in Additional Education at the Institute of Irkutsk State University under the program "Fine Arts and Crafts" (teachers - A. Vesnin, E. Gladkikh and N. Sokolov). In 2017, Galina defended her thesis with honors: "Sources of inspiration for the artist"; The chairman of the attestation commission is the Honored Artist of Russia A. Shipitsin.

Since 2015, Galina has been actively involved in public art exhibitions. Visitors to the exhibitions see in her paintings powerful spirits, a festive mood, a color that "reaches the heart", con rming life of color with a high degree of purity (as if the feelings are "cut o to the very depths"), individuality and free will in expression, courage, joy and light, rich imagination, freshness, a very complex saturation of colors, giving the paintings artistic charm, accent and expression, brightness, inspiring and improving mood.

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Baikal region. The Sayan mountains | Painting, Oil Color on Canvas | W:80 H:60 cm | 2018

The pantheistic painting of Galina Raspopina Camilla Pappagallo Art Critic

“Art is the incessant e ort to compete with the beauty of owers – and never succeed.” (Marc Chagall) Raspopina Galina, born in 1957 in Buguruslan in the Orenburg region of Russia, approaches painting in 2006 after meeting the famous artist Sergei Zhilin, of whom she becomes a student of art. Initially she worked with pastels, but one day, observing the bark of an old birch tree during a hike in the snow, she felt the need to approach oil painting in order to reproduce its complex and fascinating texture on the canvas. Flanked by her teacher, she enthusiastically devotes herself to painting, immediately embracing a simpli ed style that uses pure and unnatural colors to return the suggestions of the visible as enchanted beauty. Since 2015, Galina has been actively involved in institutional exhibitions in her home town and abroad, receiving great public success for the joyful mood of her paintings, whose colors “reach the heart” deep into the feelings of the human soul.

The visionary, sumptuous and at times apocalyptic paintings of Galina Raspopina bring together in the pictorial space a particular combination of mysticism and sensuality, heir to the masterpieces by Vassily Kandinsky, Marc Chagall, Kazimir Malevič and Pavel Filonov that during the great season of the Russian historical avant-gardes of the beginning of the twentieth century shaped that unmistakable style that still represents a distinctive feature of Russian art. The artist’s main source of inspiration is the natural landscape, interpreted as a universe suspended between the real and the fairy-tale in which her memories and her deep emotions, trans gured into dreamlike visions, converge. An absolute silence dominates her works where the bitterness of life does not nd space: the artist materializes on the canvas a world free from all negativity, that world that manages to make people dream of a total fusion with nature pantheistically conceived as a vital and creative force.

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The intimate and spiritual atmospheres evoked by the artist arise from her ability to combine colors with spontaneity, from her vocation to compositional improvisation and from the childish astonishment through which she is able to observe the world transmitting her spontaneity to the viewer. The joy and the light that ignite her fervent imagination translate into bright colors that construct the images without almost clinging to the drawing, as if existence were a oating kaleidoscope always ready to generate new wonders.

Some works indicate in the title precise geographical references, the places where the artist felt welcomed and inspired during her travels, others depict fantasy scenarios that resemble the dream and evoke fairytale settings in which everything is possible. Great attention is given to the di erent aspects that nature takes on during seasonal changes: autumn makes the colors explode, spring is tinged with iridescent shades, summer is a violent feast for the eye, while winter is the time where the world becomes more monochromatic due to the sleeping vegetation under the snow. Sometimes the artist seems to evoke an impossible coexistence of seasons and luminosity corresponding to di erent moments of the day, harmonizing them in a magical and unrepeatable synthesis that concretizes on the canvas the variegated nuances of a mood or an existential condition.

Galina Raspopina’s imaginative and subjective approach to the pictorial interpretation of visual data never implies an individualistic folding in herself, but on the contrary expresses her unconditional openness to the world and her willingness to let herself be traversed by the positive sensations aroused by the landscape. Emblematic in this regard are the titles that distinguish the series of his works, such as Conversation with Flora or Conversation with a stone, which suggest an idea of exchange and osmosis between man and natural elements. Looking carefully at some landscapes, we can in fact see among the leafy branches of the trees, in the irregularities of the rocks or in the chiaroscuro of the grass, vaguely anthropomorphic suggestions that seem to evoke the mysterious rural spirits that the ancients led back to the presence of the god Pan. The interpenetration between the human being and nature appears even more clearly in the paintings in which evanescent human gures plunge into a colorful universe without gravity, as if they were themselves owers, trees, clouds or simply pure light. These characters sketched and overwhelmed by rains of colors that recall music and seem to dance in unison with our emotions are a bridge to a spiritual dimension that today’s society tends too often to forget, inviting us to immerse ourselves in the tumultuous swaying of color.

If one of the dreams caressed by Kandinskij was to make the observer move inside his paintings as if he lived there, his words are particularly similar to the intentions of Galina Raspopina: «for years I tried to get that the spectators walked in my paintings: I wanted to force them to forget, to even disappear in there».

Following this suggestion, we also invite you to walk with your mind in the inexhaustible paths traced by her material brushstrokes, to savor the freedom of the fronds caressed by the wind and to get lost in the clouds of her skies where the dawn coincides with the sunset for then return to look at reality with renewed con dence in the beauty that surrounds us despite everything.

Galina Raspopina

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Road to the sea Painting, Oil Color on Canvas W:90 H:70 cm 2018 - 2019 Ga lina Ra spopina

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Ray Painting on Canvas W:70 H:60 cm 2018 Ga lina Ra spopina

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Self Made Painting, Mixed Media on Canvas W:80 H:120 D:4 cm 2018 Pa ola Sa nt a gost ino

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Paola Santagostino Painting

I re-met painting at the height of a long career as Psychoanalyst, but it was a much older and earlier love: perhaps the rst. As a girl I was practicing in the studios of artists, but then my life took a di erent path and for many years I worked in Psychosomatic Medicine, discovering the links between mind and body and the roots of physical and mental well-being. In addition to clinical practice I published many books,wrote hundreds of articles and conducted courses, and I still do, but my love for painting continued to re-emerge in other forms, driving me to explore the symbolic meaning of colours and their psycho-physical e ects in the environments in which we live (a topic on which I published the book “Il colore in casa” Ed. Feltrinelli). So nally I decided to registered to the Academy of Fine Arts of Brera and graduated in Painting completing my studies.

Dedicating myself full time to painting, as I am actually doing, has meant for me to open a new cycle of life, in which my artistic and professional passions have magically met, integrating with each other and merging into a daily practice capable of accommodating both knowledge.

My artistic language springs from my professional activity: when I hold a session of psychoanalysis, I need 'paper and pencil', not for taking notes but for drawing 'signs' that follow the concatenation of my thoughts. They are circles, arrows and sometimes a word, but my brain needs to connect to my hand to work more lucidly. While I speak I follow with drawing the development of the speech, I organize it for points and connection lines, I visualize it in an almost geometric way as a network of concepts. Personally I would throw away those sheets of paper when I nish to talk, for me they have already exhausted their function, but my patients take them out of my hand, even go to recover them from the wastepaper basket, asking to keep them for remember what we said, and really, observing them, I too can see the thread of the discourse we have just done.

When we look at an abstract painting our mirror neurons are activated and follow the movements of the artist's brush, so they reproduce the emotion that has moved those gestures, and allow us to perceive the mood of the artist 'during'the execution of the painting: it is a physiological transmission that goes directly from one unconscious to the other and set the foundations of empathy and subliminal understanding of an art’s work. With my paintings I want to convey a feeling of joy, vitality and openness to the in nite possibilities of existence, this is the reason why I have developed a personal technique to convey that speci c kind of energy,so my paintings are not just coloured canvasses but small spaceships: vehicles for a message that reaches those who observe them and lls the surroundings...

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Thoughts of Green Hope | Painting, Acrylic on Canvas | W:100 H:120 D:4 cm | 2015 - 2016

The Psycho-Artistic Sessions of Paola Santagostino Camilla Pappagallo Art Critic

The use of writing words as an alternative to drawing and painting considered in a traditional sense, is a recurring trend in contemporary art that has been revived today. Several exhibitions, which have been held since the 1920s, have explored various aspects of a polyphonic collection of artworks, which re ect the long-standing human’s desire to bene t from imaginative and creative resources of signs to achieve beyond the notion. Mallarmé's poem known as Dicing (Coup de dés), Apollinaire’s Calligrams, free placement of words in the style of Futurism, Raoul Hausmann's phonemes, Kurt Schweitters' musical work entitled Ursonate, Irma Blank's visual calligrams, Hildegard von Bingen's glossolalia, Chiara Fumai's subconscious designs, and Bruno Monari's illegible texts are connected by an invisible string. What these experiments have in common is that they all use language, drama, and performance to communicate and overcome obstacles, to circumvent the common communicative function of language and to investigate the sphere of the illegible and the unspeakable. Calligram goes beyond communication and turns into a trace of existence and a tool for self-expression, and in this way, it freely uses the generating and imaginative sources of symbol-role.

Going beyond the semantic dimension of language means releasing a kind of energy that activates the movement of the hand while writing, to encourage the observer to nd out the writer’s mental state, physical movement, psychological motivation, and neural response through the nal trace of the pen stroke. In this instinctive process, something happens, that Barthes de nes as beyond the alphabetcentered individual ethnic prejudice in his treatise, “Variations on Writing, 1994”. He discusses the stubborn belief that "the rules of writing are secondary compared with the rules of the dialect that is the language." In these pages, Barthes reveals his attitude about writing: he de nes the self-su ciency of meaning as corresponding to the insistence on materialism in the relationship between the writing and the body, because "it is the hands and eyes that guide writing, not logic and language." Proclaiming the unconsciousness of primitive human signs, symbols and calligrams pave the way for the in nite complexity of art, in which the tortuous path of symbols in Western culture becomes a metaphor for the complicated structure of the world.

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Artworks of Paola Santagostino, a psychoanalyst specialized Psychosomatic Medicine, also fully addresses these considerations. In recent years, she has decided to combine her profession with art. Her most recent works, belonging to the series entitled Psychoanalytic Session (2019), are born as a pictorial transcription of the therapeutic sessions with her patients. Symbols, connections, and patterns that emerge during conversation are engraved on the canvas in the form of uent cursive calligraphy. These calligraphies are intertwined with layers of images, and vivid expressionistic abstractions that bring these images to life. These dreamy lands, traversed with the artist's involuntary calligram, visualize the edicts of the mediums, depicting the stages of healing and exploration through pictorial, non-pictorial, semantic, and non-semantic motifs. The healing path itself is made up of sudden intuitions, moments of absolute light, stillness, listening to oneself, and even unexpected obstacles. As the artist explains, "Discovering the depths of our interior life is like entering a dense forest that has few clear paths and many occasional dangers, but the adventure to get to know oneself is exciting as the discovery of our subconscious. There are real treasures of wisdom, intuition, and enlightenment that we can visualize in our dreams every night, but we can also reach them by our exploratory immersion in art."

When we feel confused in meaningless inanity, traces of inner movements, calligraphic images, and directional vectors are signs and symbols that can represent our way out, a healing path we can follow.

These movements, images, and vectors are the result of the free coexistence of ideas realized by a hand gesture, a movement that manifests itself in the stroke of the pen, reconciling time with movement, and life with art.

In these paintings, the tension between the super-encoded realm of semantics and the analogical realm of unconscious - that produces automatic writing expressing mysticism, emotions, fusion of perceptions, and dream language - reach the blast. The phrases that the artist underlines appear now as mental maps, in which the constant ow of the patient's words intersects with the therapist's scienti c system.

These maps capture something beyond conversation and show the wide-ranging di erence in logic between the words of conversation and their interpretation through the imaginary alphabets used by artists.

The relationship between this invented language and non-linear thinking displays the psychological labyrinth of contemporary man and creates a vague coexistence between an attempt to say and direct speech, and between potential semantics, and self-meaning. Although, from a medical point of view and the artist's own idea about her paintings that is "everything is written and drawn on the canvas", from an artistic point of view, the most intriguing aspect is the lack of precise boundary or limits of the expressive and communicative potential of the non-semantic calligrams by which the scienti c evidence is interpreted. Thus, the issue of semiotics and writing in art is re-emphasized as Barthes argued that avant-garde writing should maintain the perspective and potential concept rather than the concept itself and that calligraphy is a very interesting tool for the explicit expression of the implicit aspects of language.

In the background of Paola Santagostino 's paintings, we nd cells, the physical basis of our organic life, and neurons that intertwine their dendrites and create synapses, all this to indicate that our physiological processes are "invisible" to our consciousness but at the same time they keep us alive and allow us to think. Mental processes arise from our subconscious, just like the seeds take root in the depths of the ground before reaching the light. If we assume that our self-consciousness uctuates between moments of complete consciousness and instinctive and involuntary reactions and that 96% of the universe itself is composed of invisible dark matter and energy, then the relationship between individuality and language, between appearance and meaning, can be equally immeasurable. An aspect that limits and arti cializes any attempt at simpli cation in the decoding of symbols and semiotics.

Paola Santagostino

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Discorso 2 Painting, Mixed Media on Canvas W:80 H:120 D:4 cm 2019 Pa ola Sa nt a gost ino

The second painting in the series: "What would you like to change in the world?" is dedicated to JOY: we are all too serious, too busy with our chores, I would like us to rediscover the simple joy of laughing brie y and smiling a lot, joy is contagious and I would like an epidemic to break out ...

It is not true that it is all the fault of the problems of the world and the economy that is falling apart ... those who walk around with a gloomy look and the corners of their mouth chronically bent down are not thinking of children who are dying of hunger or to the disasters of war, he is only shrouded in the shadow of the thoughts that populate his mind.

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Animus Anima Painting, Mixed Media on Canvas W:80 H:120 D:4 cm 2018 Pa ola Sa nt a gost ino

I paint "DISCOURSES" my signs are a kind of 'writing' performed with eyes closed and with the left hand (to activate the 'intuitive' side of the brain): they are sentences connected to each other, painted during a dance that involves the whole body. The most marked central line indicates the 'thread of discourse' and links together the various concepts, while the subtler signs are secondary topics. The colours always correspond to the symbolism of the subject and to its emotional value. In "ANIMUS-ANIMA" I talk about the relationship between archetypical Male and Female energy within us: how do they interact in creating a work of art?

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Lea ess Garden Painting, Mixed Media W:100.0 H:100.0 cm 2015 Feresht eh Set a yesh

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Fereshteh Setayesh Painting, Mixed Media

In 1981, I entered to world of painting. At the age of 18, I started my art training with famous contemporary art instructors, Masters Aidin Aghdashlou, Parvaneh Etemadi and Mohammad Ebrahim Jafari and this was the beginning of a long journey lled with ups and downs.

After my rst exhibition got noticed by viewers and critics and brought me a great deal of positive reviews and feed-backs, I knew that art is my destiny.

In the rst 16 years of my artistic career, I focused on real still-life painting with color pencil. Then slowly moved away from objectivism and changed my view toward visual art. Through changing elements in my art works and learning about material substances and textures; I have made new compositions for my paintings. By using materials like metal, wood, glass, rope and fabric, I have created a visual expression using words made from texture,surface, layers, lines and colors.

I have held 12 solo exhibitions and exhibited my works in 90+group exhibitions in Iran, UAE, Slovenia, Italy, Germany, Canada and United States. My works are also available in several public and private collections including: - Ladjevardi Foundation, Paris – France - Pino Nicoletti Contemporary Art Collection, Matera – Italy - Goharan Cultural Group, Tehran – Iran - Seyhoun Art Collections, Tehran - Iran - Isfahan Museum of Contemporary Art, Isfahan – Iran - Torino Museum of Modern and Contemporary Art Collection,Torin, Italy I believe everything beautiful, free, simple and surprising,stimulating human sensitivity and emotions, is an artwork. I combine unrelated elements to create an independent one, getting my audience excited by new patterns. I visualize another world like a visual story beyond this world and nature. A visual expression of what does not exist, but it should.

Like a seeker child, I am always looking to see and explore new borders in my work and with every new experiment; I feel a great joy as I believe this has been my greatest teacher in life, art and specially painting.

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Hunt | Mixed Media, Collage on Canvas | W:120 H:140 cm | 2018

Fereshteh Setayesh Paintings: Between Illusion and Fantastic Indications Rino Cardone Senior Editor of TGR RAI Italian Television, Art Critic, Essayist and Poet

From Illusion to Unique E ects An overview of Fereshteh Setayesh Works Paintings of Fereshteh Setayesh are emotionally in uencing works. Her new artworks are nostalgic that stir the global sense of timelessness and spacelessness in the mind of the viewer. In her paintings, the present is tied to the history and the past through the passage of memories. Pictures and descriptions appearing in her paintings are related to semiotics in art which is rooted in the tendency to existentialism in which signs and symbols (which are the origin of phenomena) appear in their logical dimensions. Thus, Fereshteh Setayesh with her paintings shows us an unusual and unexpected truth from the depths of the human soul.

Despite representing the reality in the form of abstract expression, the artist moves on the long wave of beauty-creation with a wonderful illusion which reminds archetypes to the viewer. However, these cannot be attributed to speci c time and space or latitude and longitude on the globe. From this point of view, it seems that her paintings are not like the "iconography"; a feature that is dependent on the aesthetic tradition in her country, Iran. On the contrary, it seems that her works have been created with a "special iconography" which is widely seen in the contemporary art and modern paintings.

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Signs, allegories and metaphors she has used act well in shaping a beautiful "logical whole" in the mind of the viewer. This means that Fereshteh Setayesh, from an absolute abstraction center, is lurking for our subconscious mind and conveying the impression that her paintings belong to a "shape dimension" which reminds spiritual art.

In a world where art is being precipitated, in the violent and sinister period of materialism, which is a result of the secularization of morality and customs (which every day becomes stronger and more global), the works of Fereshteh Setayesh, with an accurate aesthetic, such as the balance of lines and signs and the symmetry of colors and their combinations, showcase the beauty from the "surface" to "universal worship".

Thus, aggression, lust and evil, unlike most contemporary art we have become accustomed to, are not seen in her paintings. On her canvas - in contrast to the recent "dynamic aesthetics" movement – one can nd the elegance of form and re ned human thought. In the speci c case of Fereshteh Setayesh, all these qualities and features seen in her works act as "a dream path" to achieve a natural landscape in a unique visual ideogram.

In this way, unique images created by the artist gain double value. These images, whether illusion or not, come from pure ction and when images are valid, in addition to what they show, they are a tool for expression and communication. And it reminds us a statement by Gustave Flaubert, "illusion is the rst quality in art".

Fereshteh Setayesh

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Rug Frame Painting, Mixed Media W:150.0 H:150.0 cm 2014 Feresht eh Set a yesh

Carpet Weaving Rug on Canvas

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House and Fisherman Painting, Mixed Media W:150.0 H:150.0 cm 2014 Feresht eh Set a yesh

Abstract forms are evoking the image of a screaming sherman on the left side of the artwork and a house with a roof in copper color and lines that is creating the image of a shing net.

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SELF-PORTRAIT - The dream is a fashion Etching, Chalcography on Paper - Cotton W:33 H:42 cm 2017 Ric a rdo Vent uri

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Ricardo Venturi Drawing, Painting, Sculpture

Ricardo Aleodor Venturi was born in Pesaro (PU) in 1994. He lives and works in Pesaro. After graduating from the Scuola del Libro, Liceo Artistico of Urbino, engraving section, he attended the Academy of Fine Arts in Urbino, attending the course of Painting held by Luigi Carboni. He attended PXL - Mad in Hasselt, Belgium, for a period of six months as part of the Erasmus program. He has participated in several contest and group exhibitions including the Premio EneganArt (Florence, 2016), Premio Cairo Editore (Milan, 2015, 2017), Premio Nocivelli (Brescia, 2017, 2018), Premio Combat (Leghorn, 2018), Premio Art Team Cup (ForlÏ, 2018). He participated in the artist’s residence V_AIR 2017 promoted by the Culture Department of the Municipality of Vimercate, curated by Martina Corgnati.

In 2018 he organized and participated in L'ABITANTE (Pesaro), an exhibition curated by Adele Cappelli. The exhibition was created at L'attico, a space for domestic use that a group of artists, together with the help of curators and experts in the eld, have turned into a place of art for several months.

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Abstract rag n°3 Painting, Oil Color on Paper - Cotton W:46 H:43 cm 2019 Ric a rdo Vent uri

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Intimate Portrait - Woman Drawing W:100 H:150 cm Ric a rdo Vent uri

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Intimate Portrait - Man Painting, Pencil Drawing on Cardboard W:100 H:145 cm 2017 Ric a rdo Vent uri

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Nocturnal With Road Mixed Media W:7 H:7 cm 2018 Ric a rdo Vent uri

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Water In Me 2 Drawing, Charcoal on Paper W:24 H:34 cm 2019 Nevena Iva novic Gua gliumi

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Nevena Ivanovic Guagliumi Drawing, Painting

Nevena Ivanovic Guagliumi was born in 1989 in Uzice, Serbia. She graduated with master degree from Belgrade Academy of Orthodox Church Arts in Icon Painting in 2016. She is one of the winners of 13th edition of Arte Laguna Art Prize in 2018-19 and currently lives and works in Carpi, Italy.

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Arseniy and Maria Drawing, Ink Wash Painting on Paper W:33 H:58 cm 2016 Nevena Iva novic Gua gliumi

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How do I see you Drawing, Ink Wash Painting on Paper W:76 H:56 cm 2019 Nevena Iva novic Gua gliumi

Come Ti Vedo (Private Collection) AW127227460

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Singing under the moon I know that life is a dream, The dream is to love, The dream is to die Drawing, Charcoal on Paper W:80 H:150 cm 2018 Nevena Iva novic Gua gliumi

Cantando bajo la luna Yo se que la vida es sueno, El sueno es querer, El sueno es morir (Private Collection)

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And Girls Are Getting Ready For The Ball Drawing, Charcoal, Ink Painting on Paper W:120 H:150 cm 2018 Nevena Iva novic Gua gliumi

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MA #11 W:121 H:171 D:3 cm 2010 Ma lc olm K oc h

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Malcolm Koch Painting, Sculpture

Born in Adelaide, South Australia, Malcolm graduated with a Bachelor of Design (Visual Communication) from the UniSA in 1989. Since then he has established himself as a designer in the corporate sector and maintained an interest in painting with oils. Since 2003 Malcolm has developed a process of controlled paint-pouring and canvas manipulation utilising paint to ow and form connections between planes. The subtle blending and vivid colour properties of oils enable him to develop compositions based on nature.

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Burning Reality Painting W:201 H:134 D:3 cm 2010 Ma lc olm K oc h

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MA: Blue and purple W:132 H:132 D:3 cm 2011 Ma lc olm K oc h

Inspired by nature, this piece represents the cosmos and the pervasive forces that shape it.

Paint is poured and dried repeatedly, owing across and through the succession of folded contours, including a series of scrapings. Flattened, the membrane is then painted, adding to the complex, sedimentary-like layers of the artwork.

AW127087170

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Red Helium Mask Painting, Oil Color on Plastic Glass W:81 H:91 D:5 cm 2018 - 2019 Ma lc olm K oc h

This work visualises a helium atom — sculptured on curved surfaces, then observed by us in a 2D picture plane. A network of emptiness (little bangs) that reverberates as a mirrored envelope, re ecting our ingrained version of reality.

AW127321848

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White Helium Bloom Painting, Other on Sheet W:81 H:90 D:4 cm 2019 Ma lc olm K oc h

Inspired by current scienti c understanding of our universe and the way nature itself could be. This work aims to re ect a truth about the human condition — that we are tied to a two dimensional universe yet entangled with all its probabilities in the vastness of in nite space.

This particular piece was then mounted onto a blue acrylic-mirror back panel with 12 mm spacers. Enabling the synthetic canvas to appear to oat. Also allowing for an interaction with the relief work by the rooms light conditions as it moves and re ects throughout the day.

AW127290370

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Lebanon Balamand Abbey Photography, Digital Photography on Photo W:100 H:120 cm 2017 Pygma lion K a ra t za s

AW127970140

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Pygmalion Karatzas Photography

Pygmalion Karatzas studied Architecture at the Technical University of Budapest, Urban Design at Heriot-Watt University in Edinburgh, and practiced architecture for 12 years. Since 2013 he is focusing systematically on architectural and ne art photography, producing a portfolio of 200 architectural, commercial and artistic projects from Europe, USA and Middle East.

His images are regularly featured in Greek and international media, have received 60 distinctions from leading photographic competitions and the prestigious Fulbright Artist Scholarship award 2015-2016, and are part of private and public collections. Since 2014 he is the photo editor for the Danish Architecture Center and a contributing photographer to Arcaid Images London and iStock Getty Images. Divisare Atlas of Architecture ranks him among the top 100 architectural photographers worldwide. He has participated in exhibitions and fundraising in Greece, Italy, France, UK and USA, and produced 7 collections, with the ‘Integral Lens’ book receiving 3rd place at the PX3 Prix de la Photographie Paris and shortlisted at the Trieste Photo Days Book Award.

In a liation with the University of Tennessee Knoxville and prof. Mark DeKay, their paper on a multi-perspective approach to architectural photography was presented at the 3rd Integral European Conference; at the 5th Trieste Photo Days Festival and will be part of an academic miniterm / traveling workshop curriculum. Through photo-journalistic reportage, collaborations with architectural rms, businesses and organisations, as well as self-initiated projects, he exhibits his passion and dedication to the study, representation and dissemination of the built environment and its broader role as a cultural asset.

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Experience Music Project, Seattle Photography, Digital Photography on Photo W:100 H:70 cm 2016 Pygma lion K a ra t za s

AW127341164

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Mechanics Monument Plaza, San Francisco Photography, Digital Photography on Photo W:100 H:100 cm 2016 Pygma lion K a ra t za s

AW127701668

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South Beach, Miami Photography, Digital Photography on Photo W:120 H:60 cm 2016 Pygma lion K a ra t za s

AW127488304

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Lower Manhattan, New York Photography, Digital Photography on Photo W:100 H:100 cm 2015 Pygma lion K a ra t za s

AW127139588

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Issue# 1 Winter 2019 February - 2019

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