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Issue# 5 Winter 2020
Dieneke Tiekstra Newton Rocha Mohsen Modiri Pia Forsberg Pavel Ha zov Yukino Iwatsuki Silvia Pagano Bits and Pieces (2) | W:70.00 H:90.00 D:80.00 cm | by Dieneke Tiekstra
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OBSERVICA M a g a z i n e
Issue# 5 Winter 2020 February - 2020
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Date:
15-Feb-2020
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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. All rights reserved. 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.
Dieneke Tiekstra Newton Rocha Mohsen Modiri Pia Forsberg Pavel Ha zov Yukino Iwatsuki Silvia Pagano
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Balancing in Time Sculpture, Carving Sculpture Technique on Cardboard W:27 H:64 D:20 cm 2019 D ieneke Tiekst ra
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Dieneke Tiekstra Sculpture
BerendinaSjoukje (Dieneke) Tiekstra (1957-10-15,Haarlem, The Netherlands) is besides her function as team leader addictiontreatment a sculptural artist and co-director of the art galleryRueb&Tiekstra at Rijpwetering, the Netherlands. Time line Already at an early age she wasfascinated by sculptural design. At the age of 13 her father gave her severalcans with polyurethane foam. With these she made her rst large object a totempole. From then onwards everything she laid her hands on was transformed intoartistic objects: from printed circuit boards a view of a town, from paper acello player, from driftwood a boot etc. Her motivation to be creative grew andgrew over the years. More and more she made and showed these works of art toher friends. In addition to the sculptural design technical pieces were made tobe used for secondary education. After years of making technical end creativeobjects she realized that the making of these sculptures not only made her feelgood, but also that other people appreciated and became happy of her work. Bygraduating, in May 2018, at the Art Academy Haarlem/Leiden she gained moreknowledge of the fundamentals in sculptural design. This study will also be aprelude to work independently as an artist. Awards Frida Kahlo International Prize:5 April 2020 Mila, as nalist CFA "Artist of the Year": 2019,as nalist Re:artiste "Transformation": 2018 rst prize; a week long artist residency Manhattan,New York City, USA Blooom Awards, Germany: 2018 Shortlisted The London International CreativeCompetition: 2017 Shortlisted The 12th Arte Laguna Prize 2018: BiafarinPrestige Award The 11th Arte Laguna prize 2017: BiafarinHonor Award Other Art Activities Co-director Art Gallery Rueb & Tiekstra
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Bits and Pieces (2) | Sculpture, Modeling Sculpture Technique on Carton | W:70 H:90 D:80 cm | 2018
Dieneke Tiekstra: Sculpture as a threedimensional puzzle Andrea Guerrer Art Critic
"I think having the earth and not ruining it is the most beautiful art form you could ever want." (Andy Warhol) Berendina Sjoukje (Dieneke) Tiekstra (b.1957, Haarlem, The Netherlands), award-winning artist and codirector of Galerie Rueb&Tiekstra in Rijpwetering, after graduating in visual arts in May 2018 at the Kunstacademie Haarlem in Leiden, chooses to embrace a professional artistic career in the eld of sculptural design. Accustomed from an early age to transform what happens in her hands (such as printed circuits, views of the city, paper, musical instruments, wood, etc.) into artistic objects, her work focuses on universal themes - time, the future, the movement - seeking the balance between abstraction and guration. After an initial phase in which she dedicates herself to experimenting with a wide range of techniques and materials, she nds her own peculiar expressive dimension in the reuse of every day waste objects, in an implicit ethical stance against over production that negatively characterizes the era in which we live. The formal and semantic reinterpretation of these apparently banal elements aims to explore their still unexpressed creative potential, bringing out new connections that stimulate the imagination of the observers by inviting them to actively reconsider the environment in which they live. The artistic research of Dieneke Tiekstra is oriented towards the creation of a direct language, instinctive and playful, capable of arousing complex questions using simple and readable forms, which do not reject the viewer with useless hermeticism. In the series "The evolution of Man" the artist materializes her interest in the design of the future, which has become a paradigm of a lifestyle that will inevitably have to deal with the widespread presence of machines and the intrusion of digital reality also in the most private aspects of our life. What will the world look like in a hundred or a thousand years? Will man be destined to disappear in a digital cloud? Will humans and arti cial devices manage to coexist peacefully on the same planet and protect its existence?
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The aforementioned series of works is composed of sculptures made from hundreds of fragments of puzzles depicting men, women or hybrid creatures in expressive poses, asexual characters that embody individuality and the generality of species. These bodies are always devoid of clothes, but they are not naked because the pieces of which they are composed form a colorful skin, an uninterrupted and everchanging fantasy that makes the demarcation between inside and outside uncertain. The human being is in constant motion and its presence in space and time is represented by the artist as a fragmentation and a temporary recomposition of an order in constant evolution. Will the future always remain wrapped in uncertainty or will the various pieces nd a de nitive place one day? We can not know, but the harmonious compositions of Dieneke Tiekstra, "superorganisms" that recall the nests of eusocial insects in which each individual, like the organs of the human body, performs speci c tasks, portend a positive resolution of these questions. From the structural point of view, on the one hand the gures appear as "skinned" anatomically (some muscles and joints are distinctly recognized), for another they resemble machines formed by mobile gears. Their presence develops through the alternation of cavities, reliefs, full and empty that generate a fragmented and discontinuous clair obscur that recalls the sudden appearance and disappearance of the pixels of a digital image. In this way it seems that the gures are modeled according to the surrounding space, enclosed by contour lines that develop as a sequence of curves now concave, now convex that do not limit their physicality but expand it in the space. The anthropomorphic sculptures of the Dutch artist rede ne the concept of the human body by identifying its deepest essence precisely in the metamorphosis and in the movement that at rst sight seem to undermine its integrity. If the movement is the outward manifestation of a search for balance, the body appears as a material shell that holds within itself a higher principle, the soul: hence a constant tension, the epic e ort of humanity to get rid of this impediment by elaborating a structure more suited to satisfying the multiple forms in which its most spontaneous and pure "I" can be embodied. Translating this suggestion from the symbolic level to the stylistic one, the expressive gure of Dieneke Tiekstra re ects an analogous aspiration to merge abstraction and guration to free materials from their objective limits and transform them into pure emotion. An equally stringent bond between form and content can be found in the choice of preferably using recycled objects: the titles of many works, such as Decline of the Earth, Time traveler or Last man Standing make us imagine an epic narrative of humanity traveling to survive itself, capable of transforming obstacles into beauty tools to consciously set out towards a more sustainable future. The emphasis on movement and uidity, a result not easily obtainable in sculpture, reminds us that the environment in which we live is an integral part of our body and that only the perception of this interdependence will allow us to develop ways of existence that respect this necessary interpenetration.
Dieneke Tiekstra
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Captured Time Sculpture W:18 H:26 D:18 cm 2017 D ieneke Tiekst ra
If our time is captured, do we still fall from our time to the future? AW127811626
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Iron Sculpture, Modeling Sculpture Technique on Cardboard W:30 H:45 D:23 cm 2019 D ieneke Tiekst ra
Iron is one of the gures in the series "the Evolution of Man", together with Bits and Pieces, Time Traveler, Decline of the Earth, Flood and Last man Standing. materials: puzzle pieces, end thread, wood- and modi ed polyurethane glue, and wood.
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The Black Butter y Found The Black Flower. Mixed Media, Acrylic on Canvas W:50 H:70 D:3 cm 2017 Newt on Roc ha
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Newton Rocha Painting
Newton Rocha Newton Rocha is a self-taught painter, born in 1968 at Recife, Pernambuco State, Brazil. Recife was built as a port city along tropical, white sand beaches lined up with palm trees, where coconut water and cactus owers co-exist. This masterpiece of nature contradictions inspired Newton’s art as a translation of nature contrast in art form that synthesizes in uences of Dali, Kandinsky, Miro and along with all his experiments and researches and creates an extemporaneous essence of art that belongs to artist himself. He depicts distorted gures and extravagant colors melted in an abstraction that insinuates the facts of his surrounding reality; regional dreams and fantasies of familiar scenes, local characters and popular events. Newton Rocha’s originality and creativity portraits the man and his roots, while at the same time projects him into the cosmos of the contemporary world with a strange mixture of strength and simplicity that makes his paintings alive with a sense of invasion in observer’s mind that confuses and resolves itself in de nition. This complex ambiguity is the magic combination that best de nes Newton Rocha and his art;A Man, The World and his Contradictions. Cecília Grindley Newton Rocha currently lives in Brazil;where he continues to expand and evolve artistically.
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Metamorphosis. | Mixed Media, Acrylic on Canvas | W:100 H:100 D:4 cm | 2019
An Interview: Newton Rocha Newton Rocha Born in: 1968, Brazil Lives in: JaboatĂŁo dos Guararapes, Pernambuco, Brazil Media: Painting, Mixed media Describe your work in 3 words: Genuine, Innovative, Creative "During my research as an artist, my main focus was to nd my own formula. That happened when I randomly glued strings on the canvas to 'interlineate' my artwork, resulting in a pure implied sense of gure. I also developed PuzzleArt & 4D, a technique that could revolutionize the visual art world." What themes does your work involve? I have no idea what will happen after the creation process (application of the strings). At this stage, I only care about the special composition of the canvas. However, in the end, I always perceive subjects, such as fauna, ora and people as implied sense, and some natural events. Describe your creative process. By gluing randomly strings to delineate I realized, the strings gave me the freedom to create implied sense gures subconsciously. After applying the strings on the canvas, I see the result of creation from all angles, so I work on them. In creating this technique, I realized, it solves the big issue known as blank canvas by themselves because each gure gets its own space in its self-creation resulting in an interesting game of interpretations by viewers. Also, I draw gures using collages.
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What in uences your work? What inspires you? Why do you make art? My artwork is automatically in uenced by the program in my subconscious at the moment of creation, the spontaneous movements at that moment are the inspiration itself. The result is my personal ful llment. That's why I make art. What is good art? What makes a piece of art great? Good art is one made with responsibility, seriousness, intelligence and honesty in relation to aesthetics and ethics. The artist who is original and meets the above prerogatives, he will make an excellent artwork. “If anything can be considered art, then art is no longer relevant.� - Roger Scruton. What is the role of the artist today? For me, Art is an intelligent creative entity. The artist's role is to channel the needs that this entity wants to transmit at that moment in each artist, forming a collective conscience among artists according to the current needs. That's how trends are born. That intelligent creative entity picked me up and I loved because I feel ful lled with each artwork done. Art is aesthetics, aesthetics is beauty and beauty is love. That's how it should function ... always.
Newton Rocha
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Analemma. Mixed Media, Acrylic on Canvas W:140 H:80 D:4 cm 2019 Newt on Roc ha
“Analemma was made using the technique I named Interlineation. “In astronomy, analemma is a diagram showing the position of the Sun in the Sky, as seen from a xed location on Earth at the same mean solar time, as that position varies over the course of a year.The diagram resembles the gure 8 or Lemniscata, the name of the in nity symbol. This is the result of a combination of two interdependent e ects: The e ect of the inclination of the earth's axis of rotation relative to the plane of its orbit around the Sun and the e ect of the eccentricity of the Earth's orbit, as the earth describes in its translation around the Sun, an elipse”.
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The Fish. Mixed Media, Collage on Wood W:195 H:130 D:20 cm 1997 - 1988 Newt on Roc ha
That artwork was made using a Recycle Art technique. Material Used: mango tree bark, sand, wire, melted wax, silicone, polyurethane resin, monomer, lees paint, lees resin, seed, oil paint and enamel paint on wood sheet. In the mid-nineties I tried three-dimensional material, so I went through a stage experimenting collage using found objects and or others that is no longer in use. Anything I could give another meaning. I named it Recycle Art. From Recycle Art I evolved to Interlineation, but this is another story.
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Last Signs of Winter Painting, Acrylic on Canvas W:100 H:70 cm 2019 Mohsen Modiri
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OBSERVICA Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Mohsen Modiri Painting, Drawing, Caricature, Digital Art, Mixed Media, Video
Mohsen Modiri was born in 1950 in Tehran, Iran Art Categories: Being involved in visual arts, music, and literature since adolescence Education Bachelor of Biology from Tehran University, Iran Art Activities Spending over 35 years in visual arts Attending in some domestic and international group exhibitions from 1971 to 2000 Exhibitions and Achievements - Selected, Exhibited and Sold in Italy, Belgium, France, Japan, South Korea, Turkey, Iran and United States Further Information - Organizer of Drawing and Photo Exhibitions for Artists in the University - Professional Graphic Designer for almost 10 years - Caricaturist for almost 22 years (1978-2000) Other Skills and Past Professions - Music Center Management and Familiarity with Musical Instruments - Contributing to Music Therapy Association - Publishing short stories and articles in Professional Editing Publications - Publishing the Collection of Poems called "unity", Fall 2015 Returning to Visual Arts After a gap of 12 years in visual art, Starting to Work on Visual Arts (Post Modern Abstract) since 2012
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Girl and Bicycle | Painting, Acrylic, Pencil Drawing on Canvas | W:105 H:70 cm | 2019
The Existential Maps of Mohsen Modiri Andrea Guerrer Art Critic
The complex political geography of our contemporary world, in which destructive relationships of strength constantly rede ne territorial boundaries and geometries based on ever new alliances and hostilities, has meant that since the second half of the last century, the map, emblem of the human need to circumscribe and de ne, has become a recurring presence in contemporary art. In this regard, it su ces to recall the famous maps by Alighiero Boetti, the rst of which, made in 1971 when he returned from a trip to Afghanistan, depicted a political planisphere in which each territory was embroidered with the colors and symbols of its ag. Boetti later said: "The work of the embroidered map is for me the maximum of beauty. For that work I did nothing, I chose nothing, in the sense that: the world is made as it is and I did not design it, the ags are what they are, and I didn't design them, in short, I did absolutely nothing; when the basic idea, the concept emerges, everything else is not to be chosen.". In those same years, Emilio Isgrò, the erasure artist, had begun to cover the words of books and maps or geographical maps with black marks, neutralizing the identifying function of the places and highlighting new democratic balances between signs. The map in contemporary art, in evidence overturning its practical purpose, it is often associated with uncertainty, fragmentation, the idea of dispersion or the memory of a trauma, such as Cristina Lucas' video installation Unending Lightning (2015-in progress), interactive planisphere that takes into account all the aerial bombings in civil areas starting from 1911, the year in which the rst episode occurred during the Italian-Turkish war. The concept of the map is also useful for reviewing the paintings of the Iranian artist Mohsen Modiri (1950, Tehran), which arise from a union between gestural expressionism and conceptual abstraction. He declares the importance of the elements "Earth" and "Earth and water" in his creative process, which their interaction forms the core of his works, which he calls "grounding". Each painting canvas is the result of a systematic strati cation of pictorial levels, each corresponding to a di erent "layer" of reality and thought. The rst level (which in some paintings is more exposed, in others less extensive) is a very expressive painting in which bright and contrasting colors spread with broad strokes seem to battle on the canvas, generating a background with a noisy mimetic aspect. The second layer is a neutral and uniform paste of grey tone or sand that contrasts the previous chromatic explosions overlapping them to allow only some portions to be leaked, which appear isolated.
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The next layer is a simpli ed and conceptual guration made with a brush tip: the drawing identi es simple shapes, such as houses, means of transport, and symbols or numbers, superimposing each other on the neutral or colored parts. In some cases, a gure-background relationship seems to be established between the rst two layers, with the upper one that circumscribes recognizable shapes or simple projective suggestions in the indi erentiation of the chromatic paste, as it happens when observing clouds in the sky. Each painting appears as a fragmented map of a portion of reality chosen by the artist, who transforms it into a constellation of signs to interpret and make it his own. As in real planispheres, the distribution of the various elements is governed by the alternation of two fundamental aspects - conventionally attributable to earth and water - which here assume interchangeable roles of full/empty, color/achromaticity, uidity/density. The overlapping conceptual signs, which use a linguistic code di erent from pure painting such as the universal symbols with which cities, monuments or road types are indicated in the maps, instead of providing clarity by referring the variety to pre-established interpretative categories, seem to add new and autonomous elements that increase the complexity of the whole. For these reasons, Mohsen Modiri's paintings, critically distorting the conventional notion of the map intended as an exact representation, could be de ned as "disorientation devices", as they manifest without attenuating the alienation of contemporary man who is no longer able to recognize the earth as a mother and to conceive the ow of life that does not allow limits and measurements. Through painting, the artist unhinges the anthropocentric vision of the world, restores freedom to sign and color to recompose the dissonance in new harmony and unity. Through his paintings, the tensions and anxieties of life dissolve into islands and continents of pure colors, the presence of which is rebalanced and counterbalanced by the colder and atter layers that surround them but at the same time allow them to "be" as autonomous entities. In the chaos of existence, the artist seems to detect unexpected pieces of beauty only because he focuses his attention on them, separating them from a pictorial magma where they could return at any moment. Mohsen Modiri's works is a joyful invitation to lose rational control to tune in again with the colors and rhythms of nature, con dent that such abandonment could reconnect us with the ancestral harmony of creation. Only the spontaneity of an observation not conditioned by power relationships can recreate the observer that lost sense of "grounding" that connects the deepest part of the self with the cradle and the origin of life. This internal process implies a path, a mental and emotional coming and going between inside and outside and a fragmentation of the schemes: the Iranian artist's paintings keep track of the exploration by mapping the stages with a sincere coloristic enthusiasm that communicates to the observer the impulse to get lost to nd himself in a maze of signs and brush strokes.
Mohsen Modiri
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Creatures #4 Painting, Acrylic on Canvas W:120 H:67 cm 2019 Mohsen Modiri
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Nocturn Painting, Acrylic on Paper W:100 H:70 cm 2019 Mohsen Modiri
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Sisters Painting, Oil Color W:150 H:190 cm Pia Forsberg
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Pia Forsberg Painting
Pia Forsberg was born in 1953 in Stockholm, Sweden Art Category: Painting Artistic Career since 2004 Education 2000-2010: Various Art Classes including: Free Painting at Birkagården in Stockholm, Sweden Drawing and Painting at the National museum in Stockholm, Sweden 1975-78: Beckmans College of Design Exhibitions 2019- Portrait Now! Frederiksborg, Denmark, May-Aug 2019- Ljungbergsmuséet, Sweden, Sep 7 2019- Arte Laguna, Venice, Italy, March-April 2018- Art is now 2, Milan, Italy, December 2018- Edsvik Art Fair, Stockholm, Sweden 2018- Blackout Exhibition, CBK Gallery, Amsterdam, Netherlands, April21-May5 2018- Art Expo New York, April 19-22 2017- Galleri Bellman, Stockholm, Sweden 2017- Konstrundan Söderhamn Art Gallery, Söderhamn, Sweden 2017- Edsvik Konsthall Autumn Exhibition, Stockholm, Sweden 2016- Open Studio Exhibition Winter, Stockholm, Sweden 2016- Open Studio Exhibition Autumn, Stockholm, Sweden 2016- Konstrundan, Söderhamn Art Gallery, Söderhamn, Sweden 2015- Open Studio Exhibition Winter, Stockholm, Sweden 2015- Edsvik Konsthall Autumn Exhibition, Stockholm, Sweden 2015- Solo Exhibition, Söderhamn Art Gallery, Söderhamn, Sweden 2014- Konstrundan, Söderhamn Art Gallery, Söderhamn, Sweden 2013- Konstkraft Ljusne, Ljusne, Sweden 2012- Konstkraft Ljusne, Ljusne, Sweden 2004- Edsbyns museum, Edsbyns, Sweden Other Activities 1993-Present: Co-Founder and Director of Forsbergs School of Graphic Design and Advertising 1979-Present: Own business in design and illustration, with a specialty in book covers
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Young wife Painting, Oil Color W:27 H:35 cm 2016 Pia Forsberg
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Girl in white Painting, Oil Color on Canvas W:75 H:130 cm 2019 Pia Forsberg
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School Girl Painting, Oil Color on Canvas W:27 H:35 cm 2015 Pia Forsberg
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The Bride Painting, Oil Color W:80 H:100 cm 2017 - 2018 Pia Forsberg
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Women's Works - 2020
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OBSERVICA Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Introducing Opportunities Service Participating in competitions helps you, as an artist, to stand out and develop your art career. Artist calls are considered as a great tool for being discovered much easier and gaining recognition for your artistic talent. You have the chance to participate in a lot of art contests directly via Biafarin portal and get rewarded with cash prizes, artwork sales, residencies, media publications, exhibition opportunities and more. To access these opportunities, you need to use Opportunities Service. This service provides an opportunity list related to your art and helps you to submit through a simple process. How it works You will be informed about new art competitions through Biafarin opportunity alert. Visit your opportunity page in Biafarin portal to access the opportunities list matching your artistic goals. Then, select an opportunity and click on the yellow submit button, enter the artist and artwork data and complete your submission. Biafarin will review your data and send it to the organizer if completed. Finally, Biafarin follows your submitted opportunities and sends you status reports to keep you updated.
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Bene ts - You can track your submission and keep your submission history. - It is easy to use. - You get valuable advice and status reports for your submission. - You will get a certi cate for your participation or winning. - You will get a discount according to your package. - You will get redeemable points to use in other Biafarin services. Find more at Biafarin opportunities service bene ts. Pricing Organizer fee This fee is determined by the organizer. Biafarin members bene t from special discounts on most opportunities: Blue package: 10% discount Gold package: 15% discount Platinum package: 20% discount Service Fee In addition to reviewing, preparing, and submitting information, this fee will cover guidance, follow up, and advice for participation in an opportunity and subsequent steps. This fee is free for the artists with a Blue, Gold or Platinum package. Moreover, selected artworks that are not sold will be returned free of charge for artists with Gold and Platinum packages. Every artist participating in opportunities via Biafarin portal gains one point for each dollar spent. Points can be redeemed to US dollar and used for all Biafarin services.
Submit your art and win prizes Visit your assigned opportunities lists in Biafarin portal and submit Learn more
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AIR 2.2 Painting, Oil Color on Board W:50 H:64 cm 2018 Pa vel Ha zov
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Pavel Ha zov Drawing, Painting
Pavel Ha zov was born in St. Petersburg (Russia) in 1978. He moved with family to Latvia in 1985. He has pursued a painting art career since 2009 and acted as a cartoonist between 2008 to 2013. He has a master degree in Economics from Latvian University, while during 2013 to 2016 he followed his desire for learning painting art through online mentor, dutch painter Janhendrik Dolsma. Here is a short review of his artistic career: 2008- started to work as cartoonist at Latvian newspaper "Telegraph" 2010- started to work as cartoonist at UK newspaper "Angliya" 2012- Cartoon exhibition, 3rd Place Award, The Famous Grouse Cartoon Competition in Russia 2013- Cartoon exhibition, Special Award, 41.World Gallery of Cartoons, Skopje, Macedonia Actively working as a Painter (2013 - present) 2013-2016: Learning period. Online mentor Dutch painter Janhendrik Dolsma. 2016- Painting Group Online Exhibition, "Nature", Special Recognition Artist, Light Space Time Art Gallery, USA. 2016- Painting Group Online Exhibition, “Natures Beauty�, Honorable mention, International Gallery Of The Arts, Canada. 2016-2018: working on "AIR 1.0" Painting Collection. 2017- Trip to Art Geneva, Paulo Coelho becomes a collector and mentions me in his Twitter and Instagram. 2018-May: "AIR 1.0" Solo Painting Exhibition in Riga, Latvia. 2018-Present: Working on "AIR 2.0 Parallel Realities" Painting Collection. 2019-March: Finalist artist of "Arte Laguna Art Prize 13", Venice, Italy 2019-April: Winner of Biafarin Promotion Award in 13th Arte Laguna Art prize
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Air 2.9 Painting, Oil Color W:64 H:50 cm 2018 Pa vel Ha zov
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AIR 2.1 Painting, Oil Color on Board W:64 H:50 cm 2018 Pa vel Ha zov
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AIR 2.3 Painting, Oil Color on Board W:64 H:50 cm 2018 Pa vel Ha zov
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AIR 2.4 Painting, Oil Color on Board W:64 H:50 cm 2018 Pa vel Ha zov
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Room Painting, Oil Color W:53 H:53 cm 2019 Yukino Iwa t suki
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Yukino Iwatsuki Painting
Yukino Iwatsuki was born in 1975 in Aichi, Japan Art Category: Painting Artistic Career since 2007 Education 1998- Bachelor of Art in Visual Design, Kanazawa College of Art, Japan Solo Exhibitions 2018- "GREEN with LIFE" ON READING, Nagoya, Japan 2017- "Looking 2017" MEGUMI OGITA GALLERY Tokyo, Japan 2015- "Looking 2015" Showcase MEGUMI OGITA GALLERY, Tokyo, Japan 2014- "Looking 2014" MEGUMI OGITA GALLERY, Tokyo, Japan 2012- "Looking 2012" Showcase MEGUMI OGITA GALLERY, Tokyo, Japan 2011- "98+2" MEGUMI OGITA GALLERY (Project Room), Tokyo, Japan 2007- Gallery GK, Tokyo, Japan Group Exhibitions 2019- 13th Arte Laguna Art Prize Exhibition, Arsenal Arena, Venice, Italy 2018- “ART OSAKA 2018” HOTEL GRANVIA, Osaka, Japan 2014- "Modern Portrait" Ginza Mitsukoshi 8F Gallery, Tokyo, Japan 2013- “sound of breathing” Ginza Mitsukoshi, Tokyo, Japan 2012- “XYZ” MEGUMI OGITA GALLERY, Tokyo, Japan 2011- "showcaseshow" Showcase MEGUMI OGITA GALLERY, Tokyo, Japan 2009- Gallery GK, Tokyo ('08), Japan Achievements and Awards 2019- Finalist in 13th Edition of Arte Laguna Art Prize and exhibition of work in Arsenal Arena, Venice, Italy 2019-Winner of Biafarin Promotion Award in 13th Arte Laguna Art Prize
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OBSERVICA Issue# 5 - Winter 2020 biafarin.com/observica2020winter
House Painting, Oil Color on Canvas W:53 H:41 cm 2018 I love my daily life.
Yukino Iwa t suki I like doing my family's laundry, cooking them meal which they want to eat, and doing the gardening... I believe that there is the real beauty in our daily life. I would express that in my paintings.
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Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Room Painting, Oil Color on Canvas W:73 H:61 cm 2018 Yukino Iwa t suki
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Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Room Painting, Oil Color on Canvas W:60 H:60 cm 2018 Yukino Iwa t suki
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Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Room Painting, Oil Color on Canvas W:46 H:38 cm 2018 Yukino Iwa t suki
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Interference Drawing, Graphite Drawing on Paper - Cotton W:55 H:85 cm 2019 Silvia Pa ga no
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OBSERVICA Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Silvia Pagano Drawing, Painting
Born in Catania in 1987, a young Silvia presented a strong artistic sensitivity in the early stage of her life. Following her clear creative air she decided to attend the Art School in her hometown where she focused on her painting and drawing techniques. After the diploma in arts and a degree in physical education and sport science she attends a two years specialization in fashion design at the Accademia Euromediterranea in Catania. At the beginning of her artistic career Silvia’s early style is based on the use of multicolour on geometric and sinuous shapes. An emotional statement running straight to the hearth of her audience. While working as an illustrator, she re ned her signature technique and major passion: the hyperrealism. A genre of painting using just pencils to resemble a high-resolution photography with a great emphasis on details. Silvia interprets this technique in a unique and personal way focusing on subjects of her daily life. A close study of her work reveals an extraordinary sensitivity to snatch the emotions of these subjects, the depth of their gaze. Silvia is able to portray their deepest feelings with great gentleness and accuracy.
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Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Are you afraid of the dark? Drawing, Pencil Drawing on Paper W:108 H:73 cm 2018 Silvia Pa ga no
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Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Imperceptible happiness Drawing, Pencil Drawing on Paper W:75 H:90 cm 2016 Silvia Pa ga no
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Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Red Thread Drawing, Graphite Drawing on Paper - Cotton W:45 H:45 cm 2019 Silvia Pa ga no
AW127201848
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Issue# 5 - Winter 2020 biafarin.com/observica2020winter
Vavaluci Drawing, Graphite Drawing on Paper - Cotton W:75 H:55 cm 2015 - 2016 Silvia Pa ga no
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