Observica - Winter 2021 | Discover the Artist Media by biafarinart

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Issue #10 Winter 2021

Victor Cuzmenco Tjeerd Doosje Aomi Kikuchi Svetlana Smirnova Monel Aliote A. M. Benz Erin Starr Cleopatra Lee | W:24.00 H:30.00 cm | by Monel Aliote | AW127637596

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OBSERVICA Magazine

Issue #10 Winter 2021 March - 2021

observica.com/winter2021

b i a f a r i n . c o m

OBSERVICA Magazine

Code:

MGZ791683319

Link:

https://www.observica.com/winter2021

Date:

15-Mar-2021

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. 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.

Victor Cuzmenco Tjeerd Doosje Aomi Kikuchi Christina Mitterhuber Svetlana Smirnova Danny Johanano Art Is Life, Life Is Art Shu Yu Theresa Honeycheck Monel Aliote

A. M. Benz Sharmaine Theresa Pretorius Wayne Paige Armaghan Kazemi Erin Starr Stanislav Valevski Anthony Santomauro Lee Kwong Tim Jackson Richard Nolan Hana Godine

Mitch Rosen Maryam Moghadam Lee Munn Foozhan Farhood Elizabeth White

Hi all; Hoping you are doing well, healthy and happy in 2021. This is the rst issue of Observica magazine in 2021. I would like to thank all of our readers, experts, artists, and art businesses for their reliable support and kind attention during the time of pandemic in2020. It seems that the COVID-19 vaccination process has been widely started in most countries and eventually it will put an end to the quarantine forced by this pandemic and come back to the era of physical communications. We believe that the whole world needs visual art presentations in the form of events and publications even more than before. So, we are truly determined to take our part in this constructive progress. To ful ll this duty, the rst issue of the magazine in 2021 has presented fabulous arts from fantasy forests to seductive portraits, urban landscapes, and ontologic abstracts in the form of sculptures, photographs, and paintings, to spread hope and optimism. We also decided to publish a couple of extra editions during 2021 in addition to our normal quarterly magazine issues such as Observica Elite Edition. We promise to try harder to bring more good news and fresh art materials to the art world. The magazine will be improved in terms of formats and quality of artistic presentation. Like before, presenting each artwork brightly on a full A4 page is the commitment to our artists in order to respect their valuable creations. Keeping Observica smart magazine in both online and paper format among the top-rated art magazines hasn’t been an easy job, however, we’ve learned a lot of practical lessons during these years and we’d better apply them in the years ahead. As Observica contemporary art magazine, we continue to observe all the corners of the art world to nd and introduce genius artists and their out-of-the-box ideas, while keeping an acceptable variety of styles, mediums, concepts, as well as nationalities and races. It’s time to make a series of extra e orts to compensate for the fallbacks of the recent two years. There is a long way to reach the same conditions we had in previous years. We believe that constructing the future won’t be possible without all of us act as a uni ed body of the artworld. Your attention and support are appreciated like always. Good luck with your artistic challenges in 2021. Warm Regards;

Maryam A. Mardani Chief Editor OBSERVICA observica.com

Opposition Painting, Mixed Media on Canvas W:100 H:120 D:5 cm 2019 Victor Cuzmenco

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Victor Cuzmenco Painting, Mixed Media

Victor Cuzmenco refers to his art as Ontologic Painting, which comprises the idea of fundamental philosophical questions studied by ontology. Through his art for the last thirty years, he has explored “being” rather than simply existing. Victor visualizes such broad categories as space, time, structure, movement, spiritual states, and interactions among them. Victor Cuzmenco was born in 1948 in Ukraine. He graduated from Moscow State Institute of Fine Arts named after V. Surikov in 1974. Victor displayed his works in more than 250 Moldovan and international exhibitions. His paintings are in the funds of National Art Museum of Moldova, CIS museums, the funds of Russian Ministry of Culture, private collections in USA, Germany, France, Italy, the Netherlands, Sweden, Turkey, Israel, Singapore, Russia and Ukraine. Apart from Moldova his notable solo shows were held in Korbiens Galerie, Frankfurt, (Germany), and the Central House of Artists, Moscow (Russia). The artist was also included in Art Encyclopedia of Moldova. The selected group shows took place in at VIII and IX International Exhibitions in Lyon Cultural Centre (France), the exhibition of Moldovan avant-guard artists in Dusseldorf, (Germany), «Art-Myth-93» in the Central House of Artists, Moscow (Russia), Uppsala Contemporary Art Museum (Sweden), the exhibition of Moldovan artists in Aachen (Germany), and “Art Base” gallery, Singapore. In 2019 he was awarded the Prize of Art and Culture Center „George Apostu” – Bacau (Romania). In 2020 Victor’s artworks were included in 20 group exhibitions of online galleries and published at art magazines in USA, Canada, UK, and Italy. The selected paintings became award-winning and gained Special Merit and Honorable Mention. In 2021 Victor’s art was selected for London Art Biennale (UK), Borders Art Fair, Venice (Italy), and Oxford International Art Fair (UK). His solo show at Moldovan National Arts Museum is scheduled for October 2021.

biafarin.com/artist?name=victor-cuzmenco

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Six Squares | Painting, Mixed Media on Canvas | W:130 H:90 D:4 cm | 2018 | AW127040492

Victor Cuzmenco: Ontologic issues of spiritual life Victor, thank you very much for giving us and our readers such opportunity to know more about you and your artistic careers. Please tell us brie y about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist? I am the eleventh child out of twelve born in a working class family, who lived in a village and knew nothing about art. My father was a construction worker and my mother took care of a household. I was ve when I rst helped my sister with drawing school assignment. Since then I dreamed of becoming an artist and made all possible to reach this goal. I rst graduated from Art College in Chisinau majoring in Fine Arts and then got Master’s degree in Moscow Art Institute named after A.V. Surikov at Artistic Graphics. In my early career in 1970s I worked as sta artist in the newspaper “Evening Chisinau”. Later in 1980s I started teaching art and then progressed to Children Art School Director, where I worked during the next thirty years. At the dawn of the Soviet regime when artists became freelancers I created my Concept of Ontologic Painting, which I have been developing the next thirty years till nowadays. Well, that's quite an interesting career. Was there ever a moment of doubt to question your art career entirely? I never doubted and do not doubt my destiny. My parents did not understand and did not support my endeavors to become an artist. My mother advised to get the popular and demanded at that time profession of mechanization expert. However I followed the path of an artist. I found a college, put all necessary documents and submitted for the course. I studied and supported myself with no parents’ or anybody else’s help. I earned for my living on part-time jobs and tried to save up. So was in Chisinau and then in Moscow. Tell us, what is your daily routine when working in your studio? I can’t wait for morning to come so I can return to my studio and spend the whole day there. After a compulsory co ee to start ritual I get down to artistic process. If I am about to create a new painting I start with small pencil on paper sketches (between ve and six pieces) to outline the structure, the “skeleton” of a future artwork. Sometimes I also paint some sketches with watercolors. I then transfer main elements with a pencil on the prepared background of a canvas. As my works are made with mixed media, apart from blending traditional oil paints on a pallet I prepare my alternative materials like earth, and sand of various shades, nely grated shell limestone, and clay. These natural media require special handling. Some of them are to be watered and stirred till smooth paste, the others have to be dried and screened into several granulated fractions. With great spirit I observe how a sketch transfers into a ready painting in my hands. I am used to work on several paintings at once.

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It is practical because it allows me to switch between one another while the rst work is drying and also to take a break if I am not sure which material or color I’d like to use. Since 2020 for the rst time in my art career I am happy to dedicate six to eight hours to creative process thank to the new equipped studio while my agent deals with promotion. Great, So now take us through your process of making your artworks. For instance, how do you move from an idea to an artwork? Where does an artwork begin for you? A painting conception appears unexpectedly and o the top of my head, quite often due to eeting impression, almost physiological feeling or due to a thought crossing my mind or due to tactile sensation and occasional texture. I then create structured plan of a painting in my mind, which I draw as a rough schematic paper sketch. I sometimes make a smaller version of the new painting and transfer it to a larger canvas afterwards. I think over colors and media I would like to use beforehand and then apply them on the artwork. The technique of natural media painting does not allow correcting and changing an image, i.e. I have no room for error therefore the structure should be as clear as possible already in my mind. So, we can imagine that this Ontologic idea has been the central concept connecting all your works together or each series or artwork is unique? I create all the artworks in the frameworks of my Ontologic Painting concept. In my works, I embody its core ideas and also expand its possibilities and borders for the last thirty years. This time span is divided into two large periods: Ontologic Painting from 1992 to 2016 and Ontologic Painting 2.0 from 2016 onwards. During these time frames I created a great number of paintings in series from two to six pieces in each. The ideas of my concept formed and evolved behind the reverse side of Kazimir Malevich’s Black Square, his theoretical research on the topic of “Zero form, zero space” and also on the basis of theses about non narrative painting and interaction between color and form in Wassily Kandinsky’s essay “On Spiritual in Art” (1910). The tasks I set overlap with philosophical questions of ontology. As ontology is a study of things in existence and being, its visual embodiment in paintings was named Ontologic Painting. Artistic interpretation of being in my artworks is expressed in simple geometric forms, three pure primary colors and natural media like sand, earth, clay and nely grated shell limestone. The compositions free from object and subject are associated with immaterial spiritual world dominant on material world and daily graft. My paintings address the topic of spiritual experience, which gives a getaway from routine. My art aims to grant a viewer multiple interpretation of the image and also a wide spectrum of spiritual insights. Great. It would de nitely be interesting for our readers to know what your art in uences are. Who are your favorite contemporary or historical artists and why? 1) Philosophical questions studied by Ontology 2) 100% awareness that new ideas in art must be embodied in new forms The art of Jean-Michel Basquiat, Damien Hirst and Yayoi Kusama appeals to me most in contemporary art. If to single out historical artists I would mention Giotto, Brueghel, Malevich, Picasso, and Dali. The main argument for my choice is that all of them were art innovators and disruptors at their time. If you could meet one of your ideal artists from the past, who would it be and what will you ask about? If I met Picasso or Malevich I would surely ask the following question. Do you agree that the most essential tradition, which an artist should follow, is to create something new, which never existed in art before? The built-in spiritual features in your presented artworks keeps the viewers engaged. For instance, in the artworks like "Six Squares" that objects are sewn to each other, a valuable sense of unity, integrity, connection and support comes to mind according to our readers. On the other hand, you use natural materials which can be very stressful as well as joyful. In this process, the timing does matter and you must always be ready to make small changes in the main idea without destroying the whole concept according to the limitations. Nevertheless, creating brilliant artworks like "Flying Wild Steppe" is really worth it. Our readers would like to know if you have chosen to work with natural materials in connection with spiritual concepts such as being, nature and creativity, despite the di culties in working with them. When I started creating my rst ontologic paintings I used oil pains but was not satis ed with the results. The suggestiveness of colors felt from canvases was too sensual and brought too material associations. For example, blues referred to sky or water, greens suggested grass, forest, or meadows, yellow paints were associated with sun, wheat elds or a beach, etc. However I needed not sensual but spiritual feelings.

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After a while I noticed that the suggestiveness of primary media like ground, sand, clay, and shell limestone gave the experiences I intended to express and suggest viewers to feel. Using natural media I attempt to trigger o not momentary emotional inner turmoil but rather stable categorical spiritual experiences of signi cance, genuineness, depth, and primevalness. Once I found the method to distribute these media on canvas this was my heureka moment. They sound ontologically in visual embodiment of my concept. In "Six Squares" and "Yellow Accent", the red and yellow color have been speci cally emphasized. Such focus is meaningful and creates a distinguished sense of unity and balance or even power in the heart of variety and chaos. The highlighted object transfers an energetic and open vibe to the other adjacent objects and the entire work, according to our readers. Even in some artworks that don't have a dominant color, small colorful circles and squares shine. Would you please enlighten our readers about your overall intentions in using such wisely colored objects? In my research of Ontologic Painting I decided to use more oil paint in terms of colors distributing it roughly with simple shapes and thereby emphasizing its properties of plasticity, viscosity and wide textural functions. Thank to these properties oil paint either neighbors upon primary media or begins a dialogue and sometimes contrasts. This gives me a chance to introduce additional meanings into my artworks. For example, the painting called The Attempt of Synchronization 1 consists of two equally sized canvases separated not only by means of a physical space but also the way of depicting simple geometric shapes on each half of it. The left canvas has more oil whereas the right one is made mainly with ground, sand, clay, and shell limestone. The di erence and contrast of two parts brings the idea of stronger ontologic power and opposition. However they are reconciled by the spot covering both sides and peripheral bands of colored oil paint and natural media. Some of our readers found the forms and shapes ad layout as well as lighting and coloring of your artworks very interesting and eye-catching. For instance, "Happening 1" and "Happening 2" bene t from the aggressive choice distribution of a spectrum of bright colors in di erent directions that seem playful and purposeful. It is like the visible objects are playing an invisible opera theatrical music. Even some of our readers imagined the main object as a spaceship. Considering the large sizes of the artworks (130X90 cm), it must be even more impressive. Please describe for our readers how the name "Happening" has come to you when creating these pieces. The introduction of vivid spots of oil paint into an image on the background of restricted shades of natural media intensi es colorful sound of canvas surface. The bright advertising lights prompted me this e ect, which does not exist in nature. And this surely forms new aesthetic impulses and emotional experiences, which artists were not aware of 200 or 300 years ago. In the paintings Happening I and Happening II depicting two perceptive (impossible or inexistent) objects I realized these experiences. A smaller object stands out by its geometric preciseness, color intensity and the 3D volume of the whole shape rising by 3 cm out the canvas surface. Surely the meeting of these two shapes drifting in a horizonless amorphous space, where one shape detects the surroundings with its cornicles - antennas, becomes the great happening in their life. Thus, I create an artistic happening on canvas. Some of your presented artworks are highly narrative in details while very much seem to be abstract at the same time. A group of our readers expressed their feelings as they are looking at scienti cally artistic pieces. A part of this can be due to the usage of simple geometrical shapes or the background curved lines that can be seen in almost all artworks (except in "Birth"). Moreover, using small dots and circles in red, blue or yellow played a signi cant roll in balancing the universal being concept all over each work. Would you unfold this secret that how do your presented works can project a sci- theme and at the same time look like a combination of ancient and modern world? Starting to embody my conceptual project I consciously attempted to use simple geometric shapes as they set for realization of categorical rather than individual ideas of being. Oftentimes my paintings can be perceived as huge galactic clusters of macro world or micro world seen with high-power magni cation. The chaos of dark lines emphasizes uninterrupted movement in these formations. The circles of certain colors on my paintings have twofold purpose. On the one hand, this is a metaphoric image of stars, exo-planets, pulsars, electrons, bosons, etc. On the other hand, the surface of my canvases covered with primary media of restricted shades livens by dots of primary colors. It invigorates the monotony of a visual process. Unlike abstract paintings many of my artworks include a certain perceptive object which can be widely associated and interpreted: from primeval Universe formations to space ships. Volumetric elements constructed with clear cut geometric shapes are associated with high-end new technologies.

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You rarely used any symbol in your presented artworks. However, in Excavations there is a speci c symbol above the word ONTOLOGU (which dominates the atmosphere) that our readers mentioned it. Also, there is a number starting with 01067 which is curious. According to the description, the intention was to invite viewers to focus more in the below layers of the presented chaos. Please describe what message the main objects including the symbol are providing to the viewers. The idea to create the artwork Excavations appeared when I looked at the multilayered (more than 100 years) fallen plaster in my old studio, not that one where I work currently. Somewhere in the depth there was the primary layer of this wall. On its surface after multiple reparations I saw the odds and ends of wallpapers, some numbers, etc. Someone even marked the height of a kid at di erent ages. I associated these signs with the philosophical study of ontology, which deals with its excavations from simple existing to primary laws of being. Therefore I put the word ONTOLOGU calling a viewer for search of a deep sense of life. I try not to depict but to express. Metaphorically I touch upon scienti c and philosophical component in explanation of world. Thus, my art is almost narrative free. The main content of my paintings is intensive charge and impulse, which a viewer may feel when contacting my artworks. The paintings of XX century French artists brim aesthetics, the works of great American artists radiate energy while my art cause the sense of power. This is the core emotional message of Ontologic Painting. Very well. Let's talk a bit about the current world situation. How have you been a ected by the current lockdown, social distancing and all limitations and cancellations in artistic world? Answering this question I would prefer to mention only positive moments of this situation. 2020 granted me a chance to exhibit my art in twenty two online shows and become a prizewinning artist at some of them. Also the article about my art was published in ISSU digital art magazine in the frameworks of Pure Art 360 project. In spite of all restrictions I managed to take part in o -line exhibition and win Special Prize of the Jury at Contemporary Art Competition in my home country (Moldova). The lockdown encouraged me to focus on the essential things – my art, to which I dedicated almost all my time. Meanwhile I trusted to my agent all the online promotion, which acquired popularity with fast pace and became the only possible tool to speak out and share art with the world during pandemic. Any upcoming works or future projects that you would like to share with our readers? Hard question, but it is possible to answer it. In the frameworks of Ontologic Painting I try to research its possibilities. In future works I am planning to expand its arsenal and introduce realistic images and elements starting new period of Ontologic Painting 3.0. Apart from it I am creating a series of works called Dialogues. My aim is to introduce another dimension into old masters’ masterpieces and thereby build dialogues between contemporary Ontologic Painting and great artworks of the past. So far I attempted to communicate with Picasso and Brueghel; the other dialogues are coming soon. Totally, I would like to create from ten to fteen pieces. Well, very happy to hear that Victor. That was a very inspiring talk and once again, I would like to thank you for your time and kindness to accept our invitation. I hope to hear more about you in the future. Good luck and best wishes.

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That's it! We hope that this interview answered a considerable part of your questions about Victor's artistic mind. If you want to ask Victor your own question, please scan the QR code and proceed.

Victor Cuzmenco

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Welsh Valley’s Hover Painting, Mixed Media on Canvas W:140 H:120 D:5 cm 2020 Victor Cuzmenco

The vertical wide fragmented line in the center is made up of various kinds of ground gathered in steppe. It embodies the fragment of this steppe on the black background of cosmos. The wild steppe is trying to break up with its yellow roots and y into the blue.

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Happening 1 Painting, Mixed Media on Canvas W:130 H:90 D:5 cm 2018 Victor Cuzmenco

An imaginary (perceptive) object consisting of two entities made out of simple forms with impasto oil paint and also ground, sand and clay meets volumetric colorful forms. The object carefully detects the space with its ‘cornicles’ trying to get in contact with these forms. Media: ground, sand, clay, shell limestone, bronze powder, oil, and acrylic on canvas

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Happening 2 Painting, Mixed Media on Canvas W:130 H:90 D:5 cm 2018 Victor Cuzmenco

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Excavations Painting, Mixed Media on Canvas W:120 H:85 D:4 cm 2017 Victor Cuzmenco

The artist invites viewers to do research of primary chaotic forms. Penetrating deeply into this image viewer comes across the other layers of this texture depicted by structured pattern, numbers and appearing letters. The word ‘Ontology’dominates in this primary chaos. This philosophical study sort of carries out excavations trying to de ne deep-hidden fundamental principles of being. Media: ground, sand, shell limestone, bronze powder, oil, and acrylic on canvas

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Catinca (0102-2) Photography, Digital Photography on Photo Paper W:40 H:60 cm 2018 Tjeerd Doosje

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Tjeerd Doosje Photography

Tjeerd Doosje was born on April 8th 1966, Harderwijk, the Netherlands and is a self-taught ( ne-art) portrait photographer and retoucher. After he graduated from high school he studied mathematics and chemistry at the Hogeschool Utrecht to become a teacher. He's still a mathteacher at a high school in Almere and around 2010, he discovered portrait photography. He received recognition and several international prizes for his merits, among them the Prize Velázquez (Barcelona, Spain, 2019), Prize Dante Alighieri (Italy, 2021), nalist in The Global Art Awards (2018, 2020) and is published in several international magazines and books for contemporary art, among them “The First Berliner Art Book” (2018-2021), Artistonish Magazine (March 2021) and "Art Collector's Choice Book, Volume II - Middle East" (2021).

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Merlin (0206) Photography, Digital Photography on Photo Paper W:40 H:60 cm 2021 Tjeerd Doosje

Model: Merlin Sen Photo shot at the model's home. Since this is a digital photo, other dimensions and surfaces are possible.

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Rona (0208) Photography, Digital Photography on Photo Paper W:40 H:60 cm 2019 Tjeerd Doosje

Model: Rona van M Photo shot at the model's home. Since this is a digital photo, other dimensions and surfaces are possible.

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Aomi Kikuchi Painting, Sculpture, Mixed Media

Aomi Kikuchi is a textile artist based in Kyoto, Japan. She holds a BFA from Kyoto University of Art & Design and an MFA from Pratt Institute. Aomi has exhibited her work throughout the world including Woman’s Essence Show 2020, Today’s Silk Road Exhibition, LA Art Show Modern + Contemporary, and will exhibit at Art Laguna 2021. Her work is based on Japanese aesthetic principles and the teachings of the Buddha. “Wabi-sabi”, a well known philosophy that beauty is found in imperfections and “Mono-no-aware”, the feeling of sympathy for that which changes or perishes such as the seasons and all living things. The Buddha states that nothing exists in the same state forever, that what we believe to exist is uncertain and that we can only recognize with our ve senses. People feel su ering when they seek something everlasting yet while existence is not eternal, the activities of matter and life are conceptually in nite. Aomi takes inspiration from the fragility and eetingness found in natural cycles and in textile. With over 30 years, Aomi has dedicated extensive and immersive practice to Japanese Kimono Haute Couture, Yuzen dyeing techniques, and silk fabrics after becoming a fashion designer. This background inspires her artistic exploration and her artwork utilizes various textile materials and techniques including extremely thin bers, goose down, and cotton ower along with knitting, weaving, embroidery, and other craft techniques. She is currently working on several series of installation pieces, innovative embroidery works, and sculptures. In these works she explores the concept of impermanence and in nity through the use of biology and nature with textiles and waste.

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In nity Capsule Sculpture, Mixed Media on Thread W:14 H:24 D:4 cm 2021 Aomi Kikuchi

In nity series presents the state or quality of being in nite and addresses in nity as the succession of eeting and brittle activities. Capsules are designed so that powdered medicines can be taken without an unpleasant taste, and the medicines in the capsules dissolve slowly to reduce damage to organs. I put a dandelion seed with u in each capsule and assembled them with water soluble thread. It is now a dandelion time capsule and the seeds are released when this object is submerged in water. Capsules symbolize endless e orts to save lives by advancing science and putting innovative medicine in it, and the combination of nature and arti cial objects represents that we cannot live...

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In nity War is Over Mixed Media, Sculpture, Lacquer, Sand, Silk Organza Ribbon, Toy Soldier Aomi Kikuchi

W:23 H:23 D:6 cm 2020 After I created the work titled In nity War, I made this next work titled In nity War is Over. I shaped it like a Christmas wreath as I made this work during the Christmas season with my wish for wars to be over in nitely. I selected red lacquer to paint the toy soldiers to create the bloody image of battle elds and sprinkled red sand as a nishing touch to depict the dusty environment. The soldiers have lost their original forms which shows how hard and long they were forced to ght until they nished the foolish acts.

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In nity War Mixed Media, Sculpture, Silk Organza Ribbon, Toy Soldier, Wall Paint W:16 H:28 D:11 cm 2020 Aomi Kikuchi

This work expresses that war is never ending. Even the countless tragic consequences of war never stops the decision makers from having the idea that war can solve their issues. Kids enjoy ghting with toy guns, tanks, and soldiers. The familiarity to these toys might a ect them unconsciously to prefer battles. I applied leftover wall paint from my house reform to the toy soldiers and assembled them with silk organza ribbon. The silk organza ribbon is an image of bandages to treat the injured soldiers and by covering the soldiers with home paint I send a message to suggest they go back to their homes.

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Christina Mitterhuber Painting

Christina Mitterhuber, self-taught Austrian painter and mixed media artist, was born in Dec. 29, 1975 in Wels. She has self-studies at galleries around the world in United States, Canada, Australia and many countries in Europe. She is also a Professional Makeup Artist since 2001 and have received certi cates in rst, advanced and pro ciency in English native speaker from Cambridge University. Berlitz foreign languages Travel companion degree, Vienna Franz Schubert Conservatory/study branch of acting and Vienna Professional breath, voice and talk studies for the stage are among other degrees that she has received. She currently lives and works in Vienna. During 2018 t0 2021, Her works have been showcased in galleries and Art centers in various art scenes including: Austria: Kreativraum gallery, Gallery Steiner, Gallery Kunstraum and Galerie Artinnovation Italy: Gallery Rossocinabro, Merlino Botegga d' Arte, The room contemporary art space, Galleria La Principina and Galleria Mistral Germany: Gallery Artinnovation in Berlin United States: Las Laguna Gallery, Contemporary Art Gallery Online Her art has been displayed in known contemporary art fairs such as: United Kingdom: International Art Fair London, Canvas, The Line Gallery London Switzerland: Swiss Art Expo, The Art Box Project Spain: International Art fair Luxembourg in Van Gogh Art Gallery France: On tours Cannes in Galerie d' Art Cecchin, Stretti Germany: Discovery Frankfurt Art Fair in Frankfurt, Germany Austria: Art Innsbruck - International Art Fair, Vienna, Austria Italy: Venice International Art fair 2020, 12th edition, The room contemporary art space Contemporary Venice, International Art fair, Palazzo Albrizzi-Capello, ACIT Biennale di Versilia, Artexpertise Firenze, Tuscany Biennale Internazionale di Roma, Rome Borders, International Art and Architecture Festival, Venice United States: Art Expo New York City, International Art fair NY Red Dot Miami Art Fair 2021

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Violet I Painting, Oil Color on Canvas W:115 H:75 cm 2019 "VIOLET I", 2019 is part of my series "Violett - Die Königin der Farben", / Violet - Queen of colors" 2019, 2020. My series "Violet" consists of 24 oil paintings on canvas in di erent sizes. My "Violet" is a series, which Christina Mitterhuber is supposed to represent the color of the Indian 7th chakra crown chakra or crown center. "Violet" on youtube https://youtu.be/DaTfTsZqUo4

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Issue #10 - Winter 2021 observica.com/winter2021

Svetlana Smirnova Painting

I am a self-taught contemporary artist, aspiring artist living in Limburg, Belgium. I was born in Perm, Russia, from an early age I loved to draw and from childhood I was able to copy a photo I liked with a pencil. For two years I studied drawing at the Limburg Art Academy. But I discovered painting when I became an adult, and I continue to enjoy it. I am interested in combining styles, materials, colors and modern techniques with classical techniques to create unique visual e ects or painting. Experiments are what piques my curiosity, motivates me. One of the main themes of my work now is the combination of uid technique with acrylic or ink with gurative fragments, which gives the images of painting movement, spontaneity and amazing color combinations. Liquid artists who work on water rather than a ll medium know how unpredictable this process is! After all, acrylic is really liquid and it is not entirely possible to predict its actions. “I move where I want, dry the way I want,” he says !! And I'm interested in subordinating this process and creating some kind of composition, and not just an abstraction! My painting is, rst of all, for me self-manifestation, a dialogue with myself, it is the ow of life through me onto the canvas at the moment, therefore these paintings are lled with life and energy. And I do not choose when and what to paint, because I come from the heart, not from the mind, because I want to expand my inner freedom, get rid of the clichés in expressing feelings and emotions on canvas and understand the language of contemporary art. I want to expand my understanding of color, shape and space. My intention is to immerse myself in the atmosphere and aesthetics of contemporary art, to learn how to position myself and my work in the modern intellectual world. In uenced by this intention, I create pictures of dancing girls that are lled with sensuality or nature in a mysterious abstract aspect. Every piece of art is a work that combines chemical reactions and painting. The complete painting process is a multi-layer process. I am always looking for new sources of inspiration that encourage me to constantly learn, develop and not stand still, in order to use painting even more as self-manifestation at the moment, that is, as such, as a dialogue with oneself, as a dialogue with the viewer, this is, which helps me nd such sensitive and subtle people as you! I have participated in exhibitions of local art groups in Limburg. The most recent of these are the Summer Social Exhibition of Social Distance at the Gallery in Genk and the Genk Exhibition "Identiteit". Took part in YICCA - Spring 2021 Took part in online group exhibitions Diversia: Earth 2021 and Diversia: Culture 2021 organized by Exhibizone. My work was published in @Artistonish magazine - April and May 2021.

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Issue #10 - Winter 2021 observica.com/winter2021

Fantasy Forest Mixed Media, Ink Painting, Mixed Media on Board - Wood W:64 H:94 D:1 cm 2021 Svetlana Smirnova

Fantasy Forest is a bright, color-saturated work in warm tones with light splashes of cold pink. You are in the fantastic world of a mystical forest, because the beauty of nature is multifaceted. The evening forest at dusk is beautiful in its own way, it is enigmatic, mysterious and full of surprises. The artwork is done in the Art Deco style. It will become a bright accent in the boho style interior. Made in mixed uid art and airbrushing technique on a wooden art panel. Coated with 11 layers of varnish for reliable UV protection and a smooth shiny surface.

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Beauty in the Dunes Photography, C-Type Photography on Plexiglas W:103 H:71 cm 2018 Daniel Johanano

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Issue #10 - Winter 2021 observica.com/winter2021

Danny Johanano Photography

Danny Johanano , residing in New York, photographing for over 55 years. Known mainly for his blurred and abstract style. Danny exhibits his work in NY, Miami, Rome, Milan, Tokyo, Shanghai and Hong Kong. Johanano travels around the world, searching for di erent cultures, opening his lens for those moments that fascinates him. When embarking on a photo expedition, Danny does not really know what he may be photographing. He leaves his mind and soul open to receive whatever calls him out there. He likes “painting” with the camera, using slow speed shutter and camera movement. The painting-like images rarely show a clear face or sharp gure. This is left for the observer’s imagination. The images are basically created in the camera, while shooting. No post editing is applied to the blurry/movement e ect. Danny started exhibiting only in 2018. Since, his unique style has gained great momentum in the art community. He loves sharing the images with hope that more will enjoy his particular view.

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Issue #10 - Winter 2021 observica.com/winter2021

Horse Show Photography, C-Type Photography on Plexiglas W:130 H:89 cm 2018 Horse riders ght in Kyrgyzstan during the 2018 World Nomad Games. Daniel Johanano

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Issue #10 - Winter 2021 observica.com/winter2021

Purifying Photography, C-Type Photography on Plexiglas W:99 H:125 cm 2020 Daniel Johanano

Spring welcome ceremony in Kyoto, Japan 2020. Another well-known Kyoto ritual is karosai, which begins at 11:00 pm on February 3. A large re pot is set up in front of one of the torii gates, and visitors bring their old good-luck charms and scrolls, which are burned so that the spirits in them can be released, or so it is said.

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Can Drive 55 Photography, Digital Photography on Glossy Paper W:9 H:12 in 2021 Jon Cox

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Issue #10 - Winter 2021 observica.com/winter2021

Jon Cox Photography

Art is Life, Life is Art My name is Jon Cox. I am an artist from Farmington, Minnesota, U.S.A. Although I work within a variety of art forms, my primary focus is Landscape Photography. In creating my work, I travel to abandoned and historic locations. Capturing photos of forgotten architecture and its landscape. I sincerely hope you appreciate my roadside shots as much as I adore capturing them.

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Issue #10 - Winter 2021 observica.com/winter2021

Ghost Township Photography, Digital Photography on Glossy Paper W:12 H:9 in 2021 Jon Cox

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Issue #10 - Winter 2021 observica.com/winter2021

Homestead Tractor Photography, Digital Photography on Glossy Paper W:12 H:9 in 2021 Jon Cox

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Issue #10 - Winter 2021 observica.com/winter2021

Rampage in the Park Photography, Digital Photography on Glossy Paper W:12 H:9 in 2021 Jon Cox

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Issue #10 - Winter 2021 observica.com/winter2021

The Last of the Farms Photography, Digital Photography on Glossy Paper W:12 H:9 in 2021 Jon Cox

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Issue #10 - Winter 2021 observica.com/winter2021

Shu Yu Painting, Digital Arts

Education 1992, Graduated from LuXun Academy of Fine Arts. Exhibitions and Achievements 2014, Participated in an exhibition organized by the Italian Rivelli Gallery in the 798 Art District of Beijing. 2017, Got awarded in the American Art Awards, juried by America’s 25 Best Galleries & Museums (category 47, digital art –representational). 2017, Public service advertising short lm 'Shadow' sponsored directed by me, was awarded in the 24th Chinese International Advertising Festival public service Yellow River Awards. 2017, Became one of the 50 runner-ups in the 27th Artavita Online Contest. 2018, Won the 1st place in the 28th latest Artavita Online Contest in the category of Digital Art. 2018, Became a 4X winner in the American Art Awards. Won the 1st place in both “orientalism or Asian” subject and “digital art – representational” subject; Won the 4th place in futurism; Won the 6thplace in surrealism. 2019, Became the Finalist Artist of the awarded by Circle Foundation of the Arts. 2019, Won the contest Finalist Award exhibited in San Diego of Unite state. 2019, Artworks were published on spotlight contemporary art magazine. 2019, Was selected as one of the artist in the information of Contest Finalists, exhibition at spectrum Miami. 2019, Was invited to participate in the 12th Florence Biennale of Italian. 2019, Was shortlisted in the Art Gemini Prize, London& Singapore (London Global Art Prize). 2019, Was invited to participate in the Association of Southeast Asian Nations Culture and Art Exhibition. 2019, American Art Awards, won 8 prize and 1masterpieces prize by the committee. 2019, won the 1stprize in the Circle Quarterly art magazine art awards, artworks were published on the circle foundation art magazine for free. 2019, was selected in the New York Art Fair Worldwide art exhibition. 2020, Was shortlisted in the SCA2020 (Society of Canadian)International Open Juried Online Exhibition 2021, Was shortlisted in the D31 Art Prize in the UK.

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Issue #10 - Winter 2021 observica.com/winter2021

In My Memory Digital Arts, Digital Painting on Canvas W:50 H:30 cm 2020 In the cold winter, everyone has a warm memory. Shu Yu

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Issue #10 - Winter 2021 observica.com/winter2021

Theresa Honeycheck Painting, Drawing, Mixed Media

I sketch. I draw. I paint with watercolors, pastels, acrylics and oils. I occasionally play with collage. I truly love it all. The paintings I am best known for appeal to the interests of women; narrative scenes that touch the female heart. But my art work is continually evolving, as we all are. As a child and young woman, I had always explored the unknown. Raised by Roman Catholic nuns, I was labeled a day dreamer. Today, I still day dream all the time, but I transfer that to my art work. For all my art work, I want the shapes and forms to have a forceful presence. I want my thoughtfully chosen palette, which will always be cheerful, to be a re ection of energetic colors on my canvas. Know that I paint when I look at a painting in progress. I paint when I look at people's faces. I paint in my sleep. I never stop painting - it simply is not always done on canvas.

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Issue #10 - Winter 2021 observica.com/winter2021

Despair Mixed Media, Acrylic on Paper W:18 H:24 cm 2020 Theresa Honeycheck

This painting represents the Despair that mothers are feeling in this time of Black Live Matter, and currently with Asian Americans. All Lives Matter! AW083243330

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Cleopatra Lee Painting, Oil Color on Canvas W:24 H:30 cm 2020 Monel Aliote

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Issue #10 - Winter 2021 observica.com/winter2021

Monel Aliote Illustration, Painting, Drawing, Graphics

New York based contemporary portrait painter, Monel Aliote endeavors to convey the essence of a person to the viewer through portraiture. Going beyond a mere likeness, Aliote looks to the emotions, attitudes, intentions, and moods of the individuals he chooses to depict in an attempt to evoke the spirit and soul of the individual upon the canvas. He began drawing at the age of six and has since further developed his self-taught ability by closely studying masters such as Kehinde Wiley, Kerry James Marshall, and Barkley L. Hendricks. Using a combination of oils and acrylics, he crafts masterful portraits that penetrate the mere likeness of a person. Focusing particularly on famous or in uential individuals who are working to make changes in the world, and portraits of black women that he nds very unique and appealing. His rst exhibition was at the Brooklyn Museum in 2009 where he won a Gold Key Award presented by The Art Scholastic Art & Writing Awards of 2009 And Alliances for Young Artists & Writers. His work was part of AD Art Show 2020 at Oculus in the West eld World Trade Center in New York.

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Issue #10 - Winter 2021 observica.com/winter2021

Long Live Nipsey Painting, Oil Color on Canvas W:30 H:40 cm 2021 Monel Aliote

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Issue #10 - Winter 2021 observica.com/winter2021

Olay Noel Painting, Oil Color on Canvas W:36 H:36 cm 2020 Monel Aliote

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Issue #10 - Winter 2021 observica.com/winter2021

TeneA Painting, Oil Color on Canvas W:30 H:30 cm 2012 Monel Aliote

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Issue #10 - Winter 2021 observica.com/winter2021

The Rose That Grew From Concrete Painting, Acrylic on Canvas W:76 H:76 cm 2012 Based on Tupac Shakur Monel Aliote

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Issue #10 - Winter 2021 observica.com/winter2021

A. M. Benz Mixed Media

A.M. Benz is an emerging artist from Ottawa (Ontario, Canada) working in mixed media with showings in over 30 juried exhibitions in Canada, the United States and China over the past three years. She is serious about seeking out the boundaries of multidimensional surfaces, textures and light. She primarily works with various types of glass, paper, and wire, exploring the play of light while using a limited color palette. The ve pieces featured are part of the collection Iro Piegare, an evocative moment in Benz’s dynamic body of work. From the Japanese for Color (“Iro”) and the Italian for Fold (“Piegare”), the collection Iro Piegare is the simple, elegant combination of traditions from the artists’ Italian heritage in the form of mosaic art, and her love of all things Japanese, especially paper and paper folding. The motivation behind this collection is to show the beauty of cultural integration. Taking these two ends of the spectrum, two ancient art traditions from opposite ends of the world, two disparate materials (paper, glass) and then combining them with a sculptural element to all come together into one contemporary art piece.

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Issue #10 - Winter 2021 observica.com/winter2021

Kuro Piegare 8134 Sculpture, Mixed Media on Glass W:40 H:40 D:9 cm 2018 A. M. Benz

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Issue #10 - Winter 2021 observica.com/winter2021

Shiro Piegare 8128 Sculpture, Mixed Media on Glass W:50 H:50 D:8 cm 2019 A. M. Benz

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Issue #10 - Winter 2021 observica.com/winter2021

Kuro Piegare 9123 Sculpture, Mixed Media on Glass W:40 H:40 D:8 cm 2020 A M Benz

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Issue #10 - Winter 2021 observica.com/winter2021

Kuro Piegare 9122 Sculpture, Mixed Media on Glass W:40 H:40 D:9 cm 2019 A. M. Benz

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Issue #10 - Winter 2021 observica.com/winter2021

Shiro Piegare 8130 Sculpture, Mixed Media on Glass W:50 H:50 D:10 cm 2019 A. M. Benz

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Issue #10 - Winter 2021 observica.com/winter2021

Sharmaine Theresa Pretorius Painting, Drawing, Graphics, Photography, Mixed Media

Sharmaine Thérèsa Pretorius is a processing artist with a twist. To her; ''the end product of her art and craft, the objet d’art (work of art/found object), is not the principal focus. The process of its making is one of the most relevant aspects if not the most important one: the gathering, sorting, collating, associating, patterning, and moreover the initiation of actions and proceedings.'' She also invites art collectors to take part in her journey. The artist's work with kaleidoscopic software also led to the nickname 'queen of the kaleidoscope' whilst generating photographic digital art of her original drawings. Sharmaine is a high-end, South African expat artist, who has been living in the Sultanate of Oman, deep inside the desert in Nizwa, an ancient – mystical Arabic city, for the past 10 odd years. Her intricate artistic drawings which include hidden puzzles and Chladni musical compositions, are her holographic memories copied from her vivid dreams. Pretorius gained international recognition as an emerging artist in 2017, particularly for her drawing named Mars Trojan – Elon – The Shroud (5517A) circling in low space orbit on the Asgardia 1 nanosat cube with another picture of her, drawing called Change Yggdrasil. GAA Foundation invited her to exhibit Mars Trojan – Elon – The Shroud (5517 B) poster at Venice Biennale, 2019 parallel exhibition, which she could not do, due to pressing health issues and family challenges. She will only make an appearance there during 2022, with another work. Highly gifted as an academic; she holds more than 600 continues educational credits, of which none includes art, but are spread over safety and security, health, and emergency service elds. Her work as been seen at the CICA Museum in Seoul and LACDA in Los Angeles, as part of group exhibitions. Her 2nd solo exhibition called Enclosure Fathom – Part 2, had its private opening event in Oman during December 2019 and is part of an ongoing, high - end; art collectors virtual race, by invitation only. She is currently nalizing the auction and last exhibition circuit for Enclosure Fathom – Part 2, bespoke collection. Sharmaine is also working on her upcoming third solo exhibition; 'Pearl of Nizwa'. She is well published in Times of Oman, Faces of Oman, Georgia Today, Freigeist-verlag, webzine – Life As A Human, The Week etc.

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Issue #10 - Winter 2021 observica.com/winter2021

Enclosure Fathom Part 2 Digital Arts, Mixed Media on Photo Paper W:54 H:40 cm 2019 Sharmaine Thérèsa Pretorius

Enclosure Fathom Part 2: Limited Edition 1/1: Golden Peace Bubbles Preparing For Flotation ‘MideleMarch’ (5517) L. Accompanied by the story; Jovan – Helena; Preamble to Paris – Midele March. AW127612316

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Issue #10 - Winter 2021 observica.com/winter2021

Wayne Paige Painting

My career as an exhibiting artist extends back to the mid 1970’s and includes twenty-six solo exhibitions, numerous gallery and museum exhibitions. Most recently, my work was featured in the exhibition Communicating Vessels accompanied by a catalog at the American University Museum at The Katzen Arts Center. Additional noteworthy exhibitions and awards include the “Washington Art Matters ll: 1940s - 1980s” exhibition at the American University Museum at the Katzen Center, First Prize in The Fairfax Art Council awards, First Prize in The George Washington University Alumni Competition, and a Special Recognition award from The Virginia Commission of the Arts. Collectors include American University, The George Washington University, Marymount University, the Elisabeth French Collection, the Gudelsky Collection, Radio One and Prudential.

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Issue #10 - Winter 2021 observica.com/winter2021

Seeing is Believing Painting, Oil Color on Canvas W:77 H:102 D:4 cm 2018 Wayne Paige

Intrigued with and in uenced by the art of the Surrealist (Tanguy, Dali, Escher) and Seurat. Seurat? Yes, his pointillism along with the pixel-like brush strokes and color theory studies portended the digital age. My exposure to these artists and own my personal quest for integrating spirituality and mythology into my work laid the foundation and ever since then I have been weaving con ict, dreams, and humor into my art along with a skewed perception of contemporary society and a bittersweet attitude towards science and technology.

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Musician Photography, Black & White 2011 Armaghan Kazemi

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Issue #10 - Winter 2021 observica.com/winter2021

Armaghan Kazemi Painting

My name is Armaghan Kazemi. I am a graphic designer and a teacher. I was born in an artist family in Ahvaz, Iran. Since my father was a professional lmmaker, I have obviously witnessed various artistic events since I was a child. So, I chose my artistic path passionately, and in 2001, I entered the Art School and studied Graphic Arts. This way, I put my steps in the eld of art. After graduating with Master degree, I was recognized as a selected student at the university. Since 2005, I have been working as a graphic designer in various organizations in culture and art. I have participated in many solo and group exhibitions in Iran and other countries such as Canada, France, Italy, UAE, etc. I have written several books and articles, as well. Some of my achievements are as follows: 2020 - The Role of Art Creation in the Failure of the Corona Virus Chain 2018 - The Kind Desert Traveler (children's book, writing and illustrating), Warley publication 2018 - Palm Tree Image Analysis in the Field of Culture and Art of Southern Provinces of Iran , Supreme Century publication 2018 - Signs , selection of graphic artworks by Armaghan Kazemi, Khozan publication 2018 - Windows Frames , A collection of photos by Armaghan Kazemi, Khozan publication 2018 - Article on Tony Smith , Minimalist artist, Qalam-e- Emrooz Newspaper 2018 - Article on The Study of Agha LotfAli's artworks, Flower and Chicken , Khouzestan Art Center In recent years, in addition to artistic and cultural activities, I have focused on the art of children and adolescents. I do this with enthusiasm because I believe that the vital foundation of children's growth and development can be built through the sweet language of art and creative art activities, and nally a successful society can be created. In this regard, I have published some articles: 2020 - The Necessity of Establishing Children's Art Museum 2020 - Khouzestan Province Is Facing the Shortage Space and Children Publishers 2020 - Collection of Instructive Stories for Children

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Issue #10 - Winter 2021 observica.com/winter2021

My Self | Painting, Collage on Cardboard | W:70 H:70 cm | 2017 | AW127867400

Armaghan Kazemi: Conveying Feelings and Beauties Armaghan, we are grateful to have you here for a brief talk about your artistic career history. I'm sure our readers feel the same according to their feedback. Please let us know a bit more about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist? In fact, art has surrounded us with various shapes and forms. I simply and enthusiastically spent my childhood in the world of art. Then, I entered this world and began to create, imitating the world of creation. Of course, my father, who is a very successful worker raised me with an artistic attitude towards nature from my childhood. He always told me, “If you take a little time and look around, you will see di erent types of artistic techniques and tricks.” This is how I started and expanded my artistic path to the environment. I believe that those who choose to be an artist are really happy people because art is fertilized by their love and a ection. Also, art is created and ourished through the artists’ feelings and emotions towards the living-thins around them. I learned to ponder my feelings carefully and realized how to incorporate them into an artwork. I consider this the greatest joy and satisfaction of my life and I enjoy it. How interesting. Nevertheless, was there ever a moment of doubt to question your art career entirely? Mistrust and contemplation about art and the possibility of religiousizing or politicizing the art. And may we know what your daily routine when working in your studio is? I am also an art teacher. I have a speci c focus and interest in the eld of art and fostering the creativity of children and adolescents. I usually organize educational programs and workshops from the beginning to the end of the day and start graphic designing in my studio at night. An art teacher then! So, how do you make art? Take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you? I think a good and creative idea is necessary to start creating an artwork. Every artwork begins with an idea or a theme that is sometimes presented by the artist himself and sometimes forms in the artist’s mind through inspirations that originate from the environment around him. Although ideas are the product of people's genius and talent, they require good vision, extensive study, ample experience, and continuous training. Although creativity, emotion, and enthusiasm play an important role in the creation and performance of an artwork, in the world of art, as in other scienti c and cultural elds, one must have a roadmap in advance, and go forward based on certain principles and rules to reach the ideal result in order to achieve a unique idea and outstanding work.

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Is there a central concept connecting all your works together or each series or artwork is unique? Most of the time, my artworks have social and educational contents. I focus on the concerns and aspirations of children. Normally, would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience? I prefer to leave the whole interpretation to the viewers of my works. Because their perception is part of my artwork and their worldview and analysis are very interesting and instructive for me. In your recent works, how do you seek and use inspiration for your works? Man has been inspired by the environment around him and has used it in making and designing the tools he needs. We have to look at nature and nd the answers to our questions. Another grave advantage of natural processes is their evolution and awlessness. These processes have evolved gradually over the years of Earth's life. Modeling and adaptation of complete and perfect samples have always had better and more successful results than artistic activities without pattern or with imperfect patterns. Very charming! How do you select your artworks subjects? Where they come from? To choose the theme and ideas of my artwork, I de ne it as a story with a starting point and a conclusion. I try to avoid selecting repetitive topics whose technique is di erent. I also choose the subject based on my own spirits and combine them with attractive complexities and then choose the appropriate composition. We would like to know if there is an artwork or series that you would like to be remembered for. And if yes, what is it? Yes. Illustration and writing children's book : THE KIND DESERT TRAVELLER Published by American Warli Publications An instructive story in English with very creative illustrations that teach children solidarity, e ort and hope in a sweet and simple language. When you make art, what would be your art in uences? Who are your favorite contemporary or historical artists and why? Objectifying your feelings and ideals and focusing and considering on children and adolescents. Because the future of any society depends on the abilities of the children and the way they think. Picasso is my favorite artist because of his curiosity, innovative personality, hard-working, and in uence on his contemporaries. I am curious to know if you could meet one of your ideal artists from the past, who would it be and what will you ask about? Again Picasso, de nitely. I'll ask him about his experiences with children's painting and how to draw as a child because he said in a famous sentence “I dedicated my life to being able to paint like a child.” This statement surprised me as a teacher whose activity is teaching art to children. The sensation is a gift to artists. In my research, I have found that children's perception is a mixture of senses that Picasso refers to as the result of his years of non-stop e ort. Most of your presented artworks contain impressive texts. They also seem to be direct and have clear messages. How do you try to communicate with your audiences more closely? What methods do you apply to get your audience's original and true opinions and feedback to make a two-way communication channel? An artwork, as a Media, has its expression and does not display the message directly, but encrypts it through the artistic principles and rules. By making the audiences well-informed, an art critic can help them to perceive the artwork correctly, but the information should not completely decipher the artwork in advance to deprive the audience’s pleasure of discovery and comprehension. I sometimes use the texts which I recognize as my direct message to the audience. In this case, the message is the main goal of my artwork, but I have always tried not to go beyond the limits of awareness and to go to a stage that sets a policy for the personal vision and emotional atmosphere of the audience. Generally mentioning the text, I have always tried not to overload the audiences’ minds with lots of tips so as not to a ect their vision and emotional atmosphere. Mostly, I prevent them from being bewildered or misguided and attempt to help them discover the hidden truths with the key knowledge that I leave in their minds so that they can know the work correctly and enjoy the essence of the artwork.

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Totally, in my artworks, communication is formed by the expressive elements of art, and according to the principles of artistic aesthetics, so the expression of the work is not necessarily simple and direct, and the messages are encoded according to aesthetic requirements. Sometimes my artworks even raise so many questions in the viewer's mind that this is a kind of communication, that is, vague communication. I believe that creating vague communication with the audience is better than quick, easy, and clear comprehension. Some of our readers were touched by the simplicity yet clarity of "The wall of loneliness". The artwork projects loneliness, desperation, sadness together with hope, harmony, and freedom. Some may think that the white area is a window and what happens in front of the bird at the bottom of the artwork is real. Others may think that the white space is only an image or the bird's illusion of freedom and togetherness. Which one of such interpretations is closer to your purpose for this artwork? I always try to have a positive and hopeful attitude towards the world and everything around me. My artworks are a part of my existence and worldview and are a mirror of my thoughts. In this artwork, the paradox of loneliness, captivity, sorrow, and grief in the vicinity of hope and freedom, which is resulted in will and evolution, is exhibited. The window shows the bird another bright horizon by inviting it to the evolution and then liberation and encouraging it to free itself from the tight and worn cocoon and experience ight and freedom while evolving as a butter y. The artwork named "Patriarchy" is created over a smart idea. Elements are well-positioned and the emotions have been illustrated and colored clearly. Although the world has become more aware of the destructive e ects of such systems on societies especially kids, it seems that there is a long way ahead to wipe it out from the face of society. How do you think artists can accelerate the process of awareness to eliminate such unfair monopolization and polarities? Art is a means. A tool to improve the quality of human beings’ mundane and spiritual life. Artists play an impressive role in all social, cultural, artistic, environmental aspects, as well as family. Depending on their renown and reputation, they should be aware that their social responsibility has also increased. Male chauvinism is a deep and widespread phenomenon in di erent societies. The conditions in advanced societies reject the traditional male society system and seek the greatest equality between men and women’s power. Our society is in transition and we cannot ignore this. On the other hand, we should not think that we can balance cultural phenomena and behaviors. Unfortunately, violence against women, especially children, always goes unanswered and defenseless because it has never been dealt with properly and practically. A child who is abused cannot often defend himself or herself against the o ender. That’s why violence is ingrained in these children, and they are more likely to behave violently in adulthood. Violence against children and violence against women are almost in line. Some of our readers engaged with "Musician" since it has energetic vibes and especially the gender-less person there has been melted into the instrument. Would you please tell me about the instrument played in this artwork? Moreover, please brie y tell our readers about the technique you used in this mysterious yet energetic photography. The instrument played by the musician is Daf. It is one of the percussion instruments in Iranian classical music which is made of a circular plate of goatskin in a wooden frame and played with the ngertips. In Iran’s Islamic era, Daf mostly went along with other instruments and maintained the Rhythm. It was the main instrument in mirth and merriment gatherings and was accompanied by singing hymns and songs, especially in mystic circles. The photograph narrates a sensational mystical story with a sense of sequence and continuity. It displays the musician's excitement towards hope and light by slowing down the shutter speed and recording his dancing and playing. Here the window and the light mean awareness and inspiration of love and mysticism, which requires foreknowledge. Creating this artwork, I made a bridge between the audiences' subjectivities and objectivities by which I connect with the world of their minds. In general, my goals are to create sensory and visual attraction and to move and evoke mystical passion and energy. The moving subject is blurred through creative ways to capture images and slow down the shutter speed. The work is similar to the Futurism style in which the spaces between the elements are blurred or ruined. This mode makes the viewer pay more attention to see the image, which ful lls another goal of futurism.

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Issue #10 - Winter 2021 observica.com/winter2021

You intend to tell a story when creating your artworks. In "My Self" this storytelling capacity is demonstrated well. Although the text message is clear, would you give our readers some kind of elaboration for this artwork? Many believe that the narration is the responsibility of literature not painting, but with the advent of modern and abstract art, the eld of visual arts has undergone new developments. In today's world, gures, especially narrative gures, have been widely discussed in global painting. In this type of illustration, the sense of narration and the involvement of emotions are highly visible and ongoing. We live in a world where we have a lot to say. Sometimes information bombardment forces us to narrate. This narrative in the art can be expressed through conceptual art. Of course, Iranians have always had a close relationship with literature. Better to say, literature for Iranians is full of pride and honor, although their narrative is usually shown through poetry. Now, in the eld of painting, narration requires tools such as canvas and color, which I think are good. The important thing is that, by any means, we can have a narrative spirit. Motif, pattern, and color take us to the highest peaks and the most profound imagination and share a visual pleasure with us. I always tried to align the audience with my imaginary role and open the door of my fantasy world to the audience with a unique elegance. “My Self” is also a narrative of the beliefs and attitudes of my fantasy world. Any upcoming works or future projects that you would like to share with our readers? In recent years, I have focused on children and adolescents art, and I use the miracle of art as an attractive and powerful tool for teaching art and culture and expressing valuable human concepts to them. Well done! how fascinating and encouraging you are, Armaghan. We are very excited that your shared your inspiring mindset with our readers. Once again, thank you for accepting our interview call. I hope to hear about your future achievements soon. Good luck and best wishes.

❇ The End! We hope that this interview answered a considerable part of your questions about Armaghan's artistic mind. If you would like to ask Armaghan your own question, please scan the QR code and proceed.

Armaghan Kazemi

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Issue #10 - Winter 2021 observica.com/winter2021

The Kind Desert Traveller (3) Illustration, Collage W:44 H:22 cm 2018 Armaghan Kazemi

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Issue #10 - Winter 2021 observica.com/winter2021

The wall of loneliness Graphics, Photoshop Software W:50 H:70 cm 2019 Armaghan Kazemi

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Issue #10 - Winter 2021 observica.com/winter2021

Patriarchy Painting, Oil Color on Canvas W:50 H:70 cm 2017 Armaghan Kazemi

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Issue #10 - Winter 2021 observica.com/winter2021

Anti War Painting, Mixed Media on Canvas W:50 H:70 cm 2018 Armaghan Kazemi

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Adrift at Sea Painting, Mixed Media on Linen W:76 H:76 cm 2021 Erin Starr

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Issue #10 - Winter 2021 observica.com/winter2021

Erin Starr Painting

Erin was born in Kansas City, USA. In 2021 and 2020 she was selected by panel of Jurors for the International Ad Art Show in New York City. Her work was displayed digitally in the Oculus World Trade Center on large scale screens and on kiosk screens throughout NYC. Her most recent shows include an international exhibit with The Visionary Project, NYC, SIY Gallery in San Francisco, The Cultural Center of Cape Cod, and The Artist Council of Palm Desert. In November 2016 she was part of the Accessible Art Fair New York, located at the National Arts Club in New York City. Her paintings are part of an ongoing exhibit in Belgium and Germany with Little Van Gogh since 1999. She has shown her work in Montreal, Canada, as well as numerous galleries across the United States since 1992. These shows include ongoing exhibits with Gallery Z in Rhode Island, Art Impact International in Washington DC, and Van Der Plas Gallery in New York City. Her works belongs in private collections around the world including Europe, Nepal, South Korea, and Canada.

biafarin.com/artist?name=erin-starr

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Issue #10 - Winter 2021 observica.com/winter2021

Ocean Blue Painting, Mixed Media on Linen W:76 H:76 cm 2021 Mixed Media: Acrylic, Flashe Vinyl, Acrylic and Ink on Linen Erin Starr

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Waters Depth Painting, Mixed Media on Linen W:91 H:91 cm 2021 Mixed Media: Acrylic, Oil, and Ink on Linen Canvas Erin Starr

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Waters Re ections Painting, Mixed Media on Linen W:101 H:76 cm 2021 Mixed Media: Acrylic, Oil, Metal Acrylic, and Ink on Linen Erin Starr

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Depth of Re ection Painting, Mixed Media on Linen W:71 H:132 cm 2021 Mixed Media: Acrylic, Oil, and Ink on Linen Erin Starr

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Cyanti ca Painting, Oil Color on Canvas W:80 H:100 cm 2021 Stanislav Valevski

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Issue #10 - Winter 2021 observica.com/winter2021

Stanislav Valevski Painting

My name is Stanislav Valevski.I’m born on 18th december 1986. I am an emerging artist and last year I graduated with a master's degree in ne arts, majoring in painting at the Academy of Arts in the city of Plovdiv, Bulgaria. So far I have several student exhibitions in my hometown. I also participated with my artworks in the Florence Contemporary Gallery - online based contemporary art platform - Catalog Issue 2 - September 2020, I have participated in an international online group exhibition "Open Minded" at Albe Art gallery 20th november - 25th december, 2020. My artworks are also featured in the MoCA art magazine. I have participated in the 2021 "Abstract" annual art competition in the Art Show International online gallery, I have an artwork featured in the Artistonish magazine - February edition 2021, and I have participated in an international art exhibition “GAIA The Origin” at M.A.D.S. art gallery in Milano.

biafarin.com/artist?name=stanislav-valevski

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Issue #10 - Winter 2021 observica.com/winter2021

Inducement Painting, Oil Color on Canvas W:80 H:100 cm 2021 Stanislav Valevski

Contemporary abstract painting, without speci c signi cance. It's formal art, you see what you see. AW160747682

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Issue #10 - Winter 2021 observica.com/winter2021

Motion in shadow Painting, Oil Color on Canvas W:80 H:100 cm 2021 Stanislav Valevski

Contemporary abstract painting, without speci c signi cance. It's formal art, you see what you see. AW725428305

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Issue #10 - Winter 2021 observica.com/winter2021

Nuance II Painting, Oil Color on Canvas W:100 H:120 cm 2020 Stanislav Valevski

Contemporary abstract painting, without speci c signi cance. It's formal art, you see what you see. AW207165619

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Issue #10 - Winter 2021 observica.com/winter2021

Protein Dance Painting, Oil Color on Canvas W:100 H:120 cm 2020 Stanislav Valevski

Contemporary abstract painting, without speci c signi cance. It's formal art, you see what you see. AW693156041

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Buttoning up for the Runway Painting, Acrylic on Canvas W:24 H:24 in 2017 Anthony Santomauro

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Issue #10 - Winter 2021 observica.com/winter2021

Anthony Santomauro Painting, Drawing, Graphics

Anthony Santomauro is an American artist who works in in pastel, charcoal, and acrylic. His career began in 1975with 1st Prize in the Juried Annual Exhibit The Sumter S. C. Artist Guild with “Massimo” followed be a One Man Exhibition and prizes in the Annual Exhibit S.C. State Fair, Sumter S.C. Iris Festival, 9th Young Artist Association of Fair eld Exhibit, and several CT Classic Artists Annual Exhibits. Studying drawing at Silvermine, he won 1st Prize drawing - Annual Juried Student Exhibition Silvermine School of Arts 1998, 2000and 2001. He has received an Honorable mention and a Certi cate of Artistic Excellence from CFA, Lyons, France. He is currently a member of the Salmagundi Club NYC, Circle Foundation for the Arts (CFA –Lyons, France), Easton Arts Council, Easton, Fair eld County Arts Association, Artist Collective of Westport (CT),and The Art/Place , Fair eld, CT. In 2009 he became Artist Member Salmagundi Club, NYC and exhibits annually in juried shows. He served on Salmagundi Club Board of Directors, as Corresponding Secretary of its Executive Council and on its Admissions Committee . Salmagundi awards -2009 Mortimer H. Freehof Award - “Japanese Girl” (pastel) , 126th Annual Members’ Exhibition; 2010 Honorable Mention - “Moon Fall” (pastel) , Historic Black and White Exhibition: 2014 Hugh P. Botts Award "Massimo" (pastel), Historic Black and White Exhibition. Major exhibitions -1975 - Sumter Art Gallery; 2004 -Artist of the Month St. Joseph’s Manor;2011 - Directors Choice Walsh Gallery, Quick Center Fair eld University; 2014- - Salmagundi Patron’s Gallery ; 2017 –Solo Exhibit ‘Master Works” Salmagundi Main Gallery. Publications - Artistonish March, April, May 2021, Observica 2020, Spotlight 20 & 22. Anthony is a realistic artist whose works merge feelings with visual reality. He uses portraits of humans and animals to explore the variety and intensity of human emotion. Observers are engaged by the beautiful realistic details, but eventually are involved in an intense relationship, whether beauty, rage, melancholy, malevolence or goodness, which draws them into the domain and creativity of the artist’s mind.

biafarin.com/artist?name=anthony-santomauro

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Issue #10 - Winter 2021 observica.com/winter2021

Cambodian Street Boys Painting, Acrylic on Canvas W:18 H:24 in 2021 Anthony Santomauro

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Jorge Painting, Acrylic on Canvas W:61 H:76 cm 2015 Earthy Argentenian model Anthony Santomauro

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Firm and Secure Painting, Oil Color on Linen W:90 H:123 cm 2021 Lee Kwong Tim Jackson

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Issue #10 - Winter 2021 observica.com/winter2021

Lee Kwong Tim Jackson Painting

Lee Kwong Tim Jackson - Hongkong Jackson was born in Hongkong and lives in Hongkong. He studied art and design at Hongkong Polytechnic University. He has had 18 solo exhibitions in Hongkong, Japan, Kunming China, Hamburg Germany, Amsterdam Netherland, Seoul Korea, Tokyo Japan, and 13 group participations in Hongkong, Taiwan and Singapore, among them the important show at Singapore involved 21 countries. His works belongs to private collections in China, Germany, Netherland, USA, Canada, Singapore and Hongkong. He is a multi -award winning artist and a member of the ISAP and NOAPS.

biafarin.com/artist?name=lee-kwong

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Issue #10 - Winter 2021 observica.com/winter2021

Forever Guardian Painting, Oil Color on Linen W:90 H:123 cm 2020 Lee Kwong Tim Jackson

I was born in and grew up in Hong Kong. This is my home with all my family, friends and memories which are deeply relevant and integral to my identity. To reciprocate the love, care and support that this community has provided for me, I would like to preserve the legacy of Hong Kong to show its vital spirit through my paintings, e.g. “Mutual Help”, “Forever Guardian”, “Striving for excellence”, etc.

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Set sail again Painting, Acrylic on Paper W:77 H:100 cm 2019 Lee Kwong Tim Jackson

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Irish Bells Sculpture, Construction Sculpture Technique on Wood W:18 H:48 D:18 cm 2017 Richard Nolan

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Issue #10 - Winter 2021 observica.com/winter2021

Richard Nolan Sculpture

A self-described perfectionist, Rich expressed his creative side as a youth by drawing in pencil, winning a Gold Key award in high school. Then, by chance, he was introduced to mechanical drafting, which was embraced as a new art form and showed the way to his calling as a mechanical engineer. For 25 years, Rich expressed his artistry through his drafting while becoming an accomplished designer holding numerous U.S. patents; his career culminating in building his own business designing and manufacturing ber optic components. Now as his business retires, Rich focuses his design and creative energies on handcrafting ne art sculptures from wood. Rich’s creations are constructed principally from cherry and black walnut hardwoods; utilizing conventional woodworking tools, a strong reliance on self-developed techniques used for seamless joining and a great deal of belt, drum and hand sanding. The resulting collections of projects are truly unique in form and maintain the clean sophisticated style symbolic of the reputation he developed as a respected design engineer.

biafarin.com/artist?name=richard-nolan

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Issue #10 - Winter 2021 observica.com/winter2021

Boa Sculpture, Wood Carving on Wood W:7 H:29 D:7 in 2020 Richard Nolan

Segmented vessel made of cherry w/ black walnut accents. Entirely sculptured by hand without bene t of a lathe, fashioned by the precise layering and positioning of 62 tapered rings, totaling 496 segments and having a 1/4 inch wall thickness. Finished with 5 - 8 coats of hand applied oil.

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Issue #10 - Winter 2021 observica.com/winter2021

Celebration Sculpture, Construction Sculpture Technique on Wood W:25.40 H:34 D:10 cm 2020 Richard Nolan

Hollow vessel made of cherry hardwood with black walnut accents. Assembled with a single parting line and with two pieces forming the handles. Sculptured using hand tools, belt, drum and hand sanding. Finished with 5 - 8 coats of hand applied oil.

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Addis Ababa Painting, Oil Color on Fabric W:152 H:230 cm 2020 Hana Godine

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Issue #10 - Winter 2021 observica.com/winter2021

Hana Godine Painting

Hana Yilma Godine was born in Arsi Negele, Ethiopia and grew up in Addis Ababa. She attended the Abyssinia School of Fine Art and Design, where she studied drawing, sculpture, and painting, which prepared her to enter Addis Ababa University Ale School of Fine Art and Design. There she studied painting. She has studied painting and serigraphy in Spain as an exchange student. She moved to the United States to continue her education at Columbus State Community College and did her masters at Boston University in Painting. She participated in several group and solo shows in Addis Ababa, Ethiopia and in Ourense, Spain, and in the United States in Columbus, Ohio, Boston, and NewYork City.

biafarin.com/artist?name=hana-godine

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Issue #10 - Winter 2021 observica.com/winter2021

A chemistry of time and material Painting, Oil Color on Fabric W:244 H:211 cm 2020 Hana Godine

Experimenting using multiple processed material and continue processing them in my studio makes to realize the relationship between Chemistry, material, and painting. To process material requires time after I implement them they communicate time.

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Issue #10 - Winter 2021 observica.com/winter2021

Preparation for wedding Painting, Oil Color on Fabric W:152 H:203 cm 2020 Hana Godine

Experimenting multiple social spaces such as the wedding environment in relation other historical celebration in Ethiopia, most of them celebrates victory. AW324557321

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Times Square Drawing, Color Pencil on Paper W:25 H:18 in 2018 Mitch Rosen

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Issue #10 - Winter 2021 observica.com/winter2021

Mitch Rosen Drawing

I started working with Color Pencil at eight years old. For the next forty years I continued working with that medium for relaxation and enjoyment. Subsequently, a close friend suggested that I enter a juried event in a local gallery. At that point in time my work has never been viewed by the public before. I was instructed to get my work professionally appraised for insurance purposes which I did. To my surprise my piece "Waiting" and "New Year's Day" were appraised for USD 10,000 each. I am currently a liated with two art galleries located in Rockland County New York. In 2018 my piece "The Search for Heroes" was accepted into the World Trade Center Memorial Museum and is a part of their permanent collection. In 2021 my piece "The Terminal Bar" was donated to the Port Authority Police Academy. This piece depicts Sgt. James Romito in the 1970s on patrol located on the corner of 41st and 8th Ave. in New York City. Chief James Romito lost his life on 9/11 in the World Trade Center.

biafarin.com/artist?name=mitch-rosen

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Issue #10 - Winter 2021 observica.com/winter2021

New Year's Day Drawing, Color Pencil on Paper W:18 H:15 in 1997 Mitch Rosen

This scene was captured in New York City, Times Square. It portrays a somber moment of confetti clean-up, ve hours after the New Year's eve celebration. This piece is available in a Giclee print, personally signed.

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Issue #10 - Winter 2021 observica.com/winter2021

Waiting Drawing, Color Pencil on Paper W:18 H:15 in 1996 Mitch Rosen

"Waiting" depicts an elderly Asian gentleman sitting alone in a park located in New York City's Chinatown area. AW865975317

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Untitled Painting, Acrylic on Canvas W:150 H:150 cm 2020 Maryam Moghadam

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Issue #10 - Winter 2021 observica.com/winter2021

Maryam Moghadam Painting, Drawing

Maryam Moghadam Was born in 1984 in Tehran, Iran Art Category: Painting Artistic Career since 2007 Education 2008- Bachelor of Art in Painting from Art and Architecture Faculty of Tehran Azad University, Iran 2012- Master of Art in Painting from Art and Architecture Faculty of Tehran Azad University, Iran 2017-Present: PhD Student of Art Research in Tehran Azad University, Iran Achievements & Activities - University Instructor - Writer and Researcher of "Mirror of Dream" Book about Symbols in Iranian Co ee Shop Paining Style - Participation in several group exhibitions in Iran and Italy. - Selected Artist to publish in Spotlight Magazine, Lyon, France 2020 - Sold-out Solo Painting Exhibition in Idea Gallery, Tehran, Iran - Selected Artist in Oxford International Art Fair 2018, UK - Selected Artist in Chester Art Fair 2018 - UK - Selected Artist in Painting Symposium and Art Residency-Prague 2018, Czech Republic - Selected Artist in Florence Biennial 2017, Italy - Selected Artist in YICCA 2017, Italy

biafarin.com/artist?name=maryam-moghadam

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Untitled Painting, Acrylic on Canvas W:150 H:100 cm 2020 Maryam Moghadam

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Untitled Painting, Acrylic on Canvas W:150 H:150 cm 2020 Maryam Moghadam

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Untitled Painting, Acrylic on Canvas W:150 H:150 cm 2020 Maryam Moghadam

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Untitled Painting, Acrylic on Canvas W:150 H:100 cm 2020 Maryam Moghadam

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A Little G&T and Sympathy Painting, Acrylic on Canvas W:60 H:80 cm 2021 Lee Munn

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Lee Munn Painting

Lee is a landscape style artist born in Hamilton Ontario. His formal art education began 35 years ago, at the age of 16, and continued through his late teens when he studied 'Fine Arts' at DVSA and 'Arts & Graphic Design' at George Brown and Sheridan College. Lee is a rm believer in painting in his home city & province. He travels all over Ontario in all seasons painting small pieces on location and taking photographs, then bringing them home to his studio to turn them into larger paintings. Nature and the outdoors have always played a strong role in his art. All paintings were done while listening to one band. If the painting took from ten to a hundred hours it is still the same band. All paintings are named to a line with the music that went with it. Lee is a proud member of the SCA "The Society of Canadian Artists”, the OSA "The Ontario Society of Artists", and an active member of the FCA "Federation of Canadian Artists". Lee has a number of pieces of his artwork exhibited across Canada, the USA and Europe which is represented in both private and public collections. Lee has had many solo exhibitions across Ontario, and has participated in over 100 group exhibitions throughout Canada over the years. His artwork has been in both Magazines, Newspapers and Television.

biafarin.com/artist?name=lee-munn

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A Re ected Image Painting, Acrylic on Canvas W:90 H:90 cm 2020 Northern Ontario trees on evening sunset. Lee Munn

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And It Snowed Painting, Acrylic on Canvas W:90 H:120 cm 2020 Shadow of the birch Trees Lee Munn

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Missed the Last Train Home Painting, Acrylic on Canvas W:90 H:90 cm 2020 Train tracks in front of Dundas Peak. Lee Munn

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The Season is Calling Painting, Acrylic on Canvas W:90 H:120 cm 2020 Northern Ontario trees on morning sun. Lee Munn

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Untitled Painting, Acrylic on Canvas W:100 H:80 cm 2020 Foozhan Farhood

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Foozhan Farhood Painting

FOOZHAN FARHOUD is an Iranian artist with evocative style in her paintings. Born in 1979 in Shiraz, Foozhan graduated in Electrical Engineering, but pursued with enthusiasm paining as her main eld of concentration. Foozhan is an honorable member of Institute for Development of Visual Arts and has the certi cate of trainer in designing and painting from Tehran Jahad Daneshgahi. In addition, Foozhan completed the basics of visual arts under the supervision of the prominent Iranian art historian, Ruyin Pakbaz (2009). Foozhan further completed the advanced courses of painting under the supervision of great names, Siavash Mazloomipour, Niloofar Ghaderinejad and D.Jamal Khorraminejad. Foozhan’s paintings have been published in the collection of Iranian Contemporary Watercolor Painters, for two consecutive years, 2011 and 2012. In the recent years, Foozhan has either held solo exhibitions or participated in group exhibitions as below: - Group painting exhibition, Artem Gallery, Los Angles, November 2017 - Group painting exhibition, Rome, June 2017 - Group painting exhibition, Abaci Art Gallery, Istanbul, May 2017 - Solo painting exhibition, Andisheh Gallery, February 2017 - Solo painting exhibition, Rasht Marlik Gallery, August 2016 - Group painting exhibition, Andisheh Gallery, February 2016 - Solo painting exhibition, Banafsheh Gallery, November 2015 - Group painting exhibition in favor of Multiple sclerosis (MS) patients, Andisheh Gallery, May 2015 - Group painting exhibition in favor of patient children, Andisheh Gallery, May 2015 - Group painting exhibition, Banafsheh Gallery, February 2015 - Group painting exhibition, Sobhan Gallery, October 2014 - Group painting exhibition, Zhivar Gallery, February 2014 - Group painting exhibition, Sobhan Gallery, February 2014 - Group painting exhibition, Melal Gallery, November 2013 - Two persons painting exhibition, Daryabeigi Gallery, December 2011

biafarin.com/artist?name=foozhan-farhood

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Untitled Painting, Acrylic on Canvas W:96 H:76 cm 2020 Foozhan Farhood

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Untitled Painting, Acrylic on Canvas W:100 H:80 cm 2017 Foozhan Farhood

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Untitled Painting, Acrylic on Canvas W:75 H:75 cm 2017 Foozhan Farhood

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Untitled Painting, Acrylic on Canvas W:40 H:40 cm 2016 Foozhan Farhood

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Elizabeth White Photography, Painting, Mixed Media

Elizabeth White is a self-taught emerging artist from the Kansas City area creating art primarily with uid acrylic. In her youth, Elizabeth began creating art with oil paints. With encouragement by family and friends to begin painting again in 2019, Elizabeth chose to use uid acrylic as her primary medium to create the foundations of her artwork. On the surface of a canvas Elizabeth nds joy in creating unique visions inspired by the world. Currently, using uid acrylic to create aerial and above views of landscapes make up the majority of her art.

biafarin.com/artist?name=elizabeth-white

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Corona Beach Painting, Acrylic Pouring on Canvas W:16 H:20 in 2021 Elizabeth White

Corona Beach was inspired by the a ect COVID-19 had on beaches and societies around the world. The aerial view of an ocean and beach were created with uid acrylic pouring techniques. After the pour dried then palm trees were hand painted along with the vacant beach chairs, umbrellas, surfboards, and kayak. Shadows were added to create depth using uid acrylic.

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OBSERVICA Magazine

Issue #10 Winter 2021 March - 2021

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