SUMMER 2020
An Examination of Current Trends & Original Practices in Visual Art
Published by Circle Foundation For the Arts Cover Image Paul Nam
Circle Foundation
Curated by Myrina Tunberg Georgiou Produced and Published by Circle Foundation for the Arts This is the 5th issue of Circle Quarterly Art Review (SUMMER 2020) FRONT COVER Paul Nam - www.paulnam.com BACK COVER QimJungHwan - www.instagram.com/qimjunghwan Printed in The Netherlands All Rights Reserved ÂŽ No part of this publication may be reproduced, stored in retrieval systems, or transmitted in any form or any means, electronic, mechanical, photocopying or otherwise, without written permission of the publisher and copyright holders.
ÂŽ Copyright: Circle Foundation Press info@circle-arts.com 66 rue Saint-Georges, Lyon, France
Index of Featured Artists
CAROLYN ADAMS LOREN D. ADAMS, JR. JEAN-LUC AERTS JESSICA ALAZRAKI ALBY DAVID ALTFELD BILL ANDERSON CIS BAKKER ANGELA BANKS STAS BARTNIKAS JUDITH DUPREE BEALE EDEN BENDER CHRISTIAN BLAU ROLAND BLUM JOHANNES BOEKHOUDT MICHELLE BOND ADRIAN BRADBURY WERONIKA BRAUN ILSA BRITTAIN ROYCE SEBASTIAN BROWN BRUNTON SNEZANA BULATOVIC KAREN BURNS ALEX CARRILLO (ALEXATI) JOHN CASS PAUL CHRISTENER EVA COCCO GARRY CRUZ NICK DALE STEPHEN J. DALY SUE DANIEL ALICE DE KRUIJS GEORG DOUGLAS ANTOINE DUTILH KRISTEN EISENBRAUN PAUL G EMMERSON HENRY FELDMAN BARBARA FITZPATRICK MATTHEW A. FLORIANI KEITH M. FRANCIS STEFAN FRANSSON FRIEDHARD BORIS GARANGER RICHARD GILLES ORIT GOLDMAN MICHAEL IAN GOULDING MARJATTA HANHIJOKI CAROL A. HANNA EMANUELA IULIANA HARRIS SINTAMARIAN YVONNE HEEMSKERK THOMAS PATRICK HEFLIN ISABEL HERRERA EVA LAILA HILSEN RUTH ELLEN HOAG NANDA HOEP JOLIC HASSAN KALENGA
ROBERT KAMNATNIK ERIKO KANIWA BALTHAZAR KAPLAN KASHAWELSKI JIYOUNG KIM HELI KUPARINEN SYRA LARKIN BEA LAST BARBARA LAWRENCE T. ALLEN LAWSON MONICA LEE DIANE LEVESQUE ANSON LIAW JAN LOWE ROB MACINTOSH PEGGY MAGOVERN ROBERTA MARROQUIN KELLY MARSHALL HEATHER MCFARLIN SCOTT MCINTIRE MONICA MENDES BARBARA MIERAU-KLEIN KATHLEEN MIGLIORE-NEWTON MICHAEL MINER PAUL NAM MAURICIO ORTIZ MICHAEL PRICE QIMJUNGHWAN JEAN-MARIE RENAULT JOAN RYAN HENRIK SAAR MARIO SALVO JOEJENE C. SANTOS RANI SARIN PETRA SCHOTT SHIDOKHT SHAHMORADI EVAN B. SIEGEL SIGURBORG STEFÁNSDÓTTIR S. O. SIVERTSEN ANNE-KATRIN SPIESS SALIHA STAIB SUEX HAZEL THOMSON DEBORAH TILBY THUY-LOAN TONNBY COURTNEY TOWNSEND JEREMY TURNER RALPH TURTURRO HEGE ULLENSVANG CONSTANCE VEPSTAS SUSANNE CECILIE WALTHER SARAH ANN WEBER SÖNKE C. WEISS KATIE WILLES MARIA WOLFRAM ANDREW PAUL WYKES MUSTO M. YILDIRIM YIHUI YUAN
MEET THE CURATOR Born 1986 in Athens, Greece, Myrina Tunberg Georgiou grew up on the island of Crete. After graduating high school she moved to Athens to attend the National University of Greece and study Methodology, History and Theory of Sciences. Next, she moved to Santa Barbara, California to study Studio Art at SBCC. Deeply inspired by Professor, Department Chair and sculptor Ed Inks she further pursued an education in Art History and Studio Art. After earning a degree in Design & Technology from the San Francisco Art Institute, Myrina continued to be involved in the San Francisco Bay Area art community working for a variety of art institutions, museums, and galleries. In 2011, she co-founded Kitsch Gallery, an experimental art space in the city’s vibrant, Mission District, which housed 12 artist studios and a gallery space where she co-directed a variety of visual and sound art exhibits. In 2012, Myrina moved from California to Paris, France where she did freelance design work for galleries and publishing houses. Since 2014, Myrina has been living in Lyon, France. After a decade of experience working in galleries and art institutions in the USA, Greece, and France, in 2017, Myrina created Circle Foundation for the Arts. Inspired by the variety of practices and perspectives in contemporary art and with the main purpose of highlighting the importance of art and culture as an integral part of our social and political lives, the Foundation functions as a platform publicizing the work of remarkable artists around the world.
“The 5th issue of Circle Quarterly Art Review includes 115 artists from around the globe working in a variety of media. This issue comes in an undeniably strange time; amidst a global pandemic, soaring political and social unrest worldwide, collapsing economies and a world order whose foundations are being questioned and increasingly re-evaluated. Although it seems that we are currently navigating the darkest chapter of this journey, as history has shown we will come out of it better and stronger. Art has undoubtedly a lot to offer at this time and its function plays a fundamental role in shaping, experiencing and overcoming this crisis. That said, for me, two are the most important functions of art right now. Firstly, art provides a relief -an aesthetic escape for the exhausting reality both for the maker and the viewer. Secondly, artists right now are contributing to a visual chronicle of this important historical moment. In this sense, all art, whether created with the current events in mind or not, gains new meaning and purpose. I am very pleased to offer to you once again, the following pages, a unique collection of remarkable artworks worth collecting, and the newest chapter in the story of what art looks like today.�
Myrina Tunberg Georgiou CFA Director
Eden Bender • Circle Quarterly Art Review 5 ▫︎ 8 ▫︎
Falling Ceramics and mixed media 10 x 10 x 13 in.
“I am a Toronto-based sculptor and painter. My monochromatic work at first glance appear placid, but upon closer inspection, visions of soft focus memories shift shape into a surreal and unsettling territory. At first blush, the quiet nesting of images seems tranquil until narrative titles lead you down a rocky path. Involvement in my community has been a source of inspiration, focusing on the adversity of the human condition.”
EDEN BENDER edenbender.com
▫︎ 9 ▫︎ Circle Quarterly Art Review 5 • Christian Blau FAKE, 2020 Mixed media on canvas and wooden frame 65 x 85 x 7 cm
“My work is often an ironic and critical comment on our media-influenced society and pop-culture. Images, techniques and text layers overlap and challenge the viewer not to trust their first impression.”
CHRISTIAN BLAU www.christian-blau.de
Eva Coccos • Circle Quarterly Art Review 5 ▫︎ 10 ▫︎
Uno Nessuno Porcelain 30 x 15 cm
“ ‘Uno Nessuno’ represents the impossibility of self-expression due to race discrimination, social and cultural bias in our societies. We obey dogmas we don’t understand nor represent us. In this crude one-sided world, skin color is seen as a stigma unable to lead us to freedom.”
EVA COCCO http://www.evacocco.com
▫︎ 11 ▫︎ Circle Quarterly Art Review 5 • Paul Nam Spiritual Light Acrylic on paper 9 x 12 in.
“Ostranenie’ Challenge - failure - learn - repeat is my process of creating images.”
PAUL NAM www.paulnam.com
Sigurborg Stefánsdóttir • Circle Quarterly Art Review 5 ▫︎ 12 ▫︎
Untitled Acrylic on canvas 80 x 120 cm
“My paintings are considered modern, both figurative and abstract. In my works I use many different techniques, such as collage, printing and drawing, to name a few. Sometimes my works are linked to literature and poems, although it often loses the original connection during the process. The picture itself then takes over where the forms and colours then rule the outcome. Some of my works are more spontaneous than others and some look absurd. I appreciate when humor appears. I think my paintings are characterized by a profound interest and indicate my enjoyment of painting and creation.”
SIGURBORG STEFÁNSDÓTTIR www.sigurborgstefans.is
▫︎ 13 ▫︎ Circle Quarterly Art Review 5 • Sigurborg Stefánsdóttir Untitled Acrylic on canvas 100 x 140 cm
Yvonne Heemskerk • Circle Quarterly Art Review 5 ▫︎ 14 ▫︎
Peonies in A Zinc Bucket
“I like to paint works in which stillness and purity play an important role. I want the viewer to be amazed and touched by the image I tell. This is reflected in everything I paint, both in my figurative work and in my still lifes. In my opinion, the power of “Peonies in a Zinc Bucket” lies in the atmosphere of an old master and the great contrasts in the painting. The lush white flowers opposite the simple zinc bucket in which they stand.”
YVONNE HEEMSKERK www.yvonneheemskerk.nl
▫︎ 15 ▫︎ Circle Quarterly Art Review 5 • Alice de Kruijs From Black & White Project
“When I thought for the first time about creating a new body of work I started studying light and darkness. During my research period, I was taught that light and darkness move in waves and exist of very many small parts. This magical structure is normal to us but as a photographer searching for light and darkness it is an inspiration and reason to express it in a photo story.”
ALICE DE KRUIJS www.alicedekruijs.com
QimJungHwan • Circle Quarterly Art Review 5 ▫︎ 16 ▫︎
“The word Utopia is from the Greek ou-topos meaning ‘no place’ or ‘nowhere’. Although my work may be perceived as paradoxical as it holds the total opposite image of your own definition of utopia, this is a self-portrait in my own Utopia. Through my work, I not only wanted to portray the total dissatisfaction, frustration, anxiety, and depression which can be experienced in the midst of pursuing Utopia but also to implicate human form of repeated pain while constantly craving for the more and the better.”
QIMJUNGHWAN www.instagram.com/qimjunghwan
▫︎ 17 ▫︎ Circle Quarterly Art Review 5 • QimJungHwan Utopia Photograph
Jan Lowe • Circle Quarterly Art Review 5 ▫︎ 18 ▫︎
African Painted Wolf Scratchboard and colour by ink 28 x 36 cm (1/8 inch panel)
“Storytelling through paintings and drawings is my aim as each subject has a story. I love sketching animals in the wild, field or zoo. Capturing, the creature’s plight, the changing geographic land, the emotion and passion it had on me. Painting an animal is obviously what I love, to show their soul and their unique personality, to interpret that to the viewer. The medium is Scratchboard and ink. I am a teacher of Scratchboard Art since 2004 and in 2021 will be having two solo exhibitions in Melbourne, AU.”
JAN LOWE www.janlowef ineart.com
▫︎ 19 ▫︎ Circle Quarterly Art Review 5 • Jean-Luc Aerts Feathers and Kate Photograph 80 x 120 cm
“It was in 2012 that I visited an exposition of the Belgian photographer, Marc Lagrange, famous for his sensual portraits and nudes of his muses. His style of nude photography in perfect settings and light and with some eroticism without being obscene has been an example to me ever since.”
JEAN-LUC AERTS www.flickr.com/photos/jeanlucaerts
Antoine Dutilh • Circle Quarterly Art Review 5 ▫︎ 20 ▫︎
Permanence Digital painting 85 x 78 cm
“My name is Antoine Dutilh, I am a digital artist currently based in Moscow, Russia. I tend to focus on hyperrealism with my work, attempting to break the wall between traditional painting and digital. This is my piece named “Permanence”. Perhaps the leopard is a symbol of the fragile beauty we continuously corner and engulf. I hope to raise the issue of climate breakdown with this piece.”
ANTOINE DUTILH moriprojects.com
▫︎ 21 ▫︎ Circle Quarterly Art Review 5 • Kashawelski Somnium Oil on canvas 100 x 72 cm
“The universe is a complex, wonderful creation that works in a very mysterious way, which reflections are visible in all facets of the earthly life and subsequently the art as a process. It’s coded in our consciousness to create and express our inner worlds in many different ways. The creative ideas are grains of wisdom that move through the realms of time and space till they get transpired into something that we call reality. The mix of both realism and mysticism is a wonderful world to be in. It’s my spiritual light that guides me through the labyrinths of my art.”
KASHAWELSKI https://www.kashawelski.co/
Michael Miner • Circle Quarterly Art Review 5 ▫︎ 22 ▫︎
Creation Study, Part 3 Captured on 8 x 10 sheet film Printed using “wet” photo-chemical process 20 x 24 in.
The Art Instinct “The successful photograph has no soundtrack, actors or language in a spoken sense but speaks directly to our unconscious. The Lascaux Caves, Stonehenge monoliths, aboriginal proverbs, sagas and songs illustrate that myths and stories date from before written words. From these earliest expressions, our environments have been portrayed as places of refuge and inspiration, with water, fauna and dynamic illumination. This is what the preliterate fables in my own work aspire to communicate: the mystery of our origins, complexity that outstrips logic, mythological transformations and the illusion of physical death.”
MICHAEL MINER https://michaelminerphotography.com
▫︎ 23 ▫︎ Circle Quarterly Art Review 5 • Michael Miner Overcoming Physical Death, Part 5 Fiber-based, silver halide print struck from 8 x 10 sheet film negative - 24 X 30 in.
Garry Cruz • Circle Quarterly Art Review 5 ▫︎ 24 ▫︎
Prayers Oil 26 x 48 in.
“Doing my thing (painting) with art for a half-century for which last decade I focused on dreams based in most part on the reality of the current world. For me, dreams I paint are a way for me to process the day to day struggles of life. I will paint them GOD WILLING.”
GARRY CRUZ garrysstudio1@gmail.com
▫︎ 25 ▫︎ Circle Quarterly Art Review 5 • Garry Cruz Solace Oil 26 x 48 in.
Joejene C. Santos • Circle Quarterly Art Review 5 ▫︎ 26 ▫︎
A Cowboy and his Blue Horse Acrylic on canvas 57 x 45 in.
“Inspired by a boy having fun playing with his wooden horse, this work is part of my ‘Primed’ series which explores the creative process of priming. By applying acrylic and gesso using a putty knife over an already finished painting, a fresh new look is achieved. Being in constant awe of the world around us and soaking in the moment feed my creative process of painting intuitively and trusting my inner self in complete surrender.”
JOEJENE C. SANTOS www.joejeneartstudio.com
▫︎ 27 ▫︎ Circle Quarterly Art Review 5 • Jeremy Turner Holy Maiden Goddess of the Flowers and Fruit Ink and watercolour 48 x 36 cm
“Visiting Gujarat, India, last year, I was impressed by the relief sculpture adorning the Modhera Sun Temple. Most of the images are of women, of deities, Yakshinis, goddesses of nature, fertility, creation, and abundance. Definitely very erotic. This made me examine my attitudes to sex, desire, and love. In this drawing I reverence youth, female sexuality, and the bounty of nature, continuing the ancient Indian spiritual tradition of erotic art.”
JEREMY TURNER www.jeremyturnerwoodcarverart.com
Robert Kamnatnik • Circle Quarterly Art Review 5 ▫︎ 28 ▫︎
Untitled Acrylic on panel 11 x 14 in.
“Art has always been an integral part of my life. Over the years, my style has varied from painting portraits, still lifes and landscapes. More recently, my art represents minimalist abstract forms using various colours and textures. I enjoy the creative process and often get lost in ideas that turn into some of my most favourite pieces.”
ROBERT KAMNATNIK robertkamnatnik.com
▫︎ 29 ▫︎ Circle Quarterly Art Review 5 • Ralph Turturro A Covid Balance Acrylic on paper 14 x 11 in.
“Scratches and engravings on walls and floors, sidewalks, cement and trees and desks... and then simple conversations are often the departure points for the current surfaces in which I am involved. To translate to transcribe to transfer some pieces of the fleeting thoughts; the arrangement of marks, textures, color... that in some way express the thing of it all... the mystery... that’s priceless..”
RALPH TURTURRO www.instagram.com/ralphturturro
Stephen J. Daly • Circle Quarterly Art Review 5 ▫︎ 30 ▫︎
Woman Talking Ink and watercolor on paper, patina on cast bronze 33 x 39 x 10 in.
“I am interested in making art that has a strong visual presence and communicates ideas that may be interpreted in multiple ways. Formal development is usually complemented by context, use of materials, and scale. A successful piece is remembered by the viewer.”
STEPHEN J. DALY www.daly-studio.com
▫︎ 31 ▫︎ Circle Quarterly Art Review 5 • Paul G Emmerson What We Need to Know Mixed media 120 x 60 cm
“With a hint to the 1950s and the Festival of Britain, influenced by organic patterns and designs. A painting with acrylic, newsprint and today unfashionable materials including Venilia and Flock, to represent a retrospective view not completely abstract with a stylized figure to create a narrative in a balanced symbiotic picture.”
PAUL G EMMERSON paulgemmerson.co.uk
Keith M. Francis • Circle Quarterly Art Review 5 ▫︎ 32 ▫︎
A Cautionary Tale, 2020 Old steel plates, antique circular mirror, wood, paint, exterior light, 75 x 97 x 10 in. weight 120 lbs (approx)
Keith’s work begins with the need to expand or expose an issue that grabs his gut - often this is a reaction to an injustice or a dehumanizing experience. Francis’s work takes a critical view of social, political and environmental issues. Often referencing American history, the work explores the varying relationships between popular culture and fine art.
KEITH M. FRANCIS www.keithf rancisart.com
▫︎ 33 ▫︎ Circle Quarterly Art Review 5 • Michael Ian Goulding Claire LVIII Photograph 35mm film capture 11 x 14 in.
“I strive for my art to uplift the spirit and inspire appreciation for the beauty of life.”
MICHAEL IAN GOULDING www.gouldingphotography.com
Carol A. Hanna • Circle Quarterly Art Review 5 ▫︎ 34 ▫︎
Red Bellied Woodpecker Song and Flight Path 24 x 36 in.
“I have endeavored to interpret the songs of birds using a visual language that represents the color of the birds and the notes of their songs. Rhythm, pitch, softness or loudness of voice, are all represented by the color patterns. Each bird is researched individually for color, sonogram, and flight path. It is sharing the transcendental beauty and awareness of nature’s song, called synesthesia.”
CAROL A. HANNA www.carolhanna.com
▫︎ 35 ▫︎ Circle Quarterly Art Review 5 • Angela Banks Homebound Oil on canvas 1100 x 1300
“I am completely attracted to and fascinated by the portrait and the relationship between people and their animal counterparts. I work with what lies beneath the outer facade and attempt to find and capture the underlying narrative that exists within every individual. The act of painting for me is simply part of who I am, it gives me great joy and satisfaction to create.”
ANGELA BANKS Instagram@Angela Banks
Bill Anderson • Circle Quarterly Art Review 5 ▫︎ 36 ▫︎
Icarus Again & Again Watercolor and gouache 20 x 20 in.
“Many of my images are based on self-portraits; private and public, political, and personal. How and why we react the way we do to life, liberty, and the pursuit of happiness is what drives us. What we notice and what we ignore and how we are compelled to create narratives. Certainly, why and how we all interface with each other as well as the nuts and bolts of life has been a topic in the arts for eons. My current interest is in assumptions and what they might look like from the outside looking in and vice versa. As we all know, images contain puzzles, conversations, and neologisms. An image, whether figurative, non-figurative, poetic, analytic or otherwise, may be simultaneously slapstick and deadly serious which can be laughable. Life is often laughable when observed as theater and then theater becomes life and so on... well, that’s the rub isn’t it?”
BILL ANDERSON BLAnderson Artwork
▫︎ 37 ▫︎ Circle Quarterly Art Review 5 • Bea Last The Red - Profile Recycled Acetate
“Currently, I am exploring drawing in its broadest sense creating #sculpturaldrawing installations, many using recycled plastics, fabrics, paper or found objects. These may be site-specific and change in size according to their given space or location. One of the roles of an artist is to help shift perceptions, to see and look from different perspectives, to question and explore. When applying this to current or social issues this becomes increasingly relevant.”
BEA LAST www.bealast.com
Syra Larkin • Circle Quarterly Art Review 5 ▫︎ 38 ▫︎
The Lily Count Acrylic on linen 92 x 92 cm
“Art a mix of self and desire. Emerging from a place where shapes, colours, textures, symbols, concepts, emotions, memories, myths are deeply entwined. I try to unravel, understand and reconstruct these elements, with the hope of giving new meaning to them, in the desire to create paintings with meaning and depth. To create art is my gift and it’s hard to explain the origins of that gift.”
SYRA LARKIN www.syralarkinart.com
▫︎ 39 ▫︎ Circle Quarterly Art Review 5 • Sue Daniel Nostalgia Oil on canvas 40 x 30 in.
“I paint daily in my studio, always experimenting. This piece is smaller than most I do and perhaps because of that it has a compact and purposeful feel to it, reminiscent of some works from the mid-20th century where shapes, color planes and drawn elements combine for a slightly mechanical, somewhat futuristic look. It was that feeling I had, the past looking to the future, that gave me the name.”
SUE DANIEL www.suedaniel.com
Nanda Hoep • Circle Quarterly Art Review 5 ▫︎ 40 ▫︎
Focused Oil on linen 50 x 60 cm.
“As a wildlife artist, I aim to distinguish myself by painting more than just a beautiful image. I try to capture wildlife as a living being. It is the second layer in my paintings: on the one hand a beautiful, realistic painted animal, on the other hand, a strong sentimental value. I try to get to the essence of the portrayed animal and allow it to speak for itself.”
NANDA HOEP www.nandahoep.com
▫︎ 41 ▫︎ Circle Quarterly Art Review 5 • Thomas Patrick Heflin The Last Chapter Acrylic on canvas 48 x 60 in.
“Many years ago when I decided to devote my full time to fine art, I found an abandoned farmhouse 45 miles from my home and family. I worked in this primitive place with no plumbing for 28 years, going home on weekends to a wife and 5 children. This painting depicts the old beat-up chair that I sat in at my easel. The gateway came from a trip I made to South Carolina where I came upon the Church Of St. Helens cemetery. The title “The Last Chapter” represents the last chapter of my life as an artist. The book with a ribbon placed towards the last pages completes my statement. It is not a sad ending... I had a fantastic ride, doing what I was meant to do and loved to do.”
THOMAS PATRICK HEFLIN www.tomheflin.com
Richard Gilles • Circle Quarterly Art Review 5 ▫︎ 42 ▫︎
Sequestered Form #4A Inkjet print 43 x 43 cm
The Sequestered Form “In many ways, the title of this series speaks for itself. As a photographer I have all ways paid close attention to form but subject has always played the leading role. Now because of COVID-19 isolation, I have been deprived of subject. In this new series form now takes the lead.”
RICHARD GILLES www.hues.com
▫︎ 43 ▫︎ Circle Quarterly Art Review 5 • Saliha Staib Ombre de Branches II
“Based out of Baton Rouge, Louisiana, I am an expressionist artist of French origin, showing work nationally and internationally. Primarily working with oil, using a gestural approach, my paintings express memories as repetitive forces of energy and emotions. The result is an atmospheric, luminous canvas that embodies the spirit of memories and places.”
SALIHA STAIB salihastaib.com
Friedhard • Circle Quarterly Art Review 5 ▫︎ 44 ▫︎
Von Blau nach Orange Acrylic Needle technique on canvas 100 x 140 cm
“With this project, I have set myself the task of reducing paintings to colour and to let colour lead the way. The goal is to abstract colours as much as possible, reducing them to the impact they may have, i.e. turning colours into art. This type of painting is rooted in the desire to create colours in their context and their interrelation with each other. My colour compositions are an expression of the intuition generated by colours rather than the result of mathematical-geometrical considerations, as proclaimed by Concrete Art. I have always been fascinated by and searched for the mystery of colours, and the sentiments they convey. It is my aim to detect the essentials of colours, and to capture them in my paintings.
FRIEDHARD www.gallery-f riedhard.de
▫︎ 45 ▫︎ Circle Quarterly Art Review 5 • Friedhard Arkaden Acrylic Needle technique on canvas 100 x 140 cm
These paintings convey a message, which goes beyond the colourful and formal sensation of paintings. It is the experience of tranquility, simplicity, meditative contemplation that these colour spaces convey. I have developed a particular acrylic needle technique that I use for these paintings, whereby the surfaces are solely generated by applying a 10cm wide flat brush in a vertical direction. The colours are virtually applied with thin needles, whereby various coats of colour may overlap. In doing so, there is a high concentration of colours in the smallest of spaces. Among others, the appeal of these paintings lies in their precision. This type of colour application is an important and unique characteristic of my paintings.”
Roberta Marroquin • Circle Quarterly Art Review 5 ▫︎ 46 ▫︎
Romantic Naturalism I Digital media 45.7 x 36.5 cm
“To venture to a distant world, far from any logic or reality, is the fundamental narrative in this series. A world dominated by flora and fauna splendidly manifest and unwavering, even in the presence of humans. Children are the main element in WILDISH GAMBIT. Their honest and magnetic gaze opens up like a hypnotic bridge, impossible to avoid. Each piece is a tribute to the creative capability of children.”
ROBERTA MARROQUIN www.robertamarroquin.com
▫︎ 47 ▫︎ Circle Quarterly Art Review 5 • Peggy Magovern Carol with Blue Sweater 18 x 22 in.
“Carol and I haven’t been able to visit because of the pandemic, and I worry how she faces another foggy day in San Francisco. Widowed and clinically deaf, she’s faced more than just the virus. Strength, determination, and vulnerability all show on her face. Creating this in colored pencils was a slow process, but it gave time for reflecting on the woman; my friend, Carol, in the blue sweater.”
PEGGY MAGOVERN www.PMagovern.com
Royce Sebastian Brown • Circle Quarterly Art Review 5 ▫︎ 48 ▫︎
Woman with Striped Sleeves Oil on canvas 30 x 24 in.
“My work is deeply steeped in the European classical tradition, drawing much more inspiration in terms of form, lighting, composition, and atmosphere from the Renaissance and Baroque era than it draws from any contemporary art movement. It is completely figurative, with no abstraction, though with human figures that are slightly caricatured. I also like to include the “earthy” quality of indigenous arts of Africa and Mesoamerica in the presence I give my figures. The material plays a role as well as the subject matter.”
ROYCE SEBASTIAN BROWN theartmonk.com
▫︎ 49 ▫︎ Circle Quarterly Art Review 5 • SueX Yin and Yang Oil on wood 125 x 170 cm
“I started painting as a child and developed an interest in cat form (as opposed to human form) while at college studying art and philosophy. I don’t paint humans, I don’t like the typical question “Who is that?” which always follows, instead of “What is that about?” I want the onlooker to work out the emotion. It is a painting of intentional contrasts and opposing forces, both equally matched and both in balance.”
SUEX www.soloartonline.com
Michelle Bond • Circle Quarterly Art Review 5 ▫︎ 50 ▫︎
The Isolated Mind Watercolor and colored pencil on watercolor paper 24 x 30 in.
“I make art because I like the act of discovery. For every venture I make into the paper, I escape into this realm of the unknown... emerging in front of me. To discover what is beyond the mundane everyday life is seductive, like an insatiable act of indulgence and consumption that quenches a thirst and desire. Discovering that the stories that touch me in real life, I can convey in some form of abstraction. Taking away what is real, yet painting what is true with colors, lines and forms. I realize that creating the imagery thru discovery, adds to my growth as an artist and this is what drives me to paint more and more each day.”
MICHELLE BOND www.michellebondtheartist.com
▫︎ 51 ▫︎ Circle Quarterly Art Review 5 • Jiyoung Kim Piece Together Fabric yarn, Wool, Felt, Acrylic yarn, Bolts, Nuts 220 x 160 x 15 cm
“When making artworks, I pick materials not only by considering the suitability of theme but also by agonizing experiment and research. Moreover, I think of ways that could lead the art pieces to space rather than staying within a flat surface. Different from conventional tapestry, my artwork which is named “Piece Together” establishing the extension of ‘Idea’ and ‘The Possibility in Expressing’, breaking out from the mere flat surface.”
JIYOUNG KIM Instagram@ jingleing_art
Emanuela Iuliana Harris Sintamarian • Circle Quarterly Art Review 5 ▫︎ 52 ▫︎
The Raft of Fools, 2020 Mixed media on watercolor paper 24 x 18 in.
“I started a series of 100 drawings and paintings during the 2 months of the COVID 19 lock-down as a means to extend my limited surroundings. While working I had no preconceived idea what art is, how they should look like, what topic I shall engage with; it was rather an embracement and immediate visual translation of any idea that came to mind, and any accident was turned into an event. As an artist, I am interested in choices: what remains to be seen, what is absent and how decisions are made.”
EMANUELA IULIANA HARRIS SINTAMARIAN https://www.emahsin.com/
▫︎ 53 ▫︎ Circle Quarterly Art Review 5 • Snezana Bulatovic Garden Digital media 6400 x 4800 px
“We live in the time of infodemic reinterpretations, where our fears and urge to get the answers play a major role in how our life will look like. I want to explore how it can affect our referred utopian model, by dismantling the primary idea to its basic meaning while discovering intellectual and creative flaws. Identity problem raises a new set of nearly post-human social structures, can these be described as a concept of person-as-information?”
SNEZANA BULATOVIC snezana.bulatovic.sb@gmail.com
Marjatta Hanhijoki • Circle Quarterly Art Review 5 ▫︎ 54 ▫︎
Window In Old Fisherman’s cottage, Fiski, 2014 Watercolor on paper 140 x 117 cm
Interiors and views from the inside to outside tempts me as a painter and graphic artist. When I was younger I would bike to different countryside houses and after chatting with locals I would paint my watercolors. Mostly women were home, so it was a natural choice to ask if I could paint their picture. My work ‘Window in Old Fisherman’s Cottage, Fiski, 2014’ is actually a picture of my studio in Hailuoto Island. The owner had first given me the key to his cottage saying I could pass by anytime. Ten years later I ended up buying the cottage, we both knew that we weren’t getting any younger and he had now returned to the mainland as he didn’t work as a fisherman any longer. My bike became a car and this cottage doesn’t exist anymore. But there, at the very same place is a new small studio built in 2018. What a lucky girl I am. Can you say so when you are 71 years old?
MARJATTA HANHIJOKI www.marjattahanhijoki.net
▫︎ 55 ▫︎ Circle Quarterly Art Review 5 • Marjatta Hanhijoki Silk Yarn and Other Things Watercolor 160 x 120 cm
Stefan Fransson • Circle Quarterly Art Review 5 ▫︎ 56 ▫︎
Lake Digital collage 42 x 41 cm
“My images are made of layers, which are cut out as shapes from my own photographs. I am interested in movement in combination with vision, and how it can create new visual experiences. The light and the changes of the seasons inspire me.”
STEFAN FRANSSON https://www.stef ransson.com
▫︎ 57 ▫︎ Circle Quarterly Art Review 5 • Stefan Fransson Birch Digital collage 42 x 56 cm
Henrik Saar • Circle Quarterly Art Review 5 ▫︎ 58 ▫︎
The Big MMXX Stonemason Oil on canvas 120 x 85 cm
“My primary mission in art: To make my art be a picture of the time I’m a part of. That each of my artworks as a two-edged sword cuts a piece of myself and the world that made me. An existential expression: I consider myself having an existential point of view on my art, trying to be true to the slogan below: I am what I do and I do what I am.”
HENRIK SAAR https://www.henriksaar.dk
▫︎ 59 ▫︎ Circle Quarterly Art Review 5 • Yihui Yuan Disaster Digital media A2
Chinese artist Yihui Yuan lives in New York. She received her MFA in Illustration as Visual Essay from the School of Visual Arts, NY. With her illustration, Yihui aims at conveying a message in a poetic and articulate way.
YIHUI YUAN yiihuiyuan.com
Joan Ryan • Circle Quarterly Art Review 5 ▫︎ 60 ▫︎
Cracking the Ceiling Oil 45 x 43 in.
“As a visual artist, I use painting and drawing as a critical language to explore contemporary society, politics, and concepts of identity in our modern world. Using visual symbolism, along with images of everyday life, confronts the viewer at an intersection of a broad range of cultural moments. This junction of imagery creates dynamic interplay and peculiar juxtaposition with the past and present.”
JOAN RYAN www.joanryanstudio.com
▫︎ 61 ▫︎ Circle Quarterly Art Review 5 • Hege Ullensvang Secrets Below Surface Beyond Acrylic on canvas 120 x 100 cm
“My vision, both artistically and in all aspects of life, is to be happy! Choose what feels lighter, be in the question and create - my life and art - with ease and joy. I believe that happiness and wonder are the magic formula for creating all those wonderful things and experiences I desire in life ... And I wonder ... What else is actually possible to be, do, have - and create?”
HEGE ULLENSVANG https://circle-arts.com/hege-ullensvang
Ruth Ellen Hoag • Circle Quarterly Art Review 5 ▫︎ 62 ▫︎
Gazelle Acrylic 40 x 26 in.
“My art is based on the figurative genre. Ordinary, everyday people being central to my work, each painting offers an opportunity to discover new insight into how we act, react, do, think, worry, enjoy or ponder. I generally don’t work for accuracy, though some turn out that way. In aiming for the communicative and emotional qualities, degrees of abstraction come into play. There’s no formula, only desire and some routine.”
RUTH ELLEN HOAG www.RuthEllenHoag.com
▫︎ 63 ▫︎ Circle Quarterly Art Review 5 • Shidokht Shahmoradi The Human Oil on colored cardboard (Marbling) 29.5 x 41.5 cm
“I am Parisa Shahmoradi, an artist from Iran. The collection that I have sent for the contest has been created using the marbling technique. In this work the human, the perfect human is shown as a part of a universe that includes all the elements.”
SHIDOKHT SHAHMORADI parisa.sh91@yahoo.com
S. O. Sivertsen • Circle Quarterly Art Review 5 ▫︎ 64 ▫︎
Merman Acrylic on plywood 122 x 165 cm
“Unrest. I know a great deal about it. Or thought emptiness. I do not like the pure white canvas. It makes me feel uneasy. Therefore I just start painting. I like it raw and far from picturesque. Everything dissolves and disappears eventually. Melancholic faces and still life. Rust. Pollution. Skulls. Stormy weather. Tired houses. Car wrecks. Landscapes, as they were created, without order. Often I get surprised. Actually always. Suddenly I see what I paint, even if it is just almost similar. Then I’m happy for a while. Until I meet the next white paper and feel turmoil again. Style? I do not know. What it is about? I can not say - because then everyone knows. But I hope you can see that it is my paintings.”
S. O. SIVERTSEN www.sosivertsen.no
▫︎ 65 ▫︎ Circle Quarterly Art Review 5 • S. O. Sivertsen Today Was The Day Acrylic on plywood 79 x 122 cm
Cis Bakker • Circle Quarterly Art Review 5 ▫︎ 66 ▫︎
Druppelportret Young Man in Warmth
“The main concept of painting, drawing or making collages for me, is the joy of playing; experiment, freedom. The amazement, surprise and sheer energy generated. My love for sunlight and cracks in the soil, the beauty in the unnoted; all this and more started my work. They are the ingredients that help express the power of vulnerability. Art is vital to mankind, to reflect and grow.”
CIS BAKKER www.cisbakker.kunstinzicht.nl
▫︎ 67 ▫︎ Circle Quarterly Art Review 5 • Constance Vepstas A Couple of Dancers Digital print 11 x 14 in.
“Swirling hats and dancing women a way to celebrate the rhythms of life which is mysterious and awakening. Each minute, each sway, a gift we posses.”
CONSTANCE VEPSTAS www.constancevepstasdigitalphotography.com
Isabel Herrera • Circle Quarterly Art Review 5 ▫︎ 68 ▫︎
Untitled Confinement Series Polaroid Emulsion Lift 600 Film
▫︎ 69 ▫︎ Circle Quarterly Art Review 5 • Isabel Herrera Untitled Confinement Series Polaroid BW SX70 film 6.35 x 5.25 in.
“During a time of spiritual renewal, I traveled through a nostalgic and serene haze in nature in an attempt to garner calmness and contentment from within. Instant photography allowed me to capture the fragile and evanescent moments I saw with the changing colors of light in this path. I feel Polaroid emulsions convey the vulnerability, sensitivity and fragility of life. The wrinkles, folds and tears are an allegory for the human essence: scars, grief and pain, but also a sign of strength, hope and resilience.”
ISABEL HERRERA www.isabelherrerah.com
Heli Kuparinen • Circle Quarterly Art Review 5 ▫︎ 70 ▫︎
Woman with A Swan 129,5 x 54,5 cm
“My recent paintings deal with the temporality of life and our relationship to it. In my paintings the sea symbolizes the afterlife, the beach shows the world we live in. I’ve used old photographs as a starting point for the works. The expression or attitude of the people in the photographs has arisen my interest and enthusiasm to tell the story.”
HELI KUPARINEN http://www.elisanet.f i/kupariset/heli/
▫︎ 71 ▫︎ Circle Quarterly Art Review 5 • Heather McFarlin Truth Oil on canvas 48 x 60 in.
“I am in love with color. I want it all around me. I create stories through my art with symbolism, composition, texture and color. These oil paintings celebrate life and hold space for elevated emotions like joy, gratitude and love. Art helps people explore inner and outer landscapes, to reflect on what really matters.”
HEATHER MCFARLIN https://www.heathermcfarlinart.com/
Kathleen Migliore-Newton • Circle Quarterly Art Review 5 ▫︎ 72 ▫︎
Conversation Oil on canvas 40 x 30 in.
“I draw and paint the human figure in the urban environment because I am passionate about New York City’s diversity. I observe how we maintain our privacy or discover ways to connect. I try to capture someone’s movements and gestures as an indication of personality. I use minimal context for the people whose lives I try to imagine. I work from candid photos to capture the energy, spontaneity, and diversity of the City’s inhabitants. I work hard to get the character, distinctive features, and expressions of the faces to reveal a common humanity.”
KATHLEEN MIGLIORE-NEWTON urbanpaintings.com
▫︎ 73 ▫︎ Circle Quarterly Art Review 5 • Scott McIntire The Last Iceberg Enamel on canvas 60 x 48 in.
“This enamel on canvas painting deals with the potential effects global warming could have on our lives. It is part of a new climate change series I began because of the dangerous increase in the average temperature worldwide. An additional subject in my painting is the visualizations of unseen energies that surround us daily such as cellular transmissions, other forms of radio waves, magnetic fields, cloud storage and sounds.”
SCOTT MCINTIRE www.scottmcintire.com
Mauricio Ortiz • Circle Quarterly Art Review 5 ▫︎ 74 ▫︎
British Boy Oil on linen 70 x 70 cm
“An expression of reality which at once combines the rational elements of European civilization, and the intuitive elements of the New World provide a context for my work. The alchemy of these opposites often produces a hybrid. This amalgamation reveals supernatural characteristics describing the spirit of the object, which is staged as a curiosity.”
MAURICIO ORTIZ www.mauritium.com
▫︎ 75 ▫︎ Circle Quarterly Art Review 5 • ALBY Our Vulnerable Truth Keepers Digital painting 24 x 36 in.
“Through the years, my artistic voice has gathered into an alliance with my preference to live in the wilderness. To preserve nature, and to advocate for the earth. I am devoted to living peacefully within our biosphere and to nurturing its persistence.”
ALBY https://www.Alisonbarrowsyoung.com
Barbara Mierau-Klein • Circle Quarterly Art Review 5 ▫︎ 76 ▫︎
Yellow and Purple Sailboats Digital media 30 x 30 in.
“My digital art images reflect my fascination with the beauty of colors and the moods and emotions they evoke. Highly stylized cityscapes and seascapes are subjects I often turn to for their vibrance and dynamic atmospheres. Creative layering of the original photography, colorful elements, rich textures and other effects allow me to add complexity and a deeper resonance to my art.”
BARBARA MIERAU-KLEIN www.barbaramierauklein.com
▫︎ 77 ▫︎ Circle Quarterly Art Review 5 • Eva Laila Hilsen Little Family Tempera 90 x 120 cm
“The house is a central motif in my works. The house as a form is a metaphor for the human being and life in general. The house represents you and me. I search the light in my paintings and am inspired by colours in nature. I like to work with tempera, it suits my temperament. As I see it, art is necessary, as people can experience, be acquainted with themselves through the works they see.”
EVA LAILA HILSEN www.evalailahilsen.no
Evan B. Siegel • Circle Quarterly Art Review 5 ▫︎ 78 ▫︎
Ancient Patterns Digital Photograph
“This image represents a study of light and form in a natural surrounding, with no artificial lighting imposed. It shows a unity of color and shadow and provided inspiration to me as an evocative representation of the natural world. It is one in a series of captured images of nature, sometimes starkly alone, and sometimes with humans as part of the composition., particularly at dawn and dusk.”
EVAN B. SIEGEL www.webcoastalimagesca.com
▫︎ 79 ▫︎ Circle Quarterly Art Review 5 • Hazel Thomson Shadows In The Forest
“ I have always been an artist, and I take my inspiration from nature. I paint with pallet knife and brush, adding multiple layers of texture, giving my work a sense of depth. I also apply delicate brush strokes, for detail. My work is described as realism, contemporary and impressionistic. My aim is to capture the atmosphere, of all the different seasons, and times of the day, in my landscapes.”
HAZEL THOMSON www.hazelthomsonart.com
Barbara Fitzpatrick • Circle Quarterly Art Review 5 ▫︎ 80 ▫︎
Strange View Oil pastel on paper 38 x 30 cm
“I felt lost in the world until I found myself in London at the age of 19 looking at the most amazing paintings in the National Gallery. My spirit woke up and I felt as if I had found people who saw the world in a way I understood. It took some years before I began to make art but it has become a lifelong fascination. Freedom to explore the world we live in and the many emotions that life brings are my driving force.”
BARBARA FITZPATRICK facebook.com/barbf itzpatrickart
▫︎ 81 ▫︎ Circle Quarterly Art Review 5 • Barbara Lawrence
Barbara is inspired by the rich tapestry of life in the Monterey Bay Area and paints both on location and in her studio. Her work is characterized by recognized subject matter with an interpretation that synthesizes the essence of the subject with the qualities of abstraction. “I hope to express my love for the subject while retaining the power of strong simple shapes that celebrates the sensual character to establish my composition. Then as the painting progresses I take great joy in applying thicker, lush layers of the paint, using not only brushes but palette knife and hands if needed.” All spaces are important to Barbara - both negative and positive. Her work includes landscapes and figurative paintings.
BARBARA LAWRENCE barbaralawrenceart.com
David Altfeld • Circle Quarterly Art Review 5 ▫︎ 82 ▫︎
Masks and Meanings Five panels of 30 x 40 in.
“Painting becomes an on-going struggle as I experiment with structure, function, form, line and color, where a pushing and pulling for eminence and clarity among these barely separable attributes takes place. Here I experience shifts between discovery and stability, excitement and despair. Will these opposites join in balance and harmony? Will I subdue this painting or will it conquer me? When the good happens, it happens through color. Color is where the paint and I come to breathe together”
DAVID ALTFELD davidaltfeldart.com
▫︎ 83 ▫︎ Circle Quarterly Art Review 5 • Mario Salvo RINASCITA, 2020 Acrylic on canvas (spatola stratigrafica) 50 x 50 cm
International artist, Mario Salvo has coined the stratigraphic spatula technique. Salvo lives in Rome and has around 1700 works worldwide and almost 900 art exhibitions. He often chairs international art events.
MARIO SALVO www.mariosalvo.it
Adrian Bradbury • Circle Quarterly Art Review 5 ▫︎ 84 ▫︎
SCAPE#8 Digital Giclee print 65 x 40.5 cm
“Part of a series based on looking out through windows (due to the situation) at the headlands opposite. Being unable to travel at this time, I wanted to find a way to keep producing work and the idea of looking out, as so many of us are doing, with the desire to be outside, allowed me to observe the changes in light and colour in the seascape/landscape which provided the inspiration for this series.”
ADRIAN BRADBURY www.adrianbradburyart.co.uk
▫︎ 85 ▫︎ Circle Quarterly Art Review 5 • Jean-Marie Renault Combien de Temps Digital media
“Painting on life and the world of technology; the interaction of science with our daily life and on our future.”
JEAN-MARIE RENAULT www.jeanmarierenault.net
Judith Dupree Beale • Circle Quarterly Art Review 5 ▫︎ 86 ▫︎
No Way Out Mixed media 17 x 11,5 in.
“My current work is derived from internal direction. Expressions carried by marks, shapes and forms are what I would call my constants, outweighing any conscious intent. Marks, lines, brush strokes are all equally breathtaking to me when executed from that mental zone or state of simply breathing in and out, i.e. no self-awareness, only a quiet state of mind. The often stated “I paint because I have to paint” fits. End product is not a concern.”
JUDITH DUPREE BEALE jdbeale.com
▫︎ 87 ▫︎ Circle Quarterly Art Review 5 • Johannes Boekhoudt Pasarela, 2020 Collage 16 x 20 in.
Born in Curaçao, Dutch Caribbean and raised in Costa Rica, Central America, these cultures created a reality of true colors and shapes. As an expressionist artist Boekhoudt has learned that his work can be used as a voice for social justice. His work is recognized as cross strokes. “Between Basquiat, de’ Kooning and Picasso is also me.” Boekhoudt exhibits in galleries, universities and museums all around the world.
JOHANNES BOEKHOUDT www.johannesf ineart.com
Deborah Tilby (OPA, SFCA) • Circle Quarterly Art Review 5 ▫︎ 88 ▫︎
Peace And Quiet Oil 24 x 24 in.
“I am a representational oil painter now living on the west coast of British Columbia, exploring the local landscape and getting out to the many beaches, finding inspiration in boats, marinas and the sea. My aim is to convey the feeling of light and shadow, soft subtle colors and textures in a relatively painterly way. Painting is a challenge, but always fascinating and deeply fulfilling.”
DEBORAH TILBY (OPA, SFCA) www.deborahtilby.com
▫︎ 89 ▫︎ Circle Quarterly Art Review 5 • Susanne Cecilie Walther Image of Mr. W Oil on paper 42 x 56 cm
“While major traditions such as expressionism and impressionism render inner stability when exploring boundaries, technically and psychologically, I follow a markedly instinct-driven path. It can be characterized as working from a near-subconscious or semi-conscious knowledge of my subject. My focus is on figurative art rather than still object matter. In short sessions, I throw out on canvas or paper, in rapid spatula strokes, the person I see.”
SUSANNE CECILIE WALTHER www.susanne-c-walther.de
Carolyn Adams • Circle Quarterly Art Review 5 ▫︎ 90 ▫︎
Apple Composition Study #2 Oil on canvas 27 x 24 in.
“As an artist, I strive to find a statement of harmony and spirituality in my art. Composition, chiaroscuro, and color intensity are key factors in achieving my goal. Through the years I have developed a glazing technique that I use to create the desired results in my artwork. I believe in art and it’s purpose in life as I continuously search for an ultimate truth in my work.”
CAROLYN ADAMS carolynadams.artspan.com
▫︎ 91 ▫︎ Circle Quarterly Art Review 5 • Andrew Paul Wykes Ballycastle Looking towards Carrowmore, 2012 Oil on board (Triptych) 15 x 60 in.
“In my current paintings, the premise is to make a balanced dialogue between the intellectual and emotional. I paint the geography of where I find myself, in the United States or overseas in Britain, Ireland and recently, Jamaica. These places are eclectic and don’t always have any deep affinity for me, yet there is a bond... These works were made on-site and in the studio. The medium I work with varies; oil, acrylic, tempera and collage. However, the goal is always the same: to make an equivalent and authentic response to the places I have experienced, and to then translate that experience of the three-dimensional landscape to the flat surface of my paintings.”
ANDREW PAUL WYKES ww.andrewwykes.com
Monica Lee • Circle Quarterly Art Review 5 ▫︎ 92 ▫︎
Di Renjie Graphite on paper 27 x 38 in.
“My main source of inspiration comes from photography. I like black and white photographs because of its classic quality. The idea of using something as simple as a pencil or charcoal to create a piece of art, appealed to me. My style of drawing emphasizes the details and textures of the subject matter. Through my work, I hope to portray the beauty of the subject matter.”
MONICA LEE https://www.facebook.com/monicaleeart
▫︎ 93 ▫︎ Circle Quarterly Art Review 5 • Monica Lee Night Stalker Charcoal on paper 30 x 21 in.
Hassan Kalenga • Circle Quarterly Art Review 5 ▫︎ 94 ▫︎
Adumu Pastel chalk 32.5 x 26 in.
“My work aims to reinvigorate the interest in African art across the globe and bring it back to the forefront of artistic consciousness. Given the diaspora of Africans across the globe, awareness and appreciation of traditional African customs are needed more than ever to reconnect us back to our motherland.”
HASSAN KALENGA www.artofkalenga.com
▫︎ 95 ▫︎ Circle Quarterly Art Review 5 • Michael Price Evolution of A Myth No.9, The Carousel, Time to Change the Gods Gold leaf, natural and mineral pigments in casein and oil on linen on panel 138.8 x 152.5 cm
“I have been working with natural and mineral pigments, colours made from rocks and crystals, since the late 1980s. In 2017, I published my two-volume book “Renaissance Mysteries” documenting my research into the palette of Renaissance artists. The carousel in Central Park, New York and the book “Why God Won’t Go Away: Brain Science and the Biology of Belief” by Andrew Newberg and Eugene D’Aquili inspired this painting.”
MICHAEL PRICE www.michaelprice.info | www.renaissancemysteries.com
Henry Feldman • Circle Quarterly Art Review 5 ▫︎ 96 ▫︎
Blocks 97-144 Lithography/Screenprint on paper 10 x 11 in.
“In the early 1900s, Mondrian described the teleological approach to painting, an approach that champions ultimate purpose, and one I strongly relate to 1960s abstraction. I aspire to make work that concerns material, pattern, geometric ornament, color, and my own evolving personal iconography. I work across a range of media including, intaglio, lithography, screenprint, woodcut, drawing, and painting.”
HENRY FELDMAN www.henryfeldman.com
▫︎ 97 ▫︎ Circle Quarterly Art Review 5 • Ilsa Brittain Self Portrait Oil and texture mediums on panel 30 x 40 cm
“As a figurative painter, it is the complex layers within an ordinary exterior that I look for. I enjoy the move between paint as a substance and paint as an illusion. Particularly, as it seems to me, one of the requirements of being human is the ability to seamlessly navigate between opposing perceptions.”
ILSA BRITTAIN https://www.instagram.com/ilsabrittain/
John Cass • Circle Quarterly Art Review 5 ▫︎ 98 ▫︎
The Double
“These paintings are the result of an inquiry into a part of consciousness that only expresses itself in the absence of intellectual interference. That is to say that they are largely unplanned and elaborate themselves when a state of focused receptivity is achieved. I characterise this as being a request to the hidden part of consciousness (a ‘blind spot’ that cannot be articulated through directed effort), to reveal something of its structure.”
JOHN CASS johnecsculpture.com
▫︎ 99 ▫︎ Circle Quarterly Art Review 5 • John Cass Down to the Beach/No Get Sick
Nick Dale Photography • Circle Quarterly Art Review 5 ▫︎ 100 ▫︎
Bengal tiger with catchlight in water hole Photographic print on paper 60 x 80 cm
“I wanted to be a photographer when I was 15, but my mother said I could always take it up later as a hobby - so that was that for 30 years! I’m now an international award-winning wildlife photographer and private tutor living in Putney in south-west London.”
NICK DALE https://www.nickdalephotography.com
▫︎ 101 ▫︎ Circle Quarterly Art Review 5 • Nick Dale Photography Young male lion watches camera over rocks Photographic print on paper 60 x 80 cm
Eriko Kaniwa - SENSEGRAPHIA FINE ART • Circle Quarterly Art Review 5 ▫︎ 102 ▫︎
Primitive Organisms Imagery #1 Digital media 70 x 52.5 cm
“Absurdity is the child of order and chaos. It provides evidence that something has been born. The abstract manifested through me might be small bugs sput out by absurdity. Like bugs, there is a reason for absurdity’s existence on this planet.”
ERIKO KANIWA https://sensegraphia.jp
▫︎ 103 ▫︎ Circle Quarterly Art Review 5 • Rob MacIntosh Breaking Waves @ Breaking Point 40 x 60 in.
“To me, the ocean is a challenge. I enjoy the constant movement of the waves and then capture the sudden breaking point when the waves hit the rocks. Capturing the ocean and its movement is what I try to portray in my seascapes. To me being a photorealist; I want to be able to capture that moment as realistically as I see it. Art comes from the soul of the artist, I am a self-taught artist, never had a lesson in my life, it comes naturally.”
ROB MACINTOSH www.robmacintoshartist.com
Roland Blum • Circle Quarterly Art Review 5 ▫︎ 104 ▫︎
Poetry of Silence X-1 PhotographFine Art Print 100 x 150 cm
“Poetry of Silence” is an ongoing work of abstract aerial desert photography realized in the Namib desert and its surroundings.
ROLAND BLUM www.rolandblum.com
▫︎ 105 ▫︎ Circle Quarterly Art Review 5 • Maria Wolfram Almost Touching the Stars Ink and oil paint on MDF board 195 x 140 cm
“I am a Finnish artist living and working in Helsinki. My art has been exhibited in over 20 countries and is represented in private and public collections throughout the world. I use a combination of oil painting, ink and acrylic and returning topics in my installations, sculptures and paintings are identity, equality, inclusion, exclusion and power relationships. My figures capture intimate glimpses of fleeting moments of something unmasked and real.”
MARIA WOLFRAM www.mariawolf ram.com
Orit Goldman • Circle Quarterly Art Review 5 ▫︎ 106 ▫︎
Weeping Willow Mixed media collage
ORIT GOLDMAN http://www.oritgoldman.co.il
▫︎ 107 ▫︎ Circle Quarterly Art Review 5 • Anne-Katrin Spiess Death by Plastic, Venice 2019 Performance and Digital C-print Photographed by Elisabetta Zavoli
“I create site-specific work, which often exists for hours or days. Many of the materials I use are borrowed from nature, if man/machine-made they are employed as subtle reminders of human civilization. Because of the close connection to nature that I have developed through my work over the years, and because of the deep sense of responsibility I feel towards the planet, much of my work addresses and calls attention to environmental issues. “Death by Plastic”, performed in Venice on November 7, 2019, features my body resting in a transparent coffin, covered by single-use plastics, gliding through the canals on a gondola. The bottles, boxes, bags, fishing nets etc. found in the Laguna contribute to a pollution rate that is five times higher than in the remainder of the Adriatic Sea.”
ANNE-KATRIN SPIESS www.annekatrin.info
Sönke C. Weiss • Circle Quarterly Art Review 5 ▫︎ 108 ▫︎
Girl in Front of Yellow Wall Digital photograph 105 x 70 cm
“For more than 20 years I have worked as a photographer, videographer and award-winning reporter in Africa, Asia, the Balkans and Russia for international publications. My off-beat documentaries have been featured at film festivals and in art house cinemas, my photos exhibited widely in well-known galleries, museums and public places. There are two principles that guide my choices as an artist: The first principle embraces the collaborative quality of the art. The second principle embraces the magical nature of art. In this ephemeral realm, we are free to explore the human condition limited only by the parameters of our imagination.”
SÖNKE C. WEISS www.soenkecweiss.com
▫︎ 109 ▫︎ Circle Quarterly Art Review 5 • T. Allen Lawson Priorities Oil on linen mounted on panel 26 x 38 in.
“The American vernacular of this mid-Texas house caught my eye, initially. I was drawn to the stylistic mix of architectural elements - the Victorian trim and Arts & Crafts stained glass window. Looking closer I began to notice the neglect of the structure; the missing skirt around the foundation, the sloping porch, the peeling paint, yet it appeared that the television dish was in perfect working order.”
T. ALLEN LAWSON tallenlawson.com
Stas Bartnikas • Circle Quarterly Art Review 5 ▫︎ 110 ▫︎
A meeting with the Ocean Digital Photograph 80 x 120 cm
“I’m convinced that Mother Nature is the most sophisticated painter. I see it as my mission to capture its beauty in its perfect form and convey the energy of our planet through my aerial images.”
STAS BARTNIKAS www.stasbart.com
▫︎ 111 ▫︎ Circle Quarterly Art Review 5 • Thuy-Loan Tonnby Yellow Tulips Oil on canvas D. 120 cm
“People are bombarded with images, eyes glued to their screen. My paintings aim to isolate and redirect the focus on our surroundings, teaching us to see and appreciate again what is here instead of what I can see on social media and can or cannot have. I paint what I see around me, flowers, interiors, women. I am here to enhance the beauty of and to attract attention back to what is here, now.”
THUY-LOAN TONNBY www.atelierTLT.com | Instagram@atelierTLT
Weronika Braun • Circle Quarterly Art Review 5 ▫︎ 112 ▫︎
Shining 12 Oil and resin on canvas 100 x 100 cm
“My artworks depict unreal landscapes inspired by pinhole photography. These are metaphors of moments that illuminate our reality and cause intense emotions. The lights of feelings are so powerful that we are lost in the intensity of our own emotions. My painting is compared to the window, through which the recipient can feel the spirituality of the presented emotional confusion. The artworks are meant to “draw” into a different world.”
WERONIKA BRAUN weronikabraun.pl
▫︎ 113 ▫︎ Circle Quarterly Art Review 5 • Petra Schott Emerald Peace Oil on canvas 100 x 100 cm
“I mix and transform the remembered and the real, both vibrating with emotions. All basic themes of human existence resonate in my art: love, sex, vulnerability, memory and ephemerality, and again and again the transience of the experienced moment. This abstract painting is about a precious moment of peace within blossoming nature inspired by the beautiful colour of an emerald stone thus connecting water, the green of nature and the skies.”
PETRA SCHOTT www.petra-schott.de
Rani Sarin • Circle Quarterly Art Review 5 ▫︎ 114 ▫︎
Infinity Mixed media 11 x 17 in.
“I work with printmaking, handmade paper, textiles, mixed media and collage. I explore the relationship between my internal life and the experience of the external and physical landscape. I use color, texture and form to explore the co-existence of seemingly opposing forces. My work pulsates with the excitement of the push and pull, the fragment and the whole, chaos and harmony the fleeting and the eternal.
RANI SARIN ranisarin.com
▫︎ 115 ▫︎ Circle Quarterly Art Review 5 • Matthew A. Floriani Talking Cup, 2020 Acrylic and ink on paper 48 x 48 in.
“My recent paintings delve into notions of family, loss, connectivity, and community. These life-sized pieces convey multiple levels of human emotion. They are rendered to evoke a sense of discomfort and domesticity through the use of displaced childhood objects and melancholy expressions and postures. These states of order and chaos are simultaneously present in each piece to convey vulnerability in the place I find most safe.”
MATTHEW A. FLORIANI www.matthewflorianiarts.com
Monica Mendes • Circle Quarterly Art Review 5 ▫︎ 116 ▫︎
Mestre Zanza Oil on linen 28 x 40 in.
“The art of portrait painting is that it is as ever-evolving as the people we know and those we have yet to meet. Through portraits, I am able to expose the lasting and at times fleeting, impressions of each person that I paint. They are my eyes’ reflection of what words often times cannot convey. With each brushstroke, I’m able to connect and express my love, all thanks to each person’s contribution to my life and to my art. I believe the artist today has the responsibility to bring awareness, provoke thought and evolution.”
MONICA MENDES www.MonicaMendesArt.com
▫︎ 117 ▫︎ Circle Quarterly Art Review 5 • Kristen Eisenbraun Story of a Tree Oil on canvas 24 x 36 in.
“Throughout history, humanity has used art to tell a mythological story of a beautiful and crucial connection with nature. Today this connection is failing because we have allowed our mythology to fade. My paintings tell of today’s struggles and stresses, depicting individual spirits living out their personal mythology and thereby strengthening their bond with the planet. Using oils I paint realistic and imaginative scenes, saturated with the essence of nature.”
KRISTEN EISENBRAUN kristeneisenbraun.com
Loren D. Adams, Jr. • Circle Quarterly Art Review 5 ▫︎ 118 ▫︎
Cloudburst from Side 2 Portal of The Ode to Joy Stabile objet d’art, Homage to Beethoven’s Ninth 27 x 24 x 15 in. Hand painted, gold gilded 3-D, three sided wood carving with a Rosewood and Ebony base and legs, a 22k German gold leafed accent fillet, inset with VS1 jewelry quality gemstones, natural pearls, and selected Quartz pinnacle accent.
“At 75 I’m now making my best art. I enjoy painting the beautiful and lovely after a lifetime of studying how nature has made everything. I quit my day job to become an artist over 53 years ago and I never looked back. I am now confidently mastering any subject I put my mind to in the creation of FineArt of “Recognized Quality.” Today many of my pieces are in Museums and important collections in nine countries. As a joy bringer, I am sharing the light “I have seen” with the most distant man.”
LOREN D. ADAMS, JR. https://tinyurl.com/wln3vt3
▫︎ 119 ▫︎ Circle Quarterly Art Review 5 • Courtney Townsend Writing on Stone
Courtney Townsend is a photographic artist who draws inspiration from the natural world. The Canadian landscape has significantly added to the depth of her work and a pursuit of spirituality in the physical world. Courtney works in alternative photography processes, film and digital mediums.
COURTNEY TOWNSEND Instagram @courtneyepona
Alex Carrillo (Alexati) • Circle Quarterly Art Review 5 ▫︎ 120 ▫︎
Grace Is Mightier than The Sword Oil on canvas 70 x 120 cm
Alex Carrillo aka Alexati (b. 1988) is a Mexican artist whose work is an interpretation of the world and everyday life through theatrical images that explore glamour, androgyny, eroticism, queer culture, autobiographical themes and conclusions about the world. His work is mainly figurative and influenced by artists such as Tamara de Lempicka, Jansson Stegner, Francesco Clemente, Elisabeth Vigée-Lebrun and photographers like Guy Bourdin, Chris Von Wangenheim, Helmut Newton and Jean-Paul Goude.
ALEX CARRILLO (ALEXATI) www.instagram.com/alexatiart
▫︎ 121 ▫︎ Circle Quarterly Art Review 5 • Brunton Killed by Ego Photograph
Czech, old-school photographer Vladimir Brunton was influenced early in his photography by his grandfather as well as F. Drtikol. Brunton is known for portraits of popular Czechs like Milos Forman, Tomas Bata, Vaclav Havel and many others. He is deeply inspired by the female body and spiritualism as well as the concept of Kabbalah. His latest exhibition opened in established galleries in Prague, 2019-20 and was titled “Kabbalah Uncovered”.
BRUNTON www.brunton-foto.cz
Katie Willes • Circle Quarterly Art Review 5 ▫︎ 122 ▫︎
Double Dutch Acrylic on canvas 36 x 36 in.
“I like imperfection in my art. Scribbles or scratches just enhance the beauty to me. Imperfection is reality, after all. Nothing is perfect. No one is perfect. There is no perfect situation. But that doesn’t mean that things can’t be beautiful. We can take our imperfections and make a beautiful like. I think my art embodies that hope.”
KATIE WILLES katiewillesart.com
▫︎ 123 ▫︎ Circle Quarterly Art Review 5 • Diane Levesque Dancing Bear and Savoyard Acrylic on canvas 48 x 40 in.
“Internalizing the violent and contradictory messages of the world in which we are living, I create images that use objects as conveyors of meaning, prickly with so many cultural projections. I use color, pattern and a maximalist approach to exaggerate the context of experience. In my practice, I investigate ways of seeing, feeling and being so that I might gain insight into this insane and beautiful world we live in.”
DIANE LEVESQUE http://www.dianelevesque.net
Jessica Alazraki • Circle Quarterly Art Review 5 ▫︎ 124 ▫︎
Puppy on Gray, 2019 Oil on board 14 x 18 in.
“I was born and raised in Mexico City and have been based in NYC since 1998. I earned a Bachelor’s degree in Communications from Universidad Anáhuac, a Diploma in Graphic Design from Parsons School of Design in New York City, a Certificate in Drawing and Painting from The New York Academy of Art and a year studies of the Master’s Degree in Figurative Painting at the New York Academy of Art, New York City.”
JESSICA ALAZRAKI http://dogsbyja.com
▫︎ 125 ▫︎ Circle Quarterly Art Review 5 • Kelly Marshall Quiet Mixed media on canvas 36 x 48 x 1.5 in.
“I am a multidisciplinary artist with a background in painting, printmaking, and book arts. My work is motivated by a broad sense that our society is engaged in a return to the 19th century: this return is social and economic, spanning the treatment of minorities, income inequality, subjugation of women and return of mass disease. I am occupied with developing a non-representative aesthetic that captures it.”
KELLY MARSHALL www.kellymarshallf ineart.com
Karen Burns • Circle Quarterly Art Review 5 ▫︎ 126 ▫︎
The Vintage Brush Series Oil on archival panels Ea. 6 x 12 in.
“Working in oils completely holds my interest. There is always something new to learn. With this series, I was intrigued by the shadows as they hung on the wall. I tried to pull out a bit of individual personality for each of these vintage brushes paying close attention to the light, form, and shadows. I am a representational painter working from setups in my studio in Northern, California, USA.”
KAREN BURNS https://www.KarenBurnsFineArt.com
▫︎ 127 ▫︎ Circle Quarterly Art Review 5 • JOLIC Voiles au Vent Acrylic 40 x 40 in.
Jolic is an abstract artist/sculptor who lives in the Lower Laurentians in Quebec, Canada. She studied Architecture, Graphic Design and Screen Printing on Fabric before becoming an artist. Self-educated, she has been expressing art in many ways and forms for several decades.
JOLIC www.artistejolic.ca
Anson Liaw • Circle Quarterly Art Review 5 ▫︎ 128 ▫︎
Unfortunate COVID-19 Fabrications of the Truth Pencil, ink and digital media 12 x 17 in.
“I feel I am useless as an artist when I am happy. Pain is what creates my artwork. The painful experiences that people go through as they journey through life in the world around us from childhood to adulthood which in many ways is full of chaos and hardship are what sparks and motivates myself to possess my objectives to make purposeful artwork that hopefully, generates meaningful and fulfilling empathetic connections to people.
ANSON LIAW http://www.illoz.com/liaw
▫︎ 129 ▫︎ Circle Quarterly Art Review 5 • Anson Liaw Depression Pencil, ink and digital media 16 x 16 in.
As I observe and interpret the world around me combined with creating my artwork, I discover time and time again that true beauty lies within darkness and that sometimes nightmares are the birthplace of some of the best ideas for an artist.”
Paul Christener • Circle Quarterly Art Review 5 ▫︎ 130 ▫︎
Silent Moments, #03, Photograph 50 to 70 cm (Paper size), printed on Hahnemuehle Photo Rag
“The idea of the ongoing photographic work “In Search of Silence” was born in 2014 during my first visit to Greenland. My wife and I trekked for weeks in complete solitude with minimal equipment. These trips have become an annual fixture. Today, silent moments are the luxury in my life and the focus of my photographic work.”
PAUL CHRISTENER www.in-search-of-silence.art
▫︎ 131 ▫︎ Circle Quarterly Art Review 5 • Boris Garanger Fluid Oil on linen canvas 130 x 98 cm
“An item of clothing is a vector of the individual in society. How does it speak? What does it say about the appearance one wishes to convey? Each individual has its own expressivity, unique to oneself, that makes its unicity, an expressivity conveyed through the body. Movement defines the individual in space. The subject is a presence through the body, an action through its movement, an appearance through his clothing.”
BORIS GARANGER www.borisgaranger.f r
Musto M. Yildirim • Circle Quarterly Art Review 5 ▫︎ 132 ▫︎
Way Acrylic 100 x 170 cm
“Art allowed me to express what I can’t otherwise. A way to communicate my questioning and reflections on human, humanity, and human rights. My feelings toward unfairness and human folly give me an inspiration fed with a kind of creative rage. In my creation process, the light is not only a technical medium but also a metaphorical one: Light as a symbol of knowledge and discovery in contrast to obscurantism and ignorance.”
MUSTO M. YILDIRIM atelier.musto@gmail.com
▫︎ 133 ▫︎ Circle Quarterly Art Review 5 • Georg Douglas Late Summer Oil on canvas. 140 x 100 cm
“I have a scientific background and in my flower inspired paintings I often extend the field of view by ignoring scale and jumbling elements which can range from the visible to molecular size. I feel that this semiabstract mixture reflects nature more closely than simply what we see with our eyes.”
GEORG DOUGLAS artgeorg.com
Balthazar Kaplan • Circle Quarterly Art Review 5 ▫︎ 134 ▫︎
Up to Where? Oil an canvas 100 x 81 cm
“I took the syntax from comics: I divided the canvas into several spaces to give an illusion of time. My painting is narrative but not an illustration. The story is inside, it has to be built. Like a poem. It’s also a game with our reminiscences of pictures from children’s books, comics, advertising, street art... And like carnivorous plants: behind the attractive colors, something else, more harrowing...”
BALTHAZAR KAPLAN balthazarkaplan.com
▫︎ 135 ▫︎ Circle Quarterly Art Review 5 • Balthazar Kaplan Him and Her Oil on canvas 73 x 54 cm
Sarah Ann Weber • Circle Quarterly Art Review 5 ▫︎ 136 ▫︎
The Watcher Watercolor and colored pencil on panel, framed 48.5 x 60.5 x 2 in.
“I draw and paint landscapes that combine observations and memories of the natural world with abstraction. Figures are camouflaged, androgynous, and more plant-based than human. I foster the hallucinatory experience of seeing a mirage, where navigating the terrain is disorienting but pleasurable. There is beauty, but upon closer inspection violence and decay are also present. Focusing on the floral and exotic, my compositions become places where growth and entropy intertwine.”
SARAH ANN WEBER sarahannweber.com
▫︎ 137 ▫︎ Circle Quarterly Art Review 5 • Sarah Ann Weber The Action Watercolor and colored pencil on Arches paper, framed 24 x 32 in. Self Portrait Colored pencil on Arches paper, framed 24 x 32 in.
Sarah Ann Weber • Circle Quarterly Art Review 5 ▫︎ 138 ▫︎
▫︎ 139 ▫︎ Circle Quarterly Art Review 5 • Sarah Ann Weber Studio view of Monster in the Garden Acrylic, colored pencil and vinyl on Arches paper 51 x 103 in.
SARAH ANN WEBER sarahannweber.com
SUMMER 2020
An Examination of Current Trends & Original Practices in Visual Art
Published by Circle Foundation For the Arts Cover Image QimJungHwan
Circle Foundation