Exquisite Arts Magazine- Vol 1 - July/August 2016

This publication was put together by the International Gallery of the Arts (IGOA) as a means to further promote the works of talented individuals from across the globe. Exquisite Arts Magazine not only aims to showcase extraordinary talent, but to also explore various topics relative to the arts industry. As you read this magazine, we invite you to get to know these exceptional individuals through their interviews, their words and more importantly, their work. As we have stated on numerous occasions, creativity is more than an expression, it is the fundamental ingredient of life.

Join us in celebrating creativity in its many forms, as we bring you this publication filled with artistry from some of the world’s most exquisite talent.

Exquisite Arts Magazine Publisher: International Gallery of the Arts (Canada) Editor in Chief: Monique Jackson Assistant & Editor: Lisa Chang

FACEBOOK facebook.com/artcompetition

Graphic Design/ Creative Direction: Monique Jackson Cover Artwork: Meiyi Yang _________________________________________________________ _________________

Contributing Writers: David Glebe, Ute Carson Benson Mwang

Artist Interviews: Maja Borowicz, Meiyi Yang, Tom Melsen Emmeline Basulto, Patricia Concha Kurosh Yahyai, Phillip Hanson George Figueroa

TWITTER & INSTAGRAM @IGOA_Talent

WEBSITE INTERNATIONAL-GALLERY.ORG

INQUIRIES & ADVERTISING

igoa.talent@gmail.com

Maja Borowicz

Pg. 7

Here I Stand by Ute Carson

Pg. 14

Cover Story - Meiyi Yang

Pg. 16

Tom Melsen

Pg. 24

Emmeline Basulto

Pg. 28

Patricia Concha

Pg. 33

Ultramarine & the Zeitgeist of the Perfect Blue by Benson Mwang Pg. 38

Kurosh Yahyai

Pg. 43

Transcendence Visualism Pg. 50

by David Glebe, PhD.

Phillip Hanson

Pg. 57

George Figueroa

Pg. 61

Maja Borowicz

ARTIST | POLAND | IGOA- ALL SCAPES ART CONTEST WINNER

An artist passionate about industrial design and futuristic architecture, she creates realistic and surreal images for paintings, movies and illustrations. The world of Maja Borowicz on the one hand is firmly rooted in reality, and from the other she is opening the event exceeding experience. In this way, the paintings are saturated with existential symbolism of magical realism that involves the innermost and most profound experiences of human existence.

Page 7

Tell us about yourself. What is your artistic background?

I have been fascinated with art since childhood.

Supposedly, I was already able to draw when I was 3 years old, but that is just what my mom says. As a child, I used to draw and paint with anything I could put my hands on: pencils, crayons, pastels, acrylic paints, oil paints, ink and so on. I did not learn to draw in an art school, I learned at cultural centres, children clubs and through courses. I received a degree in landscape architecture and I completed several courses in animation. My entire knowledge of painting was gathered in practice. At the end of my university education I became fascinated with the airbrush and with digital painting. It was then that I discovered that I love to design objects, architecture and characters for animated films and to perform stage design for live action films. Thus for several years, I worked as a graphic designer for advertising agencies and film studios. I believe that this allowed me to develop my own techniques and imagination.

Your art is futuristically unique and well executed. It stands out from amongst the crowd. Why do you think that is?

A high performance level is easy to explain. A long time ago, one of my drawing teachers said: “Every drawn line brings you closer to perfection.” I follow that advice; I spend every moment drawing lines. I believe that doing this day after day for several dozen years brings me closer and closer to perfection. On the other hand, the futuristic character of my art is harder to explain. I guess I'm just fascinated with things that are unusual, different, dynamically changing like the reality around us.

If you had to choose one of your pieces as your favourite, which one would you choose and why?

If I were to pick just one of my paintings, it would be "Pamięć" ("Memory"). It was inspired by very difficult and sad events which I will never forget; it has shaped me and my work. In a way, the characters depicted in the painting sacrificed their lives for it to be painted and for me to start painting in that style. Therefore, this painting will always be the most important one for me.

What is your greatest or favourite talent?

Page 8

I think that my greatest talent is my imagination (creativity).

It allows me to paint and create works of art. I like to put my imagination to use in every field that I encounter. I am fascinated by the design of space, architecture, landscape, interior and functional objects.

I am equally as fascinated with working on films, advertising and illustrations. Also in areas where you have to invent characters, stages, visuals, add special effects, create matte-paintings or illustrate things you cannot see, not even under a microscope. All of these fields are very different, but they all require strong imagination. This makes imagination the most important thing.

For persons interested in visiting Poland, what are some great places to visit?

Poland is a country that is rich with beautiful and natural landscapes, and a war-filled history. Thus, I would recommend unique locations in terms of a natural environment. For example, there is a region with thousands of lakes situated amongst wooded hills called Masuria.

There is also the Stołowe Mountains which consists of rocks scattered on gentle hills. For history buffs, I would recommend a trip around medieval castles, ruined churches and bunkers. Poland has some of the largest Teutonic castles, like Malbork. There are beautiful ruined churches, such as Perła Żeliszowa which is the most recognisable historical monument of the Lower Silesia, or the Boyen Keep in Giżycko, a defence fortification from the period of World War I.

You’ve had tremendous success as an artist. You were the Best of Show winner of IGOA’s “All Scapes” Art Contest, you’ve won an American Art Award and you’ve been included in several international exhibitions. What do you think attributed to this success?

I think that there are many things that contributed to my success. Apart from the paintings themselves which I create with the use of all my knowledge, talent and imagination, there are several invisible but important reasons. One of them is the support and patience of my loved ones and friends.

Very often it is their dedication, work and belief in in my vision that makes me strive to exceed limitations and reach for more and more. I believe that I have something important to tell the world and I express it through my art. I simply try to reach as many people as possible with my message.

Page 9

What advice do you have for other artists who are emerging into this industry?

Often I am asked to conduct lectures and workshops for young artists. I always repeat the truth that I learned many years ago: Every line you draw brings you closer to mastering whatever you are doing. Another important thing is that in order to be a real artist, you must be a great craftsman as well. I think that if you can draw, the medium is unimportant. The ability to draw is the foundation. The last important thing that I always want to tell young artists is that they should analyse their message. This is going to be the foundation of the power of their art. Will it be another interpretation of familiar biblical scenes painted by previous generations? Will they take on modern issues, reflecting the spirit of their times? This is very important but also very difficult. You need to be really mature to know what you want to tell the world and to tell it in such a way that the world listens.

Where can potential buyers and fans purchase your work?

You will be able to see my paintings live this summer at three exhibitions accompanying Polish science fiction and fantasy festivals: Festival in Nidzica, Polcon in Wrocław and Twierdza, in Giżycko. You can find the details on my website, on social media, in newsletters and on the websites of the festival organisers. Apart from that you can see my paintings online, on my site and on the site of the foundation that I work with (Your Heritage Foundation). Below are several galleries in Poland and Europe where I cooperate, display and sell my paintings: Gallery: Tadeo Art http://tadeo-art.pl/ Gallery: Touch of Art http://www.touchofart.eu/ Gallery: Decostyle: www.decostyle.dk Gallery: KoneserSztuki http://www.konesersztuki.pl/

Page 10

Is there anything else that you’d like to tell us?

If you would like to learn more about my work, subscribe to my newsletter to receive information via e-mail.

Jacob Sullivan

HERE I STAND Ute Carson | United States

_____________________________ Maria was a shy 8th grader. When called upon to read aloud her throat turned dry, her stomach queasy. Going to the blackboard in front of the whole class terrified her. She was a good speller but when asked to write on the board, her hand would shake and the letters would tumble all over themselves. Maria was happiest bent over her blue-lined notebook, earnestly composing stories about rabbits and horses and the antics of her puppets.

Maria’s small body was topped with a head of full brown hair which her mother harnessed into two thick braids, and when time allowed, then coiled them around her head. The braids were a temptation for many of Maria’s classmates and when someone ran by her, a quick yank was inevitable. Maria’s dreamy dark eyes filled with tears when the tugging was too harsh. “Please don’t do that,” she would plead.

Classroom seating was arranged so that the tallest pupils sat in back. Tiny Maria ended up in the very front row. Short, chubby Heinz sat right behind her. He was smart and as an only child of wealthy parents, spoiled. He believed he could get away with any prank and nobody seemed able to curb his nonstop talking.

Physical punishment was permitted in German schools in the 1950s, though not all teachers used it. Mr. Bankwitz a history and gym teacher, was the exception. When a girl misbehaved, Mr. Bankwitz had her stand at her desk with outstretched fingertips which he smacked with a slender reed. The boys he took to the hallway and gave them a stinging lash or two across the bottom with a leather strap.

Maria grew up in a loving family. Her parents had repeatedly petitioned against corporal punishment in the school. “It’s simply wrong,” her mother exclaimed. Maria had never been spanked, and she winced every time she saw the swollen fingers of her girlfriends. When a boy received a whipping, the sound of the strap made her recoil. She leaned very close to her notebook, her nose touching the pages and covered her ears. She disliked having her hair pulled but knew that if she reported it, she would have to witness the perpetrator’s punishment. Being bullied was bad but the whippings were worse.

Heinz got a laugh out of the class every time he pulled Maria’s braids. When she let out a plaintive “Ouch” he beamed triumphantly and turned to his approving audience. But he tormented Maria only before the start of class or after the closing bell had rung.

Mr. Bankwitz was a canny observer who often arrived early on the school grounds and then lingered in the hallway.

Several times he had watched Heinz from afar. One day when Maria’s hair was fluttering loose like a horse’s mane, Heinz had more fun than ever wrapping a few strands around his fingers and squealing, “Snagged you!”

When Mr. Bankwitz entered the classroom everyone scrambled to their seats. Slowly, he put his briefcase on his desk,

Page 14

then took out the book for the day’s lesson and placed it face down. Peering over his glasses he firmly said, “Heinz, do not do that again.”

About halfway through the hour, Mr. Bankwitz, while writing on the blackboard glanced over his shoulder momentarily as Heinz took a quick pass at Maria’s hair. Without a show of emotion he put the chalk down, walked to the cupboard, and retrieved the strap. “Heinz,” he called out in a stern voice, “step outside.”

Heinz who was unaccustomed to being disciplined, could not believe what he heard. He tried to explain, “I only brushed Maria’s hair aside because it was blocking my view of the blackboard.”

“Step outside!” Mr. Bankwitz was clearly irritated.

Suddenly the situation seemed serious. Heinz began to shake, “I will never do it again Mr. Bankwitz. I promise.”

Mr. Bankwitz was not a patient man. “For the last time, Heinz, outside!”

Heinz lost his composure and sank to his knees. “Please, please don’t.”

Mr. Bankwitz got hold of Heinz’s shirt and lifted him like a limp kitten, steering him into the hallway. Heinz howled so loudly and pitifully that other teachers emerged from their rooms to see what was happening. When Heinz returned to the classroom he hung his head and did not even wipe the tears from his cheeks.

Witnessing Heinz’s humiliation, courage surged up in Maria’s fearful heart and her mother’s words echoed in her ears.

Before she had merely been an observer but now she was implicated.

Mr. Bankwitz opened his book and was about to pick up where he had left off when Maria’s faint voice made him spin around. “I ha…hate spankings,” she said haltingly.

“What did you say, Maria?”

“I hate spankings” she repeated, her voice quivering.

Mr. Bankwitz was incredulous. “Apologize Maria” he demanded.

“I can’t,” she said and stood up. Her words were clear, her voice steady.

“You can’t? Then take your seat and be quiet.” Mr. Bankwitz’s ears turned red with anger and he seemed to lose his bearings. That a pupil—especially a girl –would dare to question his authority!

“I can’t do that either, Mr. Bankwitz.” Maria was composed now, confident.

Mr. Bankwitz took several steps toward her in a failed attempt to intimidate her, then suddenly turned, gathered up his book and briefcase and left the room without a word, slamming the door behind him.

A pencil rolled off a desk and clattered to the floor. Ordinarily someone would have picked it up. Instead the pencil rolled and rolled until it bumped into the far wall; nobody moved a muscle. Maria remained standing, immobile as a statue until the bell rang.

Everyone rushed out except Heinz. He approached Maria. “Wow,” he whispered and then touched her hair ever so gently before running outside with the others to spread the word.

Page 15

Cover Story

Page 16

Photography: Dongni Yang

Meiyi Yang is a jewelry designer born and raised in Shenzhen, the biggest jewelry market in China. She is currently a second year Metals and Jewelry Design MFA student at the Rochester Institute of Technology. Meiyi is dedicated to pursuing her passions in life and her love for nature. She enjoys observing all of the magnificent details that occur in life and often draws inspiration from them. Meiyi has a deep interest in fashion and clothing design; this fascination allows her to explore the relationship between jewelry and clothing, as they complement each other. She believes that our bodies are a platform to express our individualities, and that jewelry and apparel are the best methods to do so.

___________________________________________ How Would You Describe Yourself?

I don’t think of myself as just being a designer; I am also a dream chaser. All achievements I have made now are derivatives generated while pursuing my dream. If I could sum up my life in only one word, I would say “bravery,� and being brave is a fundamental factor for me doing almost all things.

Tell us about your artistic background.

My father is an architect who opened the door to the art world for me. Since I was three years old, he taught me how to draw, told me what art is and often discussed art with me. He would hang up my drawings, whether good or bad to help encourage me to improve my skills. My mother however, expected me to become a teacher or a doctor but respects my decision for studying at an art college.

She sometimes questions my creations but never stopped supporting me.

After graduating from the art college, I began going to the Rochester Institute of Technology (USA) and joined the Metals and Jewelry Design Program.

This is a very important stage for me. Each professor of mine spared no efforts to help me and they expected me to perform at the height of my talent; I am very grateful for that. During the summer vacation after my first year, I fortunately obtained an intern position with a Manhattan jewelry company. My employer patiently taught me a lot of knowledge about the jewelry profession.

They have been inclusive for some mistakes of mine, sincerely hoping that I would never stop trying. At that time, I seriously thought about my life and decided that I should make meaningful contributions to society while making great achievements.

Page 18

Why do you enjoy making jewelry and what inspired you to choose metals as your medium of choice?

For me, jewelry is not just a simple object but the medium for people to express their own emotions, attitudes and appearances. Therefore, each time that I am making jewelry I feel like I’m telling the story of a person and truly enjoying the process of doing so.

Your creativity is extraordinary and your pieces are very unique. How important is it to create work that is “different” from the norm?

Actually, I did not mean to be different from others nor deliberately seek to be unique.

I think that it probably originated from my spirit of “adventure.” Since I was nine years old I had a great interest in cooking. My mother tried to teach me the correct cooking methods and I never listened to her.

On my own I explored how food is made. And on my path of exploring, I invented my own cooking methods.

When educated to do one thing, you will probably lose the ability to innovate. When you have no idea of how to do such a thing and no one is available for help, you have to force yourself to explore. This path may be tortuous but you will definitely create the style of your own and gain more by doing so. In discovering my own path, I neither stopped nor was satisfied with the experience explored by others. Perhaps this is why my works are “different” from the norm.

What is your first memory of beauty?

I have a lot of memories about beauty but what influences me the most is the education from my grandma. The Chinese economic condition in the 60’s was not well; most families lived a very poor life and each person might only have had one set of decent clothing. My grandma however, taught my mother that as a woman no matter how hard life is, you should not be a disgrace or be messy. We should be decent and tidy ourselves, this is the basic cultivation and quality for being a human. In the era when each person was sweating over meals, my self-reinforcing grandma made clothes for my mother with a sewing machine.

My mother still has some of her tops which are in good

condition. Such education from my grandma passed on to me from my mother. Therefore no matter how busy I am, I will not go out in a mess. Even in the hardest time, I will not forget to remind myself to put on lipstick or shoes in my favorite color before going out. We should live with attitude.

One of your pieces is called “Escape.” You state that you chose this title as it illustrates your hope to get out of pressure & flee to freedom. How significant is freedom to you?

“Escape” and “Freedom” are just a façade.

However, when people try so hard to escape from their “undesirable” situations, they only end up finding themselves running into other dissatisfactions. Hence there is no real freedom. A good example would be marriage. There is a book called “Fortress Besieged” by a famous Chinese writer Zhongshu Qian, in which he wrote “Marriage is like a fortress besieged: those who are outside want to get in, and those who are inside want to get out. For another case, children want to grow up when they are young because in most young people’s minds, growing up equals cutting loose from their parent’s control or school’s discipline.

People are never satisfied with their current situations and continuously pursue higher goals and that cycle repeats. They believe that whatever’s next will be better, but the present which could become wonderful memories years later, are often ignored. I want to constantly remind myself through this ring: that no matter what life you are chasing after, cherishing the welfare in front of you is equally important.

A person’s freedom is significant but people should think before they attempt to escape from their “undesirable” situation.

Page 19

Photography: Dongni Yang

If you had to choose one of your pieces, which one would be your favorite and why?

It would be “The Dialogue with Zaha Hadid,” my first contemporary art project from 2013. Though it may not be my best one, it definitely impresses me the most.

Zaha is my very favorite designer. She is the first female architectural designer that won the Pulitzer Prize. Apart from her works, I also admire her perspective and approach towards issues.

Someone said that she is stubborn and paranoid. I however, just admire her being stubborn and paranoid, which perhaps is exactly the factor that helps people achieve success in this generallyimpetuous society.

Your collection entitled “In Between” has a profound meaning behind its creation; it relates to feminine strength & bravery. Why did you choose to explore this concept in your work & how important is gender equality to you?

I believe that it is important to be treated as an equal.

The past history lets us know about every non-ceased effort made by our predecessors for gender equality.

However, we have never achieved gender equality entirely. For a long time, the unspoken meaning of “gender equality” seems to be that “the promotion of a woman’s worth is equal to suppress and depreciate men.” So each time when someone is delivering a speech of feminism, he or she is cast aside by men or protested by the women. The cases of our predecessors made me realize that it is really difficult to pursue true gender equality. I believe this, therefore, what we can do now is to do our things well and make ourselves strong. I designed jewelry into armor and expect women to be protected from harm.

We should try to be strong women and make great achievements. Moreover, it is certain that women and men are different. No one is strong or weak and we simply have different roles.

Although the modern society has many disadvantages, our predecessors from the past made sacrifices to achieve gender equality. Now most of us can live in an environment with relatively correct ideas and a free atmosphere. We have more space to develop a professional career. Thus, women now should not impose restriction on us. We must believe in ourselves to be women that can break more rules.

You are very ambitious, you migrated to the United States from China to pursue your dreams. What advice do you have for others who want to pursue their dreams but might be afraid of taking risks?

There is a Chinese saying that “the first step is always the hardest.” We should always make a start first and maybe concerns can be easily solved then.

Where do you see yourself in the next 5 years?

While developing my own professional career, I wish to take part in certain charity activities related to children. For me, I believe that people are born equal. And children no matter from what background, deserve to enjoy a happy childhood and proper education.

Additionally, I hope to create my own brand and let more people know about me.

What do you like to do for fun?

I like to go back to nature. Anything about nature will make me feel fun and comfortable.

Where can potential buyers and fans purchase your work?

All of my new and latest work can be found here:

www.meiyi-yang.com

Photo: Elizabeth Lamark

Page 21

Tom Melsen is a Dutch artist who lives and works in Rotterdam, The Netherlands.

He paints classical portraits buried under modern abstraction. Melsen has exhibited his work internationally with his latest solo exhibition entitled "Eyes for Eternity" receiving critical acclaim in Berlin, Germany. The critics stated: “A master at capturing emotions in a way that words could never attain." In 2014, Melsen was nominated for a Palm Art Award and his work has been published in magazines & art books worldwide.

Page 24

color and I for one, love drama. It’s also the color of love, so how more dramatic can you get? I also use a lot of white, although many people wouldn’t think so. I keep buying new tubes of white paint.

Aside from painting, do you have any other talents or passions? If so, what are they?

Yes, many! People often say I’m juggling too many things at once to be defined as a painter. I paint, but I also teach, make music, do collage art and write.

Doing so many things can be distracting and sometimes I feel like I just need to focus on the painting, but then again, I love a bit of variety.

Your paintings are a unique mixture of classical portraits and modern abstraction. Where did the inspiration to create this type of work come from?

There are two artists that have been a big influence.

The first one, I already mentioned is Picasso. The second one is Francis Bacon. I also really like the self-portraits of Vincent van Gogh.

How long have you been an artist? What is your artistic background?

I started painting in my late teens after seeing an exhibition of Picasso’s work. The exhibition showed works from his Paris years and I just loved it. It’s like magic when you’re standing right in front of his paintings. I immediately felt like I had seen something very special. My first exhibition opened in the beginning of 2014, so it hasn’t been very long.

What do you love about being an artist?

I love to do as many different things as possible. I’m easily bored so I always try to do new things. My mind is working 24 hours a day; I never stop thinking about what my next ‘project’ is going to be. Being an artist means I can create new and exciting things.

What are your favorite colors? Do specific colours play a significant role in your artistry?

I really love different shades of red. I have used a lot of red in my works. I think that red is a very dramatic

Has your artistic style changed over time? If so, how?

I think my paintings became a bit brighter over time. I think that’s the biggest change.

Are there special techniques that goes into creating such amazing artwork?

I don’t really have a special technique. I wish I had, so I’d know what I had to do to make a painting work. The truth is, I make a lot of paintings and a lot of them end up in the garbage. Only a small collection of my paintings are kept and exhibited (the ones that I think are good enough). I wish more people would work this way. It is unbelievable how much crap there is that’s labeled as “art.” I’ve seen dog poop more beautiful than some paintings in a museum.

Not only has your work been selected as the Best of Show winner for IGOA’s Abstract Art Contest but you have had a lot of success. You were nominated for a Palm Art award and you’ve been internationally published in magazines

Page 25

and art books.

What do you think attributed to this success?

I have no idea, but I’m really happy that it’s going well, considering I have only been exhibiting my work for two years now.

For persons interested in visiting The Netherlands, what are some artistic places of interest?

When you are in Amsterdam, visit the van Gogh museum. They have some wonderful van Gogh selfportraits. They also have a beautiful painting made by Francis Bacon, my personal favorite. Of course you can visit the usual museums like Het Rijksmuseum, Stedelijk Museum and Boijmans. Be sure to visit Rotterdam; this city is getting more and more interesting over the years.

Where can potential buyers and fans purchase your work?

Just contact me using the contact form on my website, it’s the easiest way. Or come visit an upcoming exhibition!

Is there anything else that you’d like to share with the public?

I want to do another solo exhibition at the end of this year, probably in the Netherlands but Belgium is also at the top of my list; I have never exhibited there. I’m also going to publish a new book with a new collection of paintings this summer. Right now I’m working with a Polish DJ called Stromer on some new music. I’m also working on another electronic musical album, the follow up to my DADA record (an experimental record about DADA art movement).

This record will be about the ROMANTICISM art movement.

Page 26

___________________________________________________________________________ “The steps necessary to knowing thyself starts with meditation. Meditation allowed me to experience parts of myself that I had trouble expressing. I was blessed with the ability to express myself through art.

I never attended an art school or any programs; I chose to instead teach myself based on my instincts to paint one of a kind acrylic art on canvas. Every day I grow as an artist and I enjoy discovering new techniques that challenge my awareness and creativity. In the last six years I manifested Embot Gallery. Since then, each year my art has reached a new plateau.

I decided to expand my art onto different kinds of materials such as vases, bottles, hand bags and sneakers. One of the most rewarding moments for me was when I was a vendor at Union Square and 14th street. I was super excited to meet people who were easily influenced by my art. I received great responses in relation to my work and that motivated me with a desire to further expand my art. As the years passed, I continued to showcase my work around New York City and at popular locations such as Times Square, Noho Flea Market/Soho, West 4th street and Union Square.�

Page 28

“The word Embot is a mixture of Emmeline and Robot.

I believe that society has turned into a robotic state of mind in which human interaction is no longer important.�

What inspired you to become an artist and how long have you been one?

I've been an artist all my life but I never tapped into my talent until 6 years ago. I was working a dead-end job and doodling on a piece of paper while I was on my shift. I was told by a customer that my doodle was really nice and I should keep going. I was extremely motivated by the attention the one customer showed me, that I bought a small drawing book and went to work. I was able to express myself in ways unimaginable. Later on, I decided to take it to the next level and use colors. As my art blossomed into the wonders that it is, I grew as well. I was inspired mostly by the experiences that I was going through at that time. I moved out at the age of fifteen to live in New York by myself. My drive, character, wisdom, and love inspires me every day to become the artist I was born to be.

Name one thing that you love most about being an artist.

I love how carefree my imagination becomes every time I start a new master piece. It allows me to separate myself from this body I carry and into my true self and infinite consciousness where I explore new ideas, styles and understandings to who I am or why I am here.

You’ve mentioned that meditation is the key to understanding thyself. Many are unaware how

powerful this great art really is. Briefly explain how meditation has helped you as an artist.

Meditation is the reason why I am here today. When I started meditating I realized that there is more to myself that I have yet to experience, but I must allow myself to let go and get there. As I started to let go, more started to come in: art, wisdom, infinite knowledge and peace. When I was approached by that customer, I was at my highest vibration of creativity. I knew that moment meant more than just a compliment and I am glad I continued to explore myself as an artist.

Do you feel that a mind, body & spirit connection is vital to creating artistry at the deepest level?

You can create at any level you are in, there is always more so going to the deepest level does require work and understanding. The secret is to never stop growing in what you love doing the most. If you love writing then writing is what you should be doing consistently. It allows yourself to expand what you already know with what you can become as a unique writer. The mind, body and spirit are guides for you in this journey of awareness, it will always let you know what it needs for you to change. The most vital part of it all is you.

Your artwork is fun and filled with creativity, how would you describe your artistic style and technique?

There are four styles that I use when I create. I came up with different words for them based off of my art and the definition of the word.

Page 29

Expressionist: Painting without lines just a mixture of colors expressing a unique design or event.

Ambigram: A lot of design and very detailed work. Mostly colors and hidden messages in and around the art. These paintings show something different in every angle.

Prestige: Mixture of Expressionist and Ambigram.

Combination of both styles creating a unique and complex form of perspective.

Robotic: Only lines, no color or two colors- sending a clear message of what I am expressing.

Tell us a bit about Embot Gallery.

Embot gallery isn't just about the pictures on the wall that you see, it’s the whole truth about who I am. The gallery of my thoughts, my soul, my essences and all that is. It mainly focuses on the positive side, but also recognizes that there is a negative side. Embot started off as a nickname for me until I decided to make it my brand name.

The word Embot is a mixture of Emmeline and Robot. I believe that society has turned into a robotic state of mind in which human interaction is no longer important. We are so focused on the distractions that we miss little moments that matter the most. The greatest part of life to me is sharing an interaction with another human being, acknowledging that you are both alive.

message is inspiring to me, it reminds me of the way we all should express ourselves, united in trying to understand why we are here together.

Aside from painting, do you have any other talents or passions? If so, what are they?

What am I passionate about the most besides painting? It is dancing. I enjoy moving my body around and using it as a form of communication. I enjoy seeing a group of dancers together, dancing and sharing the same experience.

Another passion that I love to focus on, is spiritual advising. I enjoy empowering and helping people who may have trouble overcoming certain things in their lives. I have a strong belief in myself as well as in humanity. I believe that we all can be the better versions that we want to see in this world. With that being said, dancing to me can be a movement where we all come together and just let go.

You’ve mentioned that as an artist you are growing on a daily basis. Where do you see yourself in the next 6 years?

Geesh, I can't say I know where I’ll be in 6 years or who I’ll be. Things change and even if I came up with a legitimate answer, who knows what may happen. I will tell you this, that in the next six years all the goals that I have set will be accomplished and even then, whatever else comes my way I will achieve it all.

Who are your favorite artists or artistic inspirations?

As I mentioned before, I discovered this talent six years ago and I wasn’t aware of the amazing artists that shared their views until I started. I’ve always appreciated the art from our past that include: Pablo Picasso, Leonardo Da Vinci, Keith Haring and so on. I’ve met a lot of graffiti artists, painters, illustrators and even writers all in New York City. I am mostly inspired by my roots and the artists around me that I meet; I’ve experienced the most beautiful collaborations with other artists from New York City. The way that the artists use their surroundings to send a

Page 30

Where can potential buyers and fans purchase your work?

My art is available on my website for viewing and purchasing: www.embotgallery.com I’m working on an exhibit that’s coming soon in New York City. There is more information on my website about that.

I can be reached on Facebook as well: https://www.facebook.com/Embotgallery/

Patricia Concha

How did you become an artist and what were your inspirations?

be difficult to make a living with it. So I became a psychologist and a special educator, putting my love of art behind me for many years.

My artistic training is mainly in drawing, abstract painting and print-making techniques. I have trained at the Warringah Print Studio and at various art schools in NSW Australia in the past 6 years. My mum inspired me to become an artist. She was very good in crafts and included me in her art time when I was a child. As much as I wanted to pursue art as a career, I knew that it would

Whilst travelling back and forth to the USA to care for my mum when she was gravely ill, I started to draw pictures to lift her mood and to make her laugh. It made a big difference in her quality of life. As a result of her encouragement, I decided to pursue my love of art when she passed.

Page 33

What do you love the most about being an artist?

I love sharing my art and putting them in galleries or on my FB page. I like when my friends admire my artwork. Their encouragement means a lot to me.

The meaning behind your artwork contains great depth & significance. How important is expressing your inner thoughts & emotions through your art?

paint is more fluid and thicker. I do my abstract paintings mainly for my friends as gifts, to relieve tension and for enjoyment. I love slapping paint around wildly without any thought; I enjoy the surprise at the end. I never know how it’s going to come out.

Aside from painting and drawing, do you have any other talents or passions? If so, what are they?

I do art to share but mainly to express my deepest subconscious thoughts and feelings. I enjoy drawing and painting freely without a plan.

Dance was life for me when I lived in NYC in my late twenties. It was my passion. I studied dance for years while finishing up my Masters in Special Education. I no longer dance physically but, in some ways, I dance when I draw and paint.

Many professionals believe that art can be very therapeutic, in fact healing. What are your views on the field of art therapy?

What do you like most about Australia?

I totally believe that art can be a form of therapy. I consider myself still an emerging artist; therefore, my artwork is not done solely for profit but for enjoyment, catharsis and self-expression.

When I used to live in Miami, Florida, I worked as a dance therapist alongside an art therapist at a mental health hospital during my psychology undergraduate training at the University of Miami. I found through this experience the value of art as a therapeutic intervention, even more so than medication or other forms of therapy.

What role does the use of colour play in your artistry?

Colour is everything in art for me. The colours in my artwork express my soul qualities; a part of me I couldn’t touch any other way.

Your artwork is amazing. It is very distinct and uniquely detailed. Summarize your artistic style and technique(s).

One of my friends on FB described my artwork as being “chaos and orderliness at the same time.” I feel that describes me. I like routines and schedules and detailed work, but I also crave freedom and resist conventionalism. I think of my artwork as a maze to challenge myself to a new journey.

My artistic style I’ve named “Patty’s Zesty Fantasy Art.” For my drawing artwork, I mainly use ink and textured pens. I like drawing on a smooth white mat board.

I also draw on tracing paper and transfer my drawings on a solar or copper plate to make an etching, involving various chemical processes and a special UV machine.

I paint a little and mainly do free style abstract painting.

I use only house paints, which are less costly and the

Page 34

I like its people and the exquisite nature. To get up in the morning and see cockatoo’s, kookaburras, and rainbow lorikeets on my balcony is such joy. I like eating breakfast on my balcony and having a view of such rare and beautiful birds. I love the sounds of nature in Australia and more the spiritual vibration in the air. It gives me great comfort.

Though I was born in USA, Australia has my heart and soul.

Going forward, what can we expect to see from you?

I hope to branch out and do Viscosity Print Making, and explore portrait and landscape drawing within my own style. I like putting my artwork in overseas and Australian art prize contests, so I will continue to do so. It helps build my portfolio and I get feedback about my art. I will continue to put my artwork on my FB extra page – Patty’s Zesty Fantasy Art. Though I have been in some group exhibitions in Sydney, I hope to have a solo exhibition of my own artwork in 2017-2018.

Where can potential buyers and fans purchase your work?

I don’t have a website at the moment. To inquire about my work and current exhibitions, potential buyers or fans can email me at:

patriciaana.concha@gmail.com Also, they can surf my Facebook Page: Patty’s Zesty Fantasy Art and then email me if they like something or have a question about my artwork.

“Timeless Dimension” (Page 32) Captures my deepest feelings about life, my aspirations and the wonders of the universe.

My mind often travels far beyond our planet, imagining places that hold great mysteries and beauty. It inspires me and calms me to project myself in a timeless existence, where life moves in a meditative cadence. My use of ink and soothing and energizing blue colours in my drawing expresses the importance of serenity, spirituality and regeneration. My designs I draw aimlessly, letting my subconscious take reign, bringing forth freedom and evolvement.

“Jade” (Below) My abstract, acrylic fluid painting captures what I feel for the land of Australia. Its lush green forests, beautiful rich, terracotta earth and expansive beaches touch my very soul. It gives me strength, vitality and inner peace. Its natural environment is a wonderful, varied colour palette, having multitudes of shades and tones. My painting depicts the varied green eucalypt trees and the yellow-gold wattle flowers. These colours bring much brightness and serenity in my life. Jade deepens my connection to the natural beauty of Australia.

Page 35

Ultramarine and the Zeitgeist of the Perfect Blue Benson Mwang | United States “The blue color is everlastingly appointed by the Deity to be a source of delight; and whether seen perpetually over your head, or crystallized once in a thousand years into a single and incomparable stone, your acknowledgment of its beauty is equally natural, simple, and instantaneous.”

John Ruskin- (1819 - 1900)

One of the most popular and versatile gemstones is Lapis lazuli, so unique it has extraordinarily borne the turbulent tides of art and fashion. It has captured the attention of men and fascinated them for millennia; its shimmering golden shades of light and fabulous blue blends flawlessly with its pyrite compositions. Lapis lazuli today is cut like any other ornamental stone with cabochons a bit common just like beads and polished flat slabs. You can easily find a figurine and a carving of the stone.

Today, Lapis isn't the most expensive of gemstones although finding a really fine material is still as hard as it was 5,000 years ago. Until about the mid 18th century, a remote place in Northeast Afghanistan, the Sar-e-Sang was the only source of the gemstone. From the iconic era of the Egyptians, the revealing period of the Babylonians, the vicious times of the Romans to the 18th century Europe and the renaissance period the remote Afghanistan valley remained the coveted place where lapis lazuli was mined.

The charming ultramarine But even with the discoveries of new sources of the gemstone and the fact that its figurines and crafts are easier to come by there's a part of the lapis that still captivates to date; ultramarine, the blue pigment only natural lapis lazuli could produce. In the 13th century Book of Arts by Cennino Cennini, he considers the pigment as “a noble color, beautiful, the most perfect of all colors.”

The use of the ultramarine in painting still stands as arguably the most significant part in the history of classic paintings and a reason why the paintings from the old masters are still priceless. Lapis lazuli's touch of blue has manifested almost in every major human civilization, from pendants in 2900 BC Mesopotamia, perfect eyebrows of Tutankhamen, the young Pharaoh between 1341 BC and 1323 BC, Titian's Bacchus and Ariadne of 1520-23, table top View of the Port of Livorno by Cristofano Gaffuri between 1601 and 1604, carved mountain scenes in the Qing Dynasty around 1644-1912, Girl with a Pearl Earring by Johannes Vermeer in 1665, The Virgin in Prayer by Sassoferrato 1640-1650 to the Trafalgar Cockerel of 2013 on Trafalgar Square's 4th Plinth by Katharina Fritsch.

Blue beyond the hue Blue stands as the ultimate muse due to its ability to manifest as a mirage. It occurs everywhere in all the ancient elements from the flames, water to ice, even letting flowers to seep with purity. Only in ultramarine are we able to touch blue in its natural form. Ultramarine doesn’t unduly impress itself on the observer, peddle utter despair or preach sheer bliss.

From the ancient times the stroke of blue oozing from lapis lazuli has been regarded as representing the sheer melting of hostilities and the deepening of truth and friendship. The blue stone with deposits of mica, augite, pyrite and calcite refracts light and spreads it subtly in various ways as if to encourage harmonious relationships and authenticating the wearer.

Page 38

Ultramarine spiritually Ultramarine is the color connoisseur's appositely spiritual hue. As the blue deepens, it seems to draw men to fathom the infinite, in the process awakening the purity and unadulterated in man readying him to grasp the supernatural. It's the reason perhaps the ultramarine due to its prohibitive cost was reserved for the depiction of the deity, such as the raiment of the 16th century Virgin in Prayer by Sassoferrato and other raiment depictions of the Virgin Mary and Christ.

Eastern spiritualism continues to associate this deep blue manifested in notable gemstones like lapis lazuli with the third eye or the sixth chakra, essentially man's most elevated consciousness. The mysticism of the blue color also appears in the Egyptian Book of the Dead where lapis lazuli is exceptionally noted, set in pure gold and eye shaped as the ultimate amulet with power not to be joked with. Common lore places Cleopatra's eye shadow radiating with lapis lazuli in powder form.

Inaccessible yet soft Even as Superman and modern heroes from the comic world adorn blue, the ultramarine continues to offer a feeling of openness and expansiveness, the caring, compassionate, soothing and soft color of introspection. But the creation of ultramarine from lapis lazuli and its inaccessibility meant the cost remained high and was left to the wealthy patrons.

The cost was so prohibitive that Michelangelo had to leave The Entombment painting incomplete because he wanted to give it a shade of ultramarine to flawlessly finish it. The priceless blue is described as the superlative where blue is mentioned, the end of all blue and the hue to which all other colors aspire.

Perhaps, the cost of ultramarine is exactly what influenced the SocietÊ d’Encouragement in 1824 to raise a reward of 6,000 Francs to give anyone who could create a synthetic ultramarine alternative. After a lot of back and forth and fierce belligerence between the French chemist, Jean-Baptiste Guimet and the German professor, Christian Gmelin, each claiming to have created the alternative years earlier, the French ultramarine was born. The prize went to Guimet, to the chagrin of the German gentry.

Vincent van Gogh aptly summarizes the wonders of ultramarine and the beauty of blue in his paintings the Starry Night Over the Rhone of 1888 and the Wheatfield Under Thunderclouds of July 1890. He described the cobalt blue conjuring of the sky in the two paintings as the most beautiful and unequalled, superb for putting an atmosphere on things.

The supremacy, peaceful and independence of blue, the color that seeks harmony and truth, is perhaps summarized by the blue and buff choice of George Washington as the colors fit for the Continental Army uniform that decades later had to fight for the harmony of the Union and carve inalienable rights in truth.

Monique Jackson

Page 39

Yehuda Ozan

Kurosh Yahyai

Page 43

“I was born and raised in Southern California but I am of Iranian and Mexican heritage. I am a recent MFA graduate of San Diego State University. It is my feeling that the immediacy and continual nature of social media is creating greater anxiety, compulsion, and fear within our society and I am interested in exploring this in my work. The paintings, sculptures, and installations are an investigation into the anxious and existential nature of the human mind at the present. My intention is for the viewer to experience and have a visceral reaction to the work.

I want the light in my work to represent a manic state and the dark to represent a depressive state along with a sense of mystery. Further, I want to set up a tension between the viewer and subjects in the paintings; a stage for intimacy and discomfort. I am interested in creating a familiar or comfortable space that is also unsettling and alien for the viewer. The familiar (comfortable) elements can be interpreted through the objects in the work that reference the home (i.e.: couch, rug, mirror), while the surface treatments and manipulations of these elements can give an unknown feeling. I also see the home as a stage or setting representation of the human mind. It is the place where I find comfort and familiarity and yet it can also be the place of self-reflection, confusion, and turmoil.

I continue to research the anxious and existential nature of the human mind to help visualize, portray, and make tangible the battle within the conscious and subconscious mind. And in a world that focuses on satisfying the more primitive and chaotic nature of the mind, where does the silver lining hide? " Page 44

Tell us about yourself and your artistic background.

I have always been fascinated with drawing and painting. This fascination and genuine curiosity as to how to portray the 3-D world onto a 2-D surface is what launched me into the never ending path of art making. Most of what I learned in the early stages of my art has been self taught. I would buy art books and watch some videos online to teach myself. It was not until my third year of college that I actually took my first art class, this was beginning drawing. I feel that the lack of formal education early on has shaped the art that I currently make. It has allowed me to not follow the rules of formal drawing and painting, which then led me to be more free in my process.

Having said that, my formal education of art in my later years has sharpen what skills I already had, and trained me to think not only aesthetically but also conceptually. Having received my BA and MFA in painting and drawing, I feel that I have barely scratched the surface of the kind of work I will be making in the future.

Where does the inspiration behind your artwork come from?

Most of my inspiration comes from the human mind either conscious or subconscious. I have always been a self aware person and tend to reflect on simple thought processes that I have. This has lead me to think and try to understand other peoples thinking patterns through dialogue and observation.

The human mind is a vast and mysterious space, and all the different types and modes of thinking are of great interest to me. Finding ways to portray these modes and thinking patterns in the physical world is what inspires me to create.

to survive. This will continue to fascinate me and fuel my work in order to physically be able to connect with the audience in trying to explain a feeling of the subconscious mind that we all might share.

Putting together an exhibit that is geared towards expressing the nature of the human mind can be quite challenging. Did you face any difficulties in creating this exhibit? If so, what challenges did you face?

The entire process was quite difficult for me as it was very important to create a cohesive feeling from the moment the viewer entered the space. Working with both 2-D and 3-D objects can be difficult in the sense that cohesion can be a good and bad thing. I wanted the pieces to work together in a positive way rather than seem confusing and distracting. I was lucky enough to be in the space 3 weeks prior to the show opening, so I had a lot of time to work with the layout of each piece. I was able to play with the lighting and create the exact mood and feeling that I felt was successful for the audience to receive the work.

You mentioned that our world focuses on satisfying the more primitive & chaotic nature of the mind. In your opinion, what can we do or change in our daily lives to achieve a balanced state of mind?

I have come to understand that the primitive and chaotic nature of the mind will always be there as it plays an important role for peoples well being. It is not always a negative thing, but balance is key. The idea of balance is different from person to person, however, I think the important idea to think about when considering living a

Your artwork is thought provoking, creative and amazingly “out of the box.� In this collection, you explore the nature of the human mind. What is it about this topic that fascinates you and why?

The main idea that is most fascinating to me about the human mind is the mystery of it all. Scientists and psychologists have and continue to do extensive research on the human mind, yet it still seems to be greatly unknown. The pure mechanics of the mind is better understood rather than the subconscious mind.

For example, why and how we dream is mostly subconscious and it’s still greatly not understood. As the modern world changes, the idea of the subconscious mind changes with it. It is always adapting and growing into what it needs to be in order

Page 45

What do you like most about being a descendant of Iranian & Mexican heritage?

What I like most is my unique outtake on life. I really have three heritages having been born and raised in California. I embrace all my cultures equally and I enjoy seeing the fundamental culture and societal differences between the three.

What’s next for you? What can we expect to see in your next body of work? balanced life is being self aware and trusting in the natural curves that life will present. Meaning, sometimes you are up and sometimes you are down, but rarely is it one way for too long. If the chaotic/primitive mind is overbearing at the moment, then it is important for the mind to be self aware and know that in time this will change. Being mindful is key.

Most of your artwork in this collection is colourful. Is there a connection between the use of colour and your art pieces?

What is your favourite colour?

The array of colors in my work are very important and specific to me, as I feel they are the representation of my two heritages; Mexican and Iranian. Growing up in a household full of bright and vibrant colors is what I am used to, from elaborate large Persian rugs, to the detailed colorful everyday objects of Mexican tools and sculptures. I grew up subconsciously looking at these objects my entire life and it has entered into my work permanently. Having said that, I use the colors in a way to show contrast with the dark spaces that much of my work has. To me it is way of showing the contrast the mind is capable of, the highs and the lows. As for a favorite color, it would have to be the absence of color, black.

You are very talented and are able to create various types of art. Which style of artistry is your favourite and why?

I feel I cannot choose a favorite. Each medium is as important to me as the next. If I were to do one for too long I would go crazy. I tend to switch from painting to sculpture to installation quickly while working on different pieces. It allows me to disconnect from a piece without getting too frustrated or working it too far. Each medium informs the other as well, to me it is like learning a new language but still saying the same thing. Where one person might understand a 3-D object better than a 2-D object and vice versa.

Page 46

I will continue to work more closely with painting for now, as I have some ideas that I would like to exhaust before I continue more with 3-D objects. Art making is a life long endeavor and now that I am out of graduate school, I would like to slow down a bit and focus more on specific mediums for a longer period.

Where can potential buyers and fans purchase your work?

They can inquire about most of my work through my email address or website:

www.kuroshgallery.com They can also see my work and progress shots on my Instagram account: Kurosh.Yahyai __________________________________________

Monique Jackson

Monique Jackson

What is Transcendent Visualism?

David Curtis Glebe, Ph.D.

To all of those readers with the confidence, the passion, and the audacity to call themselves “artists,” I issue this preliminary challenge: Do you take the endeavor of art seriously?

If your response is yes – indicating that you believe contemplating aesthetic issues and creating works of art are personally meaningful endeavors, worthy of serious thought – I would like to introduce you to a new conception of visual art that I have been thinking about for the past two decades, and which I have called “Transcendent Visualism.”

As a starting point, let me pose another consideration: Why is the most common shape used for visual works of art like paintings, the same shape used for the windows of buildings and houses, namely, rectangular or square?

Obviously, we will occasionally come across paintings that have odd, non-rectangular shapes, as well as windows or other portals that are round or irregularly-shaped rather than right-angled. But these are the rare exceptions. For the most part, artists have continued to use the rectilinear format for their paintings. Indeed, even Mondrian's display of his later paintings in a diagonal fashion underscored his choice of the square shape.

In my view, the rectangular shapes ordinarily adopted in paintings being similar to the rectangular shapes adopted in windows, have served a useful purpose; they have facilitated the understanding and appreciation of artwork in terms of a “simulated” visual experience.

Consider what happens when we look through a window. To begin with, we “locate ourselves in space,” adopting a specific, personal perspective from which to make our visual observation. If we are inside of a structure, we adopt that “inside” space and perspective, and proceed to look through the window towards whatever is on the opposing side. By the same token, if we are on the outside of a structure and looking in, then we adopt the “outside” space and perspective, and proceed to look through the window to whatever is inside.

Since most windows are rectilinear, moreover, the visualized field that we experience when looking through them is always bracketed by the frame of the window itself. Accordingly, we do not only adopt a personalized space and perspective with respect to whatever appears on the opposing side of the window, but we experience a rectangular-shaped limitation of that appearance as well. Since we cannot see around corners, our field of view has boundaries.

Page 50

A comparable set of experiences occurs whenever we look, for example, at a landscape painting in a gallery.

We adopt both a position in space and a personal perspective. Namely, we experience ourselves inside the gallery building looking out of that space, and through a simulated window and into the artist-created space of the painting.

Once again, the visualized field in the painting is limited by the frame (or perhaps the edges) of the painting itself.

Notably, the visualization of the painting's landscape may even be identical to the actual landscape represented in the painting - a phenomenon famously captured in Magritte's disconcerting “La condition humaine”- so that the artist-created representation essentially overlaps the natural one.

Let me call this simulated-looking-through-the-window experience, “visualism.”

Until the early twentieth century, the aesthetic concept of “visualism” provided a useful functional model for the understanding and appreciation of art by viewers. That is, because the images that painters commonly incorporated into their artworks were two-dimensional representations of three-dimensional objects that were readily recognizable from the natural world (e.g. people, animals, flowers, sunsets etc.), viewers of paintings could appreciate their aesthetic value and meaning by relating the painted images to those natural objects. Even the creative liberties with representation taken by impressionist painters like Monet, Cezanne, and Van Gogh resulted in images that most viewers could still recognize as familiar, and still experience in an aesthetic sense by means of the simulated-looking-through-the-window approach. Most viewers could appreciate the beauty of art in the same way that they could appreciate the beauty of nature.

However, jumping ahead to the mid-twentieth century, artists like Rothko, Pollock, de Kooning, and many others were creating enormous abstract paintings that apparently rejected the notion of “representing” real-world objects altogether. At the same time, art critics like Roger Fry, Clive Bell, and Clement Greenberg, the most vocal proponents of non-representational painting, had been arguing that the “true” or “pure” aesthetic aspects of a painting arose autonomously from the formal characteristics of the painting itself, and did not rely upon anything outside the artwork, such as whatever the painting may have resembled.

Then, what did this radical development in painting mean for the aesthetic experience of “visualism?”

Was “visualism” still a meaningful approach to the understanding and appreciation of painting when the “objects” appearing on the opposing side of the simulated window (if any could be discerned at all) were not familiar or even recognizable to the viewer?

In my view, “visualism” as an aesthetic model in painting did not become obsolete with the rise of non-

Page 51

representationalism, although it surely evolved. For one thing, most of the non-representational paintings displayed in even the most cutting-edge galleries and museums were, and still are to this day, shaped like rectangular windows. Considering how much painting itself has evolved during the past century, this fact alone is remarkable. But this would not be the case, I maintain, if the “simulated-looking-through-the-window” experience did not remain a useful model of aesthetics.

In a more substantive way, the “visualist” approach to painting has continued to be vital. Consider Rothko's “signature” later artworks as an example. His large color-field paintings may appear at first glance to be flat and uninteresting, composed of seemingly meaningless, and often monotonous, rectangular “clouds,” usually positioned in close proximity on a rectangular canvas. However, upon closer inspection, viewers have reported the feeling of being “swept into” Rothko's created spaces. As if they had been “absorbed” into those rectangular clouds of color which appear to float before the viewer through a simulated window. Some viewers of Rothko's works have found this experience to be profoundly spiritual or emotionally overwhelming, even moving some to tears. Gazing into the alien spaces on the opposing sides of the portals that Rothko created, the viewer plainly does not see familiar objects like landscapes or animals or flowers, but nevertheless beholds a mysterious presence, silent and ineffable. The aesthetic experience of such non-representational artwork, I would argue, remains a “visualist” one - a simulated-looking-through-a-window.

One might properly describe this particular “visualist” experience as one of “transcendence,” since the created space and images viewed through the simulated window reveal a deeper or more essential reality rather than the more familiar, natural one. It is not surprising to me, for this reason, that Rothko was commissioned in 1964 to create a special meditative and reflective space in which viewers could quietly contemplate his “Transcendent Visualist” paintings, although he unfortunately did not live to see the Rothko Chapel completed.

Although there are certainly many other famous painters whose artworks exhibit the elements of “Transcendent Visualism” that I've outlined here, such as Jackson Pollock, Barnett Newman, Yves Tanguy, and Zhao Wu-ji, my favorite remains Mark Rothko. In my opinion, no other modern artist has been able to capture the essence of “the transcendent” that I personally value in the visual arts, and that I have strived to create in my own paintings.

Along these lines, over the past several decades I have been developing a distinctive and rather unusual style of painting, by which I apply layers of acrylic pigment to the reverse-sides of clear acrylic panels, often in a manner that does not permit me to see the painting while I'm working on it. When one of my reverse-painted acrylics is viewed in person, I am often told that it resembles a large photograph with unexpected depth, detail,

Page 52

and subtlety, along with fractal, self-similar characteristics. Viewers also report that the clear glass-like panel in a black metal frame reminds them precisely of “looking through a window,” and peering into some other dimension or alternate reality. Although nobody has told me that my paintings have moved them to tears as Rothko's paintings have done, I've been told many times that my artwork provokes a spiritual, “transcendent” reaction that some viewers find to be tranquil and calming.

Moreover, while my own paintings are obviously non-representational, I am often told that they nevertheless evoke familiar images, such as human faces, landscapes, underwater scenes, ancient red rock archways, colliding galaxies, nebulous clouds, and so on. In light of those observations, I have given additional thought to whether the traditional categories of representation, expressionism, and abstract formalism may break down upon close analysis, and whether artworks can simultaneously embody aspects of all three.

Given my background and training in analytic philosophy, I have attempted over the years to develop a new aesthetic theory, in an attempt to interpret my own artwork in a coherent manner, and to place it in a larger philosophical context. This theory is what I have named “Transcendent Visualism,” and I have continued to work on its various aspects, relationships, and connections to other aesthetic approaches. Accordingly, any ideas, comments, or questions by the readers of this short article about the thoughts I've set forth would certainly be welcomed.

David Glebe

David Curtis Glebe, Ph.D., is a professional artist, now residing in Rehoboth Beach, Delaware. He has earned five academic degrees, including a doctorate in analytic philosophy from the Ohio State University, and a Juris Doctor in law from the University of Pennsylvania. Since the mid-1970s, he has exhibited in dozens of juried art exhibitions, winning many awards -- a comprehensive list is available upon request. During his graduate school years, Glebe taught a special undergraduate seminar on aesthetics and the philosophy of art.

Glebe is presently represented by the Peghini-Raber Gallery in Rehoboth Beach, Delaware, and he is an active member of the Rehoboth Art League, the International Society of Experimental Artists, and the Philadelphia Sketch Club, the nation's oldest association of professional artists.

Contact: Email: davedavedavedavedave@me.com Website: http://fineartamerica.com/profiles/david-glebe.html

Page 53

David Glebe

Loretta Kaufman

Phillip Hanson is a painter and digital artist based in Michigan. He uses numerous digital and analog processes to arrive at his solutions. He actively exhibits his work throughout the United States and is featured in collections in China, England, The Netherlands and the U.S.. Currently Phillip serves as a lecturer.

Page 57

of Art in foundations at Saginaw Valley State University.

How did you get started in the arts? Tell us about yourself.

I was a late bloomer. Out of curiosity, I started making art when I was 17. I was lucky enough to have a recent MFA graduate from the University of Michigan, Mr. Kevin Brady, as a student teacher in my high school. On emotional content, Kevin taught art in a scientific way that was based heavily on theory, technique and light on.

It was also more about thinking and less about notions of natural talent. I love science, so his approach to image making increased my natural curiosity.

I went to Saginaw Valley State University in Michigan and worked closely with Mr. Don Kerr, whose approach was heavily based on the psychology of visual perception. He taught me about an obscure teaching technique pioneered by his teaching mentor, Hoyt Sherman, from Ohio State University. Hoyt used a system that he called the Flash Lab, where he taught students to draw in total darkness using a tachistocope that flashed a slide image for a tenth of a second. The flash created an after image that the students duplicated on their paper in the darkness. I was so intrigued by this process that I attended The Ohio State University for my MFA to research, rebuild, and test Hoyt's equipment.

During my time at OSU I was taught by a number of faculty and visiting artists who broadened and developed my interests.

I was also welcomed by the faculty in the Psychology Department's Vision Laboratory where I learned about research conducted by vision scientists. I then worked at MOCA Cleveland where I was influenced by a great staff and the work of a number of contemporary artists.

My single greatest influence during that time was the work of James Casebere, who creates architectural models that he stages and photographs. I moved to Michigan almost eleven years ago and have been teaching for nine years at Saginaw Valley State University where I have been influenced by the wonderful community of faculty and students. The entire time I have been making a wide variety of work.

Where does your inspiration come from?

I try not to think too much about where my inspiration comes from. I look for ideas and image making methods that have the most potential. Teaching foundations: Introduction to Drawing & 2-D and 3-D design, I am consistently reminded that simplicity often offers the most potential. Imagine a kid ditching the toy so they can play with the box that it came in. This makes sense to me because the box has much more potential for creativity than the toy does.

What do you enjoy most about digital artistry?

There are three things that I enjoy about working digitally. First, I can work efficiently through a large number of iterations without fear of making mistakes because I can always go back to a previous state of the

Page 58

image. There is an absolutely amazing economy and sense of freedom because nothing is lost. Secondly and similarly, it is less wasteful and has a negligible impact on natural resources and the environment when compared to traditional painting. Finally, digital work is inherently shareable. It has the potential to do for art what the Gutenberg press did for the written word. Its initial state is digital so there is no corruption of the image as is the potential when photographing works for display on digital platforms. That being said, I still enjoy painting with traditional materials. I find that digital work informs my analog process.

Your work is outstanding and it’s very creative.

How important is creativity to you?

Thank you. I used to think about creativity a lot, I don't so much anymore. I think about the process of making art more like catching fish, an analogy that a good friend of mine, painter Michael Garguillo, learned from a mentor of his and shared with me. Basically, it has taken me a long time and many years of failure but now I have confidence. I know if I cast out into the deep looking for an image, I can eventually get it into my net.

Has living in Michigan or the United States influenced your art work? If so, how?

I imagine that it's hard for a fish to perceive the water they are swimming in. Likewise, I think it is difficult for me to perceive how my physical location influences my work.

That being said, I do recognize the intense natural beauty of Michigan, including the change of seasons. I also recognize the relative freedom I am privileged to have in the United States where I can make basically whatever I want. I suppose the natural beauty and variety of visual experience in Michigan combined with the creative freedom I experience in the U.S., necessarily influences my work.

There are some that believe that digital art is “not real art.� How does this make you feel and what are your thoughts on this opinion?

I know what you mean by this question, and I have run into a number of people who feel this way. It is common for entry calls for artists to exclude digital work. Impressionism, non-objective art, photography, performance, video, and many other disciplines/strategies for image making have at one time or another been subject to similar claims. A basic awareness of art history allows me to take this sort of criticism with a grain of salt. I am particularly interested in why digital art is so special at this moment in history. It can be easily argued that the advent of photography in the early 19th century changed painting in a profound way; it allowed artists to visualize and present the world in ways inconceivable prior to its advent.

With the camera being able to capture a likeness so accurately and quickly it allowed artists to direct their

energies elsewhere: abstraction, light, color, form, idea, deconstruction, etc. It can be similarly argued that the use of the computer also has expanded and fundamentally changed painting. Working digitally has fundamentally – changed my approach to oil and acrylic painting. My new paintings are becoming much more about their physical presence. I imagine van Gogh had a similar reaction to the relative lack of physical substance in photography compared to the potential of paint. The camera allowed van Gogh and others to take traditional painting skills and apply them more fluidly with less fixation on capturing a likeness of the observed.

What role or significance do you feel artists have in our society?

I'm sure there are a great many ways in which artists serve our society. In many ways the work of artists is misconstrued as a selfish act because it is often done in isolation and appears to be an enjoyable usage of time. The work of artists to me is often more akin to philanthropy. Artists often spend countless hours of their time, often fruitlessly, in order to direct others to a greater awareness of beauty, pain, joy, and meaning.

You’ve had the opportunity to have your work featured in various collections internationally. What pointers do you have for others wishing to accomplish the same?

Be generous with your time and resources. Do commissions when possible. Make personal

connections with others while talking about your artistic contributions to society.

If you had to choose one profession, which one would you choose, “the teacher” or “the artist?” Why? Thankfully, I don't have to choose. The choice is actually made for me, that is, most institutions of higher learning require their faculty to address the three pillars of service, teaching, and scholarship. If I had to choose, I think I would choose teacher because I enjoy working with humans and turning students on to the visual world. That being said, I would suffer if I couldn't contribute to humanity with my art.

Where can potential buyers and fans purchase your work?

My work can be seen on my website:

www.philliphanson.com My work is posted frequently on my Twitter account @miimage. I'm interested in selling my work and usually do so via an email link on my website or in person through exhibition venues. I email price lists to interested parties on available works and work with them to find or make the image that is right for them. I'd like everyone to own one of my works, so I work to find ways that I can get my images in the hands of collectors, especially those who are just beginning to collect. I have a one person show starting on September 26th in Flint Michigan at the Mott Community College Fine Arts Gallery.

Page 59

George Figueroa

“Anyone can take a photo but only few can elevate the photo into something meaningful.

The camera is an advanced form of a brush in my opinion.

It captures a broad spectrum of color, but the photographer manipulates and refines those colors into something greater.�

Page 61

Tell us about yourself. What is your background as a photographer?

Honestly, my jump into photography was more of an afterthought. I originally enrolled in the University of Toledo to study film but soon realized it was not for me. I wanted to remain in the arts, so I switched my major to visual arts hoping I would find something suitable for me. I took a few classes focusing in photography and stuck to it. It was not until after I graduated where I truly began to take it seriously as a passion. Ever since then, I have been focused on developing my post-production skills to advance my personal style.

What inspired photographer?

you

to

become

a

I was originally attracted to possibly creating cinematics but through that journey, I realized it was not necessarily for me. I found greater joy in my life when I discovered photography. I loved the possibilities that photography offered; I could convey multiple messages through one image. I wanted to use photography to unveil the complexities of human nature but now I am inspired ultimately to share the Gospel of Jesus Christ through photography. It has been a great avenue for my creativity to blossom and to share the word of God through visuals.

What do you enjoy taking pictures of the most?

For the most part, I truly enjoy taking images of landscapes. I find it very relaxing and beautiful to be connected on an intimate level with God’s creations.

I see and feel His presence through the whispers of the wind and the crashing waves in every body of water. If I can convey even the slightest of Gods existence, I am thrilled to share that with everyone.

Your photography is very beautiful.

Whether it’s a still object or a scene, you are skilled at capturing their true essence in your pictures. How do you achieve such great photography? What are your secrets?

I have learned recently that the best thing to do for me is to practice patience and to take every shot I can.

My goal in every session is to capture one great image. In order to do that, I take multiple shots of the same scene in many different angles. I am attempting

Page 62

to make a habit of taking every shot I can, even if I am uncertain of the aesthetics it may offer. I have at times turned my less desiring photos into my best work.

Do you feel that photography is more of a science or an art?

I feel that photography is more of an art. There is no defined technique in creating a beautiful image.

Anyone can take a photo but only few can create art with that photo.

There is often a debate about whether or not photography is an art. Some claim that because the photograph comes from a machine it cannot be called art. Others argue that the photographer creates the photograph by capturing the emotions and beauty of the moment. What are your thoughts about these opinions?

I agree with the latter; as I mentioned before, anyone can take a photo but only few can elevate the photo into something meaningful. The camera is an advanced form of a brush in my opinion. It captures a broad spectrum of color but the photographer manipulates and refines those colors into something greater. Composition and color can really make or break an image, they can tell one story or countless others.

How significant is photography in our modern culture?

I believe it has gained much significance in recent years with the accessibility of camera phones and the advent of social media such as Instagram. It has become a source of communication and at times, validity. I’m not sure if it’s completely positive but photography has definitely gained momentum in recent years.

What can we expect to see from you in the near future?

I hope to continue progressing in my craft and create a body of work that glorifies God. My ultimate goal is to encourage fellowship through photography. I am in the process of writing a bible study supplement and I hope to connect my photography with it. Other than that, I hope to use photography as a means to

travel further and explore new areas of this planet.

Aside from photography, do you have any other skills, talents or hobbies?

It has been some time but I enjoy drawing. I also truly enjoy writing whether it is poetry or traditional forms. One of my earlier hobbies that helped direct me to the arts was actually the art of magic.

Magicians such as David Blaine had influence in my life early on. I did a series of photos entitled “Square Circles,� which dealt with magic tricks and deception.

Where can potential buyers and fans purchase your work?

I do not have an official website at the moment but I am currently curating my portfolio on 500px.com (Visual-Literature) and flickr.com (Visual Literature). Not all of my work is currently on there but it will be updated regularly. For potential buyers, feel free to contact me via social media or email.

Email: george_9220@yahoo.com.

__________________________________________________________________________________________

Page 63