Interartex: Catalogue NY2014 by Interartex

European Artists At New York 17-31 July 2014

In collaboration with:

Index Interartex and the visual arts…………………………………………..page 2 The Gallery 69…………………….….…………….…….…….….….….….….….…...page 3. The exhibition…………………………….………………….……….…...….….….…….page 4 Catalogue……………………………………………………………………………………….page 5

Interartex and the visual arts

The company Interartex, formally known as Maecenas Italy Art, organizes exhibitions, art competition and cultural events for private or public institutions. The company has its head office in KĂśping, Sweden. The company was founded in 2010 by Riccardo Baldelli, Swedish-Italian art critic with the intention of promoting the Italian artists in Scandinavia. In mid 2011 Elisa Bastiani, art historian and conservator, joined the company, as the projects became more and more complex and the company began to invest in the entire European art market. A market -research study in August 2013 showed that the company had more than 5000 customers, artists and designers, primarily from from Scandinavia. Maecenas Italy Art changed name to Interartex, to reflect the market and to make their name easier to pronounce for their Nordic customers. Interartex performs an important job for artists from all over the world presenting them in different solo- exhibitions, acting as their agent. Riccardo Baldelli, CEO of Interartex, selects every year a few artists who he helps to introduce to the art market. The company select exclusive location around the world and invites these artists to participate to theese special exhibitions. who desire to exhibit and present his art in new markets. We want to make easy for the artist to be part of important exhibitions and the sale his or her artworks. We take care of the relationship with the gallery, the catalogue and of the transport of the artworks. For this reason Interartex has developed relationships with many galleries around the world, tapping into a network that permits offering the best prices for the artists. In 2012 we also started the Art Gallery Quirinus, in Sweden to give our artists the possibility to exhibit near us and our collectors the opportunity to get to know new and wonderful artists. From the 2013 Interartex publish also a magazine, with the name ArtÂ´s Gazette, an important contribution to the editorial world about art. Every edition is monographic and is distributed to chosen galleries and art museums in Europe. Our organization help the artists to make themselves known in the world and assists them in the process to come out into the market, assisting them with making the sale, publishing catalogs, giving them visibility on internet, transporting their art-work, and making certification of the artwork. In order to do that, we use a lot of collaborators, travel-business, private galleries, agents, and cultural association in the entire world. During 2013 Interartex went through a process of research and reorganization, studying how the artist can gain more visibility in the digital world. The company has added a new employee, Erika Almgren, expert in social networks and digital promotion. We are moving into the digital space, making streaming tv, brand entertainment and documentaries for the artist. We donÂ´t wait for a new market to appear for our artists, we create one.

The Gallery 69 We opened our art gallery doors with a successful grand opening weekend on January 23, 2010. Gallery 69 is a full-service fine art gallery located in the heart of Tribeca at 69 Leonard Street (off of Church Street). We offer custom framing and consultations through our in-house company, Tribeca Framing. Our other services include restoration, consultations, appraisals, custom-made mirrors and tabletops, art installation and an art transportation service, professional packing & shipping of artwork. The Cornell Family has been involved with every aspect of the Art business for over five decades. Our family has run more than seven art galleries in New York City, and has recently decided to re-enter the Manhattan market with our full-service fine art gallery, Gallery 69. We are focused on offering as many quality services as possible to make your visit the most pleasant and memorable experience. We guarantee to deliver 100% customer satisfaction.

The exhibition The art gallery Gallery 69 is located in Leonard Street 69, Tribeca, New York. The gallery is the property of the Cornell family, present in the art market for more than 50 years. The gallery is a place for different forms of art, from fine art to street art. It is a modern gallery where the multicultural atmosphere and the variety of exhibitions attract both young and more mature visitors. The intention of Interartex is to give to the artist the possibility to show his or her artwork in an environment full of possibility, in New York City. Every artist has more than one artwork in exhibition because we wanted to tell a story about the artist, to tell something about his or her concept of art, her personal journey in artistic research and her achievement of quality and originality. So each artist is presented as a little personal exhibition, with four or more paintings. We believe that the visitors of the Gallery and the readers of this catalogue can better appreciate the beauty of the artwork if they see them in a perspective of development of their artistic effort. It is very important for us to ensure that the contemporary art that comes from Europe will be enjoyed also in the United States, because we believe that a new frontier of the art is precisely here and now, in Europe, the same continent that has a long tradition of art from antiquity also have so much to offer to the art-customers who seek quality and modernity. Riccardo Baldelli VD of Interartex Sweden, 17 April 2014

Catalogue

Beatrize Bäckström

Margareta Lilliesköld

Kristin Irén Dijkman

Susan Lindström

Anna Engebrethsen

Sirpa Mettiäinen

Group Camvert Kunsthus:

Teresa Palla Ahlin Patrizia Poli

Virginie Gallois, Stefania Grazioli, Emanuela Mezzadri

Mikael Schmidt

Group Contrast:

Margareta Skogsberg

Isabel Carafi, Maurizio Caruso

Kajsa Stamenkovic

Group Wild:

Magnus Säker

Gianluigi Alberio, Charlotte Isaksson

Dawn Yoshimura

Lars Karlsson Karl Johan Lilliesköld

Beatrize Bäckström

Stop looking at me, acrylic, 50x50 cm, 2013

Beatrize BĂ¤kstrĂśm The world of fairy tales sometimes can be a game for adults. When the story is mixed with exotic permeated atmosphere of dreams with fascinating colors and depth, then we are faced with a path that is adult and studied, designed to deceive our senses, fascinating our imagination, involve us and transport us in to mysterious jungles. It is what Beatrice makes with us, calls us through her works, turns to us dreamy and almost childlike, but her technical ability instead hides a precise purpose. She wants to have fun with us and she does it using her bright colors and exotic animals soft as toys, using sinuous and flexible lines where plants and animals are a harmonious whole. The figurative here is a metaphor of a transfigured reality, the proportions is risky and unusual shots. If art many times has made an entrance in movies, giving life to animated characters of harmonious beauty, here the process is reversed. A young girl, who grew up in the television generation, rebels against the easy suggestions of visual entertainment , but also incorporates them, unconsciously, recasting them in a complex and dynamic style , very personal , artistic complete, leaving no room for improvisation but grows in security and dynamics of expression for each work. Beatrice is a member of the new generation of artists, who express themselves between pictorial traditions and modern influences, between the will to express the aesthetic sense of the time they live in and the effort to find a proper artistic language. A young artist to be monitored to discover the art direction of the future.

Do you smell something fishy here, acrylic, 30x90 cm, 2013

Beatrize Bäckström was born in 1981 in a small town in the southern part of Sweden. She have been creating things since she was a small child. Clay, paint and her own imagination have been her companions all her life. Beatrize is completely selftaught, and the skills and expression of her creations and style mature (and changes) with her own personal growth and time in life. She went in a special art programe at school between the ages of 16 to 19, where she evolve her skills and knowledge in sculpture, painting and got a kick start when she was introduced to the world of spatula painting. There was and instant connection and love between her and this somethimes sharp tool of art. After the graduation she have been having some periods were she didn´t create at all, but when she started again her artmaking had always evolved and changed. For Beatrize creating is everything. Take the art from Beatrize and she will stop live and she is also a lot in her different creations. Her main form of expression is acrylic paint on canvas, but she also make sculptures in paperclay. Nowadays she have put both her spatulas and easel away for more closer way to create. Beatrize is now mostly sitting on the floor with the canvas in her knee, on the floor or have it leaning against a wall when she paint with her hands and fingers. She also still uses small brushes for lines and smaller details. Beatrize herself believes that her special style is because of her incurable eye disease which affect her sight in many different ways. And when her sight got worse she changed her way to create and started to paint like mentioned before with her hands. No matter how bad her sight will get she will managed to find ways to do what she loves and also need to do, to create and bring life to small yellow eyed cute monstruous animals...

You will eat me whole, acrylic, 30x90 cm, 2013

You cant touch this, acrylic, 50x50 cm, 2013

Kristin IrĂŠn Dijkman

The Young Lion, oil on canvas, 60 x 70 cm, 2012

Brilliance, oil on canvas, 60x40 cm, 2014

Kristin IrĂŠn Dijkman Our generation, the generation born after the Second World War, was the first to reflect on the values of the consumerism. It has been the generation that led individuals to reflect on what is important in human life, what has permanent value, what is the object not of consumption but for careful and studied use, what has moral and existential values but also what has a real economic value that extends over time. Even the art has been involved by this movement and the artists you see today, such as Kristin IrĂŠn Dijkman, are returning to the discovery of art as an expression of quality and technique, as a value that remains from generation to generation, and not just as a complement to furniture and design, subject to the fashions of the time. Kristin is very able to express the personality of the people in her portraits, an unusual gift also for famous portraitist, often attentive to physiognomic details but not to the individual personality, as a result of a human and existential process. The portraits of Kristin has a rise for the high quality , because they describes for the future generations certainly not the physical character of the person, but the story behind the person, his emotions , his joys and his melancholy . That's why the artworks of Kristin are artworks for posterity, artworks in which to invest, artworks intended for the future people, as it always should be for the quality art.

Kristin IrĂŠn Dijkman believes that people in our modern day and age need to experience some form of positivity on a regular basis to counteract stress and other negative effects from environment and media. She wishes to give her audience positive experiences of recognition and authenticity. This through the viewing of her figurative art where she portrays authentic human feelings and character, where high quality is one of her requirements. She believes that when we identify ourselves with something beautiful and authentic, we increase the understanding of our self, which may lead to an increased sense of tolerance and empathy for our fellow human beings. Through her art she aims to affect people on a deeper level. She chooses themes that stimulate reflection and choose topics based on life itself. By imparting her own authentic experiences she find it easier to affect people. She paints people expressing their character, revealing their inner qualities and the material they are made of. She looks for what their expressions and moods are telling. In so doing, she acts like a mirror to the person she painst, but the painting also becomes a mirror for those who see it and are affected. Recognition is a vital need that lies deep within all of us. Even an infant has the ability to recognize its mother's face and show recognition with its facial expression and body language. She chooses to express herself classically figurative, so her audience can experience the touch of recognition. During her whole life she has been fascinated by how the great masters were painting. For her, it's natural to learn from them and build on their knowledge. Mastering her craft is an important goal in her life. She continually strives to increase her skills, enVictorious, oil on canvas, 55x70 cm, 2014 hancing her ability to create true expressions with an open mind. This is a joyful challenge in her art. She has always worked with art and culture and started early on drawing, writing plays, performing, singing and playing piano. She chose an academic education as a musician and worked as a pianist and educator for many years. Eventually, painting became her main form of expression. She also works with sculptures in soapstone, writes short stories, fairy-tales and gives lectures on subjects that she finds important. Education She has studied art with several renowned artists. The three who have meant the most to her are the artists Per T. Lundgren, Jan-Ove Tuv (both from "Nerdrum School") and Jan Valentin Saether (formerly Professor of figurative art at the Art Academy in Oslo). She has also studied art at the academy of JĂ¤rna in Sweden.

The King and I, oil on canvas, 40x60 cm, 2013

Anna Engebrethsen

I saw a throbbing heart, 90x30 cm, oil on canvas, 2013

Anna Engebrethsen The relationship between Nordic people and nature has always been a source of inspiration. The Nordic artists have always told about the snowy landscapes and the impenetrable forests. Animals have always been present in legends and stories that in turn have been reflected in pictorial expressions in all times. The new generation of Nordic artists, such as Anna Engebrethsen, follows the tradition; but they interpret the tradition with modern and personal eyes. The forest is present, but has lost the characteristics of a physical space, to instead devolve into a symbolic dimension and transcend into a fable. The snowy landscapes become monochrome white backgrounds, worked skillfully with strokes of a spatula, as ancient embroidery. The white is no longer white but variations of light and shadows in a dynamic geometry. On the white the animal stands out, but are also elusive, partially hidden. The animal is complete only in the soul of the artist which leaves room for the viewer to look within himself to complete the non-visible part of the beast, supplementing it with their own emotions and their own experiences. Anna is very skilled in the research of the dynamic and mechanical movements of the animal; her ability to understand that makes her able to just hint at the movement, just let us guess the movement with a few skillful strokes of the brush. Anna takes us into the mythical north, through her eyes, to a fairytale.

I wish I could love you, 90x30 cm, oil on canvas, 2013

Born in a little coastal town in Sweden called Falkenberg, Anna Engebrethsen is a well-traveled artist. At only 27 years old, she has already exhibited her paintings in great places around the world. With her muses the hare, the sparrow, the deer and the eagle, she has participated in exhibitions at the Grand Louvre in Paris, Grimaldi Forum in Monaco and in Barcelona, to name a few. With thick layers of oil, she tells the story of the often forgotten world, the world that keeps all the forest creatures and contains the spirit of life. With her unique technique she takes advantage of the Scandinavian color scheme and lets the abstract structure on the canvas create clear pictures of a flourished nature in our minds. She lets us feel the heartbeat of the majestic deer, the wind that swirls around the hare's wet paws and without words or sounds she lets us hear how the eagle's great wings break the silence. Doc. Riccardo Baldelli wrote in an art critical review "Artists like Anna Engebrethsen could be the bridge between nature and humans that we have lost and that only a young soul like Anna can give us back." As a child, Anna was fascinated by nature and the mysterious creatures that you could only have a glimpse of with a great amount of patience. Hand in hand with her grandfather, she explored the forest and collected memories in her heart that years later became her way of painting. Visit her website www.annaengebrethsen.com for more information and pictures of her art works.

Sew me in your body, 90x30 cm, oil on canvas, 2013

Through all my happiness, 90x30 cm, oil on canvas, 2012

Group Camvert Kunsthus Camaver Kunsthaus proposal is a three artists group at international level: talented so much to strongly express their capabilities: Stefania Grazioli, Emanuela Mezzadri and Virginie Gallois. Since many years Camaver Kusthaus is discovering qualified artists to promoting the artwork which can really communicate something beyond the trends of the day. Stefania Grazioli, Emanuela Mezzadri and Virginie Gallois perfectly represent the artistic line of Camaver Kunsthaus: three very different personalities, three artistic languages very personal?at the antipodes each from others; three artistic expressions converging into the need to communicate an intimate sentiment strong and disruptive.

These three artists will carry their feminine sensibility to the United States, together with the ability of the high level artists to translate emotions feelings and moods in highly evocative images. So, Emanuela will show her artworks, her poems: hermetic haiku full of charm. Virginie Gallois adds a touch of magic to her poetry, joy and happiness but also a deep psychological introspective sight. And finally Stefania Grazioli highlights her uncertainties thanks to her original compositions which become her strength and balance. These three talented artists will amaze you with their simplicity with their artistic path that is the path of personal growth.

Virginie Gallois

Paysage sedimentaire Nr. 4, 24x48 cm diptych, 2013

Virginie Gallois is exactly halfway between the other two artists, not only a simple bridge between two inspirations but also an important personality able to enrich the group. The nature is the basis of the work of the three artists, but in her artworks it becomes a lens that can make you see the world in a multiplicity of different way according to the emotions she feels. The world and nature become a musical score to plot her harmonies made of shapes and bright colors.

Paysage sedimentaire Nr. 5, acrylic on wood, 80x60 cm, 2013

Stefania Grazioli

Moniculare, mixed technique, 50x50 cm, 2014

Foria, mixed technique, 50x50 cm, 2014

Stefania Grazioli has literally created a new element to design shapes on, using only energetic colors, but the real astonishing fact is how shapes interact with the material to create a nearly twelve-tone harmony. The porous surface is irregular and it is in contrast with the circular and perfect forms without shades. Such technique produces contrasting elements which, in their own way, are a perfect balance of composition and expressive sense.

Emanuela Mezzadri

â&#x20AC;&#x153;I seek the peace. The blue is clear. Gentle breeze.â&#x20AC;? (2014)Mixed Tecnique: printer ink on paper and linen, 34x34 cm, 2014 Emanuela Mezzadri seems to play with materials that transcend and become poetic elements. All the elements of her compositions in different ways contribute to create an unexpected poetic flow: something in a perfect balance that allows the artist's sensitivity to smoothly transpire without obstacles.

Group Contrast The group Contrast is the brainchild of the art critic Richard Baldelli. It is formed by an Italian artist, Maurizio Caruso and an artist born in Argentina, Isabel Carafi. The main feature of the group is that the artists interpret reality in a dreamlike and transdimensional way, snatching precisely the contrasts and working with strong, warm colors. Both artists have a strong relationship with the image as a statuary-complex, almost mythological and certainly narrative.

Isabel Carafi

Pianeta terra Nr.1, mixed technique on canvas, 80x100 cm, 2010

Pianeta terra Nr.2, mixed technique on canvas, 80x100 cm, 2010

Isabel Carafi was born in Buenos Aires, Argentina.She lives and works in Italy ,since 1980. She is national qualified in Academy of Fine Arts, Buenos Aires Argentina in 1978. She got the qualified in Painter professor and the Diploma of fine Art of Carrara, Italy, 1983. At the moment she has your laboratory in Trieste,Italy. She showed her artworks in exhibition, personal and collective in the entire world: Argentina, Buenos Aires, Patagonia, Puerto Madrin, la Plata, Cordoba, Uruguay, Montevideo, Punta del Este, Canada Miami Hong Kong New Nork Switeryland, Slovenia Croatia France, Paris Germany, Spain, Cina. Web site www.isabelcarafi.it

Maurizio Caruso

Uri primordiale, Mixed technique, 40x50 cm, 1989

Maurizio Caruso was born on September 23th 1957 in a tiny hamlet of Montalto Uffugo, Parantoro to be precise, a town at the piedmont of the coastal mountain range in Cosenza province’s countryside , Italy. Since 2000, he authors, as a designer, the frontpage of the poetry magazine “Parole”, featuring the poets group “Laboratorio di Parole” (the words workshop) . Some of his poems are found in the “laboratorio di parole” anthology published by Pendragon, Bologna, December 2005. He have participated in many personnal and collective exhibitions , he authors design pages, books and phamphlets covers, posters for other artists as well as for cultural events. He is continuing his work searching for new painting themes, an endeavour that have brougth quite a number of reviews from high-flying names in Bologna’s and Italy’s cultural arena.

Lars Karlsson

Boykiller, acrylic painting on 3D-Canvas, 70x50 cm, 2009

Lars Karlsson

Death Of Terror, acrylic painting on 3D-Canvas, 80x60 cm, 2009

The existential journey of an artist is imbued with inner disturbances and creative processes that give rise to dialectical dualities and stylistic choices of complex languages, often in continuous progress. It is the case of Lars Karlsson, author of aggressive and certainly unexpected tones. His path of man is intertwined in strong and decisive coloristic choices, in drafting clear and strong features, in a language that is sometimes ironic, sometimes dark and sometimes deliberately exaggerated. Social stereotypes, TV and film icons, cult toys and music experiences are woven into a unit that is meant to become a message to the viewer. The person in front of the artwork of Lars seeks the key to understanding the deep meaning that must be studied by translating the symbols of social and intellectual value that his artwork hides. Interesting is also the dualistic and dialectical play between innocence and cruelty, between play and torment, in an ongoing allusion to the dark spaces that inhabit the human mind even in a continuous storm of images and digital lights. Lars Karlsson has the gift of making us think about the society we live in and are kept on our receptivity individual. Lars belongs with all rights to the group of Nordic artists and intellectuals who are imposing on the international market thanks to their strong atmospheres and tones, their Nouarsettings and their vision of existence, dark but also vital.

The year was when he went to the Artschool in his city in Sweden for months. It was very inspiring to be with so many people wich had one thing incommen. The teacher he had inspired him and gave him energy to continue to draw and paint every day. He always said the truth about his paintings and his way to paint and create. That was very important for him so he could grow as a artist. One time he asked him: He respond. He looked at him for a few seconds, then he said: It started to go around in his head again and again and again. He asked himself so many times. That thinking gave him energy to continue his art. He was smart. The first time that he could say to his self: I am an artist! Was his first overseas exhibition in . So That took him years to have that feeling. Long time. But the first time that he could say in public that he is an professionall artist was last year when he had his first exhibition at a Museum. He make . Because he have his strong contrasts and strong colors in his work He think it makes people interested. And his choice of characters. He always paint in Acrylic. Draw in Indian Ink and Charcoal. He have tried in different kind of technics but he felt for acrylic. His exhibition at and is his most at Rabbit Meet Carrot, acrylic painting on 3D-Canvas, 80x60 cm, 2009 important shows ever. His first seperateexhibition was a memory for life. And because that was the most emotiona exhibition ever! His futureproject is a coperation with a writer. He want to develop to another material. He want to see his limits. He want to spred his art worldwide in different forms. Be represented in artmagazines, books, television and radio. Be at big exhibitions in the future. Be active in the homecity. Be at so many places at possible.

Millencolin on The Moon, acrylic painting on 3D-Canvas, 100x100 cm, 2013

Karl Johan Lillieskรถld

The Angel has landed, oil painting on linen canvas, 100x95 cm , 2014

Karl-Johan Lillieskรถld When an art critic is faced with the formidable technical expertise of an author at the level of Karl Johan Lillieskรถld, he can just amaze at the incredible wisdom of the use of space, the absolute dominance of the brush, the knowledge and experience in the use of colors. The second thing that astonishes in the works of Karl Johan is the grandiose. They are artworks that own the Renaissance-breath, the energy of nineteenth-century and the Imperial magnificence. They are artworks worthy of Papal apartments and government buildings. They express all the beauty that can be art, all the luxury of owning such an artwork, to have the honor of being able to see that every day, if you are fortunate to own one. The strength of pure red and the engaging images of statuesque women as modern goddesses, human metamorphic figures, creates superhuman and engaging environments that inspires reverence. The landscapes on the other hand, soft and delicate , wrapped in mists that hide and make everything soft, characterized by loads of green and unexpected red and purple drapery , are reminiscent of English landscapes of the late nineteenth century , but at the same time have the dramatic and emotional charge of the Mediterranean. Karl Johan Lillieskรถld is an author who seeks perfection and offers perfection to his buyers.

Proscenium, oil painting on linen canvas, 100x45 cm , 2014

Once an Angel, oil painting on linen canvas,100x95 cm , 2014

Karl Johan Lillieskold Swedish painter, born in Stockholm 1954. “When I was 13 I built my first studio in my mother’s wardrobe” Karl Johan was educated in drawing skills at Gerlesborgs art-school in Stockholm 1970-71, followed by subsequent courses and own studies in painting technique, calligraphy, stage design, picture composition & geometry. During the period 1982-1988 he was based in London and during 1988-2008 in Lucca, Italy. As an exhibiting artist Karl Johan Lillieskold made his debut in Sweden in 1977 and has since a record of one-man and group gallery-exhibitions as well as several museum group shows in Italy, Great Britain, Sweden, France, Germany and USA. “I´m not interested in emulating classical painting, what triggers me to paint the way I do is an urge and fascination of a painterly dialogue with some of my classical idols, but most of all I paint the way I do because these are my hands, my eyes and my mind - to me It´s not a matter of “technique”, it´s a matter of sincerity and what comes natural as a means of expression for me and thus…more important to be sincere than pushing to be “modern” or follow fashions.” “My belief is that the classic mythological and metaphysical themes indeed are eternal, comprehensive and empirical to us. You´ll find it all in there, the drama of being, our hopes, our coexistences, fears, passions and beliefs, a vast library with layer upon layer of stories about the human condition” “Alongside these metaphysical works, populated by human figures, I also produce a continuous flow of depopulated landscape paintings. Studio work, only occasionally based on outdoor sketches, synthesized recollections of passed by, random places – intended method, recreating a lost visual memory. Without sketchbook or camera I find that the recollection substitutes some visual detail with other emphasis, the wind, a scent. The recollection rebuilds itself with charged senses… The landscapes serve as silent counter-images to the intensity of the mythological pieces, less intellectual complication, no apparent narrative – breath, rest. The simplicity of a landscape is, when all is said and done, the cradle, the primeval… in nature the lifecycle is clear, no conflict of thoughts, of matter and spirit... “As a painter I am not a pragmatist, probably not very concrete or rational – I am a poet and for me the act of painting is an act of love” www.lillieskold.net

Margareta Lillieskรถld

Man with a flowerpot, oil on canvas, 50X70 cm, 2013

Tranquility, oil on canvas, 100x100 cm, 2013

Margareta LillieskĂśld Creativity is primarily a cognitive phenomenon. Arthur Koestler called "bisociation" the sudden and simultaneous perception of a situation or an idea on two different reference planes, which are governed by a different logic. The â&#x20AC;&#x153;bisociativeâ&#x20AC;? shock has the effect of making explicit what was implicit, which will then be followed by a subsequent cognitive processing that will lead to the birth of a new idea. What Margareta paints elicits emotions and it is for this reason why she values the aesthetic of the expression that is the negation of technique and precision. At the same time she is also technical, sophisticated and refined, strong in the stretch color theory and spatial combination. She is able to interpret contemporary life, preserving a high degree of autonomy that exists between man and natural environment, due to her higher sensitivity she can deal with what is observed in nature dialectically, without conditions. The Art of Margareta also arises from the duality between figurative and abstract efforts, from the permeating of colors and shapes to the struggle to abstract them into artistic and higher cognitive levels. Emotional and intellectual rigors are both the source of her art and her continuing search for new artistic solutions. Margareta is a mature artist, capable of daring beyond her own limits because she is sure about her media of expression and about her capacity. She knows her style and knows where her expert hand can take her, so she can create with stylistic confidence always new and unexpected works of art.

Margareta Lillieskold was born in Stockholm, Sweden and now lives in the Tuscan-Emilian Appenine mountains in Italy. Through her life she has embraced the world of art and as an artist, she paints mostly abstract and still life, mainly use oil and working on big canvases. She is fluent in Swedish and English and with working knowledge of Italian, French and German. She started her career as an apprentice in a Stockholm fashion studio and after qualifying, she achieved her aspiration to work in Paris for the Chanel fashion House and also completed a one year course in fashion design at Chambre Syndicate de la Haute Couture Parisienne. After two years in Paris, she left for Copenhagen, Denmark where she took a course in pattern construction and design at the Kobenhavns Tillskurer Akademi. To realize her ambition, she returned to Stockholm, where she started a fashion boutique and studio in the heart of Stockholm. Next step was a three years course at BeckmanÂ´s School of Design and after graduation together with a fellow students she established a design compny working for customers like Ikea, Boda shop, Rorstrand and also many overseas clients. The next change was a move to London establishing a Scandinavian shop in Regent Street, selling crystal, art glass, tableware and fabrics and regularly holding art exhibitions. Margareta also managed to take life drawing classes at Froebel College and Portrait paintings at Putney Art School. To live in Italy had always been her dream and in 2006 she decided to move to Italy, where she continues her passion for art. In her studio overlooking the hills and the mountains of the Apennines she now spends many hours with her painting. Since living in Italy, she has participated in several local exhibitions, summer and winter exhibitions at Russel Gallery/ London 2010, 2 Artists at Saint Isaia/Bologna 2012, stand at Scandiano Art Fair 2013, exhibited with 7 Italian artists at Art&Co. Parma 2013 and is currently contracted with Art&Co galleries in Parma, Milano, Lecce, Caserta.

Sailing uphill, oil on canvas, 50x70 cm, 2013

Swirl, oil on canvas, 100X100 cm, 2013

Susan Lindstrรถm

The Fire-guard, oil on canvas, 95x75 cm, 2014

Susan Lindstrรถm The paintings of Susan is a personal experience that springs from the depths of her soul in touch with everything that surrounds her, feeding her own passions and gives the viewer the emotions she feels in person. The nature is a dramatic scene where the different visual sequences projected on the canvas are in fact many objective linked to personal emotions. The landscape is a journey in the infinity, is a movement at the horizon, away in the distance of a river, or following the sunset at the beach of a lake. There is always movement in nature, a dynamic effort to transform material into new forms. This is almost a scientific intuition, an artistic explanation of the forces that govern nature. This is about the energy in the nature, as Albert Einstein just simply said, the energy that cannot disappear but just transform. Susan captures the nature in transformation, day that becomes night, the wood consumed by fire, the river that forms the valley. The reddish color that suddenly takes over our attention, the reddish of the fire or the reddish of the sun, is the expression of this energy. Susan can capture our subconscious, transporting us back to the beginning of man, when we gathered around the fire, telling stories about our feelings depth within our selves, about the energy of the nature around us. Susan Lindstrรถm is a complete artist who speaks to our feelings, who can pass the limits of the Nordic tradition to discover instead the common human wonder in front of the greatness of nature.

Woke up just now (dreaming of a stream), oilpastels on paper, 40x50 cm, 2012

Susan Lindström was born in 1958 and lives in north-west Sweden in a small village called Storjola. It lies in a mountain valley at the end of the road and the view from her studio is magnificent, extending across lakes, forests and fells. Here she paints full-time and runs her company “Susan Lindström Art”. Susan spent 3 years at various arts -and craft training establishments. Her final choice of career was to be an art teacher and she studied for 3 years at the University between 1979-1982. During this time Susan painted large commissioned dry pastel portraits and also obtained a commission to illustrate Selma Lagerlöf’s ”Gösta Berling’s Saga” with 20 watercolours of the Torsby Estate in Värmland. Susan then worked as an art teacher for 20 years. She studied History of Art at the university and worked on a senior school’s paintingand form program, where she taught painting materials and art/cultural history. Susan has had a number of exhibitions through various art associations and private galleries. She exhibited most recently at Virsbo art gallery, which showed “International Art/Landscape Subjects” with artists from all over the world. Landscape painting is Susan’s great passion and the technique in which she works most is oil pastel chalks. She loves the technique with its powerful expressiveness, and she rubs, scrapes and scratches the layers of colour to create different effects. Susan makes her “fire paintings” with oil colours. The subjects are taken from the environment around Susan, and her eye is caught both by the dramatic and the tranquil moment, in its entirety and in detail. There is often something of a darker tone in her paintings; a bit mysterious and melancholy. Susan likes to work with contrasts between light and shade, cold and warmth, the joyful and the blue. And not least the romantic way of seeing. Susan is also is keen to pursue the question of the negative effects that forestry, development of hydroelectric power and exploitation of unspoiled natural areas that are worth protecting can bring about. Susan is worried about the short-term thinking that does not see values in nature other than the economic ones and she wants to put forward the philosophical pantheistic view of Nature where there is an inherent spiritual energy in every little thing around us. An energy that we humans should feel so much better for being able to appreciate and carry it forward into the future.

We had just listened to Bob Dylan, oilpastels on paper, 40x50 cm, 2013

Ash, glow and fire, oil on canvas, 95x75 cm, 2013

Sirpa Metti채inen

Elvius, oil painting, 80x80 cm, 2013

Sirpa Metti채inen Sirpa is an artist able to capture the fleeting moment, that moment where the tempos stops, the actions becomes moments made by a continuous progress. It is that moment that Sirpa are searching for, the realization of the random beauty of the act, the movement that becomes a metaphor of existence. Sirpa is an artist aware of her ability, mature in the design and in the choice of color. It is no coincidence that Sirpa choose oil as a means of expression. She is not influenced by easy careers or temporary modes. She knows what she wants, she studies her thoughts and her reflections, and then she brings them out of her mind and in on the canvas, to finally move them into our unconscious. Sirpa studies the time and the rhythms of human existence. She shows us the greatness of being eternal in nature, the slow process of water and leaves, and the long and continuous growth of the trees. Sirpa freezes time, admires it for us, internalizes it; she poses the great beauty in front of the small metropolitan man who has forgotten the brief and transitory path of human existence. It is important that there are artists as Sirpa today, that take us back to our place, we humans, small in front of the whole, artists who guide us with their art to the infinite time.

Fish net, oil painting, 40x50 cm, 2007

Sirpa Metti채inen was born in Finland in 1951 as the 6th out of 9 Siblings. She moved to Sweden in 1970, and she become a mother of 3 children, and seven grandchild. Her dream of studying undfortunately remained only a dream for now. But it all changed on Christmas Eve in 1988 when her husband gave her a wonderful gift in the form of a starter set for oil painting. The following year she created her first painting " The Sunset" which was soon followed by several more wonderful paintings. Sirpas curiosity and great thirst for knowledge resulted in her participating in several diffirent classes in the art of oil painting. During the years she has continued painting on her own to be able to paint the wonders of nature in a more refined way. She is possessing an amazing technique which shows in many ways that she is "one whitch nature". This type of technique has in a wonderful way become her hallmark. Sirpas ability is powerful and captures her motive in exactly the right moments. She captures everyday motive and transformes them into images of nature that spreads the feeling of joy and happiness. www.konstgalleri.se/sirpa

California, oil painting, 50x90 cm, 2000

After summer, oil painting, 36x45 cm, 2011

Teresa Palla Ahlin

I'm sorry, acrylic, 50x40 cm, 2014

Teresa Palla Ahlin Cultural operators working in the field of art have a well-defined professional obligation, to investigate the rise of new talents, new models and new expressive artistic personalities. In the midst of a wave of proposals in the market is sometimes possible to catch unusual talents, presenting new and unexpected possibilities for professional development. It is the case of Teresa Palla Ahlin. The strength of this Sage, acrylic, 41x33 cm, 2014 artist lies in her expressive energy, in the dynamic and synthetic story behind her paintings, in her visual language so clear and so open, almost shouting it out. The figures, nearly cut out of the background, arise as posters of themselves, looking directly at the viewer in a kind of quasi-commercial aggressiveness that recalls the Russian posters at the time of communism. The message is rather far from being political; it is instead very personal and emotionally charged. The words are mixed between the figurative message, modern expression of pop art or perhaps urgent and compelling needs of the artist. This is her way to develop art, pushing the boundaries of the art and come out of the pictorial page, demonstrating the vitality of the human existence apart from places and cultures. This art is under discussion, but also discussion on art and the function of art in the society and for the individuals. Teresa brings us to the door of the new art and opens that for us, do we have the courage to enter?

Untie, acrylic, 33x24 cm, 2014

This artistÂ´s name is Teresa Ahlin, she is 43 years old and lives in the city center of Stockholm, Sweden. Teresa started to paint because she sees inner images which she strongly feels she has to express by painting. Just like a writer gets words and sentenses, she gets images. Through the years she had teachers in art who inspired her and pushed her to continue painting in her own style. She had a break from painting for several year due to family commitments. When she started again her friend and artist Magnus SĂ¤ker told her to try for this exhibition in New York. Teresa thinks of herself partly as an artist, but more like a plain human being expressing feelings and thoughts through her paintings. Teresa is painting with acrylics because she thinks it got it all. Dries quickly and has a deep and perfect texture. Her art is naive and very direct. Plain. Simple to understand and at the same time deep. It triggers something in the viewer. She paints in a childish way with a few ingenious details. Teresa gets inspiration from the unknown and she is fascinated by both the dark and the light side of everything, especially of human beings. She wants to show all of our feelings even those we are not so proud of! When she paints she always wants to find something dramatic in every picture, it does not have to be big and obvious, rather something you can not touch or grasp, just feel. She hopes the viewer can feel that through her paintings. Painting has Rage, acrylic, 24x18 cm, 2013 occupied more and more of her spare time. A future project for Teresa is to have an exhibition in a completely new gallery in Stockholm. The owner of the gallery is Francesca Correale who is a client of Teresa when she is working as an esthetician. Riccardo Baldelli chose Teresa for this exhibition with the following motivation: "Teresa is a painter with big potential, an artist "in nuce" who can offer the artistic world a new viewpoint of the beauty of human beings. Her paintings are young and fresh with plain and appealing character which can be likened to commercials or bookillustations. We found that this kind of art will fit into this enviroment where the young audience will appreciate and interpret this style of painting very quickly and positive." If you like to contact Teresa, feel free: teresaahlin@yahoo.se

Thoughtful, acrylic, 30x30 cm, 2013

Immortal, acrylic, 50x40 cm, 2013

Patrizia Poli

Lady Doctor of laws, acrylic 50x70 cm, 2013

Patrizia Poli How can we propose the feminine beauty in a world dominated by the photography? How a painting can react to the movement that segregates the feminine beauty in stereotypic images in magazines? Patrizia Poli is the answer to those questions. She works with the feminine beauty, searching the magic of a gaze, the mystery of fascination, the unexpected moment when a woman looks at you, or better look inside you, in your soul. The mystery is also in reflecting, if we are in front of real women, if the path smooth and designed with elegant cadence descriptive can hide an existing creature or rather a modern and eternal ideal, in a word, a classic ideal. We wonder if the accurate studies of the surfaces, the technique of realization; perfect and studied, all those thoughts want to keep us away from reflecting on the status of the woman described, away from the motive why the choice fell precisely on that subject and not on another. The impression is fortified by the titles of the artworks, humorous and engaging, which lead the mind to episodes of daily life, excerpts of existence where we met with similar figures, fascinating and elusive. The shadows and the views are techniques which the artist having particularly expertise in, played with elegance to make the work interesting and always new, never predictable, but also to reveal and conceal the identity of the subject. These are not portraits, although they could be because of the perfection of details. They are an invitation to discover the subject, the challenge of looking for and finding her, the game to see her all around us, in an ongoing study between art and reality.

Extraterrestrial beauty, acrylic, 40x60 cm, 2014

Patrizia Poliâ&#x20AC;&#x2122;s artistic expression is a highly poetic quest of extraordinary sensibility. In her subjects she catches all their spontaneity and contemplation with the result of an analysis of great ability and vast resources where the truth of the image and its content constantly increases. The softness and fluency of her stroke and the well calibrated measure of colours give her pictorial way a formal rhythm of wise and learned construction resounding in her work with all its might. The female figures, the landscape foreshortening and the natural details fix on her canvas an elegant schematism of remarkable suggestion with the result of a painting gifted with a great ability of interpretation and managed with a strong and severe engagement as a sign of an expressive, figurative and never casual achievement. Patrizia Poli digs up the inwardness of her female characters, thus displaying a precise and concise inquiry dealing with a recurring psychological penetration and flowing towards immediate moods. Her painting is a carefully balanced work where the fluency of a valuable and significant matter weaves a brilliant pictorial tissue standing out of any conventional rule. The colour shade fullness, the elegance of her drawing and the peculiar structure of her work give her paintings a strong vivid rare The Look, acrylic, 50x60 cm, 2008 aesthetic impact. Always attentive to sentiments, to the naturalness and liveliness of her portraits, Patrizia Poli works out her own regular true pictorial language, fully mastering the acrylic painting materials and technique. She is always seeking dialogue with both pictures and observers, which allows her to widen her art and make it able to respect the human dignity. Her art is always rich of sensations whose aim is giving expression, with a passionate and experienced interpretation, to those lost values that can be found in her work. The constant dialogue she sets up with her paintings is free from anxiety and apprehension and it is rich of love and sentiments, especially where and when her charactersâ&#x20AC;&#x2122; eyes are conveying their true emotions to the observer.

Kaleidoscopical woman, acrylic, 40x60 cm, 2014

Mikael Schmidt

011 Multiplied possessions, oil on canvas, 100x100 cm, 2012

Mikael Schmidt When we are faced with the works of Michael Schmidt, first of all we must ask ourselves whether we are dealing with works that can be defined as pop art. From pop-art Mikael takes the use of coloristic bright spots, the well-defined fields of vibrant colors and the references to photography techniques and to the photographic negatives as in certain works by Andy Warhol, where the famous American artist emphasized the human face of modern icons. The faces that Warhol pragmatically chooses were immediately recognized. As a visual art movement that emerged in the mid-1950s, pop art aims to emphasize the nature of things popular in our daily routine. Mikael has other intentions. He takes the man in the street and animals seen on the sidewalk, unexpected faces, and makes them in to modern icons. He paints human faces, but he does not want to emphasize the beauty in objects of everyday life, but instead lead us to understand about the 019 Everything I do I do for love - and improved outlook on casual sex, oil greatness and the singularity that we can find in faces of everyday life. It is a reverse on canvas, 100x100 cm, 2012 process compared to pop art. It is to explore the intensity of the person, and bring the individual thoughts and reflections in the collective. Mikael Schmidt inherits from pop art the social message of his works. But even here, Mikael choose to distance himself from the message of the sixties, that he feels no more fit his individuality as a modern man and he work instead mixing society with personal anxieties, feelings and lifestyle. Mikael Schmidt is a modern and refined critic who uses the pop art as an expressive medium, but renews that to fit in to his vision of the contemporary world.

With his background in fashion and later as a brand manager consultant and counseling therapist most of Mikael’s life has been about design, color, form, creativity and expression. Expressing your authentic and true personality is equally important for a product, brand and individual. Born in Stockholm, Sweden in 1961, creating was central in Mikael’s life since childhood. Creativity had a more intellectual part of Mikael’s professional life in fashion and brand consulting; creating ideas and concepts for well-known brands. It was first in 2008 after a crashed long-term relationship, failed eCommerce business, grown up children, career change and the aftermath of the financial subprime crash that Mikael went to his favorite art-store in Stockholm determined to give himself all the space needed to fulfill his desire to express with his hands – the wings of the heart. Mikael started by painting his counseling clients. It took about two years of experimenting to come to today’s expression. Some say Mikael is baking his canvas as he uses kitchen tools and knives to create the sometimes aggressive strokes of thick oil in several layers. Some colors are mixed by hand, creating the fluorescent effect typical for Mikael’s work, and some are applied directly from the tube and blended on the wet canvas. Mikael is autodidact working mainly in Oil on Canvas 100 x 100 cm or larger (US 36 x 36 in) Mikael’s figures are people and animals which are selected intuitively with Mikael looking for a reflection to tell his story. Mikael aims to mirror the force of being authentic, daring to live a life completely without the fear of failure trying to impress or becoming a beggar for approval, admiration or love. To stand your truth no matter what the consequence is. To live your hearts longing and desire with no possibility not to disappoint the ones you love. To stand with your heart in your hands and say - Here I am. Like most animals do. Each painting is named by its production number in order of the first coal on the canvas. Additionally there is a quote on the back of each work stating Mikael’s state of mind when choosing the figure and adding color to it. Signature is normally done on the back as well. Mikael has his permanent studio in Stockholm, Sweden but has also painted in San Francisco, USA and currently in Malaga, Spain. Mikael’s Professional and educational CV is available at Linked-In.

035 You used to be all that I had, now you’re just not what I need, oil on canvas, 100x100 cm, 2013

036 Making yourself small does not bring any greatness, oil on canvas, 100x100 cm, 2013

Margareta Skogsberg

The snake woman, acrylic, 100x100 cm, 2012

Margareta Skogsberg The art of Margareta Skogsberg is equipped with an incredible expertise of color and capacity of building the pictorial space. Her forms of human features, often just profiles are elegant and almost impalpable. They are forms with an elegant constructive balance, are made through a harmonious and well balanced color theory relationship. There is, in the art of Margareta, a release of emotional energy and feelings, which presides over the creation and the structure of the paintings. The light, a result of wise choices of color, is the dominant trait of the artworks, treated as a narrative element, but also as a tool to reveal the mystique behind the artwork. The light is often treated and reflected in crystals, clear sign of experience of glass at the artist, which are a decorative piece but also a key sign in the dramatic perspective of the picture. The Nordic legacy of the play of light and shadow is also an instrument of soul searching, faceted the human soul as a diamond in relationship with nature, a nature understood as sentient entities and completion of the existential ego. The crystallization of the soul gives light that exceeds the boundaries of the human and fades in the ethereal blue of the artist, as if to tell us that the soul has no boundaries but materials such as paint on the canvas, faded into the eternal and universal. Margareta is the artist of the soul that leads the viewer of her works beyond the boundaries of their own humanity.

The dawn people, acrylic, 50x70 cm, 2013

Artist Margareta Skogsberg. She was born in 1956 in Arboga, a small town in Sweden. Today she works as an artist, with acrylic paint and glass art. Also working as an Light- and color therapist, Painting reader and Course leader in all kinds of painting techniques. She has worked as an artist for 25 years. In the beginning she worked with oil on canvas. Sometimes she tried watercolors but she liked the oil color most. Three years ago she felt like she wanted to try something new, and change to acrylic paint. She let go of the control over the painting, mixed different materials into the colors for structure and chose colors and shapes by impulse. The result was fascinating. Margareta has participated in some shorter educations but mostly she has painted by herself. During the years she has had several exhibitions. In connection to her change in style, an e-mail arrived one day. That mail changed everything for Margareta. It said that she was recommended to the Swedish Art-gallery in Malmö. That summer 2012 she exhibited her art in Malmö. The gallerist Mickaella Himmelstrand liked her art and wanted Margareta to go with her to international exhibitions. Margareta applied for Monaco and Paris (later also New York) and got approved by their juries. Some of her latest exhibitions: Art Monaco, April 2013, Monaco (shared) selected by jury; Art Shopping June 2013 Musee Louvre, Paris (shared) selected by jury; Art Expo NY, April 2014, New York (shared) selected by jury; Art Monaco , April 2014, Monaco (shared) selected by jury; Art Critics 2012, Stig-Åke Stålnacke, member of AICA; Art Critics 2013, Hans Janstad, member of AICA, (International Association Of Art Critics). Her intention is to continue exhibiting her art both internationally and in Sweden. Her curiosity makes her open to new changes to her way to paint. She thinks that it's always interesting to meet other artists for inspiration. www.margaretaskogsberg.com

Rest in the flow, acrylic, 50x70 cm, 2012

Waiting, acrylic, 100x100 cm, 2012

Kajsa Stamenkovic

Waiting , oil, 90x80 cm, 2013

Kajsa Stamenkovic Kajsa is a lady of art. Harmony, elegance and precision distinguish the art of Kajsa Stamenkovic. We have to stop in admiration of her paintings, in silence, reflecting every gesture, which makes this landscape a harmonic visual dance. It looks like dreaming, walking in the Garden of Eden, enjoying the serenity of Nature. The untouched nature dominates the influence of the metropolitan man. The painting does not scream his realities, but whispers them. The painting is not imposed by anger, but it is proposed with sophisticated style. Nature, devoid of human individuality, is full of special representational, always minutely and intimately designed details, in the search for an interior from Avalon as a place of reflection and peace. When the human being is part of the landscape, it appears as over-human, intimately connected with Nature, a creature of the eternity, captured by the artist in a moment of distraction. Her still life is a composition of classical elegance where flowers and fruits express the perfection and the generosity of Nature. Is the human present in her still life? With a harried answer we can say yes. We see furniture, we see a vase, but it doesnâ&#x20AC;&#x2122;t mediate the human reality. If we reflect on the message, we should understand what Kajsa is trying to tell us, the elegant suggestion that what we create, inclusive the art, is inspired by Nature, is a part of the magnificence Universe, where we have our part, but just a part, in the complex of prosperity that we have the fortune to share.

Still life, oil, 100x80 cm, 2012

Kajsa Stamenkovic , Born in a small town in the southern part of Serbia, Ex Yugoslavia Kajsa is the oldest of the four children in the family. Despite the difficult living conditions her childhood was happy, do to the positive attitude and huge love her family gave her! As kids they sang o lot and played different instruments! Kajsa was enrolled early in a music academy where she graduated four years later and was sent to visit her uncle in Sweden! She eventually moved to Smalanda region, Sweden in 1970. Her new home country embraced her and she felt in love with both people and its countryside. This positive experience helped her creativity as an artist a great deal and she discovered many people enjoyed her work. Every possible opportunity Kajsa used to explore both the beautiful landscape and her creativity took off. She is a perfectionist , and takes time to study the subject matter she chooses to paint, from the landscape, trees, rocks, forest and all the nature moods!

Childhood memory, oil, 60x50 cm, 2013

At this point Kajsa makes a discussion that her future is art, she becomes a serious artist! Her first complete canvas was at age 30, she stood in front of it and studied it for numerous hours!Once she starts painting, the rest of the World shots down and creations takes over! Her preference are soft tones , colors which inspire and yet the painting sometimes explodes in bright tones ! Kajsa, has exibited her work in the Balkans, Toscany Italy, Barcelona Spain , Sweden, soon in New York, in october 2014 in Dubai !!! Technique oil. At the end we report a critical text of the artcritic Riccardo Baldelli, tha he wrote in occasion of the exhibition in New York

Sunshine symphony, oil, 60x50 cm, 2012

Magnus S채ker

No name, mixed technique, 70x100 cm,. 2014

Magnus Säker The beauty of art is that it can rise from anywhere and in every moment. The difference between an artwork and a simple exercise is sometime just a line, a little spot of color, an accent of movement that you can´t expect. The artist, who can fix this kind of sensation, is a real artist. This is the case of Magnus Säker. To understand Magnus you have to take a step from the artworks, look around you and look at the faces of the people looking at his paintings. They are happy. They simply enjoy his art. They feel good, they feel alive. They desire to own his artworks, because they want to be near them when they come home in the evening. If you look closer at the painting, you see spots of light, spray colors, graffiti-art and then the line; the simple line of color that make the difference. It looks like a coincidence, maybe the artist made wrong. And suddenly it happens, the whole painting becomes a story, the beauty of a painted female body starts to tell to the people and every human being see something different in this feminine figure, someone think about a Venus, others think about the girl they love. Someone wants to find a well-known situation, others think about the exploration of the unknown. Landscapes are symbols of the human travel in the joy. Streets follow a dynamic perspective, clocks have minute-hands that seem to fly away and the time means nothing just simply that you want, that you need. The Nordic light is bright and modern in Magnus paintings. The tradition is a ground but the sensations are the guide. Let us follow Magnus´ ideas and explore the happiness inside us.

No name, mixed technique, 70x100 cm,. 2014

No name, mixed technique, 70x100 cm,. 2014 Magnus S채kers art comes from his inner lustful SOUL. Over the years this has shaped his art from drawing to contemporary and unbridled creativity in color and shape. Education: 100 % AUTODIDACT During his willful progress he has tested many techniques and used different materials and thereby found a base in his way of working that he primarily use today. He work a lot with the combination of acrylic wet paint and spray paint. Time has taught him to handle these different techniques in his own way and to make them into ONE. He paint everything from abstract to somewhat figurative. In the abstract paintings He often work with depth at different levels, providing a large space of contemplation. The more figurative paintings always have an emotional theme, often love and intimacy either with a single form filled woman or with a joyful couple. And sometimes with a cocky and feminine sexiness without slipping over the edge and becoming pornographic.

No name, mixed technique, 70x100 cm,. 2014

Dawn Yoshimura

Vrรฅngรถ Bathers, watercolour, 28x35 cm, 2014

HĂśstfika ('Fall coffeebreak'), watercolour, 28x35cm, 2014

eye. But the observerÂ´s eyes never aim to infinity. The look is instead stuck on the horizon, as a reminder of human limitations, a notice of the difficulties of human life. The artist wants us to remember that the world is not of man, but of nature, and man as a part of that, but he must also find out, overcome the obstacle, and see beyond. The watercolors by Dawn Yoshimura are a philosophy to discover, a path to grow and understand, understand at first ourselves, then the world around us. For this reason they must be observed in silence, layer by layer, from the pure visual dimension to the spiritual path that the artist shows us and that we must find within ourselves.

Dawn Yoshimura paints with grace and spiritual freedom. Her artworks are watercolors of beautiful mystery. Light is an important factor in her artwork. Nature almost fills the landscape above it, wraps it, and often closes it in the leaves of trees or in lush mountains above. The light then enters and leads through these leaves directly to the eye of the observer. The nature is strong and vigorous, but at the same time still, as if a moment of time stopped in its greatness. The watercolors are reminiscent of the technique of Oriental landscapes, where nature's perfection and balance between the forces are of the utmost importance. The play of light and shadow is like a magical presence and a constant search for harmony. The landscape is often a procession towards the viewer, a path that ends beyond the confinement of the picture in a perfectly horizontal perspective and directs the observer's

'Life is a picnic at Bolmen', watercolour, 28x35 cm, 2014

Dawn Yoshimura comes from Hawai’i where Western and Asian cultures over the centuries combined into a unique cosmopolitan culture. The islander’s perspective, together with her Japanese heritage informs her work, and can be seen in her preference for offcenter composition and close observation. On O’ahu, you can either choose to look out to sea in anticipation and curiosity about what or who lies beyond the horizon, or, you can look towards the mountains that catch life-giving rainclouds. Dawn’s motifs are often of mountains and water—because mountains offers shelter and companionship and water offers possibilities and new experiences. The familiar and the unfamiliar. Dawn has said she could easily paint every morning for the next 10 years of her beloved Ko’olau Mountains and Kane’ohe Bay where she grew up. Plein air painting offers her the excite‘A hui hou kakou’ (‘Until we meet again’), watercolour, 28x35 cm, ment of exploring locations and the adventure and challenge to capture the feel and sense of a place. 2014 Like other winter birds, she returns home every winter, but during the rest of the year in her current home in Sweden, she contemplates the Scandavian West Coast capturing the light that Anders Zorn was known for through her own sense of color and technique. Dawn’s process is one of observation and reflection upon her spontaneous reaction to a place. She captures the emotion or sensation in her paintings of a particular place. Admirers of her paintings describe a sense of the familiar or, alternatively, a sense of promise that this particular landscape conjures up in themselves. A sense of connection and communication is created. Dawn has always drawn from nature and real life, and enjoys exploring textures. She studied at Rudolph Schaeffer’s School of Design in San Francisco on a scholarship, eventually earning a Bachelor of Fine Art in Interdisciplinary Design from the California School of Art. Although formally trained, she is a self-taught watercolourist and plein air painter. Dawn enjoys watercolour because it suits her temperment and process. ‘It forces me to make choices and to be honest. It also helps me to be brave, by throwing away pieces that don’t work.’ she says. Dawn also works in other media such as encaustic, casein and oils. At present she is fascinated by trees in all seasons and am exploring its form in different Ma'ane'i No Ke Aloha ('Love is here and now'), watercolour, 28x35 cm, media. If mountains and water are symbolic for 2014 her relationships, trees are perhaps are symbols for her friends.

Slottskogenpromenad ('A Walk through Castle Forest'), watercolour, 28x35 cm, 2014

Edition: Catalogues for the Art Interartex, Torggatan 11, 73231 Kรถping SWEDEN. www.interartex.org 15 June 2014, Kรถping