Never Strictly Representational

“Most of my paintings have representational elements and all of them, but they are never strictly representational.” - the artist

Bwampin Bloemin, 2019, Oil on Linen, 20 X 16 inches, $500

Bwampin Bloemin, 2019, Oil on Linen, 20 X 16 inches, $500

Q: What led you to become an abstract artist?

A: I start my work from an idea, a color or a feeling.  From there I start to make associations.  The image I arrive at is not always abstract.  Most of my paintings have representational elements and all of them, but they are never strictly representational.

Squeezer 1, 2019, Oil on Linen, 16 X 20 inches, $500

Squeezer 1, 2019, Oil on Linen, 16 X 20 inches, $500

Q: Where have you studied and how long have you been an artist?

A: I have an MFA from the University of Texas at Austin and I got my BA degree from Connecticut Wesleyan.  I have been an artist all my life.  When I was in my late twenties I showed my work more actively than I have recently.

Squeezer 2, 2019, Oil on Linen, 16 X 20 inches, $500

Squeezer 2, 2019, Oil on Linen, 16 X 20 inches, $500

Q: Where do you derive your inspiration from?

A: I get inspired by all sorts of things.  I look at the work of other painters, from all time periods and styles.  I can be obsessed by someone’s paintings for a while.  Anyone from Rachel Ruysch, a 16th century Dutch flower painter, to Bridget Riley to Michael Borremans.  I love all kinds of painting.  I can also be inspired by music.  My painting Bwampin Bloemin which is also included in the work shown here, was inspired by the clavinet beat at the beginning of a 70’s funk song.  Such a great sound, I really wanted to paint something like it.  I have no shortage of ideas for paintings.  I wish I had more time to paint all of them.

Wissen Again, 2019, Oil on Linen, 16 X 20 inches, $500

Wissen Again, 2019, Oil on Linen, 16 X 20 inches, $500

Q: We were very impressed with your Best in Show piece, titled Wissen Again. Tell us more about this piece.

A: Wissen Again is one of a group of paintings that has layered images, like when you stack images in Photoshop.  With most of my paintings I am trying to combine things that don’t go together, or that clash.  So, this was one way of going about having different images exist on the same picture plane.  I like the push and pull you can get from the layers, not having it be clear which layer is on top.  I like the idea of using the very old technology of painting to refer to a much newer technology.  Parts of the images in Wissen Again refer to landscape.  There is a tree in the lower right, branches coming down from the top and the beginnings of a flower near the center. 

The titles of my paintings are always important to me.  I’ve used the word “wissen” in the titles of several of my paintings.  I like the sound of it.  It sounds like “wise”, or like it could have some old English meaning.  In fact, “wissen” is actually a Dutch word that means erase, which makes it even more appropriate for this painting.  I like my titles to seem like anachronisms.  Painting in general seems like an anachronism in a way.  There are so many ways to create images now.  Oil painting is very slow and messy.  That slowness is so out of time and makes paintings seem even more valuable to me.

Wissen Bloemin Even, 2019, Oil on Linen, 20 X 16 inches, 2019

Wissen Bloemin Even, 2019, Oil on Linen, 20 X 16 inches, 2019

Q: What do you hope for viewers to take away from your work?

A: I want viewers to enjoy my paintings.   For a long time, I created small pieces because I wanted to invite the viewer in closer.  Over all, my current work is on a larger scale, but I want the viewer to be able to move back and forth and still be able to engage with the work from closer in. 

I often think about beauty and what people consider beautiful and that is very related to what I want viewers to take away.  For me, it’s about vibration of color, use of paint and the pure pleasure of seeing. 

Zwabble, 2019, Watercolor and pastel on paper, 11 X 14 inches, $150

Zwabble, 2019, Watercolor and pastel on paper, 11 X 14 inches, $150

Q: How do you view your art career in five years?

A: I hope to be showing work more broadly than I am now.  I hope that in five years I will be able to only work as an artist.

About the artist:

“I use saturated colors and distorted images to create paintings of a hallucinatory, synthetic natural world.  I want the things I love to go together.  Funkadelic Bridget Riley painting Dutch flowers. Imagine that you take your painting, grab the edges, squish, twist, stretch and compress.  And you’ve got something else.  Or you could do it this way: take your images, stack them up, use your Photoshop eraser to show what’s underneath. The surface is a metaphor.  Both itself and something else.  It’s still the flat rectangle and the space tipping back to all eternity.  That is one of the great things about painting.  That, and the pure pleasure of seeing.  I think a lot about what people like to look at.  I want to give them that.  I want to spread petals at their feet.”

To view more work by the artist, please visit www.margaretmcniel.com. You may also follow the artist on Instagram @margaretmcniel.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

My Handbag

My Handbag

a poem by Shurouk Hammoud

 

Everyday (2018)  Artist: Clara Quintela . Embroidery, 4 m x 3 m - Exhibition at Popup Gallery

Everyday (2018) Artist: Clara Quintela. Embroidery, 4 m x 3 m - Exhibition at Popup Gallery

My handbag is full of caution

Buttons of all sizes

For sudden holes

Needle and black threads

To sew wounds of heart and clothing as well

Empty sanitary bags for vomiting cases that occur to those who live here nowadays

Wet wipes to wipe make up' shredders.

My handbag is full of futility

Polisher for my shoes those expired by long roads

A mobile phone that is full of people 'names I cannot any longer remember

My poor quality glasses

My optometrist prescribed

On the pretext that I do not see beyond my nose

Dry cigarettes and a lighter that staggers genetically

Dried flowers and poems whose papers did not accommodate

Hankies those got tired of farewells

And you ask me why does my back hurt?

Photo source: the author

Photo source: the author

About the author:

 Shurouk Hammod "born in 1982 ", a Syrian poetess, literary translator, BA of arts graduate and a master degree graduate of text translation, Damascus University. She has three published poetry collections in Arabic language and two published poetry collection in English titled: (the night papers),(Blind time), in addition; excerpts of her poetry that have been published in many poetry anthologies in France, Serbia, Netherlands and India. She is a member of Palestinian writers and journalists union and honorary member at NAJI Naaman international library of honorary culture. She is an award winner of many local and international poetry awards, to include: Charles Baudelaire first prize for poetry creativity, 2018; Sylvia Plath medal for writing poetry 2017; Jack Kerouac poetry merit award 2016; Arthur Rimbaud merit diploma for writing poetry, 2015; Nazik al Malieka literary prize for writing poetry 2012; Alexandria public library prize for writing poetry 2012; and Naji Namman international literary prize for writing poetry 2014. She has been appointed as ambassador of the word by the Spanish Foundation Cesar Egido Serrano, in 2016. Her poetry has been translated into French, Finnish, Spanish, Bengali, Mandarin, German, Romanian, Italian and English. Email: shurouk.hammoud82@gmail.com


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Landscape and Nature

“My work often transcends between abstract and figurative. Forms and figures take shape intentionally or by accident.” - the artist

Budapest No. 2, 2017, Acrylic and textile, 20 x 26 inches, $1600

Budapest No. 2, 2017, Acrylic and textile, 20 x 26 inches, $1600

My work in general reflects a strong and powerful relationship to landscape and nature, this includes city-specific landscapes. I am a nomadic artist, I let the country or the town where I set my studio affect my work. The environment and surrounding of this new area, have considerable influence and impact on my production. I let the lieu become my muse.

Brazil No. 1, 2018, handmade paper and textile, 17 x 11 inches, $800

Brazil No. 1, 2018, handmade paper and textile, 17 x 11 inches, $800

I am a multidisciplinary artist, although I have used painting and photography in the last years quite extensively. Textile art is also a media I cherish. My work often transcends between abstract and figurative. Forms and figures take shape intentionally or by accident. However, I find that a less literal and more abstract approach to composition produce paintings or works of art more intensely imaginative. It keeps me further away from esthetical and intellectual decisions.

Budapest No. 1, 2017, Acrylic and textile, 18 x 19 inches, $900

Budapest No. 1, 2017, Acrylic and textile, 18 x 19 inches, $900

With my camera, I collected and collated the textures, colours, shapes and qualities of sceneries in the different artistic residencies I attended and translated what I learned from these different places into materials and making.

Brazil No. 2, 2018, acrylic and textile, 20 x 16 inches, $900

Brazil No. 2, 2018, acrylic and textile, 20 x 16 inches, $900

In this collection, you will find visual research of Budapest’s architecture and Brazil’s Atlantica Forest. Each piece evolves through a process of fragmentation and reconstruction. Patching and layering of fabrics forms a background for stitch; this style of work reflects my interest in collage. I am inspired by the potential of overlaps, intersections and anomalies.

Brazil No. 3, 2018, acrylic and textile, 25 x 16 inches, $1600

Brazil No. 3, 2018, acrylic and textile, 25 x 16 inches, $1600

About the artist:

Anne-Julie Hynes resides in Quebec, Canada. She has a Certificate in Landscape Architecture, from the Université de Montréal, Canada, as well as a BFA in Fine Arts, from Concordia University, in Montreal, Canada. She has participated in numerous arts residencies and exhibitions throughout Canada and in Europe.

To view more work by the artist, please visit www.annejuliehynes.com.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Standing On a Threshold

“I found myself standing on a threshold knowing that I had to do what I was meant to do and do it now or it would never happen.” - the artist

Awakening, 2019, Encaustic, 7 x 5 x 1 inches, $300

Awakening, 2019, Encaustic, 7 x 5 x 1 inches, $300

I found myself standing on a threshold knowing that I had to do what I was meant to do and do it now or it would never happen.  For me, that meant creating art – taking my life experiences and feelings, placing them on a surface and hoping their reflection touched others.  It is my hope that each piece reflects my vision, that we are all equally connected to God, who is present in our daily lives.  My inspiration comes from that deep meditative space I have grown into and endless curiosity.

Renaissance, 2019, Encaustic, 16 x 12 x 2 inches, $400

Renaissance, 2019, Encaustic, 16 x 12 x 2 inches, $400

Encaustic painting has captured my heart and soul!  I love the smell of the beeswax and the magical way it fuses together.  Layers and layers of translucent color produce a richly textured depth.  I am fascinated watching the heat from my torch or heat gun transform the solid wax surface into liquid. Within minutes the swirling wax puddle returns to a solid state.  Most of my pieces are created with an idea in mind and, when finished, have transformed into something completely different.  Using encaustic medium itself becomes a way of letting go and accepting the path the wax chooses during the fusing process.

The Looking Glass, 2018, Encaustic, 11 x 14 x 1 inches, $350

The Looking Glass, 2018, Encaustic, 11 x 14 x 1 inches, $350

I have found that my best work comes to life when I allow the beeswax to speak to me.  I simply surround myself with inspirational items I have found such as old keys, maps, and postcards, reference books collected over the years, photographs of people, rusted tea bags and paper towels, and vintage jewelry.  Once the process begins, there is an interior world I access where I lose all sense of time and space as I create.

I work on cradled wood panels, travertine, and slate.  They are perfect for incorporating rusty, broken and discarded objects, as well as string, fabric and paper. Using found objects, I collage into wax, which allows for a dialogue to take place between myself and the wax.

Tranquility, 2018, Encaustic, 12 x 12 x 1 inches, $300

Tranquility, 2018, Encaustic, 12 x 12 x 1 inches, $300

This is the point where I release the idea of perfectionism and allow myself the freedom to express what my spirit is saying.  Letting go is an on-going process in learning how to reach deep down inside myself to that place of stillness and reflection.  I have gradually learned to trust the process and to be brave and confident that the intent will manifest in the finished work.  Encaustic is a never ending journey of not only pushing myself, but of pushing the boundaries within that medium.

Whimsy 1, 2018, Encaustic, 12 x 20 x 1 inches, $300

Whimsy 1, 2018, Encaustic, 12 x 20 x 1 inches, $300

My work mirrors my life, which is also multi-layered…enriched by the texture of my spiritual values, family, friends, and my work with special needs students. The crossing of the threshold, which I once feared, is truly a remarkable gift in my life.  It has allowed me to be who I was created to be.

Whimsy 2, 2018, Encaustic, 12 x 20 x 1 inches, $300

Whimsy 2, 2018, Encaustic, 12 x 20 x 1 inches, $300

Photo source: the artist

Photo source: the artist

About the artist:

Trudie Wolking is an Encaustic Artist and owner of “Bons Amis”. Born in Picayune, Mississippi, Trudie has lived most of her life in Lafayette, Louisiana.  She is a special needs teacher at Cathedral-Carmel School. Trudie is married to Chris Wolking and is the proud mother of three children and twelve grandchildren. Trudie works on cradled wood panels with encaustic medium and pigmented wax using a blow torch or heat gun to fuse. She incorporates found objects into her artwork which she calls her "little treasures". The assemblage process is how the story begins. Commitment to the encaustic process opened the door to Trudie's artistic voice.  The melting and scraping through layers, building up and sculpting ensures that the outcome of each work is unpredictable and uncertain. This is what feeds her passion to keep creating.  Molten layers of wax need to be added, taken away in places, and added again to build up the texture and essence of the piece. Gradually she has learned to trust the process and to be brave and confident that the intent will manifest into the finished work. Her work as an artist mirrors her life which is also multi-layered, enriched by the texture of spiritual values, family, friends and teaching her special students.

To view more work by the artist, please visit www.bonsamis.net. You may also follow the artist on Facebook at www.facebook.com/trudie.wolking, as well as Instagram @twolking2014.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Art and Science

“The whole creative process is an endless research of topics, materials, reading of modern philosophy, scientific literature and thinking about the future in the context of ecology and modern technologies.” - the artists, Lilia Li-Mi-Yan & Katherina Sadovsky

Object 01, panel made of recycled plastic, 1500 x 1000 sm, $3000

Object 01, panel made of recycled plastic, 1500 x 1000 sm, $3000

Q: What led you both to become concept sculptors?

A: We came to contemporary art from photography. [We] both graduated from Rodchenko Art School (Moscow), [in] the course of documentary photography. We were looking and searching a lot and, in different works, turned to different media. Sculpture is only one of the languages for a contemporary artist.

Bacteria 02, 2018, print on plastic, 70 x 50 sm, $300

Bacteria 02, 2018, print on plastic, 70 x 50 sm, $300

Q: What inspired the collection you submitted?

A: Two years ago, we were at the art-residency on Lake Baikal. With all the beauty and greatness that we were contemplating every day, we also observed piles of plastic garbage, which tourists left behind. We realized that humans use the resources of nature with unthinkable carelessness — abuse and traumatize it!

After the residency, we completed two exhibitions – “Plastic x-ray”, in the Olkhon Forest, and “Marmor”, in the abandoned marble quarry. We gently incorporated our art-works into nature.

Back in Moscow, we could no longer remain indifferent to the problem of plastic waste. We started the activists’ movement – collecting plastic at the territory of museums, art and educational institutions. We called our project “Where is my plastic bag?”.  It consists of three parts: the collection of plastic, its recycling and processing, and creation of sculptures from the processed material.

The work "Bacteria" is the result of testing of material in the conditions of our studio. We were developing the idea of the bacteria modified by scientists that will help to solve the problem of plastic waste by eating it.

Bacteria 03, 2018, print on plastic, 70 x 50 sm, $300

Bacteria 03, 2018, print on plastic, 70 x 50 sm, $300

Q: Can you describe the types of materials you use and your creative process?

A: Today, our materials are recycled items or recycled materials that were first sent to landfill as garbage. Now we are working with different types of plastics, and in the next project, we want to try to work with glass, also recycled.

The whole creative process is an endless research of topics, materials, reading of modern philosophy, scientific literature and thinking about the future in the context of ecology and modern technologies.

Bacteria 10, 2018, print on plastic, 70 x 50 sm, $300

Bacteria 10, 2018, print on plastic, 70 x 50 sm, $300

Q: We were very impressed with your Best in Show piece, titled Bacteria 10, as well as the rest of the Bacteria group. Tell us more about this piece/series.

A: Bacteria are a small visual part of the project about plastic in the modern world. We want create a collaboration with the scientists researching polymers. Bacteria are something like new organisms formed under a layer of plastic that is buried in the soil and in the ocean. It is like evolution, the creation of a new life. We know so little about it.

Object 02, panel made of recycled plastic, 1500 x 1000 sm, $3000

Object 02, panel made of recycled plastic, 1500 x 1000 sm, $3000

Q: What do you hope for viewers to take away from your work?

A: Our project “Where is my bag?” implies [activism] from our side. We all understand that art does not solve the questions, but to raise the question and let reflect on it is in our power. And if each of us will begin to treat the planet with a bit more of responsibility - that will be our contribution.

Object 03, panel made of recycled plastic, 1500 x 1000 sm, $3000

Object 03, panel made of recycled plastic, 1500 x 1000 sm, $3000

Q: How do you view your art career in five years?

A;: We are going to continue to work at the intersection of art and science, to look for new materials, new statements. After all, there are so many problems in this world, that we won’t be able to stay without work!

Photo source: the artists

Photo source: the artists

About the artists:

Li-Mi-Yan & Sadovsky - a duo of Russian artists Lilia Li-Mi-Yan (1971) and Katherina Sadovsky (1985). They’ve been working together since 2016. Their versatile approach to art practice covers such artistic media as photography, painting, sculpture, photo books, installation, video, sound, interference in to public and natural spaces, social work to collect plastic waste in Moscow.

Li-mi-yan & Sadovsky explore internal human and social topics, which can be called problems. The question of death, of human violence against other human, against nature, against oneself, as if it erases the boundary between reality   – where is actually alive, and where is dead? Artists critically analyze these issues, inconveniently intruding into nature with digital images on polymeric materials, comparing this art gesture with the physical and mental trauma of all mankind.

Artists wonder why the cruel online pictures of victims of wars, terrorist attacks, diseases do not horrify the viewer anymore. The image of suffering follows someone's joyful holiday photo  and almost equivalent to the user of social networks. Thus, any picture splits and loses its original meaning. Li-Mi-Yan & Sadovsky allegedly play with death, reproducing severe injuries with the help of plastic and naive drawings in portraits with ideal faces, psychologically affecting the viewer in their own way of trauma.

To learn more about the artists and view their work, please visit limiyan.com/blog.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Based On a True Story

Based on a True Story

 

Sleepers, 2013. Artist: Edgar Invoker. Acrylic on polyvinylchloride, 50 x 50 cm, $300.   @edgarinvoker

Sleepers, 2013. Artist: Edgar Invoker. Acrylic on polyvinylchloride, 50 x 50 cm, $300.

@edgarinvoker

When I was 16 I wrote you love notes and poems.

Late at night I sat by noisy creeks.

I loved the sound of the rushing waters.

I wrote you that I couldn’t wait to meet you,

And I knew you were waiting for me too.

I lamented about worshiping the ground you walked on.

I wrote you about the depths of my soul,

And how I longed for you to discover me.

I wrote you that I would never let anyone but you in.

I wrote you that I couldn’t wait to love you,

And to be loved by you.

I wrote down all my secrets for you,

And my tears of loneliness would fall freely on the pages.

When I was done writing you, I would fold the paper in half,

give it a kiss, and I would leave it under a rock there by the creek.

I would walk away knowing someday I would meet you.

I would look into the starry night and I knew somewhere you were too.

Photo source: the author

Photo source: the author

About the author:

Kelly A. Berry currently resides in Chicago, IL with her tuxedo cat Baby. Coming out of a very tumultuous childhood she always found herself in the middle of meaningful friendships with artists, but would never dare to give herself the honor of calling herself an artist. Everyone around her was just so much better than her. Although she was writing poetry and short stories from the time she learned cursive in school, it wasn't until she took a pottery class in 2008 that she was able to accept herself for who she is. The class allowed her the freedom to express herself truly, to let loose those bottled up ideas and emotions, and now Kelly A. Berry can say with confidence that she is an artist. 


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Resistance

“…we must not normalize our current political situation.” - the artist

The First Flag of Resistance, 2017. Hand embroidery on re-purposed pillowcase, 30 x 19.5 inches. NFS

The First Flag of Resistance, 2017. Hand embroidery on re-purposed pillowcase, 30 x 19.5 inches. NFS

I am a fiber artist working in several areas: temari (embroidered thread balls, a traditional Japanese art); knitting (original designs, wearable art); and embroidery. These three works (one full photo and one detail photo each), using stitched text and simple imagery, are part of a larger collection of resistance artwork I have been making since Inauguration Day 2017.

The First Flag of Resistance, 2017 (detail)

The First Flag of Resistance, 2017 (detail)

This larger body of work comprises the three pieces submitted here plus 100 smaller pieces that have been assembled into two large Cloths of Resistance, plus two more (at this point) Flags of Resistance. A recurring element in many of these works is the phrase "THIS IS NOT NORMAL," which I stitch every day.

Hands Off, 2018. Hand embroidery on antique table linen, 29 x 22.5 inches. $500

Hands Off, 2018. Hand embroidery on antique table linen, 29 x 22.5 inches. $500

This is not to suggest that there is some magical "normal" from which we have deviated and to which we should return, but rather to remind myself on a daily basis that we must not normalize our current political situation.

Hands Off, 2018. (detail)

Hands Off, 2018. (detail)

About the artist:

India Tresselt is a fiber artist from the Champlain Valley in northwestern Vermont. She explores color, pattern, shape, and texture in three different forms: temari (embroidered thread balls, an ancient Japanese art), embroidery, and handknitting. These techniques are all linked by the use of yarn or thread and the slow, detailed, and meditative process of handstitch.

A serious knitter for many years, she has worked in a yarn shop, taught knitting and temari making, and designed patterns for handknits. More recently, she has returned to a childhood pastime—embroidery—to create work that is both personal and political, employing stitched text and simple imagery to comment and reflect on issues affecting our country and our world.

She is a member of Vermont Hand Crafters, Inc., and serves on the Board of Directors of that organization; the Vermont Crafts Council; the Surface Design Association; TAFA: The Textile and Fiber Arts List; and Artizan Made. Her work may be found in Vermont at Grand Isle Artworks, as well as online on her website, Etsy, Facebook, Instagram, and the Made on Monday website. She has exhibited her work at several venues in Vermont, including the Hartness Library at Vermont Technical College and Fletcher Free Library in Burlington, and her resistance artwork has been featured many times in The Nation magazine’s OppArt blog.

To view more work by the artist, please visit www.yarndancevt.com. You may also follow the artist on Facebook at www.facebook.com/Yarndance, as well as Instagram @yarndance.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Search for Equilibrium

“The process of making and the process of thinking. Repetition as a way to transform.” - the artist

A Point of Balance, 2019, Yarn fabric and glue, approximately 51 x 15 x 15 inches, $400

A Point of Balance, 2019, Yarn fabric and glue, approximately 51 x 15 x 15 inches, $400

It’s all about the process. The process of making and the process of thinking.
Repetition as a way to transform.

I sit for hours crocheting, as a private protest against a stressful society,
or as a meaningless time-killer while waiting for change. A feeling of impuissance.

Will people wake up before it’s too late?

Balance in Between, 2019, Yarn and glue, approximately 61 x 35 x 35 inches, $400

Balance in Between, 2019, Yarn and glue, approximately 61 x 35 x 35 inches, $400

I work with my fears in a slow process, fear for destruction, for the fate of our world, fear for not being good enough. To get stuck, to be seen, to be heard, to be ignored. Fear for insects and fear for death and life. Everything is about fears.

How should one find balance in a rocking sea, 2019, Fabric and glue, approximately 39 x 39 x 39 inches, $400

How should one find balance in a rocking sea, 2019, Fabric and glue, approximately 39 x 39 x 39 inches, $400

I’m a slime who transforms when being touched or seen.
I’m the sum of everybody I’ve met, everybody leaves a trace.
I’m a collector. I collect traces of lived life, lint, hair and words.
My reality and my spineless character as an artistic idea. I, who have buy two ice creams because I can’t choose, have to follow my intuition to be able to take any decisions at all.

I Was Born a Libra, 2018, Yarn fabric and glue, approximately 20 x 38 x 15 inches, $400

I Was Born a Libra, 2018, Yarn fabric and glue, approximately 20 x 38 x 15 inches, $400

For the intuition to work, a certain speed is necessary, if it takes too long, if too many translations occurs, the idea loses its meaning.

Listen to Yourself, the Nature and the Surroundings, 2019, Yarn, fabric and glue, approximately 94 x 45 x 45 inches, NFS

Listen to Yourself, the Nature and the Surroundings, 2019, Yarn, fabric and glue, approximately 94 x 45 x 45 inches, NFS

My practice is in constant change. I re-use ideas and materials.
I started out as a painter, but because I’m a dutiful productive girl from a left wing working class home, I had to do something while waiting for my paintings to dry. I started to crochet frames for paintings and knit pictures. Slowly the textile material and technique had taken over, and become the main material I’m using.

Search for Equilibrium, 2018, Yarn  fabric and glue, approximately 34 x 25 x 25 inches, $400

Search for Equilibrium, 2018, Yarn fabric and glue, approximately 34 x 25 x 25 inches, $400

I work mainly with textile. For this project I have crocheted and sewn forms, which I have glued with skin glue (the kind of glue you prepare your canvases with.) and balanced on top of each other. I call the project a Search for Equilibrium.

To view more work by the artist, please visit majasjostrom.com. You may also follow the artist on Facebook at www.facebook.com/maja.sjostrom.7.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Two Sides to the Story

“History is a vast expanse of different perspectives, as the saying goes there are two sides to every story.” - the artist

Peaceful Protest, 2018, Oil and charcoal on Linen, $500

Peaceful Protest, 2018, Oil and charcoal on Linen, $500

History is a vast expanse of different perspectives, as the saying goes there are two sides to every story. It is important to recognize that more times than not, the people in power will have their history told or manipulate history to make themselves look better.

Black Star Edited Edition, 2018, Oil on canvas, 30 x 36, $350

Black Star Edited Edition, 2018, Oil on canvas, 30 x 36, $350

In my art work, I try to explore the moment, people, and objects that aren’t well known in the mainstream history. More specifically, I explore moments in African American history.

Growing up, my family made sure that I was well educated about the struggles, victories, and heroes in our history. Learning those stories help feed my love for history, and realize that the history that I know is not necessarily what my peers know. I learned about Emmett Till and the 16th Street bombing from my parents, but in school they were barely mentioned.

Running of the Negros, 2018, Oil on canvas stretched over panel, 14 x 14, $150

Running of the Negros, 2018, Oil on canvas stretched over panel, 14 x 14, $150

My art often incorporates text, preferably handwritten, so that the work can connect viewers to more in-depth information surrounding specific events.

About the artist:

Lillian Young is an African American painter and art educator.

“My art focuses on highlighting people, moments, and objects centered around the Black Experience that are left out of mainstream narrative. I want my art to be a starting point for people to have those uncomfortable conversations about issues that are considered taboo to discuss. As our country changes it is important for us to remember our history so that we can learn from our mistakes.” - the artist. Source: lillartlife.org

To view more work by the artist, please visit lillartlife.org. You may also follow the artist on Facebook at www.facebook.com/Lillartlife, as well as Instagram @lillife_and_art.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Spring Fling

ENVISION ARTS VIRTUAL GALLERY, SPRING FLING IS NOW ON DISPLAY

FROM APRIL 4th - MAY 5TH.

We were pleased to have received numerous submissions from talented artists across 10 US states and 6 countries, including France, Switzerland, Norway, United Kingdom and Canada. We could not be more proud to reach so many amazing artists from around the globe!

We are pleased to announce Best in Show winner as Margaret McNiel, from Dallas, Texas, for her piece titled Wissen Again, 2019.

Wissen Again, 2019, Oil on Linen, 16 X 20 inches, $500

Wissen Again, 2019, Oil on Linen, 16 X 20 inches, $500

About the artist:

Margaret McNiel graduated with a Bachelor of Arts Degree from WESLEYAN UNIVERSITY, in Connecticut, as well as a Masters of Fine Arts Degree from UNIVERSITY OF TEXAS AT AUSTIN. She has also won several fellowships and scholarships from University of Texas.

“I use saturated colors and distorted images to create paintings of a hallucinatory, synthetic natural world.  I want the things I love to go together.  Funkadelic Bridget Riley painting Dutch flowers.  

Imagine that you take your painting, grab the edges, squish, twist, stretch and compress.  And you’ve got something else.  Or you could do it this way: take your images, stack them up, use your photoshop eraser to show what’s underneath.  

The surface is a metaphor.  Both itself and something else.  It’s still the flat rectangle and the space tipping back to all eternity.  That is one of the great things about painting.  That, and the pure pleasure of seeing.  I think a lot about what people like to look at.  I want to give them that.  I want to spread petals at their feet.” - from the artist

To view more work by the artist, please visit www.margaretmcniel.com.


I’d also like to take a moment to list our honorable mentions for this exhibit. Lina Valland Lyngset, acrylic painting, and Stephanie Guillen, photography.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Beauty Overdose

“People are like flowers, hurry to enjoy their beauty before they wither.” - the artist

Change can be so sudden, 2018, acrylics on linen, 78.7 x 55.1 inches, $2270

Change can be so sudden, 2018, acrylics on linen, 78.7 x 55.1 inches, $2270

I wrote this simple, naive poem when I was 16. In many ways this verse still sums up my artistic project. The awareness that life is temporary, constantly changing and has different phases, is probably my deepest motivation to paint. Through my works I seek to make both myself and my viewers aware of the temporal character of life, and urge us to embrace and find meaning in every phase. We don’t have to understand everything, but we need to accept; this is how I am right now, and it’s going to change. Whether I paint flowers, people, houses, landscapes or completely abstract motives, I seek to get conscious about this: Where am I now? What is happening in me and around me?

Lift your eyes, 2018, acrylics and spray on linen, 55.1 x 55.1 inches, $1570

Lift your eyes, 2018, acrylics and spray on linen, 55.1 x 55.1 inches, $1570

Life itself really manifests its patterns, phases and cycles through flowers and plants in nature. The parallels to human life are endless. Nature itself does something to us that words can’t explain. Is it the colours, the patterns or something else that makes being in nature a relief for modern humans?

Light-Hearted Power, 2018, acrylics on linen, 78.7 x 55.1 inches, $2270

Light-Hearted Power, 2018, acrylics on linen, 78.7 x 55.1 inches, $2270

COLOURS have a major impact on me and are a driving force in my work. Most of my paintings start off as play with colours I feel appealing. I follow my intuition, the pull in my stomach towards certain colours, lines and motifs. I explore emotions and experiences that are not available to me through words, and I find that more random techniques, such as letting paint drain, assist me in this exploration. Later in the process, figurative forms might appear. Most of the paintings are made up of several layers of paint, and have different structural surfaces. I let the paintings mature a lot during the process, and work on many canvases parallel. Many of my images have taken many months or even years to be completed. The distinctive expression appears after several layers. I give my paintings a lot of time to mature along the way, and it might take up to years from I start a canvas until it’s finished. I always have several canvases in progress. I totally embrace the opportunities computers opens to visual artists, and I often use my mac both before I start a canvas, during the process and after, to make digital giclee prints. Instead of blending the colours completely, I tend to use many different colours side by side in small areas or strokes. This makes both my paintings and the giclee-prints more like chameleons; the colours changes due to lighting and surrounding colours, so they tend to blend in, even if they are perceived as colourful.

Now is Your Time to Bloom, 2018, acrylics and spray on linen, 55.1 x 55.1 inches, $1570

Now is Your Time to Bloom, 2018, acrylics and spray on linen, 55.1 x 55.1 inches, $1570

The connection between painting and title / word is incredibly strong for me. Often, I do not know what I'm painting before the title comes to me, and that can happen both early and late in the process. When I suddenly "receive" words to a picture I'm working on, it's a strange experience. And it's not that I understand everything in my own picture just because that title "belonged to it". Words (title) and image can continue to vibrate together in a more or less enigmatic way year out and year in.

When Old Trees Bloom, 2018, partly hand-colored giclee-print on canvas, limited edition of 50, 30.7 x 22 inches, $520

When Old Trees Bloom, 2018, partly hand-colored giclee-print on canvas, limited edition of 50, 30.7 x 22 inches, $520

I tend to feature outlines and contours, and I also play with repetitions of these. Simplified shapes and lines feels like a relief for the eye and for the soul. I like the contrast between simple contours and more complex and messy areas. The contours clear up. In the same way scientific simplifications brings clarification and possibilities to make theories and explanations that help us understand the world. Outlines and simplifications highlight diversity if we also let the complex intricacies show. The same applies to reflections and repetitions; they also bring a sense of relief. When we see the landscape mirrored in the water, we perceive it as beautiful. Traditional crafts have through ages involved repeating patterns. The embroidery tradition around the national costumes here in my home area, Hardanger, is a living example of this. When we take in the beauty of these traditional works of repetition, I think they awaken a recognition of life itself and the circles of life.

Photo source: the artist

Photo source: the artist

About the artist:

[Lina Valland Lyngset] has a long academic education with major subjects in Pedagogics. In recent years, especially after she had children, painting has taken more and more of her time. In 2011, Lina had her first exhibition. After several years of part-time work, she [became] a full-time artist in 2017.

Represented at Galleri Iversen, Norheimsund.

www.linalyng.com / @linalyng

About the collection:

All the submitted works are a part of what I call my “Beauty overdose”-collection. I have returned to spring as a theme in my art several times through the years. Last spring, was very late where I live in Norway. I had planned many large-scale floral paintings for an upcoming show. Because my studio at the time was too small for the size of canvases I wanted to use, I had to wait for the snow to disappear from my garden so I could paint them there. When spring finally arrived, everything kind of exploded, both in nature around me and on the canvases. All these works are reflections of the vibration from the transformation taking place in nature and the new life breaking through.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Breaking the Rules

“Over the span of her career, self-taught contemporary painter Rachael Edwards has developed a dark palleted method of connecting people…

by breaking the rules.” - from the artist

DragonFace, 2015, acrylic, 36 x 60 inches, NFS

DragonFace, 2015, acrylic, 36 x 60 inches, NFS

Evident by the vast spectrum of her personal influences Caravaggio, Rembrandt, Vermeer,  Banksy, and David Bowie, is the desire to constantly expand the inclusion of her audience by offering a visual experience full of juxtaposing styles crossing the unwritten borders of technique.

Creation of Adam, 2018, spray paint on cardboard, (God) 68 x 90 inches, (Adam) 55 x 68 inches, $1,000 for set

Creation of Adam, 2018, spray paint on cardboard, (God) 68 x 90 inches, (Adam) 55 x 68 inches, $1,000 for set

A widely varied body of work that began in acrylics and developed in homage to the power of renaissance masters eventually tossed aside the thought of limitations. Childlike paper monsters became a street art influenced representation of a forgotten people softly embedded in figurative paintings.

Rawwwr!, 2015, acrylic, 36 x 60 inches, NFS

Rawwwr!, 2015, acrylic, 36 x 60 inches, NFS

Spray paint became a respectful rebel belonging wherever you find it. Cardboard became a contemplative power coupling used to encourage the flow of understanding each other.

New American Gothic, 2017, spray paint on cardboard, 36 x 48 inches, $500

New American Gothic, 2017, spray paint on cardboard, 36 x 48 inches, $500

Winner of the Foundation Prize Fellowship Award in Painting from Peripheral Vision Arts (2016), Edwards's refusal to accept boundaries encourages the underlying concern of her work to transfer consistently thru every statement, series and concept... a concern for the treatment of life, and the importance of cherishing it.

The Art of War, 2015, acrylic, 36 x 60 inches, Sold

The Art of War, 2015, acrylic, 36 x 60 inches, Sold

To view more work by the artist, please visit www.rachaeledwardswithpaint.com. You may also follow the artist on Facebook at www.facebook.com/rachaeledwardsartist, and Instagram @rachaeledwardswithpaint.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Earth Mother

ENVISION ARTS VIRTUAL GALLERY, EARTH MOTHER IS NOW ON DISPLAY

FROM APRIL 1ST - APRIL 30TH.

We were pleased to have received numerous submissions from talented artists across 14 US states and 7 countries, including Russia, Poland, Israel, New Zealand and Canada. We could not be more proud to reach so many amazing artists from around the globe!

We are pleased to announce Best in Show winner as Li-Mi-Yan & Sadovsky, from Moscow, Russia, for their piece titled Bacteria 10, 2018.

Bacteria 10, 2018, print on plastic, 70 x 50 sm, $300

Bacteria 10, 2018, print on plastic, 70 x 50 sm, $300

About the artists:

Russian artists Katherina Sadovsky and Lilia Li-Mi-Yan have been working together since 2016. In addition to collaborative projects, each artist is engaged separately in her own art practice. They both studied photography in Rodchenko Art School. After graduation, the artists began to experiment with materials, moving away from a simple photo image and penetrating into it as painters or sculptors. Li-Mi-Yan and Sadovsky explore the themes of death, violence and deformation – not only physical, but also mental. Artists take the viewer by the hand and travel together through the dark forest of consciousness, where one can easily get lost and fail to determine what is actually alive and what is dead. Where each action can be equally destructive and creative. Death always has a beginning and has no end. And the world will always fight against violence, creating it even more.

To learn more about the artists and view more of their work, please visit murderfinearts.tumblr.com. You may also follow Katherina Sadovsky on Instagram @sadovskykat.


I’d also like to take a moment to list our honorable mentions for this exhibit. Lorraine Woodruff-Long, from California, U.S., for her recycled materials quilts, and Moti Bazak, from Givatayim, Israel, for his reclaimed wood sculpture.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Creation

Creation

a poem by Anthony Andrea

Untitled II, 2019. Artist: Ginger Cochran, Mobile photograph, iPhone 6+

Untitled II, 2019. Artist: Ginger Cochran, Mobile photograph, iPhone 6+

creation exists

brute fact

it’s possibility

is uncreated

brute fact

there exists

potential

namely

that which is uncreated

brute fact

creation is in existence

existence is real manifest and palpable in experience

brute fact

reality is definite, supervening permanent and final

and manifesting all properties, qualities attributes

potentialities possibilities probabilities domains

and being in existence

existence is real

brute fact

and prevailing

and whereupon

and inevitably

and therefore

and hence

nothing is not possible

brute fact

nothing is not possible now

take it or leave it.

Photo source: the author

Photo source: the author

About the author:

[Anthony Andrea is] a 57 year old care worker and has been writing since 2018.

“I am not a writer. I mean I do not wish to ever feel obliged to say anything. I am not a professional anything. The professional refers to a higher human authority. I am an Amateur. The Amateur refers directly to the Divine. I have no biography - such a thing is antithetical to my natural inclinations since all Bio's are inevitably fictional. I have always loved words.” - the author


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

The Charm of Flowers

“In my creations, I like to capture the vividness of colors and the charm of flowers and give it my personal rendition, while trying to keep the beauty of it intact.” - the artist

Golden Aura. 2019, Acrylic on 140 lbs Coldpressed paper, 12 x 12 inches, $220

Golden Aura. 2019, Acrylic on 140 lbs Coldpressed paper, 12 x 12 inches, $220

I am a Fine Artist with a demonstrated history of working in the information technology and services industry. Skilled in Photography, Operations Management, Customer Relationship Management (CRM), Public Speaking, and Art. Strong arts and design professional with a Bachelor of Arts - BA focused in Liberal Arts and Sciences/Liberal Studies. I have worked full time for about 22 years. Starting with, being a Front Office assistant, a Store supervisor, a Teacher and finally the last 9 years in the ITES industry in various Supervisory positions before I quit my job in 2013 to come to US with my husband.

Italia. 2019, Acrylic on canvas, 11 x 14 inches, $225

Italia. 2019, Acrylic on canvas, 11 x 14 inches, $225

A self-taught artist, I make abstract, intuitive and impressionistic floral art, occasionally foraying into landscapes. Use of colors is very vivid in all my pieces. They are mostly acrylics on both canvas and paper, a few are mixed media (mostly acrylic and soft pastels) and watercolor too. I have also started with Digital Art form, and there are a couple of those pieces that you will find in my shop.

Flourish. 2019, Acrylic on 140 lbs Coldpressed paper, 9 x 12 inches, $162

Flourish. 2019, Acrylic on 140 lbs Coldpressed paper, 9 x 12 inches, $162

Art has been my passion from the time I was a little girl, however, I had to navigate through life’s very arduous challenges for over two decades. During this time of severity, when I had a formidable task of just surviving with dignity, my art was all forgotten. Though I always wanted to paint but I kept losing touch and more importantly I started losing my confidence and I felt my brushes would not be in my control, my colors would not look beautiful enough on canvas. But as fate and my undying desire for creating art would have had it, fast forward 2016, one fine day I just walked up to 'Michael's', and bought a bunch of art supplies and that day, it was after after 23 years that I picked up my paint brush once again and I haven't stopped even for a day ever since.

Harmony. 2019, Acrylic on canvas, 11 x 14 inches, $225

Harmony. 2019, Acrylic on canvas, 11 x 14 inches, $225

I am in awe of great artists like Van Gogh, Claude Monet, Gustav Klimt- whose use of gold in his art fascinates me. Among more contemporary artists, I truly admire the works of Karen Silve, Erin Gregory, Flora Bowley and I am also thoroughly inspired by them.

Queen. 2019, Watercolor on 140 lbs Coldpressed paper, 12 x 12 inches, $162

Queen. 2019, Watercolor on 140 lbs Coldpressed paper, 12 x 12 inches, $162

My long lost love and gratification- ART- is my absolute full time engagement now. Learning, painting, experimenting, creating, experiencing the euphoria and marveling at destiny, the opportunity this country has given me and at God's ways to reward! I have finally started my Etsy shop a little over a month ago. I also direct sell my original art pieces for now. I hope to spread vibes n vibrancy of colors through my work. I also hope that my art will delight people and bring positive energy for all who see and own them!

Summer. 2019, Acrylic on 140 lbs Coldpressed paper, 8 x 10 inches, $120

Summer. 2019, Acrylic on 140 lbs Coldpressed paper, 8 x 10 inches, $120

I mostly paint florals because flowers connect with my soul and I try to use paints and mixed media to enliven my canvas.

To view more work by the artist please visit www.etsy.com/shop/Artsywanderlust. You may also follow the artist on Facebook at www.facebook.com/theartsywanderlust, as well as on Instagram @anindita.art.etc.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

A Sort of Singularity

“To quote Jane McKeating, ‘Color drips off the needle every bit as richly as that from a brush’.” - the artist

Duality I, 2018, 18 h x 12 w, $330

Duality I, 2018, 18 h x 12 w, $330

I am a multidisciplinary artist, with a 50 year career,  who combines a mixed media practice with embroidery across digital and manual platforms. Everything in our culture tends toward hurry.  This work is about slowing down.

At the heart of the current process is digital embroidery, designing in the computer and stitching out on a computer-aided machine. This is not new. It has been used in the fashion industry and the promotions markets for many years. Digital machine embroidery is not a substitute for, nor a speedier version of, nor an imitator of handwork. It is a mindset and a media choice in and of itself.

Semaphore, 2019, 51" h x 57" w x 3" d, $1200

Semaphore, 2019, 51" h x 57" w x 3" d, $1200

A single stitch is made by stretching a thread between two holes. The line formed by it can be loose or tight. It can be thick or thin, depending on the diameter of the thread. It can be long or so short that it barely exists. But, it can never exist as more than a single defined geometric event, a sort of singularity. The combinations of these singularities create planes, lines, forms, and geometrical space.

Intersecting Torus II, 2018, 10.5 h x 15 w, $300

Intersecting Torus II, 2018, 10.5 h x 15 w, $300

For several years, starting with the support of a Jerome Foundation Project Grant for Textile Art in 2014, my intense media focus has been on digitizing for machine embroidery.  There is an assumption that the machine dictates the outcome, doing all the work for you.   The computer and the embroidery machines are the tools that allow me to produce my vision.  To quote Jane McKeating. "Color drips off the needle every bit as richly as that from a brush."

Fraternal Dualities, 2018, 23 h x 22 w, $650

Fraternal Dualities, 2018, 23 h x 22 w, $650

The process is highly technical, using several software packages that can only be described as a non‑intuitive cross between Photoshop and Illustrator. Creating digital embroidery is limited by the geometry and the capability of both the machine and the materials. Needle and thread have real dimension and stitches can only be straight, joined together to suggest curves and forms.

Digital embroidery lends itself to hard edge geometry as well as biomorphic form.  The combination of high tech with "women's work" provides a delicious contrast of hard/soft, nostalgic/current, objective/non-objective. It also lends itself to modular repetition and re-combinations. Themes can be played out quickly in the computer and then stitched and sampled oh so slowly on the machine; combined with and without mixed media in a wide-ranging exploration of forms in space.  

Horizon, 2019, 2 h x 8 w x 4 d, $4000

Horizon, 2019, 2 h x 8 w x 4 d, $4000

In this chaotic time, digital textiles seem like a way to begin to bring order to the world. Order is, however, always unstable, a glimmer of a hope, cut off by random acts of chance or intent. It is no different in digital embroidery.  In the computer, all things seem orderly, put together, and logical... as though the human propensity for chaos did not exist.  In the production, chance operates: human error, flawed thread, broken needles, run out bobbins, high humidity, low humidity, fabric popping out of hoops and the panicked phone call from a friend.  Repair savvy, canny attention and a spirit of wabi sabi is essential.

Cushion Torus-Universe, 2018, 17 h x 18 w, NFS

Cushion Torus-Universe, 2018, 17 h x 18 w, NFS

About the artist:

[Susan Hensel] is a multidisciplinary artists who works across manual and digital media with a special focus on digital embroidery. To view more work by the artist, please visit susanhenselprojects.com. You may also following the artist on Instagram @susan_hensel_multimedia_artist.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Forms of Japan

“A life-changing sojourn in Japan and especially the ability of the Japanese people to “make space” in the mind and heart in the midst of crowds greatly influences my work.” - the artist

Finding the Opening, 2019, acrylic on canvas, 36 x 36 inches, $2000

Finding the Opening, 2019, acrylic on canvas, 36 x 36 inches, $2000

“My work expresses deep feelings about my inner world and relationships. A life-changing sojourn in Japan and especially the ability of the Japanese people to “make space” in the mind and heart in the midst of crowds greatly influences my work.

Through a contemporary abstract expressionist style, my work explores the experience of alternating constriction and expansion.”

Pillars of Thought, 2019, acrylic on canvas, 50 x 37 inches, $2800

Pillars of Thought, 2019, acrylic on canvas, 50 x 37 inches, $2800

Layering with many tools and varied materials, painting becomes an action-oriented process. Moving between great and small, dark and light, adding and then subtracting - resulting in abstract imagery and their underlying structure. At the end is hope and space to breathe.

Facing Space, 2019, acrylic on cradled panel, 16 x 16 inches, $325

Facing Space, 2019, acrylic on cradled panel, 16 x 16 inches, $325

[This collection of] paintings are part of the Forms of Japan Series - Part II: Finding Space.

Finding Space, 2019, acrylic on canvas, 51 x 40 inches, $2900

Finding Space, 2019, acrylic on canvas, 51 x 40 inches, $2900

Photo source: the artist

Photo source: the artist

About the artist:

Pat Pecorella earned a Ph.D. in psychology from the University of Michigan. She operated an independent film company in Chicago until relocating to Santa Fe, when she transitioned from film-making to art. Pat currently paints full time in her Santa Fe studio. In the past 12 months, she has been included in several juried exhibitions and accepted into juried artist magazines such as Studio Visit. She is included in the Directory of New Mexico Artists. Pat will open her studio for the June 2019 Santa Fe Studio Tour and the July 2019 Santa Fe Art Week.

To view more work by the artist, please visit www.ppecorella.com. You may also follow the artist on Facebook at www.facebook.com/ppecorellaart, as well as Instagram @patpecorella.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

The World Around Me

“I am inspired by everyday life and experiences. I use the world around me to create.” - the artist

Imaginary Flowers #3, 2018, acrylic, crypts, and pencil

Imaginary Flowers #3, 2018, acrylic, crypts, and pencil

Mario Sostre is a mixed-media collage artist living and working in New York City. [He] uses images that he creates.

“Sometimes, I appropriate images from different sources magazines, books, internet etc. I then combine these images with all sorts of mediums, acrylic, water color, pastels to form the final work.” - the artist

To view more work by the artist, please visit mariosostre.blogspot.com. You may also follow the artist on Facebook at www.facebook.com/MARIOSOSTRE as well as Twitter at twitter.com/mariosostre.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Man, With a Gun

Man, with a gun

micro story by Ginger Cochran

A few years ago, I was leaving my neighborhood one day.
I came to a stop at a crosswalk.
In the short distance, a gentleman on a bike came approaching the walk.
He then stopped right in front of my car, put his hand to his head in the shape of a gun and playfully blew his brains out.
He then got on his bike and continued on.
I still think about it from time to time.

True story.

Photo source: the author

Photo source: the author

About the author:

Ginger Cochran is an abstract painter and fiber sculptor, as well as emerging poet, residing in Denton Texas. She is currently working on her first poetry collection, Doorways, to be published in 2019. To see more of her prose, visit Self Labeled.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

To Be

“To read and to write are like drinking water. And i am always thirsty... “ - Irma Kiss

TO BE

a poem by Irma Kiss

 

“Retroactive Love Icon” Artist: ME Wilcox. Mixed media sculpture.

“Retroactive Love Icon” Artist: ME Wilcox. Mixed media sculpture.

You are in the ink
and in the flicking of the pages.
You are in the taste of squeezed oranges
and in the darkness of chocolate.
You are in the dusted pink color of the clothes I'm wearing
and in the pattern of lace and silk.
You are on the radio station frequencies, putting on music.
And in the clicking of the camera
Taking shots.
You are in the space in the ribcage, on the left.
And in the blinking of the eyelids
rhythmically watering my eyes.
You are.

I am in the paper that absorbs your writing
and on the fingertip flicking the pages.
I am the glass holding the orange juice
and in the sweet kiss aftertaste of chocolate.
I am the memory of the hands removing clothes
and in the sweat glueing two heated bodies.
I am the song played on every radio station, everywhere .
And on the background of every photo you'll ever take.
I am in the space in your ribcage,
on the left.
And in the space between the seconds-
Where your mind lingers.
I am.

I am.
You are.

Photo Source: the author

Photo Source: the author

About the author:

I was born in 1978, in the small town of Hunedoara, in western Romania. I am bilingual in Romanian and Hungarian, as I am of Hungarian ethnicity. I have completed my studies in Romania, with a BA and and MA in English and Romanian Philology. I have been teaching English to students aged 10-18. I am currently teaching English grammar and literature at Iancu de Hunedoara National College and I am preparing students for Cambridge, Lelts and Toefl exams. I also published a book of grammar exercises for students: Practice Makes Perfect, in 2015. Writing is a hobby that I practice whenever I feel that simple communication cannot express the load of emotions that are trying to free themselves and be born.

wordpress.com/posts/irmaskiss.wordpress.com / Facebook

About the artist, ME Wilcox:

I earned a B.A. and a B.F.A. in Studio Art and Art History from UT Austin.  I’m also a professional certified Art Teacher, having taught art in Texas public schools and in various international schools in SE Asia.  I’ve always been very interested in world art & craft, folk art and art history.  I spent many years living and traveling abroad - collecting and studying various artistic traditions and immersing myself in different cultures.  My experience overseas both directly and indirectly influences my current art practice, which includes photography, fiber arts, print-making and mixed media. I’m especially interested in the concept of identity - an interest which developed as a result of living abroad for numerous years.  I explore issues of memory, identity, culture & tradition, which may include references to historical art iconography, global art traditions, and places that hold meaning for me.  Images, textiles and objects that I’ve collected may also appear in my work. I love the whole process of art-making!  It’s my intent to make interesting, meaningful and visually appealing art work.  I hope viewers enjoy my work.

 Facebook


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.