Artist Feature

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.

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.

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.

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.

Pathways and Woodland Trails

“I got lost in my art and found my soul.” - the artist

Midnight Fairy, 2018, color pencil, ink, water color, 14 X 17 inches, original $1200, giclee print $140

Midnight Fairy, 2018, color pencil, ink, water color, 14 X 17 inches, original $1200, giclee print $140

My art is an integral part in the evolution of my life’s journey.  The pathways and woodland trails I explored on paper, began in a place of familiarity.  But with every step and turning of the bend, a new perspective emerges.

Fall Flowered Path, 2018, color pencil, ink, water color, 14 x 17 inches, original $1200, giclee print $140

Fall Flowered Path, 2018, color pencil, ink, water color, 14 x 17 inches, original $1200, giclee print $140

I integrated into my work the contrast of light against the darkness, metaphor so to speak of the struggle within.  I engaged this tug of war between these two elements.  This tension unleashed my work from the two dimensional.  I delved into my intricate details and wove them into my work.  I got lost in my art and found my soul. 

Starry Path, 2018, color pencil, ink, 14 x 17 inches original $1200, giclee print $140

Starry Path, 2018, color pencil, ink, 14 x 17 inches original $1200, giclee print $140

In my senior year in high school of 1976, I entered an art competition where I walked away with a “Best of Show”, three Golden Keys and an art scholarship to Northern Arizona University.  Before obtaining my bachelor’s degree in the fine arts, I started a family. 

THE Path, 2017, black pen and ink, graphite pencil, gouache, 11 x 14 inches, original $989, giclee print$140

THE Path, 2017, black pen and ink, graphite pencil, gouache, 11 x 14 inches, original $989, giclee print$140

During the 80’s, I continued to hone my skills as a free lance artist.  I accepted commissions for portraits, business signs, posters, murals for local businesses, designed wedding invitations and perfected my calligraphy.  I also partnered with a printing company, providing them with clip art and black pen and ink illustrations.  During the 90’s I designed a business logo for a local company in Flagstaff, Arizona. 

Pathway to the Universe, 2018, color pencil, ink, 14 x 17 inches, original $1200, giclee print $140

Pathway to the Universe, 2018, color pencil, ink, 14 x 17 inches, original $1200, giclee print $140

In 1991, I went back to Northern Arizona University but this time to obtain a bachelor’s in science in nursing. I graduated with honors and obtained my nursing license.  I worked as a RN mostly in long term care and geriatrics until 2018.  The long hours and emotional investment into my nursing career relegated my art ambitions into the back seat.  Hence my “Grandma Moses” reference.  I had an epiphany of the need to return to my original life long passion.  My art is now back riding shot gun with me in the driver’s seat vowing to never look back.

The beginning of my Path, 2018, Prisma color ink and pencil, 14 x 17 inches, $350

The beginning of my Path, 2018, Prisma color ink and pencil, 14 x 17 inches, $350

Photo source: the artist

Photo source: the artist

About the artist:

Eva Jones has a BA in Fine Arts from Northern Arizona University. She was a participating artist in Fervor, a fine art collective by Envision Arts, held in Frisco Texas. She currently resides with her family in North Dakota.

T view more work by the artist, please visit www.eva4evaart.com. You may also follow the artist on Facebook at www.facebook.com/gardeofeva and Instagram @eva4evaart.


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 Creative Edge

“Gray and Johnson Art has the creative edge to tell many stories in one piece.” - the artists

Thumbprint, 2018, Canvas, 36 H x 27 W, $5,000

Thumbprint, 2018, Canvas, 36 H x 27 W, $5,000

Gray and Johnson Art is a Chicago based luxury art brand that has proudly been providing high quality products to the U.S. What differentiates them from other artists is their urban, pop-art, mixed media style and ability to work collaboratively in a raw and organic  format.

Fashion Show On The Train, 2018, Canvas, 27 116 H x 40 516 W, $6,500

Fashion Show On The Train, 2018, Canvas, 27 116 H x 40 516 W, $6,500

The artists allow the viewer the vision to explore the depth and the vastness of each piece due to the layering and juxtaposition of each image. Gray and Johnson Art has the creative edge to tell many stories in one piece.

Life On The Moon, 2018, Canvas, 29.5 H x 36 W inches, $6,300

Life On The Moon, 2018, Canvas, 29.5 H x 36 W inches, $6,300

Opening in 2019, Gray and Johnson Art catapulted from canvas prints to using other materials like Plexiglas, linen, wood, metal, and fabrics. Their commitment to staying raw and organic in their designs have led them to produce pieces with exceptional quality.

Morning Commute, 2018, Canvas, 40 H x 30 W, $6,300

Morning Commute, 2018, Canvas, 40 H x 30 W, $6,300

The essence of Gray and Johnson Art comes from the ability to proactively listen to the other while still maintaining individuality in  their collaborative works. They are a tangible business with exceptional services and incomparable customer care that keeps their community coming back again and again. Gray and Johnson are strong supporters and believers in giving back to different community and charitable foundations.

Protector Of The Playground, 2018, Canvas, 39.5 H x 30 W inches, $5,700

Protector Of The Playground, 2018, Canvas, 39.5 H x 30 W inches, $5,700

To view more work by the artist, please visit www.grayjohnsonart.com, as well as follow the artists on Facebook at www.facebook.com/grayjohnson.art and Instagram @grayjohnsonart.


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.

Eerie and Dreamy

Stephanie Guillen discovered her love for creative expression through painting as a child. She has since nurtured that love into a life-long passion.

Renaissance I, 2016, Photography, 16 x 24 inches, $290

Renaissance I, 2016, Photography, 16 x 24 inches, $290

Today, she is a visual artist who realizes her creativity mainly through photographic works, which she also processes into mixed media collages on canvas and wood.

Her images are complex and characterized by a subtle eeriness and dreaminess.

Renaissance II, 2016, Photography, 16 x 24 inches, $290

Renaissance II, 2016, Photography, 16 x 24 inches, $290

Some of her work has been shown in galleries, art festivals, and local events in and around Jersey City, the greater New York area and throughout the US as well as in London, Zurich, Stockholm and Budapest. She has been featured in the Artist Portfolio Magazine as well as in the Photographer's Forum's book Best of Photography 2013 and 2015.

Renaissance V, 2016, Photography, 16 x 24 inches, $290

Renaissance V, 2016, Photography, 16 x 24 inches, $290

“Their recordings adhere to something dreamlike and surreal and are characterized among others by complexity and mystique.” - source: www.stephanieguillen.com

Renaissance VI, 2016, Photography, 16 x 24 inches, $290

Renaissance VI, 2016, Photography, 16 x 24 inches, $290

To view more by the artist, please visit www.stephanieguillen.com. You may also follow the artist on Facebook as well as Instagram @stephanieguillenart.


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 Junction of Abstraction and Surrealism

“I am an artist working at the junction of abstraction and surrealism.” - the artist

Binary Star, 2016-2017, Acrylic on canvas, 170 x 67 cm (diptych), $1200

Binary Star, 2016-2017, Acrylic on canvas, 170 x 67 cm (diptych), $1200

I am an artist working at the junction of abstraction and surrealism. This is true not only with regard to my style of painting, but also relates to the topic of my research.


Lucid dreaming and diffusion materials. States of consciousness at the time of transition between sleep and reality. Paint conditions and various effects on it.

Dream No Location - Southern Limit, 2018, Acrylic on paper, 50 x 25 cm, $100

Dream No Location - Southern Limit, 2018, Acrylic on paper, 50 x 25 cm, $100

I am inclined to believe that any picture is a manifestation of a phenomenon seeking a way of broadcasting into the material world.


Thus the original idea takes several stages of transformation before to form a finished painting. It is like the movement of images, through the plots of dreams, to the surface to everyday consciousness.

InVersion, 2013, Acrylic on canvas, 140 x 120 cm, $1500

InVersion, 2013, Acrylic on canvas, 140 x 120 cm, $1500

Using academic education and techniques as a base, I am free to speak to such a technique as airbrush, mono-type, liquid acrylic, masking.

Seraf, 2012, Acrylic on canvas, 200 x 165 cm, $1500

Seraf, 2012, Acrylic on canvas, 200 x 165 cm, $1500

In many ways, inclined to the synthesis of ideas and technologies, I deliberately introduce myself into the field of experiment.


Practicing techniques contributing to lucid dreaming, I fix my experience and understanding in the form of paintings. The main technique is to create an abstract form in the form of a blot or a paint print, followed by a "manifestation" of a specific image using a set of techniques.

T'ma. (Digital darkness), 2016-2018, Acrylic on canvas, 135 x 92 cm, $1500

T'ma. (Digital darkness), 2016-2018, Acrylic on canvas, 135 x 92 cm, $1500

About the artist:

Edgar aka Invoker was born and grew up in Rostov-on-Don, Russia. He graduated from Grekov Rostov Art College, School of Pinting in 1998. In 2000, he moved to St. Petersburg. He entered and graduated from St. Petersburg State Academic Institute of Painting, Sculpture and Architecture; Repin, Faculty of Painting, specialization - a monumental painting in 2007. Edgar lives and works in St. Petersburg.

To view more work by the artist, please visit www.saatchiart.com/edgar. You may also follow the artist and his work on Facebook at www.facebook.com/InvokerEd and Instagram at @edgarinvoker.


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 Surfaces Of The Earth

“[The paintings] explore Geographical location and various differences within the surfaces of the earth…” - the artist

Geo, 2018, Acrylic paint, 29 x 29, $170

Geo, 2018, Acrylic paint, 29 x 29, $170

[Paola is] an internationally educated artist. Her art has been exhibited in London, Helsinki and in Malaga, Spain. She uses mostly acrylic paint and mixed media sometimes in creation of her work.

Hex, 2019, Acrylic paint, 50 x 50 inches, $230

Hex, 2019, Acrylic paint, 50 x 50 inches, $230

“For this exhibition I have chosen three fresh and exciting abstract paintings. They explore Geographical location and various differences within the surfaces of the earth in the context of one's location. Keywords would be Volcanic heat, organism when imagined through microscopic lens. And finally the contrasts of light and darkness.” - from the artist

Organism, 2019, Mixed media, 50 x 50 inches, $300

Organism, 2019, Mixed media, 50 x 50 inches, $300

About the artist:

I am a mixed media abstract expressionism artist and figurative painter. I paint mostly with acrylics and experiment with mixed media to create texture and matte or glossy surfaces. This collection consists of three pieces of abstract paintings. Each painting represents its own idea behind it. Names of these individual works speak volumes about their subject matter. I let the viewer themselves to decide how they feel.

To view more work by the artist, please visit paolasarasteart.wordpress.com, as well as follow the artist on 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.

Knots

“My work seeks to reconcile blue collar and queer as an inter-sectional identity.” - the artist

Knots I, 2018, Soft Sculpture, 60 x 12 x 6 inches, $300

Knots I, 2018, Soft Sculpture, 60 x 12 x 6 inches, $300

I make things because I was raised to. I was raised by a single mother in rural Appalachia. Money was tight. We might’ve been white trash, but our trailer was technically a triple-wide and very nice. My mom taught me that if something broke you had to fix it yourself. Dogs get a new pen; marriages get a divorce.

Knots I (Detail), 2018, Soft Sculpture, 60 x 12 x 6 inches, $300

Knots I (Detail), 2018, Soft Sculpture, 60 x 12 x 6 inches, $300

The house was decorated with foraged flora and handmade signs that read “Live, Laugh, Love” or “Forget the dog. Beware of OWNER.” I learned at an early age that you can make anything out of anything.

Knots II, 2018, Soft Sculpture, 52” x 20” x 9”, $300

Knots II, 2018, Soft Sculpture, 52” x 20” x 9”, $300

Crafting was a way to use up what’s around you and make the house presentable while keeping your hands busy when you don’t know what to do. I use crafting as a way to engage with my lineage. It allows me to dissect various topics while maintaining a sense of place and character.

Knots II (Detail), 2018, Soft Sculpture, 52” x 20” x 9”, $300

Knots II (Detail), 2018, Soft Sculpture, 52” x 20” x 9”, $300

My work is soft. I use traditionally feminine crafting techniques to manipulate phallic objects into grotesque forms that inspire tummy aches; I call them noodles. You want to hold them when you’re sad, but their twisted bodies suggest a hesitancy to be intimate. They’re a breakup song. They’re a man you just can’t quit. They’re every romantic notion that never came to fruition. They’re the intersection of want, need, and can’t.

Knots III, 2018, Soft Sculpture, 27” x 20” x 8”, $300

Knots III, 2018, Soft Sculpture, 27” x 20” x 8”, $300

I am a soft sculptor/fiber artist. The submitted works are part of an ongoing series called "Knots." Each knot consists of fabric that has been sewn into a tube, stuffed, knotted, and tied-off with an embroidery floss tassel.

Knots III (Detail), 2018, Soft Sculpture, 27” x 20” x 8”, $300

Knots III (Detail), 2018, Soft Sculpture, 27” x 20” x 8”, $300

To view more work by the artist, please visit www.tylerjesse.com, as well as follow the artist on Instagram.


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 Unique Depth

“I chose to believe more.” - the artist

Eve, 2019, black ink, 40 × 40 inches

Eve, 2019, black ink, 40 × 40 inches

I moved from Mississippi to Texas at the age of 13. I had a very challenging and difficult childhood dealing with my Father's addiction to drugs. Through his life I learned a unique depth of humanity , vulnerability and humility that hopefully is expressed through my art.

Bare, 2019, black and white ink, 40 x 40 inches

Bare, 2019, black and white ink, 40 x 40 inches

I started creating art only 2 years ago due to my own personal heartache with relationships. I chose to believe more. Lean in to Love , hope and the beauty of what's yet to come. My journey to connect to others more through art has been amazing and fruitful.

Him, 2018, blue and black ink, 40 x 40 inches

Him, 2018, blue and black ink, 40 x 40 inches

I started selling art on the Denton community Market...then quickly moved to selling in coffee shops and eateries such as West oak and Juice lab. I also work with the Artist Collective @thedentongallery showing at Studio E and Deep Ellum...  Had the honor of airing live with Diva Elle @Denton radio...recently had a live interview with @voyagedallasmagazine.

Garden of Eden, 2019, black ink

Garden of Eden, 2019, black ink

Brooke Knox is a local Denton Texas artist. Her art business is known as Loft of Ledgers. Readers can view more of Brooke’s work by following her Instagram @loftofledgers.


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 for application details.

Transcends The Literal

“…I want an image that somehow transcends the literal in the viewer’s imagination, suggesting a mood, a greater mystery, a timelessness.” - the artist

City Below, 2019, Archival Pigment, 12 x 12 inches, $250

City Below, 2019, Archival Pigment, 12 x 12 inches, $250

I like learning new things and discovering new locations, and there is plenty of both in photography. One of the most insistent places is an everyday junkyard, where the deteriorating cars offer opportunities for close up photography.

Talking Heads, 2018, Archival Pigment, 16 x 16 inches, $300

Talking Heads, 2018, Archival Pigment, 16 x 16 inches, $300

It starts when I spy an interesting patina on an rusting Model T. Or a Hudson. Or a Studebaker. On closer inspection, I find a pleasing arrangement of shape and color. I see a photo in the broken paint on a fender. Or a door. Or a rumble seat. So I set up my tripod and arrange a series of shots to later assemble in Photoshop. And then another car beckons.

The Kiss, 2018, Archival Pigment, 12 x 12 inches, $250

The Kiss, 2018, Archival Pigment, 12 x 12 inches, $250

In post production, I want an image that somehow transcends the literal in the viewer’s imagination, suggesting a mood, a greater mystery, a timelessness. One such image began at a car show. I saw a truck on which everything had been restored except the paint. I found a spot of luminescence on a fender and began the capture. Suddenly huge drops of rain began to fall. A minute or two later I had to give up because the surface was awash with water and all pattern was lost. In Photoshop the early rain drops magically turned into trees, and the scene became the image “Forest Bathing.” I don’t see a metal fender. I see a river, a pond, and a forest of healing trees.

Forest Bathing, 2016, Archival Pigment, 16 x 16 inches, $300

Forest Bathing, 2016, Archival Pigment, 16 x 16 inches, $300

Peggy Olafson Curtis was born in Seattle, USA and grew up in nearby regions during the turbulent 60’s.

Her love of photography began with a film camera and a high school course in photography—her first inspiration was a shot of her father removing a can of soup from a kitchen cupboard followed by his watery image looking back at her in the dark room developing tray.

Patterns, 2018, Archival Pigment, 11 x 14 inches, $250

Patterns, 2018, Archival Pigment, 11 x 14 inches, $250

The artistic inspiration came a few years later during a two-year residence in Japan.  There she became immersed in the Japanese aesthetic after visiting the Empress Meiji’s iris garden on a glorious rainy day in May. Before her stretched a row of shiny black umbrellas as visitors meandered along the garden path. The gardeners, in shiny black rain gear, snipped spent blossoms as they waded among the iris plants. She was hooked on beauty. She studied the Sogetsu school of flower arrangement, Japanese gardens, painting, pottery, in every moment she could. Later she completed a certificate in Photography from the University of Washington, studied at the Photographic Center Northwest, and continued her Japanese flower arranging classes.

Reach For The Sky, 2014, Archival Pigment, 11 x 16 inches, $250

Reach For The Sky, 2014, Archival Pigment, 11 x 16 inches, $250

[Peggy Olafson Curtis] has studied with the best of the best, including Sam Abell, J.P. Caponigro, Ben Willmore, Keron Psillas, and Charlie Waite in intensive workshops and mentorships. Her work has been featured in Seattle and Santa Fe galleries. She is a member of NANPA (The North American Nature Photography Association).

To view more work by the artist, please visit www.peggyphoto.com. Readers may also purchase Just Rust, a photography book by Peggy, HERE.


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 for application details.

Cathartic Outlet

“Art is my cathartic outlet for life’s journey. “- the artist

Catharsis No. 5A, 2017, Mixed Media on Canvas Paper, 18 x 24 inches, $950

Catharsis No. 5A, 2017, Mixed Media on Canvas Paper, 18 x 24 inches, $950

My art is very personal and emotional, often transforming from its original intent during the creative process. I love experimenting with various media, styles, and new themes.

Art is my cathartic outlet for life’s journey.

Confined No. 12, 2018, Mixed Media on Paper, 9 x 12 inches, $500

Confined No. 12, 2018, Mixed Media on Paper, 9 x 12 inches, $500

Roni Murillo is a creative visual artist based in New York and has an extensive background in graphic design, illustration, and fine art. Her work is featured in many galleries and private collections throughout the United States, Asia and Central and South America.

Catharsis No. 19A, 2017, Mixed Media on Watercolor Paper and Cardboard, 18 x 24 inches, $1,250

Catharsis No. 19A, 2017, Mixed Media on Watercolor Paper and Cardboard, 18 x 24 inches, $1,250

Ms. Murillo received a Bachelor of Fine Arts from Syracuse University. Further artistic training continued at the Art Student’s League and Parsons School of Design in New York City. She has been commissioned to do pieces for home, office and theater.

Confined No. 11, 2018, Mixed Media on Paper, 9 x 12 inches, $500

Confined No. 11, 2018, Mixed Media on Paper, 9 x 12 inches, $500

Her business background includes that of being a Manager for a Graphic Design Studio and the Director of Research & Development for a large toy, stationary and leisure products company. She has also served in the capacity of Creative Director for Package Design and New Product Development.

Confined No. 5, 2018, Mixed Media on Paper, 9 x 12 inches, $575

Confined No. 5, 2018, Mixed Media on Paper, 9 x 12 inches, $575

Roni Murillo’s art is very personal and emotional, filled with color, energy, and movement. It often transforms from its original intent during the creative process. While recovering from an injury to her eye and with restricted vision, Roni considered how to turn this disability into a positive. She drew on the distorted images and fused coloration she perceived and used it to her advantage. Some of her most imaginative and innovative work emerged. She calls this body of work the "One Eye Series."

Roni continues to explore and experiment with various media, styles, textures, and new themes.

Catharsis No. 4B, 2017, Mixed Media on Canvas Paper, 12 x 16 inches, $750

Catharsis No. 4B, 2017, Mixed Media on Canvas Paper, 12 x 16 inches, $750

To view more work by the artist, please visit www.ronimurillo.com. You may also follow the artist on Instagram, as well as 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 for application details.