Artist Feature

Invisible Me

“My art reflects my soul and my vulnerability…” - the artist

Can't Breath, 2018, Photography, 11 x 14 inches, $100

Can't Breath, 2018, Photography, 11 x 14 inches, $100

My art expresses thoughts and emotions relating to chronic pain and mental illness. Creating art allows me to be myself and focus on something other than the pain that I feel. Art is my therapy to help me cope with chronic pain, depression and anxiety.

Dangerous Thoughts, 2018, Photography, 11 x 14 inches, $100

Dangerous Thoughts, 2018, Photography, 11 x 14 inches, $100

My art reflects my soul and my vulnerability, showing a part of myself to my viewers that I normally don’t share. I have been exploring new concepts this year that have a more positive tone rather than some of my past projects which focused on depression and pain.

Darkness Within Me, 2018, Photography, 11 x 14 inches, $100

Darkness Within Me, 2018, Photography, 11 x 14 inches, $100

I recently began using my art to spread awareness about mental health and chronic pain through an online Exhibition and blog called Invisible Me. I have been searching for a more positive way to express myself and even find ways to share my artistic therapies with others.

My Invisible Pain, 2018, Photography, 11 x 14 inches, $100

My Invisible Pain, 2018, Photography, 11 x 14 inches, $100

Invisible Me Exhibition photos and poems take you into the mind of someone with chronic pain, anxiety, depression, and suicidal thoughts. This will help you understand how it feels in hope that you will have compassion and treat others kindly. There are so many people suffering in silence. You never know how much your words and actions might hurt.

Pain Warrior, 2018, Photography, 11 x 14 inches, $100

Pain Warrior, 2018, Photography, 11 x 14 inches, $100

We all need love and support. Invisible Me is an inspirational blog and place to share stories, struggles, tips and so much more in a community of people who care about each other and want to raise awareness of invisible illnesses.

Meghan Wagner profile pic.jpg

About the collection:

These photos are part of my Invisible Me Exhibition. This exhibit contains photos and poems that take you into the mind of someone with chronic pain, anxiety, depression, and suicidal thoughts. This exhibit is to inform and bring awareness to students what these illnesses might feel like. I want to promote kindness to others and self-care.

To view more work by the artist, please visit megwagnerimages.weebly.com. You may also follow the artist on Facebook at https://www.facebook.com/megnificentstudios,www.facebook.com/megnificentstudios, as well as Instagram @megnificentstudios.

To learn more about The Invisible Me Project, or to share your story, please visit www.invisiblemeproject.com/home.


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.

1601 Pine Hollow Road

“These selections from the ‘1601 Pine Hollow Road’ series look back over the elapsed years to the spaces and rooms that shaped me and examine how memory reshapes the past over the passage of time.” - from the artist

1601 Pine Hollow Road, Diptych #1, 2017, Mixed Media; paper, aerosol, inkjet-printed scanned images, 20 x 32 inches, $600

1601 Pine Hollow Road, Diptych #1, 2017, Mixed Media; paper, aerosol, inkjet-printed scanned images, 20 x 32 inches, $600

Ruth A. Keitz has been involved in art since elementary school. She participated in Saturday art classes at the Carnegie Institute in Pittsburgh, PA from fourth grade through high school. (Well known graduates of the Carnegie Institute program include Philip Pearlstein and Andy Warhol.)

1601 Pine Hollow Road, Triptych #1, 2017, Mixed Media; aerosol, acrylic, paper, manipulated scanned photograph, graphite, 16 x 30 inches, $500

1601 Pine Hollow Road, Triptych #1, 2017, Mixed Media; aerosol, acrylic, paper, manipulated scanned photograph, graphite, 16 x 30 inches, $500

However, it was her father who ran a part-time business painting lines for parking lots, crosswalks, and directional traffic arrows who claimed to have taught her how to paint while working for him. Perhaps there is more truth than fiction here considering the linear structure of many of her works.

After graduating with a BA in art from Allegheny College in Meadville, PA, she went to the University of Texas at Austin where she completed her MFA in art education with a minor in studio art and a PhD in curriculum and instruction with a minor in studio art.

1601 Pine Hollow Road; A Glimpse into the Past, 2017, Mixed Media; aerosol, acrylic, paper, manipulated scanned photograph, graphite

1601 Pine Hollow Road; A Glimpse into the Past, 2017, Mixed Media; aerosol, acrylic, paper, manipulated scanned photograph, graphite

These selections from the “1601 Pine Hollow Road” series look back over the elapsed years to the spaces and rooms that shaped me and examine how memory reshapes the past over the passage of time. They explore images of me and my family and images from my childhood.

Inside Out; A Window - Door to the Past, 2018, Mixed Media; acrylic, marker, window envelope, scanned image on canvas panel. 11 x 14 inches, $200

Inside Out; A Window - Door to the Past, 2018, Mixed Media; acrylic, marker, window envelope, scanned image on canvas panel. 11 x 14 inches, $200

Digitized photographs are disassembled and reassembled into collages with mixed media. The digitizing and collage processes are parallel to the memory process which allows me to duplicate and relive and reconstruct the past.

Neutral images from the past carry with them good or bad messages depending upon their interpretation in the present. Some provide comfort. Some provide closure.

1601 Pine Hollow Road: Through a Glary, Blurry Window Triptych: My Mother, My Sister, and Shortie, 2018, Mixed Media: paper, wood, aerosol, window envelope, inkjet-printed scanned and manipulated images on paper and canvas. 16 x 40 inches, $600

1601 Pine Hollow Road: Through a Glary, Blurry Window Triptych: My Mother, My Sister, and Shortie, 2018, Mixed Media: paper, wood, aerosol, window envelope, inkjet-printed scanned and manipulated images on paper and canvas. 16 x 40 inches, $600

We all carry with us memories, images, and voices from the past. They haunt us or taunt us or comfort us or terrify us again and again. Dreams and memories carry us back across time and miles. We are all a product of a particular time and place governed by a past which we cannot escape. Each of us is what we are because of what we were and what we chose to be or chose not to be.

Brownie: My Sister’s Childhood Dog (Fourteen Views), 2018, Mixed Media: color pencil, picture frame, hand-colored, scanned digital images inkjet printed on canvas and various papers, wood, pushpins. 25 ¼ x 32 ½ inches, $800

Brownie: My Sister’s Childhood Dog (Fourteen Views), 2018, Mixed Media: color pencil, picture frame, hand-colored, scanned digital images inkjet printed on canvas and various papers, wood, pushpins. 25 ¼ x 32 ½ inches, $800

About the artist:

My mixed media collages reflect my interest in the physicality of objects, their “thingness”: textures, shapes, colors. Regardless of the series, message, or symbolism, all my work includes a variety of found objects. In the tradition of Picasso’s collages and Duchamp’s found objects, the stuff of my art is likely to be ropa usada or other man-made discards or the discards of nature.

To view more work by the artist, please visit RuthKeitzArt.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.

Marking Time

“I think of ruins of ancient cities buried under new ones, the remains of Shakespeare’s theater unearthed, even a King of England found buried under a parking lot.” - the artist

First Marks, 2019, Oil,Cold Wax, Plaster on Panel, 40 x 40 inches, $1800

First Marks, 2019, Oil,Cold Wax, Plaster on Panel, 40 x 40 inches, $1800

My intuitive abstract work in oil and cold wax medium represents ongoing exploration: challenging myself to work on large and small panels, allowing gestural marks to coexist with soft passages of paint and wax, and trusting my artistic intuition amidst the struggle to give form to my vision.

Whisper, 2018, Oil, Cold Wax on Panel, 20 x 16 inches, $600

Whisper, 2018, Oil, Cold Wax on Panel, 20 x 16 inches, $600

I am grateful for my love of the painting process which brings me stability during the surreal and concerning events of the outside world.

Light in the Dark, Oil, Cold Wax on Paper Mounted on Panel, 8 x 8 inches, $225

Light in the Dark, Oil, Cold Wax on Paper Mounted on Panel, 8 x 8 inches, $225

I love layers and strata that evoke history and transition. I’m interested in what’s underneath the surface of things.

Paleo Winter, 2018, Oil, cold Wax on Panel, 20 x 16 inches, NFS

Paleo Winter, 2018, Oil, cold Wax on Panel, 20 x 16 inches, NFS

I think of ruins of ancient cities buried under new ones, the remains of Shakespeare’s theater unearthed, even a King of England found buried under a parking lot. The layers, colors, and textures of a piece contain my sense of history, mystery, and every day magic.

La Sagesse, 2018, Oil, Cold Wax on Paper Mounted on Panel, 20 x 16 inches, $600

La Sagesse, 2018, Oil, Cold Wax on Paper Mounted on Panel, 20 x 16 inches, $600

My wish is to connect with the viewer of my work, sharing what is beyond words. I build up many layers, incise, scribble, scrape back, and texture my work, allowing each piece to tell its own story.

About the collection:

This collection is part of a series called "Marking Time". This work is my response to visiting Pech Merle in France, home to Upper Paleolithic cave paintings and drawings.

I played with the acts of painting and mark making, fueled by the excitement of having seen the creations of people who lived roughly 25,000 year ago. My surfaces are complex, with many layers of paint and visual texture that echo the signs of the passage of time found in the magical cave I visited.

Making this work, I reached back to the wonder and joy I first felt in mark making and painting as a child. As an adult I was holding feelings of compassion and connection to these early artists in one hand, and holding the barriers of time to every understand their mysteries in the other.

To view more work by the artist, please visit serenabarton.com, or www.facebook.com/serena.barton.33. You may also follow the artist on Instagram @serenabarton.


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.

Repressed Emotion

“I find that this part of my work expresses some kind of repressed emotion within me…” - the artist

3, 2017, Collage, 11 in. X 8 in., Not for sale

3, 2017, Collage, 11 in. X 8 in., Not for sale

My series of collages have no specific message, but they do serve as a form of calming therapy for me. Whenever I feel overwhelmed with work or other artistic endeavors, I tend to find myself making these abstracted collages.

At Least Try, 2017, Collage, 11 in. X 8 in., Not for sale

At Least Try, 2017, Collage, 11 in. X 8 in., Not for sale

My other work has almost no connection to these collages, and some could argue that these collages were simply not made by me.

Tropical, 2017, Collage, 11 in. X 8 in., Not for sale

Tropical, 2017, Collage, 11 in. X 8 in., Not for sale

“In a weird way, these collages just spring out of my mind without any warning.” - the artist

A Void, 2019, Collage, 4 in. X 6 in., Not for sale

A Void, 2019, Collage, 4 in. X 6 in., Not for sale

As an animator and a painter, I find that this part of my work expresses some kind of repressed emotion within me that I have yet to fully understand.

Simplistic, 2018, Collage, 11 in. X 8 in., Not for Sale

Simplistic, 2018, Collage, 11 in. X 8 in., Not for Sale

However, I welcome this odd phenomena as these collages have encouraged me to travel as far as I possibly can to collect foreign magazines to add to my arsenal of collage materials.

About the collection:

The method used in creating these collages is served as a strange form of therapy. Majority of the collage material used in these pieces come from my collection of flyers, posters, magazines and the like from my travels around the world.

To view more work by the artist, please visit www.rigatonigarrido.com. You may also follow the artist on Facebook at www.facebook.com/rigatoni.garrido, as well as Instagram @ravioliantipasta.


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.

Pilgrimage of Heritage

“In ‘Pilgrimage of Heritage’ the story begin with images first learned of in books, and later informed by experience.” - the artist

The Church, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

The Church, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

The distance between my father and I always made me wonder about my heritage. My father never spoke about his Sicilian family or ancestors, which made me even more curious. What was he hiding? So many unanswered questions. With the help of ancestry.com, and Joseph Campbell’s The Hero’s Journey, I began my search.

Inspection 2, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

Inspection 2, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

Finding an Immordino group on Facebook led me to a distant cousin, who became my guide overseas. Setting out to find my family roots, I could not have imagined the story I was about to uncover.

History Never Changes, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

History Never Changes, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

In “Pilgrimage of Heritage” the story begin with images first learned of in books, and later informed by experience. Churches, village streets, and secret stone chambers are combined with portraits and fleeting figures, serving as abstractionist surreal interruptions. This emotionally and visually charged multiverse reflects not only my travels across the world, but also interior states of imagination. In Sicily I felt destined to be there but somehow did not belong–like a prodigal child who was profoundly an outsider as well. I soon discovered that rather than Italian-American as I had assumed, my DNA revealed a Greek, Arabic, Middle Eastern, and North African origin.

The Ruins, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850.

The Ruins, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850.

I quickly realized we are all so much more than we think, and so much more connected. I left Sicily with a different life story than I had arrived with, and in a way, a different self. It was this the kind of paradox , both in narrative and consciousness, that my constructed images portray and embody.

The Spirit Guide, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

The Spirit Guide, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

Images captured in Sicily were collaged or montaged with other elements in purview, to tell a broader story, and give context within germane historical eras, geopolitics, and prevailing mindsets. This is expressed through the painstaking layering of fragments of past and present, old and new, people, places, objects, and textures in a fractal compression that looks like life, a dream, and history. This conceptual structure is further expressed throughout the project as the suite of close to two dozen pictures utilizing an array of techniques, materials, and processes, to form a variety of shapes and sizes. Finding distinctive and various frames much like the variety in genes, I tend to favor those from the late 1800s. Fashioned from wood and gold-plated brass with convex glass, evocatively aged and lovingly restored, which is just one way I love transitioning the old into something shiny and new.

The Wall, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

The Wall, from the series Pilgrimage of Heritage, 2017. Archival Pigment Print, 16 x 24 inches, editions of 15, $850

By using compositional technique to enlighten this intimately epic narrative, I believe my style has found its spiritual home. Place can be a metaphor for how our lives are enacted against the backdrop of durable, even ancient places, impersonal cities and ancestral homelands. In embracing all processes, I have endeavored to mirror an acceptance for familial secrets, a pilgrimage of heritage.

Cathy Immordino profile pic.jpg

About the artist:

Cathy Immordino is a Los Angeles-based photographer, whose layered images form composites of personal experience and public spaces. Drawing on techniques and methods from fine art and photojournalism, Immordino’s optical layering serves as an evocative visual allegory for the complex narratives of life and memory. Immordino began her photography career after years of being a film actress, a set of experiences whose highs and lows she documented, along with architectural and urban landscape photographs of Hollywood at night. In subsequent projects and series, including a major endeavor based on her own ancestry and the history of immigration in her immediate family, she has continued to refine and evolve this fundamental structure. Layering her own stories and observations against backdrops of iconic architecture, landscapes, and public spaces where they unfolded. In this way she collapses both time and space in a surreal but familiar language composed of art history, biographical reportage, and photographic technology. Immordino has exhibited her work in galleries and institutions across the United States, and co-founded the Shed Collective. She is associated with MOPLA, the LA Center for Photography, the Los Angeles Art Association, Center Santa Fe, and the Society of Photographic Educators.


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.

Church Goin' Mule

“…a death-vase mash of the collective southern past, pearls and rusted nails…” - from the artist

Saint Mary Blues, 2019, acrylic, 2 x 4 feet, $1013

Saint Mary Blues, 2019, acrylic, 2 x 4 feet, $1013

Church Goin Mule's work is a memory jug, a death-vase mash of the collective southern past, pearls and rusted nails, song and story, lore and loss. The mule is our common ground, the creature that every man, woman and child of all origin knew, in a time before t-models and tractors.

Slow Steady Blues, 2019, acrylic, 2x2', $513

Slow Steady Blues, 2019, acrylic, 2x2', $513

In a time of remarkable and perhaps increasing polarity, the mule is our grounding rod, pointing to not a better past, but a different one. Every person who worked, worked alongside a mule.

River Raised, 2019, acrylic, 2x4', $1013

River Raised, 2019, acrylic, 2x4', $1013

The blues was born behind a plowing mule. Stories and poems, jokes and songs were prolific about the south's four legged machine. Like much of our history, it's been forgotten and framed to tell a different tale. That story is a well known one, of glory and triumph.

Delta Flown, 2018, acrylic, 2x2' 513

Delta Flown, 2018, acrylic, 2x2' 513

Our true story, our true flag is the white one of surrender, and of hard work, poverty and loss. The mule was the first hybrid and he was always there, able to work harder, live longer, eat less. He stood beside moonshiners, levee builders, cotton farmers, timber-haulers, oil drillers, sugar cane men. He worked six days and brought his folks to church and town on the seventh.

Old Buttermilk Sky, 2019, acrylic, 2x4' $1013

Old Buttermilk Sky, 2019, acrylic, 2x4' $1013

About the artist:

Church Goin’ Mule is a southern folk artist. She was born and raised across the south, her kinfolk came from the mountains though she lives in Louisiana now. Her first solo show was in 2015, and has been steadily growing ever since.

She works out of her studio in Opelousas, Louisiana, creating outsider art on found wood and canvas, with house paint and acrylics.

2019 marked a big year for Church Goin’ Mule, starting out with two solo shows, and looking forward to her residency at Azule in September.

With the patience and steadiness of a mule she continues to plow on, lookin' to see where to show next.


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.

Subtly Translucent

Erika Lyn Horwitz is known and easily recognized for her unique, layered, gem-like, subtly translucent abstract paintings. Simultaneously organic and topographical, her work explores the intersection between chaos and order, conscious and sub-conscious and intention and accident.

Ego, 2019, mixed, 18 x 24 inches, $1800

Ego, 2019, mixed, 18 x 24 inches, $1800

The goal of her work is to transport the viewer into a creative-meditative state analogous to the state in which she produces the paintings. Her work embraces the dynamic energy of Abstract Expressionists like Lee Krasner and Helen Frankenthaler while also adopting a Minimalist eschewal of subject, biography and metaphor.

Influx, 2018, mixed on canvas, 36 x 36 inches, $5,800

Influx, 2018, mixed on canvas, 36 x 36 inches, $5,800

Horwitz uses techniques that she developed to blend resin with traditional materials such as oil, acrylic and dry pigment as well as non-traditional materials like metal flakes, automotive paint, broken mirrors and glass as well as spray, auto, interference and color shift paints.

New World, 2018, mixed media on cradled birch, 36 x 36, $6,000

New World, 2018, mixed media on cradled birch, 36 x 36, $6,000

By employing organic and even projectile forms, raw or viscous matter her art injects subversive and even an obliquely feminist quality into the world. Her art is an extension of Horwitz’s hands-off detachment, experimentation and a scientific exploration as well.

Making Love, 2019, mixed on cradled birch, 36 x 36 inches, $6,000

Making Love, 2019, mixed on cradled birch, 36 x 36 inches, $6,000

She is also a classically trained oil painter with over two decades of experience. The works are not imposing but rather invite the audience in to experience and create their own personal relationships with it.

Meta, 2018, mixed on canvas, 36 x 36 inches, $3,000

Meta, 2018, mixed on canvas, 36 x 36 inches, $3,000

Erika Lyn Horwitz has exhibited extensively internationally and throughout New York City. Her collectors are found in Pennsylvania, Washington D.C., Florida as well as California, Italy and Canada.

To view more work by the artist, please visit www.artsy.net/nyc-art-collective-and-gallery, as well as www.facebook.com/erika.piscitello.


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.

Expressed In Layers

“…the works that I develop, I limit the time to a finite amount of days, expressed in layers of paint.” - the artist

HERIDA ESCRITA, 2019, acrylic, 90 x 120 cm, $925 US

HERIDA ESCRITA, 2019, acrylic, 90 x 120 cm, $925 US

When a work of art is finished, when we stop working on it, when can we say it can not improve ...? These are questions that we have clearly asked ourselves all that we have ever faced to work on a canvas, in a sculpture, action or installation, but it is also a question that makes us the spectator, the collector, the taster of art.

PIEL, 2019, acrylic, 150 x 70 cm, $900 US

PIEL, 2019, acrylic, 150 x 70 cm, $900 US

The answer seems to me that there is still to answer, however with the project that I present and from the works that I develop, I limit the time to a finite amount of days, expressed in layers of paint.

RUDOLF, 2018, acrylic, 122 x 76 cm, $800 US

RUDOLF, 2018, acrylic, 122 x 76 cm, $800 US

Working time, although it does not seem determinant for the result of a pictorial work, if it seems interesting to me to show, numerically and objectively share that such painting has 30 days of work it seems revealing, to communicate that such a picture has been developed since 30 layers of paint is undoubtedly at least disturbing .

DOBLE DIRECCIÓN, 2019, acrylic, 40 x 120 cm, $410 US

DOBLE DIRECCIÓN, 2019, acrylic, 40 x 120 cm, $410 US

30 layers plus 1 ... This is what I do in my current works, 30 layers of paintings represent the rigor of the work, the constancy of the routine (captured and captured photographically) the work of the day to day, the execution time, the waiting time between layers, a process almost and without detracting ... mathematical. Finally the last layer, the icing on the cake without a doubt, a loose layer, fast and strong, simple strokes and composition, but with all the soul, intuition and stomach that can be put after a long, long wait.

SOLEDAD, 2019, acrylic, 100 x 150 cm, $1,280 US

SOLEDAD, 2019, acrylic, 100 x 150 cm, $1,280 US

The result appears after detracting the threads trapped under the time of work, under the layers of routine, under the pictorial polychromy. As a verbal testimony, a text of the moment, words that appear without any planning, simply ideas often disconnected that speak precisely of the final moment, of the moment of finishing.

PIEDRAS, 2019, acrylic, 30 x 40 cm, $180 US

PIEDRAS, 2019, acrylic, 30 x 40 cm, $180 US

Photo source: the artist

Photo source: the artist

About the artist:

Alejandro Robles is an architect, painter, sculptor and docent. He studied architecture at the Central University, from where he draws on the loose and quick sketch that gives the sketch, here he finds the strength of the line that accompanies him to these days. His artistic studies are continued at the Catholic University of Chile, complementing painting, color and sculpture, then deepened in the Massana School of Barcelona in 2002, with a marked emphasis on the drawing of the human figure, later realizes an artistic residency in the B & B Art Contemporary art museum in Sardinia with curator Bianca Petretto in 2017, this time generates the exhibition "LABERINTI" in the Arborense Diocesan Museum, composed of paintings, sculptures, drawings and installations, resulting from his visit to the granite quarries of the aforementioned island.

In parallel, he has participated in various artistic workshops counting with teachers such as the sculptor Ricardo Irarrázabal and the artist Carmen Silva with whom he shared a beautiful friendship, great conversations and some exhibitions. With respect to the illustrations, Alejandro collaborates with Le Mond Diplomatique since 2012 with various works, highlighting the cover of number 132. Separate paragraph deserves his career as a docentian, which begins at the Diego Portales University and continues at the University of Development where he currently practices, is the contact with the university world what nourishes him with new ideas, fresh visions that are reflected in his multiple projects, from the plastic, conceptual, architectural, human, social or even urban.


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.

One With Nature

“Every day I carve wood. I'm experimentation. I am one with nature.” - the artist

Dance. 2019. Wood + epoxy. 34 cm x 26.5 cm x 4.5 cm, $450

Dance. 2019. Wood + epoxy. 34 cm x 26.5 cm x 4.5 cm, $450

First work - sculpture "Dance"

In this sculpture it was my goal to find the point of the fall—that moment when the stable support of the dance partner succumbs to the force of gravity.

I let the epoxy run free and connect the two pieces of wood as two people are connected through dance. It’s like an energy that they are sharing.

The epoxy bends, folds and flows like the skin at the joints of a body in movement. And the gold beneath the “skin” is like true treasure inside the hearts and souls of the dancers.

The work was inspired after participating in an art/dance workshop in Vladimir where dancers explored partnering and “movie dance”.

Fall. 2018. Wood + epoxy. 32 cm х 30 cm х 3.5 cm. $400

Fall. 2018. Wood + epoxy. 32 cm х 30 cm х 3.5 cm. $400

Second work - sculpture “Fall”

In this work I wanted to capture the moment of fear and sadness, when you realize that Fall is here. I wanted to capture the time that passes during this period of the year and one’s feelings about that passing of time.
Every year I find myself dreading the coming sadness of Fall, and I think this is visible in the piece.

About the artist:

I've been woodcarving since I entered a Moscow woodcarving school in 2012. My unique woodcarving technique is in part based on what I learned there.

I'm currently an art student at Stroganov Academy of art in Moscow. In 2016, I participated at the International handicraft exhibition in Lisbon, Portugal and 2019 participated in workshop in Vladimir, Russia.

To view more work by the artist, please visit www.russianwoodcarving.com/home-1. You may also follow the artist on Facebook at www.facebook.com/russianwoodcarving, as well as Instagram @maria_woodcarver.


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.

Exploring Abstract Form

“I am the same in the arts as I am with life and learning, inquisitive and driven.” - the artist

Arch, 2019, Fine Silver Metal Clay 925 Sterling Silver Amethyst and Tanzanite £165

Arch, 2019, Fine Silver Metal Clay 925 Sterling Silver Amethyst and Tanzanite £165

I have completed both self-directed practice and courses studying the arts, including an Access Art and Design Diploma and Art and Media Bachelor of Arts with Honors. Since gaining these two qualifications, I have created mixed media paintings and metal clay jewellery designs side by side.

Malestrom, 2019, Acrylic Paint Spray Paint and Graphite, 63 x 63 cm, £400

Malestrom, 2019, Acrylic Paint Spray Paint and Graphite, 63 x 63 cm, £400

These two different mediums share more characteristics than people often think, with one medium directly inspiring the other with the subject of landscapes a unifying factor. Additionally I have constantly been exploring abstract form and colour in my mixed media paintings, crossing over to my metal clay designs.

Barnes Green, 2019, Fine Silver Metal Clay 925 Sterling Silver Peridot and Malachite, £165

Barnes Green, 2019, Fine Silver Metal Clay 925 Sterling Silver Peridot and Malachite, £165

All of my artworks are directly inspired by landscapes and are influenced by my thought processes, emotions and mood at the time of creation. My artworks create an open dialogue of my experiences, thoughts, feelings akin to a visual diary, a representation of who I am and the way I processes my life and the world around me.

Commotion, 2018, Mixed media, 101 x 101 cm, £850

Commotion, 2018, Mixed media, 101 x 101 cm, £850

My work can be purchased through eight representative galleries, including Degreeart.com Gallery, Nude Tin Can Gallery, Riverside Gallery & Framing and Art in the Heart Gallery. I have coupled my artistic practice with exploring my passion for writing, which enables me present my work in a number of international print and online publications, including Art and Museum Magazine, Creativ Paper Magazine, Artist Talk Magazine and Iris Art Magazine.

Urban Elegance, 2019, Fine Silver Metal Clay Pink Tourmaline Ruby and Purple Sapphire, 1.8 x 1 x 2.1 cm

Urban Elegance, 2019, Fine Silver Metal Clay Pink Tourmaline Ruby and Purple Sapphire, 1.8 x 1 x 2.1 cm

My artist practice is a reflection of who I am, which has always been a deep love and is something that is a part of my identity.

To view more work by the artist, please visit www.lheart.co.uk, as well as www.facebook.com/laurahelliottart. You may also follow the artist on Instagram @laurahelliottart.


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.

Passing Through

“I am interested in the spiritual aspect …” - the artist

Passing Through 34-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

Passing Through 34-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

In my art practice I am working with passions and feelings, focusing on elements that are emotionally important for people in their community. I am interested in the spiritual aspect of how we perceive ourselves and the world around us, and connections that we create, whether they be with places, things, or each other.

Passing Through 35-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

Passing Through 35-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

A significant part of my work centres around residents of the UAE, focusing on their existence, their perception of themselves and their ambitions. Part of my process before I begin painting is to connect with my subject on a personal level by meeting people and listening to their stories, visiting the place or reading about it. I do not merely want to capture the image with my brushes; rather I want to show the inner beauty of the people and places that I document.

Passing Through 36-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

Passing Through 36-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

This artwork is a part of a larger project recording state of mine in conjunction with time. Our perceptions of how fulfilled we are as individuals through the passage of time is deeply dependent on our internal mental dialogue, as well as the strength and intensity of the thought paths that we practice in our inner conversations every day.

Passing Through 37-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

Passing Through 37-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

This project is a visualisation of these dialogues and the record of how they are impacting our feeling of contentment from day to day. Passing Through revisits a period of 52 weeks, derived from intimate records of that time, and is showing progression through a mental breakdown initiated by a stressful and hostile environment, through the long, arduous and ultimately hopeful journey of recovery from it.

Passing Through 38-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

Passing Through 38-17, 2019, Watercolour on paper, 56 x 76 cm, 585 EUR

Photo credit: the artist

Photo credit: the artist

Kasia Dzikowska is a multi-disciplinary artist Based in Abu Dhabi, UAE. She holds a MA in Fine Arts Education & Multimedia Activity,  from Technical University of Radom, Poland, 2007.

To view more work by the artist, please visit www.kasiadzikowska.com. You may also follow the artist on Facebook at www.facebook.com/kasia.dzikowska.art, as well as Instagram @kasia_dzikowska.


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 Horses of Camargue

“As the storm clouds approached the sunset sky, the Horses of Camargue, rose up out of the sea as if they were dancing on top of the waves.” - the artist

Lead, 2018, Photography, 24 x 36 inches, $775

Lead, 2018, Photography, 24 x 36 inches, $775

To witness such beauty in the midst of a storm filled my heart with hope. For the first time in years, I remembered why I fell in love with photography. For the first time I was chasing my dream, capturing images that were part of my story. 

Rise, 2018, Photography, 24 x 36 inches, $875

Rise, 2018, Photography, 24 x 36 inches, $875

As a little girl horses saved me from a world of turmoil and hardship. These animals provided a refuge and a safe place for me to escape. They taught me about perseverance, patience, persistence, and most importantly about passion.

Waves, 2018, Photography, 24 x 36 inches, $775

Waves, 2018, Photography, 24 x 36 inches, $775

These life lessons helped shape me into the wife, mother, photographer, and woman that I am today. Capturing these magnificent animals in their environments while searching for new perspectives in effort to tell their stories and share their beauty.

Horses of the Sea, 2018 Photography, 24 x 36 inches, $975

Horses of the Sea, 2018 Photography, 24 x 36 inches, $975

Photo source: the artist

Photo source: the artist

About the artist:

My name is Carey Estrada. I am a wife to an amazing man and mother to four beautiful children.  As a lifelong equestrian and horse enthusiast I decided to use my 10+ years in the photography industry to pursue my other passion…horses! 

I believe every horse has a story to be told. From the show ring champion to the draft horse on the farm, each one is on a journey, and my desire is to portray the personality, heart, and legacy of each horse I meet.

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


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.

Color and Dimension

“Art is for life” - the artist

Awakening Joy, 2019, Twill Quill, 24 x 24 inches, Sold

Awakening Joy, 2019, Twill Quill, 24 x 24 inches, Sold

I am an upcoming artist expanding horizons through art with the use of color and dimension.  Through my Twill Quill and acrylic art techniques it is my mission to provide an exciting and dynamic eye experience.

Broken Wave, 2019, Twill Quill, 72 x 48 inches, Sold

Broken Wave, 2019, Twill Quill, 72 x 48 inches, Sold

In my Twill Quill works using acrylic, twill tape and resin, I explore beyond the canvas to create exuberant, organic dimensional art to involve and draw in the observer.

Peaceful Storm, 2019, Twill Quill, 48 x 24 inches, Sold

Peaceful Storm, 2019, Twill Quill, 48 x 24 inches, Sold

Moving to canvas with acrylics, bold color combinations capture the audience to reflect emotions of all levels. Art is for life. I believe it should be created to heal, inspire, provoke, challenge and offer hope. I was created to create art.

Vanishing Rose, 2019, Twill Quill, 24 x 24 inches, Sold

Vanishing Rose, 2019, Twill Quill, 24 x 24 inches, Sold

Photo source: the artist

Photo source: the artist

About the artist:

Carye Yount is a lifetime resident of Spring, TX. She is a member of the Woodlands Art League and has won several awards for her different mediums of art. Award winning "Peaceful Storm", Carye's first Twill Quill piece, hung in the May 2017 Juried Student Art Show at Lone Star Montgomery College Mary Matteson-Parrish Art Gallery. Several of her Twill Quill works are installed in MD Anderson Hospital, The Woodlands, TX, and at the Marriot, Corpus Christi, TX.

To view more work by the artist, please visit www.caryes-creations.com. You may also follow the artist on Facebook at www.facebook.com/caryescreations, as well as Instagram @caryescreations.


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 Transient Moment

“Through my work I aim to focus attention on Time as an ephemeral concept, by allowing the viewer to appreciate the transient moment in full by looking closer.” - the artist

Foible, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

Foible, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

In this body of work I continue my exploration of abstraction through alternative photography. Focusing on the activity of the artistic process, I create my own internal landscapes through digitizing ink wash movements with a macro lens. My work questions photography by capturing images that can never be created again.

In the morning, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

In the morning, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

I draw inspiration from Wassily Kandinsky’s writings regarding the spiritual in art, which influenced the work of the Abstract expressionists, as well as Japanese Zen calligraphy, which focuses on the meditative process of art-making and the expression of the subconscious mind.

Later on, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

Later on, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

The themes of my work are determined by the unpremeditated end result.  When I started out using this technique it was mainly about the process and experimenting. Currently, looking at the works created after a 3-year period, all abstract in definition, I am able to divide them into categories, differentiating between abstract objects, landscape looking spaces, earth textures and colorful compositions that resemble a mood or song.

Pose, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

Pose, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

My scanogram paintings are created through the combination of  ink and water puddling, adding solvents to extend and retard the ink’s natural tendency to bloom and creep, and also changing its colour.  The results are captured using a Dual lens scanner system, acting as a macro lens and paint surface simultaneously.

Realm, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

Realm, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

Through my work I aim to focus attention on Time as an ephemeral concept, by allowing the viewer to appreciate the transient moment in full by looking closer. I then shift the focus towards the beauty of accumulated time, where the creative journey and process becomes more important than the end product.

Wavering, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

Wavering, 2019, mixed media of ink wash movement digitally captured and printed on Hahnemüle Museum Etching paper, 17 x 17 cm, $180

In this series, the focus is placed on ‘Time’ as an ephemeral concept. A transient moment is captured on the scanner surface, where water, ink and other translucent fluids mix together, allowing the pigment molecules to break up and create a new form. The result of these reactions are digitally captured, each with its own distinct character – perhaps even a new creature or life form.

The scanner is at once the means of recording these formations and also the surface which allows the creations to take place. The exact moment at which these amoebae-like forms exist can never be recreated. The artwork is the only evidence of this occurrence taking place.

Photo source: the artist

Photo source: the artist

To view more work by the artist, please visit www.mariettekotze.com. You may also follow the artist on Facebook at www.facebook.com/mariettekotzefineart, as well as Instagram @mariette.k.


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.

Commonly Referred To As Art

“I believe that all creativity comes from God and that when we enter into the creative process…“ - the artist

Afterwards, 2018, pastel, 16 x 20 inches, $125

Afterwards, 2018, pastel, 16 x 20 inches, $125

Writing, painting, photography, making music. . .

These forms of expression are included in something we commonly refer to as art.  

Saturday Night, 2018, pastel, 16 x 20 inches, $150

Saturday Night, 2018, pastel, 16 x 20 inches, $150

Not only do they afford us the opportunity to communicate who we are and what it means to be human, they are, for me, a profoundly effective vehicle for experiencing God.

The Last Night, 2019, pastel, 16 x 20 inches, $225

The Last Night, 2019, pastel, 16 x 20 inches, $225

I believe that all creativity comes from God and that when we enter into the creative process - with humility, genuine expectancy, and a childlike sense of playfulness - He welcomes us as partners into something uniquely powerful.

This Evening, 2019, pastel, 16 x 20 inches, $225

This Evening, 2019, pastel, 16 x 20 inches, $225

With that in mind, my primary goals as an artist are to be faithful to the Source, to invest my talents wisely and generously, and to celebrate the marriage of beauty and truth.

Twilight, 2019, pastel, 16 x 20 inches, $225

Twilight, 2019, pastel, 16 x 20 inches, $225

I have been reducing pastel sticks to colored dust for about 20 years. This collection are interior pastel pieces that depict moments in life.

To view more work by the artist, please visit christopheralane.com, as well as www.facebook.com/Franopher. You may also 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.

Between Soft and Rigid

“…found objects not only lose their original function but also can not be clearly defined anymore.” - the artist

Bergmann, 2019, garments, braided hose, earrings, thread, 41 x 21 x 9 in, 2300$

Bergmann, 2019, garments, braided hose, earrings, thread, 41 x 21 x 9 in, 2300$

Initially coming from painting, Anna-Lena Sauer’s latest work increasingly focuses on the exploration of different kinds of material, ranging from natural and synthetic textiles to plastics and paint.

Remix 4, 2019, bunting bag, nylon and thread, 10 x 11 x 11 in, 950$

Remix 4, 2019, bunting bag, nylon and thread, 10 x 11 x 11 in, 950$

In her abstract material paintings and sculptures the artist re-utilizes every-day objects such as garments, fabric scraps, broken soccer balls, garden hoses and packaging materials.

Wall Pillow 1, 2018, nylon, fabric scraps and acrylic paint on canvas, 12 x 12 x 2.5 in, 850$

Wall Pillow 1, 2018, nylon, fabric scraps and acrylic paint on canvas, 12 x 12 x 2.5 in, 850$

Liberated from their familiar context and included in a work of art, the found objects not only lose their original function but also can not be clearly defined anymore. Sauer uses them as an artistic medium, a substitute for paint or clay to give texture and plasticity to her work.

Remix 6, 2019, faux fur and found object, 7 x 5 inches, 900$

Remix 6, 2019, faux fur and found object, 7 x 5 inches, 900$

Of particular interest is the juxtaposition of contrasting materials and their different properties as well as the interaction of texture, color, line, shape and space as autonomous key elements. The experimentation with material reveals ongoing tensions between softness and rigidity, disclosure and concealment, tenseness and release.

Peccadillo, 2019, faux fur, fabric scraps and nylon on stretcher bars, 13 x 12.5 x 6 in, 850$

Peccadillo, 2019, faux fur, fabric scraps and nylon on stretcher bars, 13 x 12.5 x 6 in, 850$

Sauer intends to activate seeing. The perception of her work is an engaging process challenging the observer’s attention and patience in times of rapid media consumption.

Wall Sculpture 23, 2019, fabric scraps, nylon, zipper and garments on canvas, 12 x 12 x 3.5 in, 850$

Wall Sculpture 23, 2019, fabric scraps, nylon, zipper and garments on canvas, 12 x 12 x 3.5 in, 850$

Anna-Lena Sauer profile pic.jpg

About the artist:

In my abstract material art, I am re-utilizing broken or outworn garments and textiles. I use them as an artistic medium, a substitute for paint or clay to give texture and plasticity to my work.

To view more work by the artist, please visit www.annalenasauerartist.com. You nay also follow the artist on Facebook at de-de.facebook.com/AnnaLenaSauerArtist, as well as Instagram @annalenasauerartist.


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 Ultimate Visual Condition

“My work technique is based on digital tools and the combination between graphic design as an implementation tool and illustration as the ultimate visual condition and outcome of the artwork.“ - the artist

BassSsmM, 2019, Digital art printed on inkjet paper, A3, available at  www.society6.com/islamallam

BassSsmM, 2019, Digital art printed on inkjet paper, A3, available at www.society6.com/islamallam

Most of my work is currently classified as portrait (Digital Portrait) . My artwork is a product of work through improvisation with listening to a music track while working on each portrait. The music is randomly selected. When I listen to music and feel that, between it and the face of the person I want to express visually, some kind of harmony I start working immediately.

MaaYyyY, 2019, Digital art printed on inkjet paper, A3, available at  www.society6.com/islamallam

MaaYyyY, 2019, Digital art printed on inkjet paper, A3, available at www.society6.com/islamallam

Music plays an important role in the production process of portraits it's represents for me an inspiration and guidance for me during my improvisational and work steps on portraiture.

The titles of artworks with title of music tracks, in the order of the artworks in this publication:

1- untit,BassSsmM-eld / inspired by the music of " Greg Haines - The Whole "

2- untit, MaaYyyY-eld/  inspired by the music of “ Raime - Hold Your Line”

3- untit,DiAnnnNn-eld/ inspired by the music of " arktah - Mounira"

4- untit,BaSsSsMm-eld/  inspired by the music of " #DemdikeStare - Nothing but the Night 2"

5- untit,NatAsShhhhH-eld/ inspired by the music of " Kangding Ray - Sub.Res"

6- untit, Mariiiiii-eld / inspired by the music of “ Ryuichi Sakamoto - disintegration“

DiAnnnNn, 2019, Digital art printed on inkjet paper, A3, available at  www.society6.com/islamallam

DiAnnnNn, 2019, Digital art printed on inkjet paper, A3, available at www.society6.com/islamallam

It's a way to enter into a distinctive mode which helps me to achieve an expressive and appropriate visual result from my point of view of the person I am trying to express by improvisation in formulation of his facial features.

BaSsSsMm, 2019, Digital art printed on inkjet paper, A3, available at  www.society6.com/islamallam

BaSsSsMm, 2019, Digital art printed on inkjet paper, A3, available at www.society6.com/islamallam

I'm a Digital artist / graphic designer from Cairo, Egypt. I have more than 8 years experience in visual art, graphic design. I’ve worked over the past years in the field of design as a freelance graphic designer, as a basic function for me and a source of livelihood. Besides, I was interested in creating and designing personal visual artworks for my personal pleasure only. Over time, my personal artwork has become a priority, so I started almost more than 3 years ago, selling my artwork online.

NatAsShhhhH, 2019, Digital art printed on inkjet paper, A3, available at  www.society6.com/islamallam

NatAsShhhhH, 2019, Digital art printed on inkjet paper, A3, available at www.society6.com/islamallam

My work technique is based on digital tools and the combination between graphic design as an implementation tool and illustration as the ultimate visual condition and outcome of the artwork.

Mariiiiii, 2018, Digital art printed on inkjet paper, A3, available at  www.society6.com/islamallam

Mariiiiii, 2018, Digital art printed on inkjet paper, A3, available at www.society6.com/islamallam

Most of my work recently, portraits are situations in which the expression of the human in the embodiment of personal features and expression of the inside of the ideas and fears by showing these feelings and others on the features of the person.

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


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.

Beyond the Conventional

“…the transient nature of constantly shifting topography and geology.” - the artist

Those Who Affirm the Spontaneity of Every Event, 2015, Mixed Media, 33 in x 47 in, $2600

Those Who Affirm the Spontaneity of Every Event, 2015, Mixed Media, 33 in x 47 in, $2600

Matsumoto’s work reflects the morphological transformations of our ever-evolving urban and ecological milieus, which could be attributed to a multitude of spatio-temporal phenomena influenced by social, economic, and cultural factors. These works are created as visual commentaries on speculative changes in notions of societies, cultures, and ecosystems in the transient nature of constantly shifting topography and geology.

Rapid Gaze Polynomials Embedded in Infinite Variables, 2014, Mixed Media, 25 in x 27 in, $2700

Rapid Gaze Polynomials Embedded in Infinite Variables, 2014, Mixed Media, 25 in x 27 in, $2700

The artworks explore the hybrid technique, combining both traditional (ink, acrylic, and graphite) and digital medias (algorithmic processing, data trans-coding, and image compositing through customized software).

Still from Cities of Inextricable Velocities, 2017,Mixed Media, 31 in x 38 in, $1950

Still from Cities of Inextricable Velocities, 2017,Mixed Media, 31 in x 38 in, $1950

The varying scale, juxtaposition of bio-morphic forms, intertwined textures, oblique projections, and visual metamorphoses are employed as multi-layered drawing methodologies to question and investigate the ubiquitous nature of urban meta-morphology, emerging realities of post-human dystopia, and their visual representation in the context of non-Euclidean configuration. The application of these techniques allows the work to transcend the boundaries between analog and digital media as well as between two- and multi-dimensional domains.

Transient Field in the Air, 2015, Mixed Media, 22 in x 33 in, $2700

Transient Field in the Air, 2015, Mixed Media, 22 in x 33 in, $2700

The process-oriented compositional techniques imbue the work with what we see as the very essence of our socio-cultural environments, beyond the conventional protocols of architectural and artistic formalities; they conjure up the synthetic possibilities within which the spatial and temporal variations of existing spatial semiotics emerge as the potential products of alchemical procedures.

Recursive Topography of Uncertainty, 2018,Mixed Media, 32 in x 26 in, $2100

Recursive Topography of Uncertainty, 2018,Mixed Media, 32 in x 26 in, $2100

About the artist:

Ryota Matsumoto is a co-director of an award-winning interdisciplinary design office, Ryota Matsumoto Studio. He is an artist, designer and urban planner. Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at Architectural Association in London and Mackintosh School of Architecture, Glasgow School of Art in early 90’s. Matsumoto has previously collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Cesar Pelli, MIT Media Lab and Nihon Sekkei Inc. He has taught architecture and interdisciplinary design strategy as a lecturer and visiting critic in the United States, Europe and Japan. His current interest gravitates around the embodiment of cultural possibilities in art, ecology, and urban topography.

To view more work by the artist, please visit www.ryotamatsumoto.com. You may also follow the artist on Facebook at www.facebook.com/ryota.matsumoto.718.


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.

Provoke Nostalgia

“…positive hopeful art is well worth the effort.” - the artist

Friends Forever, 2016, Pyrography, 12 x 12, $300

Friends Forever, 2016, Pyrography, 12 x 12, $300

Pyrography is the technique of using heated metal tips to burn images in many different media. The traditional material is wood. Marsha started Pyrography when she needed to decorate some crosses she had cut from Cedar planks.

Butterfly Sunrise, 2016, Pyrography, 17 x 14, $275

Butterfly Sunrise, 2016, Pyrography, 17 x 14, $275

She was fascinated by the ability to bring images to life using such a simple tool. As a self taught artist she feels the need to capture the beauty around her seen often in the most simple of scenes focusing mainly on texture and the play of shadow.

Austin Pillar, 2017, Pyrography, 18 x 14, $550

Austin Pillar, 2017, Pyrography, 18 x 14, $550

Marsha uses Baltic Birch plywood for its light color and smooth surface in many of her projects. Her favorite medium however, is Strathmore Bristol paper. The heated metal tips toast the paper without burning through.  Leather is also a distinct favorite for several pieces, its supple surface responds well to the heat.

From Religion to Faith, 2017, Pyrogrpahy, 13.5 x 17, $540

From Religion to Faith, 2017, Pyrogrpahy, 13.5 x 17, $540

Marsha uses representationalism and chooses images that provoke nostalgia. She strongly believes that positive hopeful art is well worth the effort. Despite using media that is normally associated with death and decay, such as cut wood, tanned leather, and heated metal.

Marsha Wilsonprofile pic.jpg

About the artist:

Marsha Wilson is an award-winning artist, living in Waco TX and has exhibited her work throughout the state. To view more work by the artist, please visit woodburningbymarsha.com.

You may also follow the artist on Facebook and 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.

Soul of the Sea

“My work so far conveys emotion above all --along with some of the haunting beauty of [Alaska].” - the artist

Lovely Scarlet, 2018, acrylic and ink, 16 x 20, prints available at society6.com

Lovely Scarlet, 2018, acrylic and ink, 16 x 20, prints available at society6.com

I grew up in some of the most remote parts of Alaska for many years without television or distraction, which gave plenty of time for exploring the woods and spending hours on the beach.  I took my first “art class” when I was a little girl from a nice neighbor who would give me “homework” which I treasured and took very seriously.  It stuck with me and I have been drawing or painting ever since.  At the time it gave me something to do and now I go back there again and again when I am painting, trying to convey a little of what it was like along with emotions and feelings from my own life and experiences along the way.

Daydream, 2018, acrylic and ink, 16 x 20, NFS, prints available at society6.com

Daydream, 2018, acrylic and ink, 16 x 20, NFS, prints available at society6.com

I am inspired by memory as I spend so much time thinking about it and my very special childhood.  Other inspirations are early expressionist painters, wild things and places, tiny fishing villages of all kinds, beautiful poetry, old story books, the sea and the Japanese art of fixing broken pottery pieces with gold making the piece more beautiful and unique by embracing the brokenness instead of discarding or hiding the piece.  I think about it as it relates to every woman I know and the ordinary every day struggles and emotions that cause the cracks in all of us. My work so far conveys emotion above all -- along with some of the haunting beauty of where I come from. I try to reflect a little of the sadness and soul of the sea in each piece.

An Emerald Day, 2018, acrylic and charcoal, 24 x 24, prints available at society6.com

An Emerald Day, 2018, acrylic and charcoal, 24 x 24, prints available at society6.com

I use a variety of materials and processes, mostly acrylic and sumi ink with charcoal.  I also love oils, gouache and watercolors.  I typically start three pieces at a time just to get the ideas down before I forget them and then I can go back and piece together what the feeling was and what I was trying to say. I am drawn to mixed media and expressionist painting, there is something about the life in the lines that conveys thoughts and emotions in a way that words cannot.

About the artist:

Teresa Kershaw is a contemporary American mixed media artist who lives in Spokane, Washington.  She was born in Seoul, Korea and raised in some of the most secluded logging camps of southeast Alaska.  She spent most of her time with her baby sister exploring the rocky beaches and “magical” forests of Alaska.  She began drawing as a child, always with a fascination of faces and emotions.  A recurring brain illness that began in her twenties left her with some permanent memory loss, and the aftermath of the illness and emotional toll it took has had a huge impact on her work.  She uses notes and photos to remind her of places and people from her past.  It was coming to terms with her illness that got her painting full time.  The emotion of this combined with her fragmented childhood memory are her two biggest inspirations.   Her work reflects the beauty and sometimes ugliness of human emotion and the depth behind the face of the invisible.  She is a self-taught artist who works with mixed media, often working on three or four paintings at once.  She uses  multiple layers of acrylics, oils, pastels, inks and/or wax in an expressionist style.    “I hope that if people really look at the faces in my work they will come away with some of the emotion I try to convey in each piece.”  


She is self taught and studied Art History at the University of Alaska as well as numerous art classes in various techniques over the years. She is a member of Artist Trust and began showing her work in 2018 at Terrain in Spokane, WA.  

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