Artist Feature

Repetition

“I believe the purpose of art is to help us to deal with who we are. Making art is about the reflective process, be it conscious or subconscious.” - the artist

Haven, 2018, marker pen on rice paper, 90 cm x 120 cm, 9800

Haven, 2018, marker pen on rice paper, 90 cm x 120 cm, 9800

Over time, art has evolved in many ways - in styles and forms with stories told and messages conveyed. I believe the purpose of art is to help us to deal with who we are. Making art is about the reflective process, be it conscious or subconscious. We cannot live in a society without art, for art is closely related to every aspect of life - personal, psychological and contextual.

Perspectives, 2016, marker pen on rice paper, 83 cm x 153 cm, 7800

Perspectives, 2016, marker pen on rice paper, 83 cm x 153 cm, 7800

When we actualize art by translating the smallest thoughts into visuals or artistic processes, it helps us to externalize our emotions, allowing us to become self-aware and mindful. This benefits us physically and mentally.

Summit, 2017, marker pen on rice paper, 50 cm x 50 cm, 2800

Summit, 2017, marker pen on rice paper, 50 cm x 50 cm, 2800

In creating this body of work, I began to align my senses with the nature, my thoughts with the culture, and my inner self with the soul.

Journey, 2017, marker pen on silk, 94 cm x 115 cm, 6800

Journey, 2017, marker pen on silk, 94 cm x 115 cm, 6800

The selection is especially considered to share the artist’s journey from the beginning of meditating the changes happened in our cities and natural orders over time, to the latest contemplative state of mind which results from the informative mark-making process using “repetition” with a single material and stroke.v

Starry Night, 2017, marker pen on rice paper, 170 cm x 230 cm, 9900

Starry Night, 2017, marker pen on rice paper, 170 cm x 230 cm, 9900

From the City Meditation series where nature and architecture are drawn as recognizable visual forms, the mark-making process has gradually lead the artist and the material to where and how it should be, without the need to sketch the designs or have a theme to work on, and eventually abandoned any representational subjects.

Flight 2, 2016, marker pen on rice paper, 67 cm x 137 cm, 4800

Flight 2, 2016, marker pen on rice paper, 67 cm x 137 cm, 4800

Art is about the honesty of material from constant negotiation in the process, the peace that the artist enjoyed in the obsession and indulgent, and the power of repetition to transcend our mindfulness in the presence.

About the artist:

A former architect in Hong Kong, Yoko relocated to Singapore in 2013 to pursue professional advancement in fine art and art therapy. Yoko is a multi-disciplinary artist, she uses different art forms and materials to explore and reflect on human experiences and societal issues. Her latest series of work focuses on repetitive mark-making exploring the subconscious human psyche in search of deep reflections between the known and the unknown. Yoko is also practicing as an art therapist since graduated with a Master of Art Therapy in LASALLE College of the Arts in 2019.

She is actively involved in community work and social action projects through art therapy, art workshops, artist’s talks and teaching work with a diverse population and settings including those with special needs, physical challenges, cancer, chronic diseases, depression and more, with hospitals, schools, rehabilitation centers, arts and cultural partners.

Yoko receives an Honorable Mention in the Art Exhibition in conjunction with the 36th International Dream Conference in the Netherlands. She is the winner of the 2016 UOB Painting of the Year, Most Promising Artist in Singapore. She received the 2016 Best Graduate Award with a Diploma of Fine Arts at Nanyang Academy of Fine Arts in Singapore, an Executive Committee Award in the 1st International Olympia Art Competition in Japan in 2015 and a finalist award in Bazaar Art Prize in Singapore in 2015. Yoko’s artwork has been exhibited in group and solo exhibitions such as Art Stage Singapore 2017, UOB Art Space 2017 in Hong Kong, UOB Solo Art Showcase in 2017, Singaplural 2015 & 2016, NUSS and Art Apart Fair, just to name a few.

To view more work by the artist, please visit www.facebook.com/YokoChoiArtPage. You may aalso follow the artist on Instagram @yokochoi0218.


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 Play of Colors

“I seek to capture original contemplative and emotional responses in the play of colors.” - the artist

Going for a Stroll, 2018, Watercolor on Arches Paper, 11 x 14, $300

Going for a Stroll, 2018, Watercolor on Arches Paper, 11 x 14, $300

My life experiences drive my art. The people, places and things that move or excite me become my canvas. I then seek to capture those original contemplative and emotional responses in the play of colors.

Twilight, 2018, Watercolor on Arches Paper, 11 x 14, $350

Twilight, 2018, Watercolor on Arches Paper, 11 x 14, $350

With a formal training in architecture, I am regularly contracted to craft elegant outdoor living spaces for homeowners and this comes from thriving on a palette of colors and an eye for architectural details. You will see my work distinguish these fascinations. And all throughout, you’ll find nature intruding thru a play of light & shade.

Peacekeeper, August 2019, Watercolor on 100% Rag Cotton Paper, 11 x 15, $350

Peacekeeper, August 2019, Watercolor on 100% Rag Cotton Paper, 11 x 15, $350

I paint in watercolor and acrylic. Watercolor fascinates me due to it's versatile and fluid nature. I use the wet on wet, dry brush and pouring technique -arraying rich pigments of blues, browns, greens, and purple along with splashes of contrasting colors. In the midst of the colors’ translucency, I find a fascinating rhythm as the colors crossover/blend with each other.

Hall Office Park, March 2018, Watercolor on Arches Paper, 11 x 14, $350

Hall Office Park, March 2018, Watercolor on Arches Paper, 11 x 14, $350

I am a residential landscape designer and a fine artist. My passion for art and architecture started young while I watched my father use his artistic skills to create beautiful portraits and architectural plans that transformed empty lots into elegant homes. This inspired me to pursue my education in architecture and furthermore in landscape architecture.

Reflection, July 2019, Watercolor on 100% Rag Cotton Paper, 11 x 14, $300

Reflection, July 2019, Watercolor on 100% Rag Cotton Paper, 11 x 14, $300

As part of my formal education, I toured several cities and villages in India to study their architecture, city-scape, urban marketplaces, the rural life, their landscape and the daily lives of people. My education in landscape architecture brought me closer to nature and it’s landscape. Eventually, my architectural journey became the subjects of my paintings and sketches.

Spring, April 2018, Watercolor on 100% Rag Cotton Paper, 14.75 x 22.75, $450

Spring, April 2018, Watercolor on 100% Rag Cotton Paper, 14.75 x 22.75, $450

About the artist:

I am Aparna, a residential landscape designer and a visual artist in Frisco, Texas. I like creating contemplative art and designing life style driven and visually pleasing landscape design solutions. Whether you desire a quiet cozy corner for reading or ample space for entertaining with extensive views of nature, I can work hand in hand with you, the home owner and guide you through this creative journey.

To view more work by the artist, please visit www.facebook.com/aparnagallery, as well as follow the artist on Instagram @aparnagallery.


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.

Physical Traces

“I aim to create work that ultimately asks more questions than it answers.” - the artist

this is water (in kelp), 2019, exposed 16mm film underwater, A5, £100

this is water (in kelp), 2019, exposed 16mm film underwater, A5, £100

Through subtle abstraction of everyday forms my work focuses on the way material things convey immaterial ideas. Often working with analogue film, super8 and 16mm, incorporating the light, sound, and object of the projector in a sculptural manner to create works that investigate physicality. Objects or three dimensional forms can be used as a vehicle, with photography or video, to create a gestalt through the process of constructing and distorting. Exploring the concepts of the screen in relation to image by using imprecise and unreliable equipment, inconducive to quality of image, my work leans into and embraces the technical faults of the medium and uses it to its advantage. Celluloid film retains the combination of moving image and physical object in a way that cannot be replicated digitally, which is why, as a medium, it is vital to my work.

this is earth (in air), 2019, mould grown on 16mm film, A5, £100

this is earth (in air), 2019, mould grown on 16mm film, A5, £100

Can a film be a sculpture? I believe so and aim to investigate space and the movement and orientation within in it. Often looping the film using the existing space, the sound and physicality of these loops, incorporated into the architecture through their hanging, is often as much a part of the piece as the image on the film itself. More than just a flat image on a two dimensional screen, the film becomes light, colour, movement, and sound.

this is earth (in ground), 2019, exposed 16mm film buried underground, A5, £100

this is earth (in ground), 2019, exposed 16mm film buried underground, A5, £100

Often there is no narrative, a non-linear disruption of conventional cinema. From inception to completion the use of this physical medium to create an intangible effect is integral to my process. Though the end product is sometimes shown digitally, making work on film situates the body and the process of its making in the forefront, demonstrated through the artefacts and physical vestiges left on the film.

this is earth (in body), 2019, blood on 16mm film, A5, £100

this is earth (in body), 2019, blood on 16mm film, A5, £100

With my practice situated so firmly in the physical I collect a variety of things I use in my work, mostly mundane found objects, detritus of a quotidian existence, investigating the concept of ready-mades but also our human response to the physical things around us. Objects without context can be ascribed any meaning that the viewer chooses, placing their potential power, or lack thereof, in the eye of the beholder. By choosing and examining these things, taking them out of context, I attempt to give them a weight that they would not have in their original conditions.

this is fire (in phosphorous), 2019, burnt 16mm film, A5, £100

this is fire (in phosphorous), 2019, burnt 16mm film, A5, £100

Through my practice, eschewing conventional narrative in favour of the emotive object, with its materiality and presence, with or without function, and engaging with ideas of light and colour, texture and space through the use of film, I aim to create work that ultimately asks more questions than it answers.

this is water (in salt), 2019, exposed 16mm film underwater, A5, £100

this is water (in salt), 2019, exposed 16mm film underwater, A5, £100

In this series I bring organic and synthetic material (mould grown atop agar; dirt; glue; blood; bleach; the holes formed by the burning of a matchstick; saltwater) into contact with lengths of celluloid, either directly forming the image or altering that which was exposed via a camera. The results are then telecined before being projected back onto 16mm. This process creates an exposed-enclosed relationship, in which film is subjected to various substances and light while simultaneously ‘trapping’ the physical traces.

Photo source: the artist

Photo source: the artist

About the artist:

Monica Meyer is an American artist, born 1993, living and working in London, UK. Recently Meyer graduated from Slade School of Fine Art with an MFA degree, studying Sculpture before completing the degree in Media. With a multi-disciplinary approach to her practice, Meyer utilises moving image but situates it firmly in the realm of the physical. Previously Meyer gained her BA degree from Richmond International University. Recent work includes the Slade Degree Show, a sound work on Resonance FM radio, show with North.Street Collective at Unit 5 Gallery, and a screening of a 16mm film work and a digital video/performance at Close Up Cinema.

To view more work by the artist, please visit mcmmeyer.com. You may also follow the artist on Instagram @2mins58.


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.

Symbols

“As a First Nations artist, I work at the intersection of esotericism, personal growth and social change. I am interested in the Universality within all indigenous wisdom teaching. I use symbols, patterns and archetypal themes.” - the artist

Infinity Emerging & Returning to its Own Centre (Archival Print) 36 x 24 inches, $222

Infinity Emerging & Returning to its Own Centre (Archival Print) 36 x 24 inches, $222

Infinity Emerging and Returning Back to Itself depicts the shape of infinity, also known as the torus. It is said that the torus is the shape of the human aura and indeed is that of the magnetic field of the heart (Toroidal Energetic Field) that is constantly refreshing and influencing itself. “The three-torus (torus with torus within torus) is a cosmological model. The theory describes the shape of the universe (topology) as a three-dimensional torus”. (Wikipedia) Today’s science demonstrates what ancient mysticism has always known; the vortex of creation with the creator at the centre.

Ishta + Infinity, 9.75 x 19.75 inches, $555

Ishta + Infinity, 9.75 x 19.75 inches, $555

In this work, I use gestural lines to represent the layers of the experience that make creation itself. A white dot at the centre of the experience is the pure consciousness that resides within the heart centre of all sentient beings who experience themselves within creation. Like an ancient yantra or medicine wheel, the circumference of the symbol represents the aspects of the cosmos which then joins at the centre, where a concentration of consciousness is defined. These ancient symbols show us the Truth of Creation and are maps to our own power, liberation and Self knowledge.

Polarities 1, Mixed media collage on canvas, 24 x 36 inches, $888

Polarities 1, Mixed media collage on canvas, 24 x 36 inches, $888

Process With dance like gestures, Ishta demonstrates the nature of the subtle energetic toroidal field as the lines flow to characterize the subtle frequency that is the magnetic field of the heart and that of the chakras. By performing basic movement gestures to acknowledge directions and aspects of creation, Ishta transmits translates these movements into a visual representation of the energy field she is attuning to.

Polarities 2, Mixed media collage on canvas, 24 x 36 inches, $888

Polarities 2, Mixed media collage on canvas, 24 x 36 inches, $888

In addition to the Infinity (torus shape), Ishta introduces the double helix. While the torus defines the geometry of consciousness, the double helix demonstrates the DNA structures of creation. As we look to ancient teachings, we discover the double helix as an ancient symbol describing the aspects of masculine and feminine coming into balance. When they do it brings illumination and liberation to those who activate it. The double helix is also synonymous with the chakra system, known to ancient India. These ancient Universal symbols are known around the world in many versions of geometry representing the 2 sides of masculine and feminine aspects. Ishta is doing ongoing research and art making around these Universal principles known to our ancestors long before science and quantum physics could discover the evidence that confirms the previously ridiculed and systematically destroyed wisdom teachings.

Ishta + Double Helix (Archival Photograph on aluminum) 19.75 x 19.75 inches, $555

Ishta + Double Helix (Archival Photograph on aluminum) 19.75 x 19.75 inches, $555

Additional works in collage expound on the details of the foundational works of the infinity (torus) and the double helix. In this growing collection of illustration and collage, Ishta expands on the Universal concepts of the polarities and elements of creation. Using predominantly black and combining a messy gestural style with plenty of white spaces unifies the entire body of work, to offer a cohesive and dynamic exhibit.

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


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 Utopian Vision

“My aim is to overcome my marginality through creating a utopian vision, which reconnects me to my childhood.” - the artist

The Epiphany of Henut II, oil on painting, 170 x 100 cm, $5000

The Epiphany of Henut II, oil on painting, 170 x 100 cm, $5000

My art explores my status as a half-Asian, queer artist, who has no sense of “home” in post-colonialist, feminist and psychoanalytical terms.

The Epiphany of Henut I, oil on painting, 170 x 100 cm, $5000

The Epiphany of Henut I, oil on painting, 170 x 100 cm, $5000

A specimen of globalization, I was born in Kazakhstan, my father - North Korean and my mother - Russian. Having caught a glimpse of the USSR, I have a conflicting perception of cultural systems. Unable to assimilate into any culture, I am a banished outsider with no origins.

Entropy, oil on painting, 190 x 80 cm, $3000

Entropy, oil on painting, 190 x 80 cm, $3000

Stemming from this inability to integrate, I am drawn to creating a utopia through my performance art: a paradise, where I can reinvent myself to whom I truly want to be, and not what the mundane reality holds in store. This performativity enables me to come to terms with my depression, where the saddening sense of nostalgia used to permeate my existence and taint every experience of reality that I had.

Just do it, oil on painting, 170 x 100 cm, $7000

Just do it, oil on painting, 170 x 100 cm, $7000

I work in a range of media including performance, film and painting.

My performances take the shape of drag queen style, “mockumentary” music videos, where I reenact pop culture songs, which bring me closer to this infantile state of euphoria and inner freedom.

Sketch(a), 2019, oil on canvas, 42 x 29 cm, NFS

Sketch(a), 2019, oil on canvas, 42 x 29 cm, NFS

"The Epiphany of Henut”: Taking inspiration from the British artist, Alison Jackson, this diptych portrays the objectification of the female body throughout human history in the shape of putting two women on the cross of different races: black and white. The series contextually bases itself on theorist, Judith Butler's essay, "Subversive Bodily Acts", which describes various idiosyncracies and subversions of queer communities. The females both have rabbit faces as part of Kan's creation of a half-human, half-animalistic, utopia creature. The works were completed during Kan's time at SIM residency in Reykavik, Iceland, which she was awarded this year. Both paintings were shown at SIM Studios, attracting a wide range of audiences from the Icelandic artistic public. They will similarly be presented at Herrick Gallery in Mayfair, London this October.

To view more work by the artist, please visit 18thstreet.org/artists/katya-kan. You may also follow the artist on Facebook at www.facebook.com/katya.artist, as well as Instagram @_katyakan_.


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.

Ex Situ Conservation

“…manifests in both tangible and networked environments.” - the artist

Male DVI-D to Female VGA, 2016, photograph-Glicee print, 24 x 36 inches, $2500

Male DVI-D to Female VGA, 2016, photograph-Glicee print, 24 x 36 inches, $2500

Through fictive and dramatic scenarios, in films, theatrical installations, stories and scripts; [the] work renders aspects of how humans relate to machines and how the arc of technological advances emerges, becomes pervasive, spawns the next invention and eventually, is rendered obsolete.

CPU Fans, 2016, photograph-Glicee print, 24 x 36 inches, $2500

CPU Fans, 2016, photograph-Glicee print, 24 x 36 inches, $2500

Her work engages a palimpsest of technologies layered over the environments in which they have developed. By juxtaposing a past reality with the present, and extolling both the beauty and the beastliness of invention, her work engages in a narrative of the human condition by framing individual moments in the limelight of technological invention over time.

Test Lead Double Insulator Alligator Probe Wire Set, 2016, photograph-Glicee print, 24 x 36 inches, $2500

Test Lead Double Insulator Alligator Probe Wire Set, 2016, photograph-Glicee print, 24 x 36 inches, $2500

EX SITU CONSERVATION: Colony Relocation for Industrial Detritus consists of 10 images, in an edition of 10. The images depict machine parts and electronic elements situated as surviving artifacts of technologies going obsolete and re-located in the natural landscape to see if they will "thrive."

Considering it is the extinction of natural things which is the vital issue, I would hope for some irony in picturing the opposite, applying a sort of reverse psychology to reverence of technology at any price to the environment.

Virtually Indestructible Keyboard, 2016, photo-Glicee print, 24 x 36 inches, $2500

Virtually Indestructible Keyboard, 2016, photo-Glicee print, 24 x 36 inches, $2500

Photo source: the artist

Photo source: the artist

About the artist:

Born in Brooklyn, New York, Adrianne Wortzel is a New York artist who studied with Ad Reinhardt, Mark Rothko, and Jimmy Ernst, Louise Bourgeois, among others. Support for her work has been forthcoming from the National Science Foundation; Eyebeam Art and Technology Center; the Swiss Artists-in-Labs Program; the Artificial Intelligence Laboratory at the University of Zurich; Dora Maar Foundation, Franklin Furnace Fund for Performance Art, Greenwall Foundation; New York Foundation for the Arts, Brooklyn Museum, and the Robert Rauschenberg Foundation. Her writings are published in national and international publications. Selected exhibition venues include the Whitney Museum of American Art, Asheville Art Museum, Imagine Science Film Festival, Electronica, Creative Time, MIT Vera List Center; Orlando Museum of Art; Moderna Museet-Stockholm. She is a retired Professor of Emerging Media Technologies at Citytech, CUNY, and Founding Director of StudioBlueLab, an interdisciplinary collaborative facility at Cooper Union for Advancement of Science and Art.

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


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.

Our Connection to Nature

“…beauty and sustainability help us experience the essence of life and magnify our connection to nature.” - the artist

On its way, 2018, ink, watercolor & pastel on paper, 11 x 15 in, $225

On its way, 2018, ink, watercolor & pastel on paper, 11 x 15 in, $225

Just like the scent of the earth after a rain awakens our senses, so can art, beauty and sustainability help us experience the essence of life and magnify our connection to nature. An expansive outlook gives us a chance to see beyond ourselves and reconnect to our shared humanity.

Some flowers I found in the garden, 2017, ink, watercolor & pastel on paper, 11 x 15 in, $225

Some flowers I found in the garden, 2017, ink, watercolor & pastel on paper, 11 x 15 in, $225

My series, The Sustainability of Beauty, focuses on the climate crisis and the regeneration of nature. In a culture that prizes technology and data, I create visual haiku’s that make sensual connections with ecology. The work invokes the living world with vibrant colors, dancing strokes and sensual organic forms.

Garden in a seed, 2018, ink & watercolor on paper, 11 x 15 in, $225

Garden in a seed, 2018, ink & watercolor on paper, 11 x 15 in, $225

Inspired by the words of Emily Dickinson, I seek ‘that phosphorescence, that light within’ in my art. I illustrate complex environmental issues as symbolic calligraphy. I paint on paper with ink, watercolors and pastels.

Sweeping Blossoms, 2018, ink & watercolor on paper, 9 x 12 in, $175

Sweeping Blossoms, 2018, ink & watercolor on paper, 9 x 12 in, $175

During the last five years, I have completed marketing assignments for sustainability architects in San Francisco. My artwork incorporates themes and metaphors from my ongoing studies related to green building, renewable energy, urban resilience, water reuse, living within natural limits and inter-dependency of all life forms.

New moon seed, 2018, ink & watercolor on paper, 11 x 15 in, $225

New moon seed, 2018, ink & watercolor on paper, 11 x 15 in, $225

The question I ask myself is how can I inspire people to reengage with these ideas from a fresh perspective. In order to gain a wider audience, I explore how beauty evokes emotions that transform. The stories and visuals synthesize complex and varied forms of abstract ideas into tangible, emotional, and meaningful art.

Reaching for the sky, 2018, ink, watercolor & pastel on paper, 11 x 15 in, $225

Reaching for the sky, 2018, ink, watercolor & pastel on paper, 11 x 15 in, $225

By engaging peoples’ hearts and minds with vivid impressions of the most pressing issue of our time, I intend to spark a breakthrough of concern and conscious activism for the environment.

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


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 Hero

“Notions of competition accompany this fetishization of the hero.” - the artist

Leave Your Dreams, I'll Give You New Ones, 2019, acrylic and oil on canvas, 26 x 36 inches, $4,000

Leave Your Dreams, I'll Give You New Ones, 2019, acrylic and oil on canvas, 26 x 36 inches, $4,000

My work conveys a grandiose narrative that operates analogously to ancient legends. The focus on heroism provides an entry point to the cult of masculinity. The hero is the perfect example of humanity in terms of both strength and beauty. Echoing these classic forms, my work highlights the impossibility of obtaining this otherworldly level of perfection. Notions of competition accompany this fetishization of the hero.

But Now I'm Only Falling Apart, 2017, acrylic and oil on canvas, 12 x 9 inches, NFS

But Now I'm Only Falling Apart, 2017, acrylic and oil on canvas, 12 x 9 inches, NFS

It is visually emphasized through grid and square structures- allusions to game boards, checkered flags, and pixels. This evokes associations with the early days of computer imagery. Strangely flat yet slightly three-dimensional graphics reference the onset of the digital age; this arouses persistent and intoxicating feelings of nostalgia.

Like The Deserts Miss The Rain, 2018, acrylic and oil on canvas, 24 x 20 inches, NFS

Like The Deserts Miss The Rain, 2018, acrylic and oil on canvas, 24 x 20 inches, NFS

Through these images I construct portals to a mythical dimension. They are not necessarily accessible to the viewer, but serve as evidence of an idyllic paradise. The squares and lines deliberately eliminate parts of the landscape as if a visual representation of an unclear memory. Color gradients act as surrogates for tropical settings, sunsets, and seascapes. They serve as postcards from an archaic journey that may or may not have been experienced.

He Turns Me To Gold In The Sunlight, 2018, acrylic and oil on canvas, 20 x 30 inches, $2,600

He Turns Me To Gold In The Sunlight, 2018, acrylic and oil on canvas, 20 x 30 inches, $2,600

The core of my conceptual practice concerns itself with notions of intimacy. Longing and desire are among the most common tropes illustrated in ancient mythology. Each work serves as a visual manifestation of an imprisoning emotional state, ending in either triumph or pain. The powerful, godly bodies are depicted in a way to reveal their more vulnerable, melancholic and human side. The paintings dismantle our society’s disaffinity towards male intimacy and celebrate a tender masculinity.

Nothing Can Take Away These Blues, 2017, acrylic and oil on canvas, 36 x 24 inches, $3,800

Nothing Can Take Away These Blues, 2017, acrylic and oil on canvas, 36 x 24 inches, $3,800

A crucial element of this narrative is the focus on melodrama. Mass consumption of drama, from ancient tragedies to modern pop music is a fundamental aspect of cultural experience. Times may change but humanity will consistently face the same trials and tribulations. I navigate these various systems and social structures in order to tell queer, often untold, stories.

These Hollow Days I Miss You, 2019, acrylic and oil on canvas, 14 x 11 inches, $900

These Hollow Days I Miss You, 2019, acrylic and oil on canvas, 14 x 11 inches, $900

Photo source: the artist

Photo source: the artist

About the artist:

Paul Anagnostopoulos is an artist working in a variety of media, primarily drawing and painting. He was born 1991 in Long Island, NY and works in NY, NY. He graduated Summa Cum Laude from New York University in 2013 with a BFA concentrating in Drawing and Printmaking. He interned at the Peggy Guggenheim Collection in Venice during the 2013 Biennale and gave lectures and private tours, during which he became a guest contributor for The Boulevardiers. During 2014, Paul was a resident and exhibiting artist of the Rancho Paradiso Residency in Joshua Tree, CA and the Akumal International Artist Residency in Mexico. During 2015, he began as Marlborough Chelsea's archivist, curated several pop-up exhibitions in Huntington, NY, and completed the Copy Shop Residency at Endless Editions in NY. In 2016, Paul was an exhibiting artist in residence at the SÍM Residency in Reykjavík, Iceland; the Wassaic Project in Hudson Valley, NY; AIAR in Guanajuato, Mexico; the Vermont Studio Center in Johnson, Vermont; Brooklyn Art Space & Trestle Gallery in Brooklyn, NY. In 2017, he completed a residency at the Hafnarborg Museum in Iceland. His first solo exhibition, Holding Out For A Hero, was presented in 2018 at GoggleWorks Center for the Arts in Reading, PA. That same year he worked for the artist Sean Scully and completed the Maple Terrace Residency Program in Brooklyn, NY. Paul’s upcoming solo exhibition will take place in January 2020 at the Leslie-Lohman Project Space in NY, NY.

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


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.

Mechanical Botanical Series

“…builds upon my interest in the persistence and rejuvenation of plant life. All aspects of existence on earth are inter-dependent and continually developing, changing and mutating.” - the artist

Birds of a Feather, 2019, Mixed Media Archival Pigment Print on Canvas, 24 x 50 inches, $3,000

Birds of a Feather, 2019, Mixed Media Archival Pigment Print on Canvas, 24 x 50 inches, $3,000

The “Mechanical Botanical Series” addresses the effects of Technology on Nature. This recent work combines my original photography, digital scans and manipulation, and archival pigment printing with traditional media such as acrylic paint, watercolor, and graphite.

Chemise de Nuit, 2018, Mixed Media Archival Print on Canvas, 4 x 30 inches, $2500

Chemise de Nuit, 2018, Mixed Media Archival Print on Canvas, 4 x 30 inches, $2500

Each piece is unique, because the artist’s hand plays a vital role in the finished work of art.

The “Mechanical Botanical” Series builds upon my interest in the persistence and rejuvenation of plant life. All aspects of existence on earth are inter-dependent and continually developing, changing and mutating. Based on that premise, how will advances in modern science alter organic forms? And how will that phenomenon ultimately be manifested?

GrassScape, 2019, Mixed Media Archival Pigment print on Canvas, 24 x 50 inches, $3000

GrassScape, 2019, Mixed Media Archival Pigment print on Canvas, 24 x 50 inches, $3000

As an artist, all my skills and experiences ultimately influence my artwork –and, in this case, it was my knowledge of the computer and software, along with my background in painting and drawing , that led me on an exciting journey of transforming beautiful botanical forms into a “weird science” composed of strangely exquisite “techno-mutations”.

Mechanical Botanical 3, 2018. Mixed Media Archival Pigment Print on Canvas, 30 x 40 inches, $2500

Mechanical Botanical 3, 2018. Mixed Media Archival Pigment Print on Canvas, 30 x 40 inches, $2500

The discovery of the “Mechanical Botanical” Series was an epiphany, and the process of creating this work is intensely cerebral. In my mind, I can manipulate and alter form and shape—and then magically render it visually. My collaboration with technology never fails to surprise and amaze me in some way – and I am perpetually learning from the results of our efforts.

Flower of Notre Dame, 2018, Mixed Media Archival Pigment Print on Canvas, 48 x 24 inches, $3000

Flower of Notre Dame, 2018, Mixed Media Archival Pigment Print on Canvas, 48 x 24 inches, $3000

In the end, the “Mechanical Botanical” Series hopefully provides the viewer with a new and startling way of looking at the world we now inhabit—and perhaps even a glimpse into the hybrid universe of tomorrow.

Mix 2, 2018, Mixed Media Archival Pigment Print on Paper, 20 x 24 inches, $1100

Mix 2, 2018, Mixed Media Archival Pigment Print on Paper, 20 x 24 inches, $1100

About the artist:

Francine Funke is a multi-faceted artist, whose work ranges from her recent "Mechanical Botanical" Series of archival pigment prints on paper and canvas, to large mixed media wall pieces and site-specific installations, to acrylic paintings on canvas, photography, and to 3-dimensional works on paper.

Her artwork has been exhibited in major museums and galleries nationwide. (sourced: www.francinefunke.com)

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


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.

Last Words

“…the last words, or portions of last words, spoken by death row inmates.” - the artist

Last Words of Robert Pruett, 2017; Painted May 2019 Acrylic & Glitter 16 x 24 inches, $300

Last Words of Robert Pruett, 2017; Painted May 2019 Acrylic & Glitter 16 x 24 inches, $300

These paintings are part of a series titled Last Words. All four paintings include the last words, or portions of last words, spoken by death row inmates. All inmates have been executed in Huntsville, TX in the last two years.

Last Words of Erick Davila, 2018; Painted May 2019 Acrylic & Glitter 16 x 24 inches $300

Last Words of Erick Davila, 2018; Painted May 2019 Acrylic & Glitter 16 x 24 inches $300

The purpose of this series is to look more closely at the human side of death row prisoners. Since it is a dark topic that people often don't like to focus on, I have contrasted their last words with colorful abstract paint, childish font, and glitter for added texture.

Last Words of Rosendo Rodriguez III, 2018; Painted May 2019, Acrylic & Glitter, 16 x 24 inches, $300

Last Words of Rosendo Rodriguez III, 2018; Painted May 2019, Acrylic & Glitter, 16 x 24 inches, $300

The point is to see the juxtaposition of a human being's last words spoken on earth, combined with colors and textures that are aesthetically pleasing. My purpose as an artist is to make the viewer think about prison inmates and the topic of the death penalty and justice.

Last Words John Battaglia February 1 2018; Painted May 2019, Acrylic & Glitter, 16 x 24 inches, $300

Last Words John Battaglia February 1 2018; Painted May 2019, Acrylic & Glitter, 16 x 24 inches, $300

It is not my goal to convince the viewer to have empathy, or make a decision on whether the death penalty is moral or not. Rather, it is a pleasant way to force society to think about an otherwise often ignored group of people and promote discussion.

Last Words Juan Castillo May 16 2018; Painted May 2019, Acrylic & Glitter, 16 x 24 inches, $300

Last Words Juan Castillo May 16 2018; Painted May 2019, Acrylic & Glitter, 16 x 24 inches, $300

If a viewer would like to read the complete last statement and more information on the inmate's crime, each painting is titled with the name of the inmate and the date of their execution.

Last Words Roberto Moreno Ramos November 14 2018; Painted May 2019, Acrylic & Glitter, 16 x 24 inches, $300

Last Words Roberto Moreno Ramos November 14 2018; Painted May 2019, Acrylic & Glitter, 16 x 24 inches, $300

Photo source: the artist

Photo source: the artist

About the artist:

I am an art teacher in Plano ISD with a variety of styles and mediums. I typically make portraits, however I am constantly trying out new mediums and different kinds of subject matter for my artwork. I try to consistently make artwork that has a deeper meaning, requires thought, and promotes discussion from the viewers.

To view more work by the artist, please visit her Instagram @eyemakeportraits.


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.

Building a Painting

“To produce Perceptual Art, the artist must: conceive; mathematically calculate; plot; draw; and finally paint his design on canvas.” - the artist

Going Up, 2017, Acrylic, 36 x 36 inches, $3,500

Going Up, 2017, Acrylic, 36 x 36 inches, $3,500

Forty years ago, a young boy watched his Native American grandmother design, assemble and sew his family’s quilts. Today, contemporary Perceptual artist, Jason Wilson, influenced by his grandmother’s quilts, gives new life to old concepts. (source: artbyjasonwilson.com/about

Embraced, 2017, Acrylic, 36 x 36 inches, $3,500

Embraced, 2017, Acrylic, 36 x 36 inches, $3,500

To produce Perceptual Art, the artist must: conceive; mathematically calculate; plot; draw; and finally paint his design on canvas. Jason says his designs are about building the painting as much as painting the painting…involving hours of construction.

Split Dimensions, 2018, Acrylic, 30 x 15 inches, $1,375

Split Dimensions, 2018, Acrylic, 30 x 15 inches, $1,375

To this end, Wilson developed his own special acrylic paint formula to hand paint his canvas. The result is a technically perfect, remarkably flawless finished canvas.

From Within, 2018, Acrylic, 24 inch diamond, $1,475

From Within, 2018, Acrylic, 24 inch diamond, $1,475

Perceptual Art asks its audience to visually or emotionally interact with the design. Some Perceptual Art appears to shimmer and shift while other designs may, for example, provide a sense of serenity and grace.

Falling Away, 2018, Acrylic, 11 x 14 inches, $475

Falling Away, 2018, Acrylic, 11 x 14 inches, $475

“I enjoy working with color by using acrylic paint. I consider myself a color specialist (self-proclaimed, I might add). I love "tricking" the eye and creating color illusions inspired by quilts and the patterns found around me.” - the artist

Triplicity, 2018, Acrylic, 20 x 2 inches, $975

Triplicity, 2018, Acrylic, 20 x 2 inches, $975

Photo source: the artist

Photo source: the artist

About the artist:

My name is Jason Wilson. I started creating art early in my life with the influence of my mother to guide me. Early on, I mostly drew with some color supplied by crayons or colored-pencils. In High School, my Art Teacher introduced me to painting (a task I was not really excited about doing at the time). My first painting was completed my junior year and it took 1st Place at the Tulsa State Fair in my age bracket.

After graduating from Hartshorne High School in Hartshorne, Oklahoma in 1983, I entered college at Oklahoma Baptist University in Shawnee, Oklahoma. After my first year at OBU, I decided to major in Art Education with a minor in religion. I later graduated OBU with my Art Education Degree and then went on to finish my second degree from OBU in Religion.

While attending OBU, I was introduced to Senator Kelly Haney. Senator "Enoch" Kelly Haney was and still is a well-known Native American artist. I worked part time for Kelly Haney my junior and senior year in college. Mr. Haney was a true inspiration as a dedicated artist.

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


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.

I Paint God's Mistake

“I paint God's mistake. What I mean by that is not pejorative but it does grapple with mockery and its association with mortality.” - the artist

You Cannot Live Your Life All At Once, 2016, Oil on canvas, 8 X 8 inches, $500

You Cannot Live Your Life All At Once, 2016, Oil on canvas, 8 X 8 inches, $500

True Error is unintended loss which manifests as our mortal existence, and our moral crisis. Our mortality is not the intent of death, but our personal destiny is annihilation.

Obligation, 2017, Graphite on paper, 14 X 12 inches, NFS

Obligation, 2017, Graphite on paper, 14 X 12 inches, NFS

As conscious individuals we are descendants of a broken existence; a dichotomy where each of us is innocent of creating our mortal destiny, but vulnerable to condemning our connection with others who “created us to die” without our permission.

Lack of Consciousness, 2017, torn paper in frame, 10.5 X 12 inches, $300

Lack of Consciousness, 2017, torn paper in frame, 10.5 X 12 inches, $300

Our “error” is our ownership of blame for mortality, which is not the power over death; it is our power over cruelty; the option to love our existence or not. I use the ancient medium of 2-D paintings/sketches because of their fractured reality to our conscious observation, and their well-established place in history.

Untitled, 2016, Oil on canvas, 24 X 20 inches, $3300

Untitled, 2016, Oil on canvas, 24 X 20 inches, $3300

Like the backside of a hung painting we are all absent/invisible before our birth and brought into reality through “the others” who made their mark on our canvas of life already. We are separate from them and unknowing about the value of existence until they choose to birth us and give us presence that is visible.

No Witness, 2016, Oil on Canvas, 24 X 20 inches, $2300

No Witness, 2016, Oil on Canvas, 24 X 20 inches, $2300

Once born we become a witness to the presence of our previous absence and our mortality. We become a witness to the eternal divide in life; TIME AS MOTION with its hidden backside as well as its obvious front. We are the moving witnesses that give Life its presence and awareness of the unknown because we are all born from this never-ending absence.

To view more work by the artist, please visit www.graceanncummings.art/graceann-cummings.html. You may also follow the artist on Facebook at www.facebook.com/paintGODsMISTAKE as well as Instagram @gracepianoann.


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.

Inspired by Geometry

“My work explores and re-examines the relationship between art and design.” - the artist

Retribution, 2019, Mixed media, Digital graphic, 70 x 100 cm, $150

Retribution, 2019, Mixed media, Digital graphic, 70 x 100 cm, $150

The main subject matter represents the reconstruction of their boundaries by putting them in the context of a unique artistic composition. These compositions are based on the abstraction of known geometric forms and shapes.

Illegal in Fabula, 2019, Mixed media, Digital graphic, 70 x 100 cm, $200

Illegal in Fabula, 2019, Mixed media, Digital graphic, 70 x 100 cm, $200

I try to define a new aesthetic through coloring and design by combining mixed classical and digital techniques and media. All of mine gained experiences from the interior architecture, graphic, product design and painting are presented in mixed media work-style.

Carry the Day, 2019, Mixed media, Digital Graphic, 70 x 100 cm, $150

Carry the Day, 2019, Mixed media, Digital Graphic, 70 x 100 cm, $150

Main artistic and graphic elements are defined by experimental constructions, shapes, typography, coloring, recycled materials or their parts. Their arrangements are generated from principles of art and inspired by geometry, materials and architecture.

The result is a new artistic expression, an abstract graphic identity finalized through small series of digital prints.

Malfinio, 2018, Mixed media, Digital graphic, 70 x 140 cm, $170

Malfinio, 2018, Mixed media, Digital graphic, 70 x 140 cm, $170

In interaction with the observer, the artwork gets a new value through individual interpretation and recognition of all of its hidden layers.

Rifuginto, 2018, Mixed media, Digital graphic, 70 x 140 cm, $170

Rifuginto, 2018, Mixed media, Digital graphic, 70 x 140 cm, $170

The goal of my work is to point out the importance and unavoidable presence of art in design and design in art, as well as the new aesthetics that this relation creates.

Uroboros, 2018, Mixed media, Digital graphic, 70 x 140 cm, $200

Uroboros, 2018, Mixed media, Digital graphic, 70 x 140 cm, $200

About the artist:

Jelena Grubor was born on October 22, 1987. in Republic of Srpska, Bosnia and Herzegovina. Graduated from the Faculty of Applied Arts in Belgrade, department of Interior architecture and furniture design in 2011.

She graduated with a Master of Art degree (Applied arts and design) from the Academy of Arts, University of Novi Sad as well as with a Master of Science (Wood products design, Final wood processing) from the Faculty of Forestry, University of Belgrade.

She works as an Assistant Professor at Academy of Arts, University of Banja Luka (Graphic design department). As a freelancer, Jelena is actively engaged in projects related to graphic art and design, product and interior design.

To view more work by the artist, please visit jelenagrubor.com. You may also follow the artist on Facebook at www.facebook.com/jelena.manojlovic.77, as well as Instagram @_jelena_grubor.


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.

Reclamation is Essential

“As reclamation is essential, I use both photography and historic events as material that can be re-purposed.” - the artist

Cuyahoga on Fire, 2016, Copper, Brass, Sterling Silver and Enamel, 3 x 2 x .5 inches, $600

Cuyahoga on Fire, 2016, Copper, Brass, Sterling Silver and Enamel, 3 x 2 x .5 inches, $600

The impacts of nostalgia and neglect of industry and urbanization are depicted in my enameled jewelry. Photography has documented the rise and decline of American industries. Manufacturing presence deeply affects the identity of local communities.

Urban Nature White, 2017, Steel, Bronze, Liquid Enamel and China Paint, 3.75 x 1 inches, $350

Urban Nature White, 2017, Steel, Bronze, Liquid Enamel and China Paint, 3.75 x 1 inches, $350

When no longer used, industrial structures have two possible fates. If neglected their deterioration negatively impacts the surrounding community while re-purposed factories honor the past in a post-industrial era.

Ivy Wall, 2017, Copper, Bronze, Sterling Silver, Enamel and China Paint, 3.75 x 3 x .5 inches, $650

Ivy Wall, 2017, Copper, Bronze, Sterling Silver, Enamel and China Paint, 3.75 x 3 x .5 inches, $650

As reclamation is essential, I use both photography and historic events as material that can be re-purposed. Photo transfer decals allow me to reproduce an image and fire it into enamel. I pair industrial images with the wildflowers that re-mediate and reclaim the soil of shuttered factories.

Urban Weed Brooch, 2017, Copper, Bronze, Silver Foil, Enamel and China Paint, 3.75 x 2 x .5 inches, $500

Urban Weed Brooch, 2017, Copper, Bronze, Silver Foil, Enamel and China Paint, 3.75 x 2 x .5 inches, $500

Weeds emerging from sidewalks and buildings demonstrate nature’s resilience and suggest that we are not as in control of our built environment as we may believe.

Grate Brooch, 2017, Copper, Bronze, Enamel and Under Glaze, 2 x 3.75 x 1 inches, $400

Grate Brooch, 2017, Copper, Bronze, Enamel and Under Glaze, 2 x 3.75 x 1 inches, $400

Current discussions also permeate my work. Cleaner sources of energy represent a new era of precious American industry. They have the potential to provide a returned sense of manufacturing pride and new monumental structures to decorate our landscape. However, wind energy is seen as a threat to those nostalgic for the steel mills and coal mines of a pre-Rust Belt era.

Urban Nature Gray, 2017, Steel, Bronze, Liquid Enamel and China Paint, 3.75 x 1.5 inches, $350

Urban Nature Gray, 2017, Steel, Bronze, Liquid Enamel and China Paint, 3.75 x 1.5 inches, $350

About the artist:

Sarah Loch-Test studied at Kent State and East Carolina universities, where she embraced the art of enameling. Her time spent living in Pittsburgh, a resilient city in a post-industrial era, continues to influence her metalwork. She is currently the Metals Technician at the University of North Texas. Her work has been included in the biennial Enamelist Society Exhibitions and is in the Enamel Foundation’s permanent collection.

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


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.

An Act of Subtle Disruption

“That is the repetitive irritation and unavoidable inconveniences in our lives that are too small to avoid, yet too big to ignore.” - the artist

Blue Blue Blue, 2019, Acrylic and graphite on canvas, 36 x 28 inches, Not For Sale

Blue Blue Blue, 2019, Acrylic and graphite on canvas, 36 x 28 inches, Not For Sale

When walking across a sandy beach, shells sting our feet. Still we continue, despite the discomfort, the underlying anxiety, the fleeting imagination that something bad is going to happen. A cut perhaps. Every shell, every prickly sensation, every disturbance, the sand between our toes.

Splinter, 2019, Acrylic and graphite on canvas, 22 x 20 inches, Not For Sale

Splinter, 2019, Acrylic and graphite on canvas, 22 x 20 inches, Not For Sale

The repetitive irritations and unavoidable inconveniences in our lives are too small to avoid, yet too big to ignore. Placing unrelated abstract and figurative elements together is an act of subtle disruption.

Tripped, 2019, Acrylic and graphite on canvas, 20 x 16 inches, Not For Sale

Tripped, 2019, Acrylic and graphite on canvas, 20 x 16 inches, Not For Sale

I press hard, the lines tremble. They are scribbled furiously and carelessly as I am lining and relining the edges of a clear primed canvas. A canvas frame, seemingly crooked, creates confusion and provides a setting for the awkwardness.

Hanger, 2019, Acrylic and graphite on canvas, 30 x 30 inches, Not For Sale

Hanger, 2019, Acrylic and graphite on canvas, 30 x 30 inches, Not For Sale

Instability is the inevitable element from which the viewer cannot escape; it is part of each moment.

Wavy, 2019, Acrylic and graphite on canvas, 42 x 42 inches, Not For Sale

Wavy, 2019, Acrylic and graphite on canvas, 42 x 42 inches, Not For Sale

About the artist:

Jean Oh (b. 1993) is an artist living and working in Brooklyn, New York. Her work provides a base for the viewers to experience the sensitive, emotional statue. That is the repetitive irritation and unavoidable inconveniences in our lives that are too small to avoid, yet too big to ignore.

She holds a BFA from MICA (Maryland Institute College of Art) and an MFA from Pratt Institute. Oh has been selected as the winner of the Silver Award for AHL-T&W Foundation Contemporary Visual Art Awards. Her work presented by numerous group shows in the USA: 2019 All In (Pratt Manhattan Gallery, New York, NY); 2018 Small Work 2018 (Trestle Gallery Brooklyn, NY); and Concept 2018 (CICA Museum, Gimpo, South Korea.)

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


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.

Measured Disorder

“Dark in both emotional content and physical appearance...” - the artist

Blur, 2016, Archival Pigment Print, 20 x 29 inches, $500

Blur, 2016, Archival Pigment Print, 20 x 29 inches, $500

The images enclosed are examples from a new body of work titled Measured Disorder. It is a highly personal narrative of my struggles with seizure disorders. Dark in both emotional content and physical appearance, the images are computer manipulated collages of original digital photographs and scanned items that seek to express the intense psychological impact of dealing with physical challenges.

Confined, 2018, Archival Pigment Print, 20 x 29 inches, $500

Confined, 2018, Archival Pigment Print, 20 x 29 inches, $500

I have had epilepsy for over thirty years and it has taken me this long to begin a body of work about it. A review of a recent gallery exhibition of this work referred to them as self-portraits, which is partially true since many include my face or body.

Sealed,2016, Archival Pigment Print, 20 x 29 inches, $500

Sealed,2016, Archival Pigment Print, 20 x 29 inches, $500

However, they are also meant to express a process and an experience – what it’s like having seizures as well as the medical “measuring” one undergoes on an ongoing basis. Sometimes disembodied, sometimes clinical, sometimes mystical, the images attempt to communicate my varied experiences with epilepsy.

Low Horizon, 2018, Archival Pigment Print, 20 x 29 inches, $500

Low Horizon, 2018, Archival Pigment Print, 20 x 29 inches, $500

About the artist:

I started out my artistic career as a photographer. I began experimenting with computers as an artistic tool in 1994. At that time, I was using digital image-making in conjunction with photography, mainly as a way to conveniently collage photographic images and incorporate text into my work.

Andrew Ortiz holds a M.F.A. (Media Studies) Visual Studies Workshop (SUNY), in Rochester, NY, and currently teaches at University of Texas at Arlington.


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.

They Named Her John

Fleeting, 2019, Stoneware, acrylic paint & charred wood panel, 14 x 14, $1,200

Fleeting, 2019, Stoneware, acrylic paint & charred wood panel, 14 x 14, $1,200

Jessica’s early years were spent in Upstate New York and Houston. The daughter of an engineer and a photographer, she grew up in her father’s workshop and her mother’s darkroom.

The One v.3, 2019, porcelain, charred wood panel & thread, 12 x 12, $1,200

The One v.3, 2019, porcelain, charred wood panel & thread, 12 x 12, $1,200

When she wasn’t busy there, she could usually be found exploring the woods or making dirt bowls on the muddy banks of the stream near her house.

No End, 2018, Stoneware, 9 x 5 x 2.5, $750

No End, 2018, Stoneware, 9 x 5 x 2.5, $750

The submitted mixed media works are part of a series of pieces that explore permanence, the passage of time, memory and nostalgia.

Obligations, 2019, porcelain & charred wood panel, 12 x 12, $1,200

Obligations, 2019, porcelain & charred wood panel, 12 x 12, $1,200

Jessica’s ceramic work focuses on cultivating a quiet purity of form with a nod to the strong decisive lines of the industrial machinery she grew up with in her father’s workshop. Her ceramics bring together the soft elegance of wheel-thrown forms with contrasting stark graphic surfaces.

The One v.8, 2018, Stoneware & Acrylic Paint, 18 x 24, $1,800

The One v.8, 2018, Stoneware & Acrylic Paint, 18 x 24, $1,800

Through her work, Jessica seeks to illuminate the subtlety of human interactions, to highlight the tension between our physical separateness and our emotional connectedness.

The One v. 4, 2018, stoneware, acrylic paint, charred wood panel and thread, 20 x 24, $1,800

The One v. 4, 2018, stoneware, acrylic paint, charred wood panel and thread, 20 x 24, $1,800

Photo source: the artist

Photo source: the artist

About the artist:

Jessica earned a BA in Studio Art at The University of Texas Austin and, while working professionally as a graphic designer, has continued to work with ceramics for over 20 years. Currently Jessica works out of her home studio in Houston, TX.

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


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.

Visual Language

Wild pet, 2019, Acrylic on Canvas, 16 x 20 Inches, $300

Wild pet, 2019, Acrylic on Canvas, 16 x 20 Inches, $300

I am Yashashri Rao, born and brought up in Madhya Pradesh State of India in an Indian conservative family. As a child I was highly interested in Science but I started developing interest in art in age if 13.

Refuse to reality, 2019 Acrylic on Canvas, 16 x 20 Inches, $300

Refuse to reality, 2019 Acrylic on Canvas, 16 x 20 Inches, $300

I am committed, self taught artist. Before taking art as a fulltime profession, my professional experiences has had a wide pan; from Teaching Animation pre production to a Graphic Designer.

Blind Love, 2019 Acrylic on Canvas, 16 x 20 Inches, $300

Blind Love, 2019 Acrylic on Canvas, 16 x 20 Inches, $300

[This all] to provide and understand the much needed base to form my philosophy and visual language in art.

The Gemini, 2019, Acrylic on Canvas, 16 x 20 Inches, $300

The Gemini, 2019, Acrylic on Canvas, 16 x 20 Inches, $300

I started my art journey as realistic art. [I then got] opportunity to attend a workshop by the world’s best airbrush artist Dru Blair. I have participated in a couple of group shows with my realistic paintings in Bangalore India. Recently, I started a journey towards abstract art form.

Mute and Blind to the World, 2019, Acrylic on Canvas, 16 x 20 Inches, $300

Mute and Blind to the World, 2019, Acrylic on Canvas, 16 x 20 Inches, $300

To learn more, please visit www.facebook.com/yashashri.shivansh. You may also follow the artist on Instagram @prashyash_.


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.

Natural Aspects with Human Interventions

“My stone sculptures tend to be a balance of natural aspects with human interventions.” - the artist

CLOUD HANDS I, 1994, 11 feet sq, SOLD

CLOUD HANDS I, 1994, 11 feet sq, SOLD

Jon Barlow Hudson has been creating large scale sculpture projects for public environments since 1976, in 27 countries round the world: 23 throughout China alone. This has provided him with a uniquely broad experience of art & sculpture in many different cultural & architectural contexts.

“My 1st % for art project, POLARIS, was for Miami/Dade in 1979, for Homestead Public Library: soon followed by VINCULUM AMORIS for S. Regional Court in Hollywood, FL.” - the artist

DOUBLE HELIX, 2010, 25' L x 8' H, SOLD

DOUBLE HELIX, 2010, 25' L x 8' H, SOLD

I work on any scale, in a wide range of materials, in various motifs & types of installation. While many of my projects have been in various kinds of metal such as stainless steel, I especially like working with stone. Many of my large scale projects have involved working with various types of clients in both early & later stages, sometimes developing a project with them. Virtually all have been designed with their intended sites uppermost in mind, within budget & on schedule. While most are stand-alone, several have been atrium installations and wall mounted: a couple have been fountains.

FENESTRAE AETERNITATIS: BOOKS INTO INFINITY, 2013, 18’ L, SOLD

FENESTRAE AETERNITATIS: BOOKS INTO INFINITY, 2013, 18’ L, SOLD

My sculpture projects tend to be abstract, often geometric in 1 way or another. Certain projects might have more literal, humanistic or figurative aspects such as my ETRUSCAN MAENAD series, inspired by a bronze figurine in the Fiesole museum. My stone sculptures tend to be a balance of natural aspects with human interventions. My sculpture may be seen as iconic for the most part, or symbolic, very often referencing a center, whether actual or spatial.

ETRUSCAN MAENAD-MOTHER BEAR, 2012, life size. SOLD

ETRUSCAN MAENAD-MOTHER BEAR, 2012, life size. SOLD

It often works with balance; space in contrast with form; implied space; ambiguity if incorporating mirror surfaces; light & darkness; a continuum, implied or actual; movement & flow such as a vortex; interior & exterior; natural/organic with man-made. I always thoroughly research a given project & create a sculpture or project that speaks to the pertinent characteristics of the situation, whether cultural, environmental or architectural.

TREE OF KNOWLEDGE, 1992, Bronze, 10' H, SOLD

TREE OF KNOWLEDGE, 1992, Bronze, 10' H, SOLD

This is a collection of commissioned public art projects. I have several various other options relative to type of work and choices of the works can be themed.

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

Contrasting and Connecting

“By contrasting and connecting abstract forms, paper elements and paint marks, I hope to create paintings that show seemingly incompatible things working together.” - the artist

Moment of Flight, 2019, acrylic, 20 x 16 x 1.5 inches, $450

Moment of Flight, 2019, acrylic, 20 x 16 x 1.5 inches, $450

Abstract painter Cynthia Coldren explores contemporary concepts such as order and chaos, structure and ambiguity using acrylic paints, inks and mediums on canvas and paper.

Estuary Fog, 2019, acrylic, 36 x 24 x 1.5 inches, $800

Estuary Fog, 2019, acrylic, 36 x 24 x 1.5 inches, $800

She studied fine art as an undergraduate student before completing her BAS in communications and management. While her early work embraced photorealism, she transitioned to an abstract style over the years, evolving a stronger thematic focus.

Thin Lines in Gray, 2019, acrylic, 36 x 24 x 1.5 inches, $800

Thin Lines in Gray, 2019, acrylic, 36 x 24 x 1.5 inches, $800

“My abstract paintings are a blend of deliberate shapes and spontaneous brush marks. Using the fundamental components of color, shape, texture, line, and space, my paintings most often visualizes the unity of opposites such as order and chaos, or simplicity and complexity.” - the artist (source: www.cynthiacoldrenfineart.com)

Threaded Lines 1, 2019, acrylic, 12 x 12 x 1.5 inches, DIPTYCH, $575 (pair)

Threaded Lines 1, 2019, acrylic, 12 x 12 x 1.5 inches, DIPTYCH, $575 (pair)

“I use acrylic paint on canvas, sometimes on heavy watercolor paper, and add hand-painted paper forms to counter or complement the developing composition. At times, I start by painting geometric patterns and layer translucent color and organic brushstrokes to create compositional depth and tension. By contrasting and connecting abstract forms, paper elements and paint marks, I hope to create paintings that show seemingly incompatible things working together.” - the artist (source: www.cynthiacoldrenfineart.com)

Threaded Lines 2, 2019, acrylic, 12 x 12 x 1.5 inches, DIPTYCH, $575 (pair)

Threaded Lines 2, 2019, acrylic, 12 x 12 x 1.5 inches, DIPTYCH, $575 (pair)

Cynthia Coldren profile pic.jpg

Cynthia lives in the Dallas (TX) area. She has received recognition and awards in recent art exhibitions, gallery shows and juried competitions both online and in North Texas. She is a member of the Texas Artist Coalition (TAC), the Visual Arts Guild of Frisco (VAGF), the Richardson Civic Art Society (RCAS) and the International Society of Experimental Artists (ISEA).

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


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.