October 2018

I Spend Time With God

I Spend Time With God

Holds the World Like a Baby , 2016. Ginger Cochran

Holds the World Like a Baby, 2016. Ginger Cochran

 

I Spend Time With God

I spent time with God today…

We were children

We ate cupcakes

Two each

And we laughed at silly things

 

I spent time with God today…

He told me he’s tired of keeping secrets

but he couldn’t let it out ‘cause what would they say

 

I spent time with God today…

I told him my wrists are bleeding

He held me tight

He said he’d never look the other way

 

I spent time with God today…

We had a drink or two at a bar

We laughed and just talked about life

He said he’s proud that I’ve come this far

 

I spent time with God today…

He told me he’s gay

He said no one ever takes the time to love and listen

They just lock him up in their self-righteous prison

 

I spent time with God today…

We talked way into the night

With a cigarette in hand

He said people should just chill

And quit living like they need to pay some bill

 

I spent time with God today…

She told me she’s no longer a virgin

And keeping it a secret is the heaviest burden

She said she won’t dare tell anyone but me

‘cause what if they judge her and they just won’t see

 

I spent time with God today…

She told me she was raped

She said she’s having an abortion

Before they see and it’s too late

 

I spent time with God today…

He told me suicide is an entertaining thought

He said he’s tired of living with empty promises of all that can’t be bought…

 

I spent time with God tonight…

We had a real good time

Did many things worth a penny, worth a dime

With our black coats on we had all kinds of fun

We laughed, and he said

“What happens in Vegas stays in Vegas…”

To read more from Janie Davel, visit her Facebook page here.


Want to share your prose with Envision Magazine! Feel free to submit your literary works for a chance to be featured! Click here to apply online! Also accepting visual art submissions.

Uninhibited Style

“I have appreciated and enjoyed art all my life …” - from the artist

Australia - my way . 90 cm (h) x 120 cm (w). Acrylic on stretched canvas. 2018.

Australia - my way. 90 cm (h) x 120 cm (w). Acrylic on stretched canvas. 2018.

I was born in Newcastle, Australia in 1946 but have been living in Brisbane for over twenty years. I have appreciated and enjoyed art all my life but never painted seriously.

Black Forest . 60 cm x 50 cm. Acrylic on stretched canvas. 2018.

Black Forest. 60 cm x 50 cm. Acrylic on stretched canvas. 2018.

In November 2014 I decided to join a local art group. It wasn’t a class for art instruction but a meeting of talented artists that were led by a known professional artist providing an environment of encouragement, development and guidance. In the beginning my art was naive,  but I kept working on technique. I attended every Wednesday and I also wrote a book about the first 52 weeks of discovery (some 120,000 words). At the start of 2016 art discovered me and I found my own style (abstract expressionism).

Seeking the Light . 60 cm x 50 cm. Acrylic on stretched canvas. 2018

Seeking the Light. 60 cm x 50 cm. Acrylic on stretched canvas. 2018

Around about the same time I was fortunate to be taken aside by one of New Zealand’s foremost supporter of the arts, Paul Dallimore CSO.  Paul has spent a lifetime supporting and encouraging emerging artists in New Zealand.  He liked the raw individuality in my work and encouraged me to move from painting small works, and paint big canvasses.  I took his advice.

Sentinels . 170 cm (h) x 140 cm (w). Acrylic on un-stretched canvas. Painted during 2017.

Sentinels. 170 cm (h) x 140 cm (w). Acrylic on un-stretched canvas. Painted during 2017.

Since then I have developed my own fluid, uninhibited style. I have never been a man bound by rules or tradition, and so it is with my paintings. I like the freedom to paint what is in my heart, mind and soul. I currently have about two hundred completed paintings and at least half of these are large works.  Last year I started an Instagram gallery and currently I have over 3000 followers.

Summer Daze.  170 cm (h) x 140 cm (w) acrylic on un-stretched canvas. Painted 2017.

Summer Daze. 170 cm (h) x 140 cm (w) acrylic on un-stretched canvas. Painted 2017.

I have been invited to exhibit at Perspectives 2016 in Trieste, Colorida Galerie de Arte in Lisbon, and  Brick Lane Gallery in London. I have participated in competitions in Italy, Luxembourg, London, and Australia. I have paintings in private collections in London, New Zealand, and Melbourne. I will be having a solo exhibition at the Butter Factory Art Gallery on the Sunshine Coast, Australia next year.

To view more of the artist’s work, please visit www.ricconnors.com.au. You may also follow the artist on Instagram @ricconners_art.


Want to share your art with Envision Magazine! Feel free to submit your visual art works for a chance to be featured! Click here to apply online! Also accepting literary submissions.

The Kinetic Illusion

“Abstraction is his fascination and power tools are his forte.”

- tbarny.com

Circo, Bronze, 23 x 16 inches

Circo, Bronze, 23 x 16 inches

A native of California with a BFA from the Rhode Island School of Design, T Barny has been creating sculpture professionally for over three decades. During his career, he has produced more than 900 sculptures that range in size from one-foot-tall tabletop pieces to twelve-foot-tall corporate and public installations that can weigh upwards of 9 Tons.

Catena, Bronze, 11 x 9 inches

Catena, Bronze, 11 x 9 inches

His works have been shown in over 100 galleries in 20 countries and he has participated in more than 400 group and individual exhibitions. He has worked as an artist-in-residence in such locations as Greece and Italy, as well as several locations throughout the U.S., though the majority of his work is done from his home studio in Healdsburg, California, where the T Barny Gallery & Sculpture Garden is also located.

Taminya, Moroccan Selenite, 20 x 11 inches

Taminya, Moroccan Selenite, 20 x 11 inches

It is his great love of stone as a medium that allows him to create serene and evocative works that continue to grow in their market presence and are becoming increasingly sought after in both private and public arenas. T Barny imports personally selected stone from quarries around the world, carving his pieces from massive blocks of granite, alabaster, calcite, and his favorite variety, marble.

Sestet, Picasso Marble, 20 x 13 inches

Sestet, Picasso Marble, 20 x 13 inches

His works are produced through a method of direct carving, which entails no preconceived notions or models from which to derive the final shape of his pieces. T Barny allows himself to be guided by the natural rhythms of the stone in order to generate a duality between him and the stone.

Kestral, Utah Calcite, 16 x 13 inches

Kestral, Utah Calcite, 16 x 13 inches

He makes use of negative space as much as the positive body in order to establish an affinity with the stone, evoking a feeling as sublime as the pieces themselves. His sculptures generate the kinetic illusion of movement and fluidity with forms that follow the natural flow of the material he works with. 

To learn more about the artist and view his work, visit his website at tbarny.com. You may also follow the artist on Instagram and Facebook.


Want to share your art with Envision Magazine! Feel free to submit your visual art works for a chance to be featured! Click here to apply online! Also accepting literary submissions.

Windswept

Windswept

a poem

by Ginger Cochran

Fragment , 2017. Ginger Cochran

Fragment, 2017. Ginger Cochran

All I ever wanted.

Just what was relatable.

Climbing down and in.

My soul keeps so quiet.

Nothing wakes her.

Dreaming so still.

As this, our only joy.

This peaceful place.

Oh, but the journey was packed with uncertainty! Though fragile, it is her that reigns so clear.

Ginger Cochran is a budding poet, residing in Denton Texas. She is currently working on her first book. To see more of her prose, visit Self Labeled.


Want to share your prose with Envision Magazine! Feel free to submit your literary works for a chance to be featured! Click here to apply online! Also accepting visual art submissions.

Art is a Soul Thing

“I paint because I must.” - from the artist

Mark I, 2018.

Mark I, 2018.

Q: What led you to become an abstract artist?

A: There are a number of ways I can approach the answer to this question.

Humorous: Because I can’t paint a realistic scene to save my life.

Emotional: I create (write, paint, produce) partially out of the fear I will be forgotten when I die. Whatever mark, literal and figurative, I can leave behind is a driving force of my creative output. I desire to be respected for my work.

Financial: I paint to sell and make money. I have a daughter in college who has made shopping an Olympic sport and she has won gold the last five years. I have to make money somewhere and, in my infinite brilliance, I thought selling art would be a great way to do that. HA.

Finally, Truthful: I paint because I must. When I close my eyes, I do not see darkness, I see a vista of colors, images, shapes and patterns. I paint to clear my mind of these images, so I can have peace. I paint because it is cathartic. It is a respite from the responsibilities of life. I can step into my studio, turn on some great music, pick up a brush and simply forget the rest of the world exists. It is a wonderful feeling to get lost in the flow of creation.

Oh, how about a Metaphysical answer? I am an abstract artist, because life is an abstract concept and the only way to capture its true essence is through marks and colors on canvas and paper. Is that deep or what?

Mark II, 2018

Mark II, 2018

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

A: I am a self-taught artist. I did take art classes beginning in junior high and spent every minute that I could in high school in either the art room with the teacher, Dr. David Newcomb, or in the creative writing class with Ron Davis. (I still remember both teacher as they had great influence on my life.) My senior year of high school my class schedule was painting, art teacher’s aide, creative writing, creative writing teacher’s aide, then two film classes at my local community college. I knew how to game the system, but also did well in school, so I glided through school and then went on to film school courses.

I am a firm believer that art is a soul thing not something that can be taught. Yes, you can learn color theory, rules of composition, and the technical aspects of painting, but Art, with a capital A, comes from the soul. For every rule of painting, I can give you numerous examples of artists who have broken those rules and critics love them for it. I have very strong feelings about this subject.

With all of that said, I read. A lot. I read about artists whose work I enjoy—the masters of course, Picasso, Monet, Kline, Pollock, Motherwell, Rothko, Modrian, Miro, but also Paul Klee, Sean Scully, Brice Marden—the list goes on forever. And those are just the mainstream artist. I love “low-artist” (a term I detest) such as Shag, Kelsey Brookes, Kenny Scharf. Reading about other artists and listening to how they describe their craft is probably the greatest art school of all.

Untitled, 2018

Untitled, 2018

Q:  Where do you derive your inspiration from?

A: Ah, the dreaded question for all creative types.

I am constantly inspired by random patterns and colors I see. The way the light falls on a surface, or the texture of a wall; these things cause me to stop and for some reason I am driven to reproduce what I see with paint.

Nature is full of colors, patterns and shapes that inspire, but that is such a cliché answer. It is true, and that is why it is cliché. I love looking at photos of the earth from a bird-eye-view. When I see a forest from that angle, and notice the patterns and textures, I want to recreate what I see on canvas. Or waves, and the residual white water left behind on a beach; these things make we want to capture the image in a permanent way.

Music is another source of inspiration. I can close my eyes when listening to music and see vivid patterns and colors. I try to capture that in my art.

Untitled, 2018

Untitled, 2018

Q: Although your work is abstract, you maintain several different styles from color block and, cubism, representational and non-representational and more. Can you explain why you vary with so many different styles?

A: You’re touching on all of my hot button topics with art.

Painting, or really any act of creation, is a journey not a destination. While we will complete a work—a canvas, poem, novel, screenplay—it is truly only a step on a path of the act of creating.

I may experiment with styles and techniques from canvas to canvas. Each work is a step. Some steps are better than others and I learn along the way. Does that mean I return to previous works to re-work them applying what I have learned since I first painted a piece? I say, no.

This would dilute the journey and body of work. It would in affect be saying the destination—in this case, a finished canvas—is more important than the journey (the exploration of applying paint to canvas).

For this reason, I cherish the steps, the experiments, and while I may ultimately prefer one aesthetic step over another, I do not consider one wrong or more correct.

Gauguin experimented with different techniques—flat colors, each compartmentalized and simplified, or a high viewpoint which flatten his subjects, while also working with blended colors and eye-level viewpoints. Should he have re-worked canvases once he found a style, or technique, he preferred? Should he have created a uniform portfolio of work?

No! We would have lost the richness of his artistic exploration. We would have lost the journey he set out and invited us to follow on.

Picasso started in a traditional style of painting, but he was restless. He wanted to explore, experiment and wanted to destroy painting as it was known at the time. We are much better for his journey. Without the steps of his journey we would not have had Cubism, and within Cubism, we had the Cezannian styles, Analytic, Synthetic, and Crystal styles, all of which led to the various journeys of Constructivism, Futurism., Suprematism, Orphism, and De Stijil. So many steps. So many journeys. All on roads of creation.

I may have gone down the rabbit trail a bit. The simple answer is, I paint in various styles because that is what I see. Some critics will tell artist, you must stay with one style and perfect it—become known for it—I understand what they are saying but you have to follow your soul. Why do we set limitations on ourselves? Why must an artist be labeled? Pigeon-holed? Put in a box? I honestly do not understand that logic.

Art is rebellion. So, I paint in the style that interests me for that day. I come back to motifs all the time and often combine motifs into something new. That is part of the journey. That is part of my rebellion.

Volume I, 2018

Volume I, 2018

Q: What message are you sending through your art? Or what do you hope for viewers to take away from your art?

A: Another hot button. I’m not sure I have a message. I am drawn to attractive colors, shapes and patterns. That’s what I try to create in my art.

My Wondrous Stories series is simply a motif of color fields covered with layers of soft swirling blended colors and thick palette knife strokes.

My latest series, Volume is simply me playing with negative space and illustrating voluminous spaces as if made of concrete. I limit the color palette to only black, grays and white.

Honestly, I just want to make a beautiful image on canvas or paper. I want the viewer to see beauty and have some emotional connection with the work.

With my Mark Series, I reject the notion that art must be created with a multitude of layers comprised of under-painting and textures. Instead, I strive for the simplicity of one stroke of the brush or knife on the surface. Any complexity is derived from the act of the paint contacting the surface of the paper, or canvas. The texture, smoothness and weight of the paper determines how the paint will interact with it—I can force the paint to do what I want, but often prefer to allow the two media and medium to interact naturally.

In the art world there are too many pre-conceived notions that art must have meaning or on how art must be made—how it is created, what size, what color, and on and on. I say let art be art.

The mark is the art. The art is found in the mark.

Volume II, 2018

Volume II, 2018

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

A: I do hope that my art is recognized as being worth recognizing. I think all artists are frustrated by the belief that their art is worthy of attention especially when they see other artists receiving recognition. We all wonder, “Why are they being celebrated, and my work isn’t?” I think all artists are naturally sensitive and that can affect our confidence. There is a bit of arrogance in thinking that if I paint something people will like it, but at the same time, an artist puts themselves out there and is just asking for rejection. Unfortunately, that is what we receive most often and that hurts.

In five years, I hope someone looks at my body of work and says, “This is good. This is worthy of attention. I want to own this.”

We’ve come full circle with the first question. Why do I paint? I want my art to be noticed and respected. I can only hope someone will say, this is of equal quality to works by other artists. In five years, I hope my work is selling to collectors and is sought out by those who love art.

Photo courtesy of the artist

Photo courtesy of the artist

Doug King is a talented artist, writer and film-maker living and working in Dallas, TX. He is currently Editor-in-Chief for Dallas Style and Design Magazine and continues to write freelance in addition to painting.

To view more of his work, follow him on Instagram. For information on film / screenplay and publishing, please visit www.dayiiiprod.com.


Want to share your art with Envision Magazine! Feel free to submit your visual art works for a chance to be featured! Click here to apply online! Also accepting literary submissions.

Fragments

Fragments

a poem by Janie Davel

Untitled , Doorways series, 2016  Ginger Cochran

Untitled, Doorways series, 2016

Ginger Cochran

With steel to my trembling lips and a whisper to the trees

I breathe one last time a faint hope into my bleeding heart

Fragments falling deeper into all I wish to be

It hits the bottom of the bottle – my wish to be free

A distant cry of a missing child haunting my night

The voice of a loved one…

The sirens, the screams, Endless violence

cutting through my broken dreams

Another sip, And I am somehow blinded,

left for dead

My stubborn pride…

To quench a thirst love alone could satisfy, I drank deep from her mouth

And I now see her with wet eyes…

To read more from Janie Davel, visit her Facebook page here.


Want to share your prose with Envision Magazine! Feel free to submit your literary works for a chance to be featured! Click here to apply online! Also accepting visual art submissions.

Long Necks & Sad Expressions.

"My work is mainly figurative. In appearance naive, where characters with long necks and melancholy eyes rub shoulders with still life and colorful landscapes. My full-color universe suggests the influence masters or movement of the late 19th and early 20th century as Modigliani, the deer, the German Expressionists." - from the artist

Catherine, 2017.

Catherine, 2017.

Sandra Paris is a French self-taught painter born in 1977. She lives and works near Paris. After art studies, she became graphic artist in a publishing house. In 2007, in in parallel with my professional activity, she decided to paint.

Pauline, 2016.

Pauline, 2016.

Her universe is full of females characters, with long neck and sad expressions, as well as landscapes and still life.

In 2015, she began collage work. Many of her pieces include mixed media on paper and even packaging materials.

Three-Quarter Woman, 2018.

Three-Quarter Woman, 2018.

Sandra Paris has had her work displayed in France, Italy, Colombia and the United States.

View her creative journey on Facebook, Instagram and her blog. You can also find available works on her website.


Want to share your art with Envision Magazine! Feel free to submit your visual art works for a chance to be featured! Click here to apply online! Also accepting literary submissions.

Common Artist Marketing Mistakes

Let’s face it. Being an artist is tough.

Whether you are an emerging artist, or are somewhat established, getting your work in the limelight can be super challenging. However, you may be unintentionally shooting yourself in the foot.

Fortunately, Envision Magazine is pleased to share some “Marketing DON’TS!” that sadly, many artists face everyday. Brought to you by Dallas’s own, @dallasartcritic!

“Breaking down the art scene in DFW & telling it like it is.” - @dallasartcritic

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1. Don’t comment on other people’s social media “hey come check out my work and follow me.” It rarely works, ever, & is more likely to get you blocked. 


2. Don’t show up to a gallery opening & corner the artist or gallery owner about seeing your portfolio. The night isn’t about you, but is about celebrating the work of the artist that is being showcased. If you want to pick their brain or get advice do so at a more appropriate time. 


3. Don’t neglect your website. I’ll say it again, don’t neglect your website. This can be in the form of a blog where you can showcase the progression of a work, & share videos of you painting. Keep up to date on show information, & post new work. Also don’t neglect SEO, it’s about key words & allowing google to find you. 


4. Don’t be something you are not, be true to you. Don’t feel like your artist statement has to look like it was written by Plato or Nietzsche. Share information about you & what drives you, show the real you. 


5. Don’t be an echo, be a voice. Don’t play follow the leader & do whatever you think is popular, because you are probably wrong. You have to believe in your work first, before you can expect others too. 


6. Don’t let rejection & critics force you out. It is one opinion and everyone has a different one. Take what you need to so you can improve, but don’t live & die by the “no’s” because you will get “yes’s” too. 


7. Don’t think you can ever coast - you can’t. You constantly have to keep up with marketing, even if you are Banksy and Sotheby’s. 


8. Don’t just accept the terms of a gallery who wants to represent you if it doesn’t feel right. If they truly want to represent your work, it shouldn’t be just on their terms. It should be mutually beneficial. 


9. Don’t hide behind social media. You still have to get out there & actually meet people in the real world & make actual contacts. Don’t neglect artist meet ups or openings or lectures - get dressed and go talk to people!


10. Don’t give in to burnout. Keep pushing through & keep creating. Don’t expect overnight success; it takes years of hard work.

To read more on local Dallas art and exhibitions, follow @dallasartcritic on Instagram!


Want to share your prose with Envision Magazine! Feel free to submit your literary works for a chance to be featured! Click here to apply online! Also accepting visual art submissions.

The Anxious Poet

The Anxious Poet

a poem by Ginger Cochran

Inside Out, 2017

Inside Out, 2017

I lie in bed and listen. The fan hums and the pencil scraps.

My mind wonders painfully on and on. One useless thought after another, looping continuously onto each other with no purpose, idea or knowledge.

The well within rises up, like a flood and chokes me.

Then... a new sound.

The pounding of my own heart.

Want to share your prose with Envision Magazine! Feel free to submit your literary works for a chance to be featured! Click here to apply online! Also accepting visual art submissions.

A Better Future

"I paint because I am unable not to paint! With my paintings I want to express moods and
emotions. I paint straight from the heart, using all the impressions from my daily life."  - from the artist

Photo credit:  Peter Søndergaard

Photo credit: Peter Søndergaard

"What painting means to me? EVERYTHING! I could never live without it. Working in my studio is wonderful! I leave this world behind to enter into my own fantastic universe where I am quite simply happy: Completely lost in space and time, a sanctuary for my restless mind." - from the artist

A View From the Inside , 2016

A View From the Inside, 2016

Q: What inspired this particular collection you submitted?

A: I am always inspired by what is going on around me, it may be in my close surroundings or what is going on in the world around us. Especially during the last years, a lot of refugees were trying to get to Europe, mostly by boat, hoping for a bright and better future and I think that most of my recent paintings show this subject.

Europe's Light , 2016

Europe's Light, 2016

Q: What kindled you to develop this painting style?

A: Well as far as concerning the style, I love to paint abstract or figurative in an abstract way, where it is up to the viewer to discover all the hidden things in my paintings. Everyone is seeing it differently and I love when people have a total different idea of what is going on in the painting. To be able to discover new things every day is great and this is what make the painting alive. I love to use a lot of layers in my paintings and I use a narrow palette with toned-down colors most of the time.

Waiting , 2017

Waiting, 2017

Q: What countries have you shown or displayed in?

A: I have had solo exhibitions in two galleries in Finland, in Helsinki and in Oulu, in northern Finland, as well I have had solo exhibitions in many capitals in Europe, [such as] Amsterdam, Paris, London, Munich, Stockholm at Hilton Hotels. The exhibitions in Finland were established in a funny way. I had an opening in a small gallery in the center of Copenhagen, when suddenly two Finnish men walked in. They were really impressed by my works and after we chatted for a while I asked them what they were doing professionally. One of them was the Sr. Planner at Finland’s National Gallery and I was really happy that someone in that position loved my works. He encouraged me to exhibit in Helsinki and set me up with a gallery owner who instantly loved my works. During my exhibition in Oulu later that year, this guy bought a large painting from the exhibition. I sold 6 artworks in Finland. Beside this I have exhibited a lot in Denmark and I was also giving a 30-minute interview to a local TV-program “Art right now” last year. It was a portrait of me and my art. I was later contacted by an Italian curator, who asked me to join a joint exhibition in Bologna, Italy.

Abandoned, 2017.

Abandoned, 2017.

Q: We were very impressed by the work, Abandoned. Is there a hidden message behind this piece?

A: The artwork Abandoned is part of the series about people somehow not really fitting in our society. In this artwork, I see a couple on their way out of town, simply because they were not accepted by the society. They came to the country and tried to fit in, but everybody turned their back on them. In this artwork, I have used the toned-down colors that I so often use in my paintings.

On Our Way , 2016

On Our Way, 2016

Q: What led you to become an artist?

A: I haven’t been painting for a long time, 5 1/2 years to be specific. It all started when I got more routine tasks at my job as an employee in a medicine company, where I worked with all the on-hand creative tasks in communications. I am not that good at handling routine tasks for a longer period and I missed the creativity. One day I went to my attic, where I saw all the painting stuff I inherited from my father a few years earlier. He was taking some evening classes during the last years of his life, and I think I took his gear for sentimental reasons. Well I took it down and started painting - me who had never, ever painted or drawn anything, [and] who knew absolutely nothing about it, and of course it was clearly shown in the two paintings I made. I thought, well you can’t do that and put it in the attic again. A few months later, I went to the attic again and took my gear with me in the apartment. 'This time I will do it right', I thought and I went to the internet, where I read and watched videos on YouTube for hours and hours, weeks and months where I watched other artists painting, read about colors and how to mix colors, techniques and so on. THEN, I started painting and I have developed a lot since then. I also took some physical art classes and here I am working as a full-time artist. I have never thought that I would be good at this, but apparently, I have a special sense for mixing colors and getting a very calm expression with my narrow palette.

Freedom , 2017

Freedom, 2017

"The process of creation is wonderful, it is my PASSION - and equally great is the joy of
touching others through my art. When I have sold a painting, and my clients write me that they are happy with it, I feel very privileged indeed." - from the artist

Photo credit:  Peter Søndergaard

Photo credit: Peter Søndergaard

The Danish artist Anitta Jonas was born in Copenhagen in 1960 into a family of 4. Her mother passed away when she was 7, an experience that profoundly influences her life to this day. She has led a rather turbulent life, and painting is a way for her to express herself and to reconcile her fears and memories. The feeling of abandonment is an ongoing theme in many of her works. 

She [is] inspired by Colombian Artist, Nubia Gala, and Croatian artist, Mila Plaickner, as well as many other expressionist artists. Along the way she discovered that she had a special talent for mixing her own shades of colors, using a toned-down and very narrow palette. She works exclusively with acrylics because it dries fast and thus complements her way of painting, impatient as she is. Furthermore, she uses a lot of charcoal and graphite in her artworks.

She has exhibited in galleries in Finland as well as various Hilton hotels throughout Europe. In November 2017, she will attend the joint exhibition, “Little Treasures” in Bologna, Italy.

Anitta wants her art to involve the viewer, to point to a deeper state of mind. She is often told by collectors that they find her works to be strangely soothing or relaxing. Not an easy artist to categorize, she paints her moods as they evolve - abstract or figurative, quiet or violent, soothing or evocative. She is inspired by people, situations, colors - and whenever an idea forms, she is compelled to commit it to canvas to set her mind at ease.

Anitta lives north of Copenhagen, with the youngest of her two sons, where she runs a small gallery.

To learn more about the artist and view her work, visit her website at www.anittajonas.com. You can also view her work on Facebook and Instagram.


Want to share your art with Envision Magazine! Feel free to submit your visual art works for a chance to be featured! Click here to apply online! Also accepting literary submissions.

I Woke and Made Coffee

i woke and.jpg

I woke and made coffee

A poem by Ginger Cochran

 

One morning, I woke and made coffee.

And I thought, for the first time – what if I have been asleep my whole live and am waking for the very first time?

What if I were in a coma? What if I were dead?

The coffee is very warm.

I stop to concentrate on the taste – as if it were the first sip of my life.

I soak in every possible sound – the air vent, the fountain and the pencil against paper.

What if I am experiencing it all for the very first time?

will the next time be the last time?


Want to share your prose with Envision Magazine! Feel free to submit your literary works for a chance to be featured! Click here to apply online! Also accepting visual art submissions.

The Art of Ginger Cochran

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Magnify, 2018. 36 x 36 inches, mixed media on canvas.

Magnify, 2018. 36 x 36 inches, mixed media on canvas.

Ginger Cochran is a contemporary, mixed media abstract artist living in Dallas, Texas, with her husband and two sons. 

Fervor, 2018.

Fervor, 2018.

Her inspiration is derived from both music and nature. Ginger develops custom color palettes and explores different textures and colors to create whimsical and romantic pieces. She places striking applications of pastel, marker or other medium and pops of color to demonstrate dramatic movement. Each work effectively draws the viewer in to create their own story through design.

See You Soon, 2018.

See You Soon, 2018.

Exemplified throughout her work is the recurring theme of movement, color and textures delivered by mixed media, as well as an effective use of negative space, line work and pattern.

Ginger has displayed her work nationally in Dallas, Houston, New York City, as well as Las Vegas. She has also worked closely with fellow artists on collaborations and as director/curator for various shows and competitions throughout the country.

Softly Spoken, 2018.

Softly Spoken, 2018.

To learn more about the artist and view her work, visit her website at www.gingercochranart.com. You may also follow her art on Instagram @gingercochranart.