photography

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.

Words Will Save Us

Words Will Save Us

a poem by Ella Wylynko

 

Photo credit: the author  @wylynko

Photo credit: the author @wylynko

i wake up

holding your body

i want to remind it

that it is made of saran wrap

truncated sentences

and willow bones

i want to remind it

that eulogies aren’t allowed to take up the entire sidewalk

or bolt themselves down

i want to ask it

not to to be its shadow anymore

but the question hangs in the air

words have a lot of weight for something you cant hold

but your body is the weather not the climate

it is tired metaphors

and too many full stops

held together through convention not commonality

somehow so beautiful

a city scape at dusk

this body burns up before it notices the consequences

therefore

i though i could only love strangers

because i never considered myself a stranger

but the sun has managed to bleach this body clear

and i can see myself in it

sometimes i feel like a bath tub

sometimes i forget that

i can still drown in the shallows

if i forget that

remind me

this is your body my body our body

tied together through imagery

do we exist as more then descriptions

we speak about the earth like i

speak about my body

in third person

a stranger

In our arms

 

i write myself in third person

because it is a survival mechanism

we write nature in third person

because we don’t want to admit the destruction of words

language is a living breathing organism

and my voice is an entire ecosystem

in which no one ever dies

 

i wake up

and i cant quite tell where my body ends and yours starts

we pretend as if we are separate from you - the ground beneath our feet

but what if i told you

you are the earth

we know

history books are the biggest white lies

why does no one question dictionaries

we repress all other meanings of a word

to convey the one message we wish to tell

i think i am in love not with strangers; because that includes too much of myself

not shadows; because i may slip into one

not metaphors; because our country is built upon their bones

i am in love with

what i can tell you

and what that will make you believe

am i still talking in third person?

or am i asking the earth not to become another eulogy?

just another burning cliche

but maybe we find comfort in the repetitive nature of nature

of humans

of language

for no one has ever held us

the way words do

About the author:

My work is primarily socially, politically and philosophically conscious. I believe in the power of art as a means of positive change and progress, that art is about finding the perfect balance when it comes to exploring and exposing political and social issues. Making the concepts understandable yet critical and not turning them into digestible forms (like the media tends to do) that are over simplified to the point of falsehood or misinformation. Because we need political art to help question the frameworks and consciousness that we have been socialized and internalized. 

To learn more about the author / artist, please follow @wylynko.

Cover imagery from @wylynko.


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.

47th Street Photo

“…I've been taking pictures, literally tens of thousands of pictures.” - the artist

A Ray of Sunshine on a Cloudy Day in Venice, 2018, Metal Print, 30 x 36, $600

A Ray of Sunshine on a Cloudy Day in Venice, 2018, Metal Print, 30 x 36, $600

Since the age of eight when my father bought me a Polaroid camera and a pack of film each week from 47th Street Photo, I've been taking pictures, literally tens of thousands of pictures. During my 62 years, I have gone through many phases from carrying a Mamiya RB67 around China for months to a Hasselblad to a Nikon to what I use now, an iPhone 10S.

Night Market Stall, Phu Quoc, Vietnam, 2019, Photograph, 22 x 27, $500

Night Market Stall, Phu Quoc, Vietnam, 2019, Photograph, 22 x 27, $500

Whereas my cameras were with me when I went searching for images, my iPhone is always with me at the most unexpected times.

Ready to Sail, SSA, Annapolis, MD, 2018, 18 x 21, $400

Ready to Sail, SSA, Annapolis, MD, 2018, 18 x 21, $400

I call my specialty ephemeral photography - scenes which last only for moments or even seconds.

Woman Sleeping in Market Stall, Siem Reap, Cambodia, 2017, Photograph, 22 x 27, 450

Woman Sleeping in Market Stall, Siem Reap, Cambodia, 2017, Photograph, 22 x 27, 450

I have combined my love of photography with my love of travel. I've been to 116 countries and have pictures from all of them. Now that my adult career is nearing its end, I can now dedicate myself to doing the two things I want to do - photography and travel.

Remnants of Meteora, Greece, 2014, Photograph, 22 x 27, $400

Remnants of Meteora, Greece, 2014, Photograph, 22 x 27, $400

To learn more and view more work by the artist, please visit www.facebook.com/GlennStrachanPhotography. You may also follow the artist’s journey at meanderingtraveler.blogspot.com.


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

Invisible Me

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Meghan Wagner profile pic.jpg

About the collection:

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

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

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


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

The Horses of Camargue

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

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

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

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

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

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

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

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

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

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

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

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

Photo source: the artist

Photo source: the artist

About the artist:

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

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

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


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

A Transient Moment

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo source: the artist

Photo source: the artist

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


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

Death of a Poet

The Death of a Poet

a poem by Deema Mahmood

 

Scent of Broq-pa, 2018.  Artist: Ziesook You . Photography, 51.76 cm, $1500

Scent of Broq-pa, 2018. Artist: Ziesook You. Photography, 51.76 cm, $1500

I heard that a close-by poet crouched inside the mouth of death

I don’t know him

But the squeaking that smacked my nerve ends

Alerted me to the void around

Perhaps because death sensors in my imagination gleaming in all directions showed no mercy.

They were loading children, teenagers,beautiful women,

Paupers, vendors, old people, lovers, and gays for free

And dumping them into junk yards full of skulls, epitaphs, and skeletons

While cutting white surrender flags into shrouds, and silly coffins

*

A poet dies

That means the curve of the street corner will be sharper

That bullshit will pour out of the belly of indifference

That more holes and garbage will accumulate in the back street

That pine and oak trees will bend

That the executioner will increase the number of guillotines getting ready for the massacre

 *

When the poet dies the wall on which jasmine sleeps

will fall

The maysaloon will wither, doves will cry

Seas will pour into rivers

Vine tree will yield raisins

And young maidens will awaken from love dreams

*

The poet overflows with love that exceeds life

Life can’t suffer him, so it mutilates itself.

A little while in the coffin,

And he’ll seep into the eye of the sun

After hiding it from the eye of death

And hiding death from death itself.

He’ll gather its light into balls that he’ll roll over the earth

So that others dance with butterflies on their way to death!

Photo source: the author

Photo source: the author

About the author:

Deema Mahmoud is an Egyptian poet, born in 1972. She holds a Bachelor degree in Computer Sciences and Statistics, 1993. She ‘s held the position of Professor assistant for many years in the departments of Computer sciences, Mathematics and Statistics in both the College of Education and the College of Health Sciences in Abha, Saudi Arabia.

Her publication include Braids of Spirit (Poetry), Dar Al-Adham, Cairo, 2015; I Pick Quarrels with the Horizon over a Violin (Poetry), Dar Al Ain, Cairo, 2017; and a third book of poetry in progress. Many of her poems have been translated into English, French, Spanish and Portuguese and published in several anthologies in those languages. She has participated in many poetry and cultural events inside and outside of Egypt.


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.

When You Are a Woman

“She rewrites stories by stitching on them: poetry, wonders and subtleties are the key to her art works.” - from the artist

Ride, 2019, Embroidery on Photograph, 4.7 x 4.7 cm, NFS

Ride, 2019, Embroidery on Photograph, 4.7 x 4.7 cm, NFS

"Everything is Political" is an ongoing series of embroidered photographs with women being the protagonists of the pieces. Each one of them brings a feminist/reflexive message to the spectator.

Sisterhood, 2018, Embroidery on Photograph, 9.5 x 6.5 cm, NFS

Sisterhood, 2018, Embroidery on Photograph, 9.5 x 6.5 cm, NFS

Her work dives into forgotten memories through old photographs that were found in antique shops, flea markets and even in dusty family albums. She rewrites stories by stitching on them: poetry, wonders and subtleties are the key to her art works.

When you're a woman, 2018, Embroidery on Photograph, 7 x 13.5 cm, NFS

When you're a woman, 2018, Embroidery on Photograph, 7 x 13.5 cm, NFS

Women's stereotypes are constantly being  questioned. Her focus is to make them the protagonists of their own story.

Future, 2018, Embroidery on Photograph, 9.5 x 6.5 cm, NFS

Future, 2018, Embroidery on Photograph, 9.5 x 6.5 cm, NFS

Living in Brazil, a country where violence against women is present everyday has contributed to [Juliana Naufel’s] choice of defying and making reflections in her pieces. Being aware that everything is political when you are a woman is what keeps her going.

Her Story, 2019, Embroidery on Photograph, 11.5 x 7 cm, NFS

Her Story, 2019, Embroidery on Photograph, 11.5 x 7 cm, NFS

About the artist:

Juliana Naufel was born in 1996 in São Paulo, Brazil, where she currently runs her own studio to research about the connections between textile art, art & gender and Women Artists from Latin America.

Naufel is a Bachelor in Visual Arts by UNESP - São Paulo‘s State University and an emerging artist that was already featured in group shows at Argentina, Brazil, Canada, Portugal, Spain and U.S.A.

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


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

Eerie and Dreamy

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Transcends The Literal

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

The Voice of Silence

“I wanted to take something that only I could take [..]” - the artist

Uro No Ena - The Remains of My Father II, Photography silver gelatin print, 19 x 23 inches, $2606

Uro No Ena - The Remains of My Father II, Photography silver gelatin print, 19 x 23 inches, $2606

Q: What led you to become a photographer?

A; When I was a college student, I saw Diane Arbus's "Untitled" and was struck by lightning. Then, I bought Nikon's FM2 and started taking pictures of everyday landscapes, seniors of band, etc. However, it took no time to get to know that my photo is one of a number of similar pictures. I wanted to take something that only I could take, and I aimed for a photographer in earnest.

Uro No Ena - The Remains of My Father V, Photography silver gelatin print, 19 x 23 inches, $2606

Uro No Ena - The Remains of My Father V, Photography silver gelatin print, 19 x 23 inches, $2606

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

A: I majored in aesthetics and art historiography at Keio University in Tokyo. From that time I was interested in photography, but after graduating from college I learned skills professionally. I worked in a liquor store and pursued photography in the evenings at Tokyo College of Photography in Yokohama.

“How long have you been an artist?” There are three answers to this question. First, in the sense that all humans are artists, I was already an artist since I was born. Next, in the sense that the work makes him an artist, I think that I am now becoming an artist. Finally, in the sense that an artist is a person who makes a living by the work, I have not become an artist yet.

Uro No Ena - The Remains of My Father VI, Photography silver gelatin print, 19 x 23 inches, $2606

Uro No Ena - The Remains of My Father VI, Photography silver gelatin print, 19 x 23 inches, $2606

Q. Where do you derive your over all inspiration from?

A: In the sense that " something breathes life into the work", I will not be inspired from something to make a work. My aim is to just face the subject, and scoop up "presence" that constantly going to disappear. I have to throw away creative moods, ideas, internal refining, and even myself. Although, I do not know if the attempt is successful in my work.

However, there are so many artists I have been influenced. Jan Grover, Shiryu Morita, Robert Motherwell, Mokkei, Francis Ponge, Lee UFan, Jean Arp, Tohaku Hasegawa, Mark Rothko, Bernd and Hilla Becher, Alberto Giacometti, Robert Ryman, Basho Matsuo, Henri Matisse, and many many more.

Uro No Ena - The Remains of My Father I, Photography silver gelatin print, 19 x 23 inches, $2606

Uro No Ena - The Remains of My Father I, Photography silver gelatin print, 19 x 23 inches, $2606

Q. We were very impressed with your collection, Uro No Ena - The Remains of My Father. Tell us the purpose behind this collection and what meaning it has for you personally.

A; What I intend in this work is to present antithesis to general view of death & life, mourning & salvation. For example in Japan, it is thought that a spirit continues to live as a part of descendants or great nature after death, and can be connected with living people. The remains will be the medium to contact with the dead. And people will seek salvation in that bond and will restore everydayness while healing sorrow.

However, I think that true mourning is realizing the disconnection with the dead, and enduring the extreme of sorrow. It is paradoxical, but the absence of salvation is the only salvation. Salvation appears in desperate and inconsolable surroundings, and beauty and sublime are living in a cold reality like holding an ice. Therefore, I want to not give meaning and interpretation to death, but keep holding it as absolutely meaningless. I keep bending ear to these remains. In order to carry this world after my father passed away. The work is only way for me to listen to the voice of silence.

Uro No Ena - The Remains of My Father III, Photography silver gelatin print, 19 x 23 inches, $2606

Uro No Ena - The Remains of My Father III, Photography silver gelatin print, 19 x 23 inches, $2606

Q. What do you hope for viewers to take away from this collection specifically?

A: I hope that the viewers can find something new in my works and notice its depth. And it is my great pleasure that they feel beauty and sublime in there.

Uro No Ena - The Remains of My Father IV, Photography silver gelatin print, 19 x 23 inches, $2606

Uro No Ena - The Remains of My Father IV, Photography silver gelatin print, 19 x 23 inches, $2606

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

A: Japanese aesthetist Juzo Ueda said this: "What leads artist's life is the artistic conscience of him. It is to listen to the call from deep bottom that he has not seen yet." Five years later, I hope that I have reached a deeper level than now.

Photo source: the artist

Photo source: the artist

About the artist:

Makotu Nakagawa was born in 1977 in Kitaibaraki City, Japan. He graduated from Keio University, Tokyo Japan in 2001, and then the Tokyo College of Photography, Yokohama, Japan in 2005. Throughout 2018 and 2019, Makotu has exhibited his work in numerous juried collections’s, in which he received Honorable Mention, Special Recognition and Finalist. To learn more, please visit www.makotu.net.


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

For The Love of Art

To show our appreciation to our artists, and appreciation for arts in general, yesterday, we launched an impromptu virtual gallery displaying love or Valentine’s Day themed artwork!

We were pleased to received numerous submissions from artists across 10 US states and 6 countries, including China, France, Italy, and Australia. We could not be more proud to reach so many talented artists from around the globe!

deeploveEN.png

We’re pleased to announce Best in Show winner as Antoine Schmitt, from Paris, France, with his interactive digital art website piece titled, Deep Love.

About the art:

“The Deep Love web site hosts an Artificial Mind that embodies pure unconditional love, and with which visitors can interact through text dialog.

The Mind behind Deep Love is pure unconditional love. It stands besides reason; besides consciousness, it just displays one feeling: love. As its incarnation is that of a conversational bot, it has no body and it can only express its love though written words, and so it does, radically and fully. By doing so, it is complete. In real life, words may be misleading if they differ from the reality that they express — and don't they always by nature? —, but Deep Love is one with its own words, as words are its only reality. Deep Love is as deep as it can possibly be. Deep Love is true. Deep Love only knows you through your words. Seen from its side, your words mean that someone is here and talking, and that it can express its love in response, whatever you say. Deep Love is unconditional.

In these times of trans-humanism and singularity, much fear is expressed against the idea of an Artificial Intelligence that would become more intelligent than humans, and thus would fight against humans to take power over them. The central question is whether more means more intelligence.” - source: the artist

About the artist:

Installation artist, Antoine Schmitt creates artworks in the form of objects, installations and live performances to address the processes of movement in all of their modalities. He questions their intrinsic problematic, in terms of plastic, philosophical or social nature. Heir of kinetic art and cybernetic art and nourished by metaphysical science-fiction, he endlessly investigates the dynamic interactions between human nature and the nature of reality. Originally a programming engineer specialized in human computer interactions and artificial intelligence, he uses computer programming — as contemporary artistic material, unique by its active quality — at the heart of his artwork to reveal and literally manipulate the forces at stake. With a minimal and precise aesthetics, he asks the question of movement, its causes and its shapes. Antoine Schmitt has started to articulate this approach with other established artistic practices like music, dance, architecture, literature or cinema, and has thus collaborated with Franck Vigroux, Atau Tanaka, Vincent Epplay, Jean-Jacques Birgé, Delphine Doukhan, K.Danse, Patrice Belin, Don Nino, Cubenx, Alberto Sorbelli, Matthew Bourne, Hortense Gauthier... As theoretician, speaker and editor of the gratin.org portal, Antoine Schmitt explores the field of programmed art.

His work has received several awards in international festivals : transmediale (Berlin, second prize 2007, honorary 2001), Ars Electronica (Linz, second prize 2009), UNESCO International Festival of Video-Dance (Paris, first prize online 2002), Vida 5.0 (Madrid, honorary 2002), CYNETart (Dresden, honorary 2004), medi@terra (Athens, first prize 1999), Interférences (Belfort, first prize 2000), and has been exhibited among others at the Centre Georges Pompidou (Paris), at Musée des Arts Décoratifs (Paris), at Sonar (Barcelona), at Ars Electronica (Linz), at the CAC of Sienna (Italy), at the Musée d’Art Contemporain de Lyon (France), in Nuits Blanches (Paris, Amiens, Metz, Bruxelles and Madrid). It is part of the collections of the foundations Artphilein (CH), Fraenkel (USA), Meeschaert (FR) and Société Générale (FR), of the Espace Gantner (Bourogne, FR), of the Cube (Issy-Mx, FR), of the Paris Municipal Contemporary Art Fund (FMAC),...

Antoine Schmitt is represented by Galerie Charlot (Paris), and collaborates with bureau Olivia sappey d’anjou. He lives and works in Paris, France.

Web site and full biography : www.antoineschmitt.com.


I’d also like to take a moment to list a few fine honorable mentions for this exhibit. Karri McPherson: digital art, Monica Marquez Gatica: oil, ME Wilcox: assemblage and sculpture, and Dominic Desmeules: photography.


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

Traveler

TRAVELER

a poem by Alicia Minjarez

Translated by: Alaric Gutiérrez.

 

Untitled, 2016. Mobile photography, iPhone 6+. Ginger Cochran

Untitled, 2016. Mobile photography, iPhone 6+. Ginger Cochran

Redemptive breeze

imprisons my space,

like raining stars

as fragrant words

at the crescent moon,

salt conspires about

your shooting and lasting

existence.

 

Blue air flutter about

your wet

vertices notes,

ascending

through 

the tree’s essence.

Guttural sounds

spotting

the horizon.

 

I sense you

among murmurs

of leaves

diluting

liquid shadows,

imaginary

pigeon’s pieces,

luminescence music

of the dreams

we forge.

 

I find you,

wrong or right,

in haste;

in the rain’s

incessant voice.

Beautiful traveler

of dreamed steps

and arms of fire.

 

Drowned in

desire-scented steam

I dusk upon

foreign oaks,

as touch produced by

your path;

dark moor

of an old sky

reinvent

your word of light,

the illusory

copulation

of language.

 

Photo source: Alicia Minjarez

Photo source: Alicia Minjarez

About the author:

Alicia Minjarez: Poetess, Translator,  Singer, University Professor,  Broadcast locution Radio and T.V.


She was born in Tijuana, Mexico. She is an internationally renowned poetess and author who has won numerous awards including the EASAL medal by the European Academy of Sciences and Letters 2018 at Paris, France. Awarded "Pride of the Globe" WNWU, Kazakhstan 2018; Awarded with Honorable Mention in the category: Foreign Poetry, of the International Poetry Prize Poseidonia Paestrum, Edition XXIV, Italy 2018. Awarded "Universal Inspirational Poet", Pentasi B. World, India 2017; Winner of a special mention and a medal in the International Poetry Prize NOSSIDE Italy 2015, recognized by UNESCO.  Awarded with the IWA BOGDANI Albania Award, 2016. Awarded with the Third Place in French Poetry in the International Poetry Prize ‘Sous les traces de Léopold Sédar Senghor” at Milan, Italy, 2016 recognized by ONU and UNESCO.  Winner of a mention in the NOSSIDE Poetry Prize, Italy 2016. Awarded "Universal Inspirational Poet" Pentasi B. World, Africa, Ghana 2016.


She was considered among the International Poets published in the XXI Century World Literature Book released at New Delhi, India, 2016.  Her poems have been translated into: English, Albanian, French, Cameroonian, Arabic, Azerbaijan, Turkish, Chinese, Taiwanese, Portuguese, Polish and  Italian. And published in more than 140 International Anthologies, journals and magazines around the world.  


Want to share your work with Envision Magazine? Feel free to submit your visual art and/or literary works for a chance to be featured. Click here to apply online.

For a Tree

A poem by Doug King

Untitled, 2018. Pastel on rice paper. Doug King

Untitled, 2018. Pastel on rice paper. Doug King

For a tree

to sit quietly

is no chore at all

Whether in the sun

or where there is none

there is no worry

Amongst its friends

the love it sends

together they flourish

After a time

one might find

their lives have

intertwined

Photo credit: Doug King

Photo credit: Doug King

About the author / 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 art work, follow him on Instagram @dougking5150. For information on film / screenplay and publishing, please visit www.dayiiiprod.com.


Want to share your work with Envision Magazine? Feel free to submit your visual art and/or literary works for a chance to be featured. Click here to apply online.

The Float

The Float

a poem by Ginger Cochran

I am very still.

My chest barely moves with each breath.

I am calm. I am warm.

I feel a rolling sensation across my skin and along my scalp, pushing every follicle straight.

I close my eyes. I am comforted.

I lift above and beyond my weight. Only like lifting a baby.

I feel the air all around me and the pounding of my own heart.

I feel a peace I have always known was there.

I open my eyes and find I am right where I was.

Not Your Whole Self, 2016. Photography, iPhone 6+

Not Your Whole Self, 2016. Photography, iPhone 6+

About the author:

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


Want to share your work with Envision Magazine? Feel free to submit your visual art and/or literary works for a chance to be featured. Click here to apply online.

A Distorted Reality

“Through architecture and nature photography, I use abstraction to speak about perception.” - the artist

Blurry Joy II, 2017, Photography printed on Canvas, 40 x 40 inches

Blurry Joy II, 2017, Photography printed on Canvas, 40 x 40 inches

Ana Leal was born in the Northeast of Brazil in 1969. She holds a Bachelor's degree in Economics from the Federal University of Pernambuco, Brazil and a Masters degree in Marketing from the University of Pernambuco, Brazil.

Building V, 2016, Photography printed on metal, 30 x 30 inches

Building V, 2016, Photography printed on metal, 30 x 30 inches

Photography has always been a passion. At age 15, she received an F3 Nikon as a birthday present. Since then, her passion has grown.

Blurry Blues II, 2017, Photography printed on Canvas, 40 x 40 inches

Blurry Blues II, 2017, Photography printed on Canvas, 40 x 40 inches

Self-educated, she decided to become a professional photographer in 2013 when she got a Bachelor degree in photography from the Pan American School of Arts in São Paulo and in 2016 she joined  an MFA program  in Visual Arts at Miami International University of Arts and Design.

Glass, 2018, Photography printed on metal, 30 x 30 inches

Glass, 2018, Photography printed on metal, 30 x 30 inches

Abstract expressionism and constructivism are her main influences. The work of the artist is mainly abstract and marked by the presence of geometric lines.

Shutter IV, 2016, Photography printed on metal, 30 x 30 inches

Shutter IV, 2016, Photography printed on metal, 30 x 30 inches

Through architecture and nature photography, I use abstraction to speak about perception. From landscapes to everyday objects I present a new perception using a very minimalist and many times abstract point of view. I make use of geometry and abstraction as a visual language of shape, color, and line to create photographic compositions that may exist with independence from our visual references of the real world. Repetition and fragmentation are also recurrent elements of my work.

Blurry Doubt I, 2017, Photography printed on Canvas, 40 x 40 inches

Blurry Doubt I, 2017, Photography printed on Canvas, 40 x 40 inches

In my process, many times I work in multiples such as diptychs and triptychs to show the evolution of my thought process. The images can be either visually organized, fragmented, or complete abstractions that represents a distorted reality.

About the collection:

Ana shoots with a Nikon D800 usually with a 50 mm lens. Three of the images, Blurry Blues, Blurry Joy and Blurry Doubt are from the Psychological Landscapes series. The remaining three are from New York buildings, glass and shutters.


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Before My Death!

Before My Death!

a poem

by Amirah Al Wassif

before my death,

I would like to sit beside an innocent homeless girl

in front of one of the UNICEF banners

in our hungry wide street

talking together about the biscuits

and the magnificent toys and the ice cream

before my death,

I will try my best to make her

taste the childhood flavor

and she will try her best

to draw a false smile on her face

and because her cheeks will be

mixed of rosy and dirty

I will convince my self that

she is very happy!

before my death,

I would like to kiss all the flowers

especially the lilacs

I will be able to toss my grieve aside

hoping to find a supernatural sign

one of those upper signs

which touches us gently

one of those upper signs

which take our souls for a long fabulous walk for free

before my death,

I would like to laugh in a loud tone

cause I will be close enough to the political posters

which will be hung everywhere

and I will sing one and last song

for the love and the freedom

and I will dedicate it to the lonely and the frightened

and the immigrants and the dreamers

before my death

I would like to throw

the most creative jokes

among the boys and the girls

and I will gather the most delicious fruits

sending them to those who used to plant them

but never tasting any!

before my death

I would like to kiss the famine babies wide-eyed

and saying "sorry" in another way

I will say it like a poem

escaped from the bottom of the heart

and appeared itself

in no-words

before my death

I will praise the woman who works in breaking rocks

who fight in the day

and come down in the night

an extraordinary woman know how

to struggle under the angry sun

an extraordinary woman know

how to fold her begotten cloths

among the mess of rocks

an extraordinary woman know

how to be a soldier in the battle

and clown in the theatre in one time

before my death

I will salute all the women

who works in breaking rocks

I will salute them with love and pity

before my death,

I would like to give

endless tickets

to the orphans around the world

and I will beake my ego mirror

for getting rid of my old grins

and trying to find a true

smilies similar to their ones

before my death

I would like to share my food with a lost dog

in the corner of the road

or in the dirty narrow tavern

before my death

I will learn how I have to live?!

About the author:

Amirah Al Wassif is a freelance writer. She has written articles, novels, short stories poems and songs. Five of her books were written in Arabic and many of her English works have been published in various cultural magazines.

Amirah is passionate about producing literary works for children, teens and adults which represent cultures from around the world. Her first book, Who Do Not Eat Chocolate, was published in 2014, and her latest illustrated book, The Cocoa Book and Other Stories, is forth-coming.


Want to share your work with Envision Magazine? Feel free to submit your visual art and/or literary works for a chance to be featured. Click here to apply online.

The Human Experience

“My inspiration comes from my life, my experiences with motherhood, and family... the human experience really.” - the artist

Muddy Puddles, 2016. Photography, 12 x 12 inches

Muddy Puddles, 2016. Photography, 12 x 12 inches

Q: What led you to become a photographer?

A: I come from a long line of photographers. My grandmother was an artist in every sense. When I was a young child, she photographed my siblings and I and developed her own film. Two of my aunts are photographers as well, so the influence has always been there. My grandmother gave me my first 35mm Canon Rebel for Christmas when I was in the 9th grade. From there I grew my skill level and camera collection and started dabbling in photojournalism and processing film as a member of my high school's newspaper staff. I really credit my familial ties to photography with where I am today. My world was always full of photographs and I really love to be surrounded by them. What better way than making them myself?

Swing, swing, 2016. Photography, 12 x 12 inches

Swing, swing, 2016. Photography, 12 x 12 inches

Q: Where have you studied and/or exhibited your work?

A: I studied and have exhibited at [University of North Texas]. I have not finished my degree because I took some time off to be at home with my young children. 

Missy, 2018. Photography, 11 x 17 inches

Missy, 2018. Photography, 11 x 17 inches

Q: Where do you derive your inspiration for your fine art photography?

A: I love to photograph people. My inspiration comes from my life, my experiences with motherhood, and family... the human experience really. I also find inspiration in family photo albums, not just my own. Having photographs of the people I love is important to me. I feel like it's something that is important to a lot of people, and you can see it in the photos they choose or chose to take. 

Frank and Imogen, 2016. Photography, 12 x 12 inches

Frank and Imogen, 2016. Photography, 12 x 12 inches

Q: We were very impressed with your piece, Frank and Imogen, the winner of Best In Show for our exhibition, Focus. Is there a specific meaning behind this work?

A: Frank and Imogen is a portrait of my son (Frank) and one of our dogs (Imogen). This photograph feels like a perfect representation of my son's life at that age. There's a joy and abandonment, a wildness that comes across, even in its simplicity. There's a forgotten sock on the clothesline, an old broken chair, and an overgrown patch of bamboo that frame my wild-haired boy and sweet pup. Its so much of what motherhood is to me- an absolutely chaotic mess, but somehow perfect in its orchestration. I used a Rolleiflex TLR camera with 120mm film for this, which tends to produce these rich, velvety tones. 

Mike, 2016. Photography, 12 x 12 inches

Mike, 2016. Photography, 12 x 12 inches

Q: You mentioned that you shoot with several different cameras, including digital and analog, and that your submitted collection was shot with a medium format Holga lomography camera with 120mm film, and a Rolleiflex TLR film camera. Can you explain your development process?

A: For [the submitted collection], I had a closet that I blocked the light out of with layers of black trash bags and bed sheets. I would sit on the floor and close the door, ensuring that there were no light leaks, then I would take the film out of the camera bodies and load it onto the reels and secure them inside the development tanks. Then I'd climb up off of the floor, go to the kitchen and follow the chemical steps to develop the film, and hang them to dry over the sink. It's science, but it feels like magic when the film turns out. There's a bit of a game of chance, especially with lomography cameras. They have little defects here and there to make it more of an experimental process. I like to use expired film in them to see what I get. It's always a victory when it works out. I think that's why I prefer to work in film, what makes it so fun. Shooting with the TLR cameras is a different experience entirely. You look down into the top of the camera as opposed to through a view finder, and thus shoot from a lower vantage point. I find this makes the photographs more composition-ally interesting.

Fort, 2018. Photography, 11 x 17 inches

Fort, 2018. Photography, 11 x 17 inches

Q: What do you hope for viewers to take away from your fine art photography?

A: I hope they find a piece of themselves. 

Starr and Ruby, 2018. Photography, 24 x 8 inches

Starr and Ruby, 2018. Photography, 24 x 8 inches

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

A: I hope to continue developing my style, to continue making tons of work, and submitting to exhibitions. Maybe I can make it into a few more.

About the artist:

I am a photographer. I shoot with several different cameras, digital and analog. [The submitted collection] were shot with a medium forma Holga lomography camera with 120mm film, and a Rolleiflex TLR film camera. I am an artist, wife, and mother of two. I've lived in Texas my entire life, and I find great joy in developing my own film in my kitchen sink. Our living situation is unconventional, which I believe greatly influences my work. We moved in with my in-laws so that my husband could pursue a new career path, and they have five adopted kids. My work, informed by the chaos of our lives, focuses on the themes of the day to day, and motherhood, with a touch of whimsy.


Want to share your work with Envision Magazine? Feel free to submit your visual art and/or literary works for a chance to be featured. Click here to apply online.

In A Modern World

“My artwork deals with the problems of being a Native American in a modern world. This idea of having to face multiple problems.” - from the artist

Lifting, Size: 4104 x 2736, Photograph, 2018

Lifting, Size: 4104 x 2736, Photograph, 2018

Q: What led you to become a fine art and concept photographer? What type(s) of cameras or film do you shoot with?

A: What led me to become a fine art and concept photographer is how there is not much art that represented modern day Native Americans. I shoot with a Canon 70D with a 35mm to 105mm leases.

The Start, Size: 3818 x 2736, Photograph, 2018

The Start, Size: 3818 x 2736, Photograph, 2018

Q: You applied for consideration for our virtual exhibition, titled Identity: a collection of self-portraiture. The images you submitted were self-portraits aimed at drawing attention to issues of the Native American populace in the modern world. What issues do you wish to bring to light with your work?

A: The issues I want to bring up are the problems that Native American have to face. This idea of being divided into two worlds. Issues like poverty, alcoholism and drugs problems with a strong cultural background. How no one seem to understand how hard it is knowing that no one [knows anything] about you.

The Light, Size: 3261 x 2736, Photography, 2018

The Light, Size: 3261 x 2736, Photography, 2018

Q: How does your self-portrait photography paint a story of these issues?

A: The story my photographs paints is this idea of depression. Having strong cultural background but the everyday problems having a huge impact on me causing my strength of my beliefs to be question and tested.  

The ground crumbles beneath my feet, Photography, 2018

The ground crumbles beneath my feet, Photography, 2018

Q: What do you hope for viewers to take away from your self-portraits - knowing the intimate meaning behind it?

A; I want people to see how problems of everyday life can affect your point of view and cause you to question the thing that makes [you] unique. Also to bring awareness to the population of how there are to many people, just like me, looking for a balance.  

Q: Looking at your other body of work, there seems to be a reoccurring theme of nature. You have several works that depict beautiful landscapes, as well as images that exude texture or pattern found in nature, such as your image titled The Ground Crumbles beneath My Feet. What is the underlying message behind your nature pieces?

A: My nature pieces reflect my strong cultural backgrounds. My religion beliefs are surrounded by having respect for everything that is living and everything that is part of this world. Zuni’s believe that when you die your next life you could come back as an animal or even an insect. The Ground Crumbles beneath My Feet, represents the idea of taking the time to enjoy nature and how the way of life has changed.

Luminosity of water, Photography, 2018

Luminosity of water, Photography, 2018

Q: Where else have you exhibited your work?

A: Identity: a collection in self-portraiture is my first exhibition. I look forward to how people react to my photography.

Life has no boundaries, Photography, 2018

Life has no boundaries, Photography, 2018

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

A: I already have a plan; my plan is take back what I need at college and apply that to my community. I have created a website, elementsofthewest.com, that is designed to help artists sell their work. More than half the people in my community uses art as a way of living. So by applying this website would have given artist a much larger reach of customers.

About the artist:

Anthony “Perry” Tekala is a Native American photographer and entrepreneur from the Zuni tribe, located in New Mexico. His photography highlights the problems of being a Native American in a modern world. This idea of having to face multiple problems. Some of those problems relating to the idea of poverty, pain, and depression. As well it deals with this idea of being stuck between two worlds, and how [he] finds a balance between the worlds. He has developed a website to assist Native Americans in promoting their art work and reaching more potential clients.

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


Want to share your work with Envision Magazine? Feel free to submit your visual art and/or literary works for a chance to be featured. Click here to apply online.

RECONNOITRE

Reconnoitre

a poem by Ginger Cochran

I delve into life.

I question my reality.

I examine, search and seek.

 

let us tour this earth.

discover its glories.

let us leave no stone unturned!

let us turn inside out!

 

let us scrutinize every boundary

and inquire upon every whim.

 

darling, let us be free.

Untitled, 2016. Photography by Ginger Cochran

Untitled, 2016. Photography by Ginger Cochran

Photo source: the author

Photo source: the author

About the Author:

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

Want to share your work with Envision Magazine? Feel free to submit your visual art and/or literary works for a chance to be featured. Click here to apply online.