sculpture

Art and Science

“The whole creative process is an endless research of topics, materials, reading of modern philosophy, scientific literature and thinking about the future in the context of ecology and modern technologies.” - the artists, Lilia Li-Mi-Yan & Katherina Sadovsky

Object 01, panel made of recycled plastic, 1500 x 1000 sm, $3000

Object 01, panel made of recycled plastic, 1500 x 1000 sm, $3000

Q: What led you both to become concept sculptors?

A: We came to contemporary art from photography. [We] both graduated from Rodchenko Art School (Moscow), [in] the course of documentary photography. We were looking and searching a lot and, in different works, turned to different media. Sculpture is only one of the languages for a contemporary artist.

Bacteria 02, 2018, print on plastic, 70 x 50 sm, $300

Bacteria 02, 2018, print on plastic, 70 x 50 sm, $300

Q: What inspired the collection you submitted?

A: Two years ago, we were at the art-residency on Lake Baikal. With all the beauty and greatness that we were contemplating every day, we also observed piles of plastic garbage, which tourists left behind. We realized that humans use the resources of nature with unthinkable carelessness — abuse and traumatize it!

After the residency, we completed two exhibitions – “Plastic x-ray”, in the Olkhon Forest, and “Marmor”, in the abandoned marble quarry. We gently incorporated our art-works into nature.

Back in Moscow, we could no longer remain indifferent to the problem of plastic waste. We started the activists’ movement – collecting plastic at the territory of museums, art and educational institutions. We called our project “Where is my plastic bag?”.  It consists of three parts: the collection of plastic, its recycling and processing, and creation of sculptures from the processed material.

The work "Bacteria" is the result of testing of material in the conditions of our studio. We were developing the idea of the bacteria modified by scientists that will help to solve the problem of plastic waste by eating it.

Bacteria 03, 2018, print on plastic, 70 x 50 sm, $300

Bacteria 03, 2018, print on plastic, 70 x 50 sm, $300

Q: Can you describe the types of materials you use and your creative process?

A: Today, our materials are recycled items or recycled materials that were first sent to landfill as garbage. Now we are working with different types of plastics, and in the next project, we want to try to work with glass, also recycled.

The whole creative process is an endless research of topics, materials, reading of modern philosophy, scientific literature and thinking about the future in the context of ecology and modern technologies.

Bacteria 10, 2018, print on plastic, 70 x 50 sm, $300

Bacteria 10, 2018, print on plastic, 70 x 50 sm, $300

Q: We were very impressed with your Best in Show piece, titled Bacteria 10, as well as the rest of the Bacteria group. Tell us more about this piece/series.

A: Bacteria are a small visual part of the project about plastic in the modern world. We want create a collaboration with the scientists researching polymers. Bacteria are something like new organisms formed under a layer of plastic that is buried in the soil and in the ocean. It is like evolution, the creation of a new life. We know so little about it.

Object 02, panel made of recycled plastic, 1500 x 1000 sm, $3000

Object 02, panel made of recycled plastic, 1500 x 1000 sm, $3000

Q: What do you hope for viewers to take away from your work?

A: Our project “Where is my bag?” implies [activism] from our side. We all understand that art does not solve the questions, but to raise the question and let reflect on it is in our power. And if each of us will begin to treat the planet with a bit more of responsibility - that will be our contribution.

Object 03, panel made of recycled plastic, 1500 x 1000 sm, $3000

Object 03, panel made of recycled plastic, 1500 x 1000 sm, $3000

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

A;: We are going to continue to work at the intersection of art and science, to look for new materials, new statements. After all, there are so many problems in this world, that we won’t be able to stay without work!

Photo source: the artists

Photo source: the artists

About the artists:

Li-Mi-Yan & Sadovsky - a duo of Russian artists Lilia Li-Mi-Yan (1971) and Katherina Sadovsky (1985). They’ve been working together since 2016. Their versatile approach to art practice covers such artistic media as photography, painting, sculpture, photo books, installation, video, sound, interference in to public and natural spaces, social work to collect plastic waste in Moscow.

Li-mi-yan & Sadovsky explore internal human and social topics, which can be called problems. The question of death, of human violence against other human, against nature, against oneself, as if it erases the boundary between reality   – where is actually alive, and where is dead? Artists critically analyze these issues, inconveniently intruding into nature with digital images on polymeric materials, comparing this art gesture with the physical and mental trauma of all mankind.

Artists wonder why the cruel online pictures of victims of wars, terrorist attacks, diseases do not horrify the viewer anymore. The image of suffering follows someone's joyful holiday photo  and almost equivalent to the user of social networks. Thus, any picture splits and loses its original meaning. Li-Mi-Yan & Sadovsky allegedly play with death, reproducing severe injuries with the help of plastic and naive drawings in portraits with ideal faces, psychologically affecting the viewer in their own way of trauma.

To learn more about the artists and view their work, please visit limiyan.com/blog.


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

Search for Equilibrium

“The process of making and the process of thinking. Repetition as a way to transform.” - the artist

A Point of Balance, 2019, Yarn fabric and glue, approximately 51 x 15 x 15 inches, $400

A Point of Balance, 2019, Yarn fabric and glue, approximately 51 x 15 x 15 inches, $400

It’s all about the process. The process of making and the process of thinking.
Repetition as a way to transform.

I sit for hours crocheting, as a private protest against a stressful society,
or as a meaningless time-killer while waiting for change. A feeling of impuissance.

Will people wake up before it’s too late?

Balance in Between, 2019, Yarn and glue, approximately 61 x 35 x 35 inches, $400

Balance in Between, 2019, Yarn and glue, approximately 61 x 35 x 35 inches, $400

I work with my fears in a slow process, fear for destruction, for the fate of our world, fear for not being good enough. To get stuck, to be seen, to be heard, to be ignored. Fear for insects and fear for death and life. Everything is about fears.

How should one find balance in a rocking sea, 2019, Fabric and glue, approximately 39 x 39 x 39 inches, $400

How should one find balance in a rocking sea, 2019, Fabric and glue, approximately 39 x 39 x 39 inches, $400

I’m a slime who transforms when being touched or seen.
I’m the sum of everybody I’ve met, everybody leaves a trace.
I’m a collector. I collect traces of lived life, lint, hair and words.
My reality and my spineless character as an artistic idea. I, who have buy two ice creams because I can’t choose, have to follow my intuition to be able to take any decisions at all.

I Was Born a Libra, 2018, Yarn fabric and glue, approximately 20 x 38 x 15 inches, $400

I Was Born a Libra, 2018, Yarn fabric and glue, approximately 20 x 38 x 15 inches, $400

For the intuition to work, a certain speed is necessary, if it takes too long, if too many translations occurs, the idea loses its meaning.

Listen to Yourself, the Nature and the Surroundings, 2019, Yarn, fabric and glue, approximately 94 x 45 x 45 inches, NFS

Listen to Yourself, the Nature and the Surroundings, 2019, Yarn, fabric and glue, approximately 94 x 45 x 45 inches, NFS

My practice is in constant change. I re-use ideas and materials.
I started out as a painter, but because I’m a dutiful productive girl from a left wing working class home, I had to do something while waiting for my paintings to dry. I started to crochet frames for paintings and knit pictures. Slowly the textile material and technique had taken over, and become the main material I’m using.

Search for Equilibrium, 2018, Yarn  fabric and glue, approximately 34 x 25 x 25 inches, $400

Search for Equilibrium, 2018, Yarn fabric and glue, approximately 34 x 25 x 25 inches, $400

I work mainly with textile. For this project I have crocheted and sewn forms, which I have glued with skin glue (the kind of glue you prepare your canvases with.) and balanced on top of each other. I call the project a Search for Equilibrium.

To view more work by the artist, please visit majasjostrom.com. You may also follow the artist on Facebook at www.facebook.com/maja.sjostrom.7.


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

To Be

“To read and to write are like drinking water. And i am always thirsty... “ - Irma Kiss

TO BE

a poem by Irma Kiss

 

“Retroactive Love Icon” Artist: ME Wilcox. Mixed media sculpture.

“Retroactive Love Icon” Artist: ME Wilcox. Mixed media sculpture.

You are in the ink
and in the flicking of the pages.
You are in the taste of squeezed oranges
and in the darkness of chocolate.
You are in the dusted pink color of the clothes I'm wearing
and in the pattern of lace and silk.
You are on the radio station frequencies, putting on music.
And in the clicking of the camera
Taking shots.
You are in the space in the ribcage, on the left.
And in the blinking of the eyelids
rhythmically watering my eyes.
You are.

I am in the paper that absorbs your writing
and on the fingertip flicking the pages.
I am the glass holding the orange juice
and in the sweet kiss aftertaste of chocolate.
I am the memory of the hands removing clothes
and in the sweat glueing two heated bodies.
I am the song played on every radio station, everywhere .
And on the background of every photo you'll ever take.
I am in the space in your ribcage,
on the left.
And in the space between the seconds-
Where your mind lingers.
I am.

I am.
You are.

Photo Source: the author

Photo Source: the author

About the author:

I was born in 1978, in the small town of Hunedoara, in western Romania. I am bilingual in Romanian and Hungarian, as I am of Hungarian ethnicity. I have completed my studies in Romania, with a BA and and MA in English and Romanian Philology. I have been teaching English to students aged 10-18. I am currently teaching English grammar and literature at Iancu de Hunedoara National College and I am preparing students for Cambridge, Lelts and Toefl exams. I also published a book of grammar exercises for students: Practice Makes Perfect, in 2015. Writing is a hobby that I practice whenever I feel that simple communication cannot express the load of emotions that are trying to free themselves and be born.

wordpress.com/posts/irmaskiss.wordpress.com / Facebook

About the artist, ME Wilcox:

I earned a B.A. and a B.F.A. in Studio Art and Art History from UT Austin.  I’m also a professional certified Art Teacher, having taught art in Texas public schools and in various international schools in SE Asia.  I’ve always been very interested in world art & craft, folk art and art history.  I spent many years living and traveling abroad - collecting and studying various artistic traditions and immersing myself in different cultures.  My experience overseas both directly and indirectly influences my current art practice, which includes photography, fiber arts, print-making and mixed media. I’m especially interested in the concept of identity - an interest which developed as a result of living abroad for numerous years.  I explore issues of memory, identity, culture & tradition, which may include references to historical art iconography, global art traditions, and places that hold meaning for me.  Images, textiles and objects that I’ve collected may also appear in my work. I love the whole process of art-making!  It’s my intent to make interesting, meaningful and visually appealing art work.  I hope viewers enjoy my work.

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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.

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.

Exploring Organic Forms

“Lines are blurred, layers of resin intertwine with layers of knitting.” - from the artists

écume, 2018, Cotton knit and resin,11.5 x 16 x 8 inches

écume, 2018, Cotton knit and resin,11.5 x 16 x 8 inches

Xavier Brisoux + Isabelle Soum

The creative team between Isabelle Soum, textile designer and photographer, and Xavier Brisoux, knitwear and fashion designer, was born from a mutual desire to collaborate expressed when their work was exhibited along one another in a collective exhibition. Xavier Brisoux was attracted to the poetry of Journey of a Drop, a series of photographs from Isabelle Soum where the textiles look like abstract paintings.

Hephæstus’ Pit, 2018, Cotton knit and resin, 12.6 x 11 x 5.9 inches, $3000

Hephæstus’ Pit, 2018, Cotton knit and resin, 12.6 x 11 x 5.9 inches, $3000

Both creativities echo each other, and a desire raised to define a new work process that would bring the artists together with the will to maintain the strength and fragility of Isabelle's photos. A search for a common ground, a medium that join the two creative works was yet to be found.

Augure, 2017, Cotton knit and resin, 11.5 x 16.6 x 4 inches, $2800

Augure, 2017, Cotton knit and resin, 11.5 x 16.6 x 4 inches, $2800

In Journey of a Drop, what seduced the knit designer is the fact that the textile material is sublimated by a drop of water acting as a magnifying glass. The fiber then becomes abstract. In his latest work, Xavier Brisoux is exploring organic forms and new ways of knitting to form sculptural shapes.
It is by dipping knitwear into resin that the two artistic sensitivities come together: the resin becomes the liquid magnifying the knitted stitches.

Lisières, 2018, Cotton knit and resin, 15.4 x 13 x 8.7 inches, $2800

Lisières, 2018, Cotton knit and resin, 15.4 x 13 x 8.7 inches, $2800

From then on, the two collaborators design together: he knits abstract shapes she turns them into resin sculptures. She brings her expertise in colour, he is challenging his techniques. It is a parallel and symmetrical work: each of them has a defined task but the two work in mirror, consult each other to define new shapes, new colours, other textures, and further processes. Lines are blurred, layers of resin intertwine with layers of knitting. The subject steps out of its box, the sculpture goes out of its frame, erases it and sublimates it.

Heel Ache, 2017, Cotton knit and resin, 7.9 x 7.9 x 6.7 inches, $3500

Heel Ache, 2017, Cotton knit and resin, 7.9 x 7.9 x 6.7 inches, $3500

About the collection:

These pieces created by the artistic duo of Xavier Brisoux, knit artist and Isabelle Soum, textile artist are made in different steps. It always starts by a knitted volume in cotton. Then the knit is dipped into resin. Either the duo dip it into a cube, making it look like a ice cube, and therefore make the piece look like archeology. Or they proceed in a different manner which consists in making a cast out of another piece of knitwear.

X-I- voyez-vous (Vinciane Lebrun) -9548.jpg

About the artists:

Isabelle Soum

Multi-talented Isabelle Soum work on different mediums. After studying textile design in La Ruche in Paris, she takes on a photography course. Her fields of expression are diverse but are always based on colour, light and textures. She sees colour as an “adequacy of light”. Colour and light are at the core of Isabelle Soum’s artistic approach. They are the elements that define space, its perception, and the emotions of the viewer. The designer claims an independence from the universal rules of colour - like the chromatic circle - to claim the individual sensibility of each person. Isabelle Soum’s materialize light, offer new colour associations, fathom what is by nature impalpable. The photographer envisions colour as what it is physically: a wavelength. Her creative approach focuses on a variation of mediums and the idea that colour can become a faceted way of expression through materials, paintings, and various pigments. Primary colours are challenged on a variety of materials to give an infinity of nuances, variations and possible combinations which become her artistic playground. Once established and staged, the very concrete colorimetric coordinates become polychromic poetry. This lyricism is further amplified when photography takes over to emphasize and exacerbate elements undetectable to the naked eye. It is through this technique that Isabelle brings another dimension to her chromatic work: light, another essential vector for the textile designer, brings depth to her colour chart. For Isabelle Soum, photography is a powerful mean to create and develop a personal conceptual approach in order to master the creation of an entire strong textile image. Her way of working with lighting underline the contrast and the modelling. Volume is achieved by highlighting the forms. The essence of this whole creative process is to materialize a triangulation of primary colours into a wavelength and then to capture the movement of this vibration to make it live in a work of photographic light.

Xavier Brisoux

A knitwear designer from London’s Central Saint Martins' MA Fashion course, Xavier Brisoux designs collections where knitting is built like a story: yarns are used for words, the stitches for vocabulary, the theme becomes the fabric. Knitwear is poetry and concept for him as he mixes material and technique to structure the idea. He often draws his inspiration from history as well as from the general and founding myths, from which he derives his knitted textiles stitch by stitch. One of his collection was for example based on Penelope, the weaver-unweaver wife of Ulysses. His mastery of knitwear allows him a total control of possibilities: de-knittable sweaters, challenging constructions and sculptural stitches. Brisoux knits this territory of an all-is-possible with an apparent nonchalance. After having developed his own collections for several years, the knitter questions fashion and its cycles, and starts working with a different perspective. For him, it is now more important to work towards perfection than towards a deadline. A new long-term project is born. It is then a matter of creating knitted armours where he pushes the technique and the craft into the boundaries of their fragility. The Achille's Echo series is born. The myth of the Trojan hero is at the origin of this research. It aims at conveying the fragility behind an apparent invincibility, to draw a futuristic look inspired by the ancient Greece myths while assuming other historical and fashion references, and to enhance the anatomical aspect of the armour in parallel with the organic appearance that they adopt when they are not worn. Xavier Brisoux sets himself as the Hephaestus of Knitwear, shaping unique pieces with the acceptance of the time necessary for creation, its trial and errors. It is important that the garment besides being a technical feature becomes an architectural challenge.
When Xavier Brisoux meets Isabelle Soum, he has started creating knitted shapes that are becoming objects more so than garments.


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.

Personal and Ecological

“The focus of Kazmerzak’s work revolves around queering science and our personal and ecological relationships.” - from the artist

Oscillating Bodies installation documentation, 2019 (image by Joe Freeman)

Oscillating Bodies installation documentation, 2019 (image by Joe Freeman)

Ruth Kazmerzak’s practice is informed by their background in marine sciences; having a BS in Aquatic and Fishery Sciences, University of Washington, in Seattle, WA. They make images, sculptures and installations using found or reclaimed materials as the medium.

Object 7, 2018. Concrete, netting, fish eggs. Dimensions variable, $475

Object 7, 2018. Concrete, netting, fish eggs. Dimensions variable, $475

The focus of Kazmerzak’s work revolves around queering science and our personal and ecological relationships. They study the lived experiences of objects, humans and other organisms by using a phenomenological approach to query their resemblance to one-another.

Object 5, 2018. Concrete, PVC pipe, pants. 27 x 9 x 11 inches, $550

Object 5, 2018. Concrete, PVC pipe, pants. 27 x 9 x 11 inches, $550

Object 1, 2018. Concrete, ropes, plastic, foam, bubble wrap, six-pack ring, plastic bottle, float, balloon, 17 x 8 x 9 inches, $450

Object 1, 2018. Concrete, ropes, plastic, foam, bubble wrap, six-pack ring, plastic bottle, float, balloon, 17 x 8 x 9 inches, $450

“I am a sculpture and installation artist using reclaimed materials, mainly marine debris (litter found on the beaches). The installations are created with the constructed sculptures, interacting with the space, conversing with one-another and leaving space for the viewer to enter the conversation.” - the artist

Oscillating Bodies installation documentation, 2019 (image by Joe Freeman)

Oscillating Bodies installation documentation, 2019 (image by Joe Freeman)

Their 2019 solo exhibition, oscillating bodies, which was in in depth installation piece, displayed at 4Culture Gallery, located in Seattle, WA.


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.

A Modern Urban Material

“[My] aim is to create work that inspires, energizes and contributes to greater consciousness between the relationship of art and life.” - from the artist

Raw, 2018, Concrete, 25 x 43.5 x 13.5 inches, NFS

Raw, 2018, Concrete, 25 x 43.5 x 13.5 inches, NFS

DEANE MCGAHAN  (b. 1973) is a contemporary sculptor who currently resides and works in Seattle, Washington. Deane predominantly works in concrete and is drawn to the medium because it's a modern urban material that impacts everyone’s daily life.

Untitled, 2018, Concrete, 57.25 x 13.25 x 17.5 inches, NFS

Untitled, 2018, Concrete, 57.25 x 13.25 x 17.5 inches, NFS

With a background in digital 3D architecture, she started sculpting as a way to naturally shift from digital art to more tangible forms.  Her inspiration is fueled by the mediums flow of change, periods of instability and elements of risk. Primarily working with a monochromatic palette, her art visually captures the pressure of flow and movement in a moment in time.

Remnant, 2018, Concrete, 19 x 20 x 21.5 inches, NFS

Remnant, 2018, Concrete, 19 x 20 x 21.5 inches, NFS

With her innovative use of the medium, Deane begins each piece with creating an inverted mold. Working in opposing directions allows her to step outside her normal patterns of thought and see situations from different angles.  She then mixes concrete into a clay like consistency and presses the mixture directly into the mold.

Inversion, 2018, Concrete, 24 x 22 x 54.25 inches, NFS

Inversion, 2018, Concrete, 24 x 22 x 54.25 inches, NFS

With each piece she's able to manipulate and present the medium in new ways to help capture urban life in contemporary form.

Pendulum, 2018, Concrete, 38 x 17.5 x 16 inches, NFS

Pendulum, 2018, Concrete, 38 x 17.5 x 16 inches, NFS

Deane’s aim is to create work that inspires, energizes and contributes to greater consciousness between the relationship of art and life.

"Urban Forms" is my current body of work that is part of a procession of 8 pieces. The aim with this series is to present the viewer an engaging new way to view concrete as evolving material that is vital to the progression of our habitats. - the artist


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