Artist Feature

Inward Turn

“…represents an inward turn and an embrace of the aesthetic, dealing more with sensations and discovery rather than with program or theory.” - the artist

Abstract Forms I, 2019, oil cold wax on paper, 7 x 10 in., N.F.S.

Abstract Forms I, 2019, oil cold wax on paper, 7 x 10 in., N.F.S.

The paintings that I create express a raw and energetic approach. I repeatedly work and rework the image. The surfaces of my paintings are dense and textural. There are moments where layers of paint get scraped, smudged or smeared in a continuous additive and subtractive process.

Abstract Forms II, 2019, oil cold wax on paper, 8.5 x 11 in., N.F.S.

Abstract Forms II, 2019, oil cold wax on paper, 8.5 x 11 in., N.F.S.

Often using a somber color palette and exploring variations of greys, browns, and blues, my work takes on a mysterious and darkened mood.

Abstract Forms III, 2019, oil, cold wax on paper, 6 x 8.5 in., N.F.S.

Abstract Forms III, 2019, oil, cold wax on paper, 6 x 8.5 in., N.F.S.

My current body of work consists of a series of abstract paintings made entirely from invention. I explore issues of form, space, and dynamic plasticity. When starting a painting there is no specific vision in mind.

Abstract Forms IV, 2019, oil, cold wax on paper, 5 x 7 in., N.F.S.

Abstract Forms IV, 2019, oil, cold wax on paper, 5 x 7 in., N.F.S.

Forms and shapes are added and removed in a repeated cycle until something emerges from the materials that embodies and evokes a particular presence. Thus, improvisation plays a major role in my process. I frequently use a palette knife to apply the paint in thick layers, which also allows for a more unpredictable mark making approach.

Abstract Forms V, 2019, oil, cold wax on paper, 8 x 11 in., N.F.S.

Abstract Forms V, 2019, oil, cold wax on paper, 8 x 11 in., N.F.S.

It is understandable to see my work running counter to contemporary concerns regarding subject matter and content. Many artists today are exploring political, social, cultural or gender related themes. That said, my work is not predicated on a rejection of current trends as much as it is an alternate route.

Large Abstract Forms, 2019, oil, cold wax on canvas, 36 x 48 in., N.F.S.

Large Abstract Forms, 2019, oil, cold wax on canvas, 36 x 48 in., N.F.S.

It represents an inward turn and an embrace of the aesthetic, dealing more with sensations and discovery rather than with program or theory. I continue to pursue the ability to invoke a paint surface with authenticity and intensity for maximum engagement.

About the artist:

Sam Kelly is an artist currently residing in Dayton, Ohio. He earned a B.F.A. in painting from Wright State University and a M.F.A. in painting from University of Massachusetts Dartmouth. He also attended the Chautauqua School of Art. Sam is a member of the Dayton Society of Artists, The Contemporary Dayton and the Dutoit Gallery. Currently he teaches at the University of Dayton in the Department of Art and Design as an adjunct faculty member.

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

Otherworldly Quality

“Combining ancient imagery with a contemporary surrealistic palette lends the composition an otherworldly quality that is both modern and vintage.” - the artist

One World, 2019, digital, 24 X 16, $250

One World, 2019, digital, 24 X 16, $250

I knew I wanted to be an artist since the day I was born. As a child I honed my artistic skills and as an art student I concentrated on creating works that tells a story. As a product of the Baby-Boomer generation, I found myself surrounded by iconic images of the times.

Feed Your Head, 2019, digital, 24 X 16, $250

Feed Your Head, 2019, digital, 24 X 16, $250

Recognizing all my favorite themes in the visual vocabulary of the popular culture, I jumped head-first into that world! For over 25 years, I operated my successful wholesale ceramics studio, creating hand painted Art-Pottery while raising my small family, doing laundry and feeding the dog! My ceramics were collected worldwide and over time I developed a signature style both traditional and contemporary.

Learning To Walk Again, 2019, digital, 24 X 16, $250

Learning To Walk Again, 2019, digital, 24 X 16, $250

In the late 1990s, Digital Art had become a recognizable influence in the mainstream art world. Studying the new avant-garde art form, I began manipulating images to create magical scenarios with a timeless quality. I draw my influences from vintage advertising art, antique tintype photography and the surrealist art movement. In the beginning I hand-printed transfers for decoration on my pottery, but I wanted a more diverse canvas.

She's Ready, 2019, digital, 24 X 16, $250

She's Ready, 2019, digital, 24 X 16, $250

I first introduced my Story Prints as whimsical allegories with familiar themes. Subjects like courage, wisdom and the longing to “fit in” are all grist for the mill.

Combining ancient imagery with a contemporary surrealistic palette lends the composition an otherworldly quality that is both modern and vintage.

If Not Now..when, 2019, digital, 24 X 16, $250

If Not Now..when, 2019, digital, 24 X 16, $250

I print on Metallic Pearlescent Archival paper to give it that antique, tintype feel. The medium perfectly mirrors the emotional tone of the image.

As a traditionally trained artist, I find this new art form to be limitless in possibilities. By combining the digital tools with my conventional water color renderings, it bridges the disconnect between the art world and the tech world. I think it also dissolves the boundaries between the artist and their audience.

I Got This, 2019, digital, 24 X 16, $250

I Got This, 2019, digital, 24 X 16, $250

Photo source: the artist

Photo source: the artist

About the artist:

As a product of the Baby-Boomer generation, I found myself surrounded by iconic images of the times. As a child I enjoyed the Pop Culture of my generation and as an adult, I have become an avid collector of those magical days-gone-by. In Art school, I recognized all my favorite themes in the visual vocabulary of the Pop Art movement and jumped head-first journey into that world. I enjoy the graphicness of everyday objects we take for granted, and draw my artistic influences from vintage advertising art, antique tintype photography, Pop Art and contemporary popular culture.

To view more work by the artist, please visit joannedelomba.com. You may also follow the artist on Facebook, as well as Instagram @withlovejoanne.

Obliquely Autobiographical

“…these figures, and the abstract elements they are connected to, enact stories that are obliquely autobiographical.” - the artist

Cat and Women, 2018, Inkjet print drawn in Photoshop, 12 x 12 inches, $275

Cat and Women, 2018, Inkjet print drawn in Photoshop, 12 x 12 inches, $275

Distortions of the human figure is a key element in my work. Variations of the female figure—that first landscape that we experience as we enter the world—animate most of my work.

In-studio Self-portrait, 2010, Inkjet print of original photo of me and drawing - all in Photoshop, 11 x 14 inches, $275

In-studio Self-portrait, 2010, Inkjet print of original photo of me and drawing - all in Photoshop, 11 x 14 inches, $275

[…] these figures, and the abstract elements they are connected to, enact stories that are obliquely autobiographical. They all show women being strong. Some stories are unpleasant; some are bewildering; others are full of play with line and shape.

Moo, 2010, Inkjet print made in Photoshop, 11 x 14 inches, $275

Moo, 2010, Inkjet print made in Photoshop, 11 x 14 inches, $275

Each of the images presented here is part of a narrative series. I have been a painter for decades. When I had access to Photoshop (eight years ago), this medium felt like second nature.

Feed Me, 2019, Inkjet print drawn in Photoshop, 12 x 12 inches, $275

Feed Me, 2019, Inkjet print drawn in Photoshop, 12 x 12 inches, $275

The speed with which images can be made and evolve into other images; the ability to save prior renditions while the images continue to evolve; the seemingly infinite possibilities of what can be made visible; the ephemeral nature of virtual products, and the easy storage—all of these qualities inherent in working digitally are exciting and stimulating.

Piercing the Ceiling, 2019, Inkjet print drawn in Photoshop, 12 x 12 inches, $275

Piercing the Ceiling, 2019, Inkjet print drawn in Photoshop, 12 x 12 inches, $275

Photo source: the artist

Photo source: the artist

About the artist:

Carol Radsprecher is a restless artist whose images combine figurative and abstract elements. She earned her MFA in painting from Hunter College, CUNY. A longtime painter, she discovered the wonders of digital image-making and found that media well-suited to her need to make a succession of rapidly evolving, narrative images based on distorted representations of the human body, especially the female body. Her work has appeared in several solo shows and numerous group shows, and has been published in print and online publications.

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


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.

HY•ST•ER•IA

“The term hysteria comes from the Greek word “hysterika”, meaning Uterus. In ancient Greece it was believed that a wandering and discontented Uterus was blamed for that dreaded female ailment of excessive emotion, hysteria.” Source: Hysteria and the Wandering Womb

Memory of an Extinct Anatomy, 2018, archival pigment print, 11 x 14, $500

Memory of an Extinct Anatomy, 2018, archival pigment print, 11 x 14, $500

I was diagnosed with Stage 1 endometrial cancer and had to undergo a complete hysterectomy. I embarked upon this series in an attempt to fathom and artistically represent the emotional and physical changes that my body is going through.

Fall Risk, 2018, archival pigment print, 11 x 14, $500

Fall Risk, 2018, archival pigment print, 11 x 14, $500

The dress is the center stage upon which my drama unfolds and speaks to my sense of a lost femininity due to the loss of my womb. Symbols from a tarot card reading done prior to the procedure refer to my surgery and psychological response.

A Hard Stick, 2018, archival pigment print, 11 x 14, $500

A Hard Stick, 2018, archival pigment print, 11 x 14, $500

Photographs of my body, medical procedures, and human conflict are some of the actors in my performance.

Throwing The Bones, 2018, archival pigment print, 11 x 14, $500

Throwing The Bones, 2018, archival pigment print, 11 x 14, $500

I use a variation on the antiquarian lumen printing process to obtain the images of the dresses. The original lumen process used plant material placed on photosensitive paper and exposed by the sun.

My Rapture, 2018, archival pigment print, 11 x 14, $500

My Rapture, 2018, archival pigment print, 11 x 14, $500

For this work I place baby dresses onto black and white photo paper and place this outdoors for the sun to expose so I can obtain the numinous haint-blue ghost like images. I then combine these dresses with other photographic methods to obtain the final images.

Four Out Of Five, 2018, archival pigment print, 11 x 14, $500

Four Out Of Five, 2018, archival pigment print, 11 x 14, $500

About the artist:

Diane Fenster's art first received notice during the era of early experimentations with digital imaging. Her work has been called an important voice in the development of a true digital aesthetic. She views herself as an alchemist, using digital tools to delve into fundamental human issues. Her work is literary and emotional, full of symbolism and multiple layers of meaning. Her images have appeared in numerous publications on digital art. She has been guest lecturer at many seminars and conferences, her work has been internationally exhibited and is part of museum, corporate and private collections. Her images appear in numerous publications on digital art including the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, and ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC.

She is now exploring starker imagery that has its roots in alternative process, image transfer and photo-encaustic. Moscow Photo Awards, Honorable Mention for the What We Leave Behind series. Silver Award, Tokyo International Foto Awards for HY•ST•ER•IA: Body as Battleground. 12TH Julia Margaret Cameron Awards-Honorable Mentions in the series categories for Fine Art and Digital Manipulation for images from the series HY•ST•ER•IA: Body as Battleground. 2018 Pollux Awards, Finalist in the Fine Art and Digital Manipulation categories for series HY•ST•ER•IA: Body as Battleground. Her work was exhibited in the 4th Biennale of Fine Art and Documentary Photography in Berlin, she received Honorable Mentions in the 9th Pollux Awards, 7th, 8th, 11th and 12th Julia Margaret Cameron Awards and the Moscow Photo Awards, included in the Alternative Process exhibit juried by Christopher James at the Texas Photo Society and published in the DIFFUSION ANNUAL 2016. Diane Fenster and the Wandering Womb (Hysteria series) was recently published in Harvard's OD REVIEW. Also published in WOTISART Magazine, HEALTH AND HEALING, Femme Fotale Volume VI, and UNDEREXPOSED MAGAZINE. Hysteria images were selected for the National Photography Competition-Developed Work at the Midwest Center for Photography. Her work will appear in the upcoming DIFFUSION X journal.She continues to be included in many exhibits in museums and galleries both in the USA and abroad.

To view more work by the artist, please visit www.lensculture.com/diane-fenster. You may also follow the artist on Facebook at www.facebook.com/dianefensterphotography, as well as Instagram @dianefenster.


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.

Perfectly Unplanned

“I photograph people, I photograph buildings. Anything that catches my eye really.” - the artist

Illuminated Building, 2019, Photograph, 4.8M, $TBC

Illuminated Building, 2019, Photograph, 4.8M, $TBC

People are so obsessed with the 'beauty' they see on their phones and TV's. The world is so damn interesting, infinitely more so than what's on screen. Through my work, I hope to capture those 'perfectly unplanned' moments in life.

This collection is part of a 12 - 16 piece series. I shot these with a Contax T2 and Portra 400 film. Through a mixture of architectural shapes and fascinating people I aimed to show how animated the world can be - with or without people.

Man on Texture, 2019, Photograph, 4.2MB, $TBC

Man on Texture, 2019, Photograph, 4.2MB, $TBC

About the artist:

Jamie Espinosa is a portrait and street photographer from Sydney, Australia. He shoots most of his work on a Mamiya 645 and Contax T2 and his preferred film is Kodak Portra 400.

To view more work by the artist, please visit https://www.facebook.com/jamie.espinosa.3.www.facebook.com/jamie.espinosa.3. You may also follow the artist on Instagram @jlouislouis.


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.

Hyper Realism

“I find that my identity is literally submerged in the beauty, colors and concept of hyper realism and how I can incorporate water and/or superimposition.” - the artist

In His Image, 2019, soft pastels, 16 x 32 inches, $1200

In His Image, 2019, soft pastels, 16 x 32 inches, $1200

My artistic goal has always been for my art to be an expression that, hopefully, invokes emotion within the viewer. My inspiration comes from personal observations.

Up For More, 2018, soft pastels, 18 x 24 inches, $1800

Up For More, 2018, soft pastels, 18 x 24 inches, $1800

As I strive to best represent my own personal character, my mission is to illustrate the beauty of God around us as it is reflected in the presence of water or other images.

Depths of Faith in Things Unseen, 2019, soft pastels, 16 x 16 inches, $1100

Depths of Faith in Things Unseen, 2019, soft pastels, 16 x 16 inches, $1100

But my identity lives outside of that which hyper realism can create, but in what can intensify and thrive within the very rapid heartbeat of color and its infinite spectrum of vibrancy. Color can help to facilitate and fulfill some very basic human needs.

Drinking Time, 2019, soft pastels, 16 x 16 inches, $700

Drinking Time, 2019, soft pastels, 16 x 16 inches, $700

Color can identify and specify necessary objects for survival and/or enjoyment; stimulate and work synergistic-ally with all the senses; mark territory and manage personal space; symbolize abstract concepts and thoughts; express fantasy and wish; create illusions and ambiance; emphasize or camouflage figures or objects; enhance self-image and personal esteem; produce an aesthetic response.

Festival, 2018, soft pastels, 16 x 16 inches, $900

Festival, 2018, soft pastels, 16 x 16 inches, $900

Most important, the use and arrangement of color enables us to create beauty and harmony and express our personal taste, by doing so, provide us with a sense of accomplishment.

Wild at Play, 2019, soft pastels, 24 x 36 inches, $3200

Wild at Play, 2019, soft pastels, 24 x 36 inches, $3200

About the artist:

J. Howard has always been an artist. Her artistic journey began when she was a child in Houston, Texas, showing an early talent for drawing and painting. In graduate school she studied animated art and the mechanics of visually aided learning while working in the graphics and film industries. She is acclaimed for her vitality of colors, strength of composition and variety of subject matter. She creates vivid animated characteristics using the hyper realistic styling developed in the 1960’s combined with superimposition.

Howard was selected as a permanent member of the Southern Artist Group in 2016. She was one of 10 women chosen for a national show at the Custom House Museum in Clarksville, TN.She is the recipient of numerous top awards, including Hunting Art Prize Top Finalist receiving a Purchase Award,, National Emerging Artist 2017, International Photorealist 2017, Best Of Show Cowboy True 2017, 5 time American Art Award 2017, ACA Gallery Award and Purchase Award 2017, Western Art Rodeo Association 2018, Western Art Rodeo Gallery Award 2018,, and Platform Artist of the Year Finalist. Her solo exhibitions in galleries and museums include Showing Off at the Factory Gallery 2016, solo exhibit Emerging Artist 2017 St. Charles, a one-person retrospective in pastel paintings at the Saulsbury Gallery in 2017, Western Art Museum Kerrville Featured Artist 2019, Gift of the Arts Featured Artists Ann Arbor 2019, NAVE Museum of Art Resident Artist in 2020, and a retrospective of graphic expression in pastels at the Custom House Museum in 2020.

Widely published in books and magazines nationally and internationally, which include Art Reveal, Art Ascent, Art Quench and Pastel Art, J. Howard originals are also represented in many corporate and private collections. Her work ranges in size from small 6 x 6 inches to 36 x 50 inches.

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


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.

Light & Silver

“…creating a link between the past and the present.” - the artist

Untitled I, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

Untitled I, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

In my photographic series “Light & Silver” I am travelling in time creating a link between the past and the present. In this series I try to engage in a conversation with history creating psychological and philosophical portraits - and it is my way of celebrating life dealing with history, memory and imagination.

Untitled II, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

Untitled II, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

In my series, I am searching for traces of and investigating the Argentine History in search of some of my origins. I embarked on a journey leading me to Buenos Aires where I found some old photographs from the beginning of the 20th century in a flea market. I rephotographed and recreated the photographs by making interventions.

Untitled III, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

Untitled III, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

In this way my work is situated on the threshold between the past and the present, imagination and reality. I focus on the hidden and poetic history of a place and a person. I try to reveal the different layers of history, mythology and the present, to create a narrative image, a sort of visual archaeology, at times blending or colliding with imminent social and political realities.

Untitled IV, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

Untitled IV, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

I work with analogue photographs using a large amount of time in the darkroom developing the rephotographed photographs. I am creating a personal bond with them pretending that I have taken the photographs – that I have been making these portraits. Central to my work with memory and history are also the disappearance and reappearance of a past moment in the analogue process.

Untitled V, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

Untitled V, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

Afterwards, I reconstruct the images by making interventions adding flowers to the images thus underlining the connection between the past and the present. These are works that carry traces of my hand and of time passing. It is a process of transformation and a movement in time and memory.

Untitled VI, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

Untitled VI, 2017, silver gelatin print and unique, 40 x 50 cm, 2000€

About the artist:

Fie Tanderup is a photographer and artist living in Denmark. She was educated at L’École Nationale Superieure des Beaux Arts, in Paris; and The Jutland Academy of Fine Arts, in Denmark. Her work is constantly circling around photography.

“Photography is more than just an imprint light it is also a movement through space, in which the past and the present melt together luring the viewer with a promise of presence and transformation, an encounter with something else.” - the artist

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


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.

Human Activity and The Natural World

“The content of my images is inspired by the interchange between human activity and the natural world, where each cyclically affects the other.” - the artist

Boxing With God, 2019, Photography, 10 x 7.5, $500

Boxing With God, 2019, Photography, 10 x 7.5, $500

Having a camera with me throughout the day, whether my DSLR or my smart phone, tends to make me vividly aware of my surroundings in ways I am ordinarily not. On my daily rounds, I am drawn to the things we usually take for granted or overlook: shadows, glare, detritus, reflections, scarred surfaces, the view out the window. The content of my images is inspired by the interchange between human activity and the natural world, where each cyclically affects the other. On some days, I end up with a series of photos of similar content. On others, I simply have a narrative of the campus of my travels.

Infrastructure, 2019, Photography, 20.25 x 27, $750

Infrastructure, 2019, Photography, 20.25 x 27, $750

There is little forethought to my process, though I find robust subjects and themes that run through my work. I try to compose each shot as I take it, and manipulate the image later. The origins of the images included in this submission are as assorted as one might imagine. Elevator walls, cracks in linoleum, rivulets of ice, dirty windows, rusted porch furniture, and dew-covered playground equipment are among the motley sources that I find on my daily parade.

Waiting For Ice Cream, 2019, Photography, 12 x 9, $500

Waiting For Ice Cream, 2019, Photography, 12 x 9, $500

Focusing on the brain's often-deceitful role in how we perceive things, I regularly over-saturate color and distort various elements of my original images in order to draw attention to and dramatize the textures, topographies, contours, and hues of my subjects. I take the privilege of altering that that has already been altered, thus participating more directly in the cycle of nature/human exchange. The painterly result is more heightened and enigmatic than the “reality” implied in the original photographs.

Wolf Moon Over Mt. Olympus, 2019, Photography, 24 x 18, $600

Wolf Moon Over Mt. Olympus, 2019, Photography, 24 x 18, $600

My career is as varied and random as my subject matter. I spent nearly five decades in acting and sound design for theater and film; playing, writing and recording music; creating music videos; recording soundtracks for radio, television, films, theater pieces, dance projects, and museum installations. I have spent the subsequent 15 years working with children, often involving them in the art forms mentioned. Photography is the way I now create art.

The Inner Life of Trees, 2019, Photography, 20.25 x 27, $750

The Inner Life of Trees, 2019, Photography, 20.25 x 27, $750

As may be inferred from my work, my tastes are eclectic. I am stimulated by the work of a variety of artists from different eras, areas, art forms, and genres. Inspired by these vibrant creators and their art, I hope that my own vision equally heartens others — to stop and look along the way; to more closely regard the beauty of our surroundings and our involvement in them; and to contemplate our own place in a kaleidoscopic, microscopic universe.

Cosmic Raspberry, 2019, Photography, 18 x 24, $600

Cosmic Raspberry, 2019, Photography, 18 x 24, $600

Photo source: the artist

Photo source: the artist

About the artist:

Brian Hallas is a photographer, filmmaker, sound designer, songwriter, and educator. He has been involved with the theater since the third grade, and as a sound designer and performer, he’s been an associate of National Medal of the Arts recipient Ping Chong since 1983. Brian began to adopt photography as a serious medium for exploration and expression upon becoming a schoolteacher, where economy of effort to achieve maximum effect is one of the keys to survival. The daily rituals of taking, processing and posting his photographs are an oasis of creativity in a very troubled era. As one of the multitudes of perks afforded by a life in the Arts, Brian has especially been fortunate to have dined contentedly in many parts of the world where he otherwise would never have dined.

To view more work by the artist, please visit www.thenursery.com. You may also follow the artist n Facebook at www.facebook.com/brian.hallas.9, as well as Instagram @bhallas0909.


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.

Repetition

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About the artist:

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

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

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

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


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

The Play of Colors

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About the artist:

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

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


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

Physical Traces

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo source: the artist

Photo source: the artist

About the artist:

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

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


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

Symbols

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

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

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

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

Ishta + Infinity, 9.75 x 19.75 inches, $555

Ishta + Infinity, 9.75 x 19.75 inches, $555

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

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

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

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

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

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

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

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

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

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

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


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

A Utopian Vision

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Ex Situ Conservation

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo source: the artist

Photo source: the artist

About the artist:

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

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


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

Our Connection to Nature

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

The Hero

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo source: the artist

Photo source: the artist

About the artist:

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

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


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

Mechanical Botanical Series

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About the artist:

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

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

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


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

Last Words

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo source: the artist

Photo source: the artist

About the artist:

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

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


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

Building a Painting

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo source: the artist

Photo source: the artist

About the artist:

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

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

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

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


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

I Paint God's Mistake

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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