Artist Feature

Expression and Emotion

“I love painting non-objective abstract because it allows for a freedom of expression and emotion that other paintings may not.” - the artist

Blue Marsh, 2018, oil, 24 X 24 inches, $350

Blue Marsh, 2018, oil, 24 X 24 inches, $350

[Painting] becomes an emotional outlet that may produce something eye-catching and meaningful to others that I didn’t intend. It has allowed me to experiment with various mediums and their interactions with one another yet still producing a composition of color and texture that hopefully becomes an aesthetically successful piece of art that is enriching or thought provoking to the viewer.

Most of my paintings are with oil paints even if I use mixed media it’s finished with oil. I’m still enjoying the painting process and experimenting with various oil mediums and interactions with one another so “my style” is not yet developed. However, Abstract seems to be what I lean towards whether it’s non-objective, expressionism or representational.

Wind Blown, 2018, Mixed Media, 24 X 24 inches, $350

Wind Blown, 2018, Mixed Media, 24 X 24 inches, $350

About the artist:

Cindy was born into a large family and raised in Dallas, Texas who influenced her desire to develop her own sense of space and style. She is married with four children and has two grandsons. She graduated with a design degree from The University of Texas in Austin and worked in the interior design industry for years. She is a member of the Texas Visual Arts Association, and has donated paintings to art auctions and/or made donations throughout 2011-2018 from the proceeds of sales to [numerous charitable] organizations, to include Dallas Council for Alcohol and Drug Prevention, The Magdelan House and Dwell with Dignity.

To learn more about the artist and her work, please visit www.facebook.com/artbycindybrewer. You may also follow the artist on Instagram.


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.

An Act of Self-Revelation

“Wei Tan’s art is an act of self-revelation through improvisation. Each artwork is a journal entry where outer influences are purged and inner responses are confessed.” - the artist

My Room is Having an Out-of-Body Experience, 2018, mixed media on canvas, 80 x 100 cm, €1700

My Room is Having an Out-of-Body Experience, 2018, mixed media on canvas, 80 x 100 cm, €1700

Wei Tan (b. Malaysia, 1991) is a mixed-media abstract artist based in Berlin. With a background in music composition, she completed her Master's degree in Music Technology at New York University. In summer 2015, while developing work on image-based experimental sound art, Wei Tan started exploring the world of abstract painting – first collaborating with her teacher Gina Bonati and then experimenting on her own, drawing inspirations from the great Abstract Expressionists to today’s cross-disciplinary, multimedia artists. Since then she has worked and exhibited in New York, London, Florence, Berlin, and Kuala Lumpur.

Orange Chair, 2018, mixed media on canvas, 80 x 100 cm, €1700

Orange Chair, 2018, mixed media on canvas, 80 x 100 cm, €1700

Wei Tan’s art is an act of self-revelation through improvisation. Each artwork is a journal entry where outer influences are purged and inner responses are confessed. Like making soup, materials are thrown onto the canvas and mixed together through spontaneous gesture.

Waiting for the Doctor, 2018, mixed media on canvas, 80 x 100 cm, €1700

Waiting for the Doctor, 2018, mixed media on canvas, 80 x 100 cm, €1700

Wet paint, powdery pastels, and viscous oil clash into each other creating haphazard geographies. Often a period of mindless doodling is carried out before the painting emerges with an unexpected coherence. The process of automatic drawing allows thoughts from the subconscious to emerge and form a narrative. The paintings exist in a space between the real and the abstract, where quasi real-life objects – resembling shoes, boxes, tables and windows – float in a sea of abstract colours and forms.

All the Books I Have Yet to Read, 2018, mixed media on canvas, 80 x 100 cm, €1700

All the Books I Have Yet to Read, 2018, mixed media on canvas, 80 x 100 cm, €1700

Similarly, their narratives live in an ambiguous space between reality and imagination. Although drawing inspiration from present-day events, the paintings often find themselves wandering into childhood memories and imaginary story lines. They speak about dilemmas as trivial as choosing the perfect vase and how to light candles, and as essential as the practice of de-cluttering and the search for home and belonging.

Red Chair in Mint Room I, 2018, mixed media on canvas, 80 x 100 cm, €1700

Red Chair in Mint Room I, 2018, mixed media on canvas, 80 x 100 cm, €1700

To view more work by the artist, please visit tatawaart.com. You may also follow the artist on Facebook and Instagram.


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.

Flashback

“I get inspired by whisky and moonshine.” - the artist

Duo, 2014. Cigar box, guitar parts and found objects. NFS (Commissioned pieces)

Duo, 2014. Cigar box, guitar parts and found objects. NFS (Commissioned pieces)

I’ve always been a maker. I started in the design industry as a teenager and was granted an opportunity to intern for packaging design back in the 70s. I didn’t know anything about the subject but took a shot. I’ve now been in the packaging design business for over 40 years and I am a lead in the industry.

Blue, 2014. Cigar box, guitar parts and found objects, with custom upholstered case. NFS (Commissioned piece)

Blue, 2014. Cigar box, guitar parts and found objects, with custom upholstered case. NFS (Commissioned piece)

It was only about 20 years ago that I began to learn guitar. As I have learned more and more over the years, I became interested in playing with a slide and was introduced to cigar box guitars. I was hooked and, always being a maker/artist, decided to try building my own. And it is a craft I have kept up for years and even gained multiple commissions.

Trio, 2015. Cigar box, guitar parts and found objects. NFS (Commissioned pieces)

Trio, 2015. Cigar box, guitar parts and found objects. NFS (Commissioned pieces)

I started making an effort to use reclaimed materials (not just reclaimed cigar boxes) such as miscellaneous metal hardware, found objects and wood, as well as using second-hand guitar parts, knobs and strings from garage sale and thrift store finds. The result is one of a kind pieces that employ sustainable art practices.

Custom guitar, 2018. Cigar box, guitar parts and found objects. NFS (Commissioned pieces)

I’ve recently begun displaying my work in exhibitions and am always open to commissions. To view more work by the artist, please follow him on Instagram at @d.forsondesigns.


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.

Emotional Rather Than Intellectual

“It is an emotional rather than intellectual process that determines whether I consider it a completed work.” - the artist

Psychedelic Garden, 2017. Acrylic, 12 x 12 inches, $530

Psychedelic Garden, 2017. Acrylic, 12 x 12 inches, $530

The abstract style gives me freedom to express my emotions. Years of traditional training at The Art Students League, The National Academy of Design and Pratt Graphics Center gave me a solid foundation in drawing, painting, and composition. I was encouraged to follow my instincts to work abstract when I took a color theory course with the painter, Wolf Kahn at the National Academy of Design, NYC. I also had two semesters of advanced color viscosity printing making at the NYU, Steinhardt School of Culture, Education, and Human Development where I worked in an abstract style.

Peace, 2018. Acrylic, 12 x 12 inches, $530

Peace, 2018. Acrylic, 12 x 12 inches, $530

When I begin a painting, I work with no preconceived idea. I start to lay in color on my paper or canvas. A completed painting develops by a series of revisions as I work with my palette knife and brush. As the paint, color and texture build the work begins to take on a life of its own. The work is finished only when it “feels” right to me. It is an emotional rather than intellectual process that determines whether I consider it a completed work.


Nature and my environment have always been a source of fascination and inspiration. I have a lifetime commitment to the creative process, and am not afraid of change or challenges. I grew up in New York City on Third Avenue in a tenement building. The deteriorated and chipped walls of the entrance looked like a painting. These images are used in the way I layer my work and build texture. Since 1970 Spain became a focal point for my artwork. The vast openness of the sea, sky and mountains where I maintain a home base is my sacred space.  Spending time out west at the Grand Canyon, Monument Valley, Zion and Bryce Parks has enriched my view of nature in a more spiritual way.

Spirit Within, 2019. Acrylic, 12 x 12 inches, $530

Spirit Within, 2019. Acrylic, 12 x 12 inches, $530

I admire artists from the Hudson River School to the Abstract Expressionists; however, my hero for the past decade is Richard Diebenkorn (1922-1993). Each time I view his work I come to understand the power of his use of color and composition. Other artists I admire are Willem de Kooning, Franz Kline, and Helen Frankenthaler.


I have a long history with New York University. I graduated from School of Professional Studies, liberal arts degree program with a BA in art history with honors (1991); attended Graduate School of Arts and Science, John W. Draper Interdisciplinary Master’s Program in Humanities and Social Thought (1995) and worked fulltime as an administrator at NYU for eighteen years. In 2013, I began as a mentor at The Wasserman Center for Career Development and The Tisch School of Arts. Over the years, I have also curated and organized student art exhibitions at NYU’s The Bronfman Center for Jewish Student Life and the Kimball Commons Gallery. Since 1995, I teach in spring semester at NYU, School of Professional Studies, as an adjunct associate professor of arts in the Division of Applied Undergraduate Studies.

Al Andalus, 2017. Acrylic, 12 x 12 inches, $530

Al Andalus, 2017. Acrylic, 12 x 12 inches, $530

I worked in the music industry from 1964-1984. That was an education in itself…it was the Cultural Revolution. In 1964 at 18 years old, I worked at the American Guild of Variety Artists (AGVA) in the immigration department and prepared visas for the Beatles and Rolling Stones. I sold many painting and went to art classes after work. My life has never been boring. I live the life I love and share my enthusiasm for the creative process each day. I married a fellow artist, John Ferdico. We met at The Art Students League, NYC in 1978 and still share a studio in our apartment in Queens, NY.

Urban Flow, 2017. Acrylic, 10 x 10 inches, $430

Urban Flow, 2017. Acrylic, 10 x 10 inches, $430

My work has been exhibited in the U.S. and internationally. I participated in the U.S Art in Embassies Program and exhibited at the U.S. Embassy in Lima, Peru. For a number of years, I have work in Gallery 54, in Herefordshire, England, and in private and public collections. My intimate sized abstract work created by palette knife in acrylic on canvas/panel are bold and vivid. Color and texture are important elements in my work. Nature and memories are my inspiration.


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

A 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


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

My Worlds of Imagination

“I enjoy translating my worlds of imagination onto the canvas, a whimsical fantasy world to immerse viewers in.” - the artist

Carousel Dreams, 2016, acrylic 30 x 24 inches, $800

Carousel Dreams, 2016, acrylic 30 x 24 inches, $800

I enjoy translating my worlds of imagination onto the canvas, a whimsical fantasy world to immerse viewers in. I generally want them to have a fun visual experience; in some respects, not so different from 'Where's Waldo'. 

A Garden of Vivid Visions, 2018, acrylic, 30 x 30 inches, $850

A Garden of Vivid Visions, 2018, acrylic, 30 x 30 inches, $850

 This is by no means a rule, but it's something I feel naturally inclined to pursue, as it's very creatively fulfilling and freeing to create imaginary worlds. I like to experiment and evolve my craft, not putting myself in a box. 

Vigilance, 2018, acrylic, 20 x 16 inches, $450

Vigilance, 2018, acrylic, 20 x 16 inches, $450

I started to paint in 2016, having taken a college course with a motivating instructor that encouraged to continue pursuing art. So I did, and have no regrets.

Mills of Nature, 2018, acrylic, 14 x 18 inches $450

Mills of Nature, 2018, acrylic, 14 x 18 inches $450

To learn more about the artist and view more work, please visit www.paintingsbyfrancois.com. Please also follow the artist on Facebook and Instagram.


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

Abstract Circle Stories

“Love, heartache, memories, and faith all come full circle to make us who we are.” - from the artist

Organic, 2018. Acrylic, 60 x 80 inches, $2000

Organic, 2018. Acrylic, 60 x 80 inches, $2000

The Abstract Circle Stories:

I am an artist that uses industrial and recyclable materials to create art work that is considered mixed media. Paints, papers, and metal become expressive parts of the overall project. All of my work is of the abstract genre and becomes fluid as it is conceived. The work focuses on canvas being the base, but I branch out to sculpture pieces as well.

Endless, 2018. Acrylic, 30 x 40 inches, $500

Endless, 2018. Acrylic, 30 x 40 inches, $500

I have multiple sclerosis (MS) which can create a challenge physically creating the work. The process of thinking out a project to physically creating allows an outlet for physical, mental, and cognitive therapy in living with MS.

Somnium, 2018. Acrylic with gloss, 40 x 60 inches, $5000

Somnium, 2018. Acrylic with gloss, 40 x 60 inches, $5000

The exhibition contains the works that represent the circle and how it is a beginning, ending, and completion of all things in life. Love, heartache, memories, and faith all come full circle to make us who we are. The soul is a circle that either grows outward or inward based on life experiences.  The artworks invite the viewer into the world of the wife of a disabled veteran raising six children while living with MS, maintaining their faith and life circle throughout the journey.

Her Ethan, 2018. Mixed Media, 30 x 40 inches, $400

Her Ethan, 2018. Mixed Media, 30 x 40 inches, $400

Depth and texture in the works pull the observer into the painting creating a wave of emotions as they explore the depth and textures that stir memories and connections in their own life circle experiences. We cannot be circumspect in this rawness of feelings, but must embrace the pieces and let the tears flow or the laughter burst from our bliss.

The Wedding The Dress The Suit, 2017. Mixed Media, 80 x 60 inches diptych, $4000

The Wedding The Dress The Suit, 2017. Mixed Media, 80 x 60 inches diptych, $4000

The vision of my work is to create depth and texture that causes the audience to dive in and immerse themselves into the piece to fully connect with the emotions and messages within each artwork. Paper, paint, metal, glass, and other media are transformed into circles that lead to a completed story. Secret messages to my husband also create interesting adventures for the viewer as they try to understand a complicated and faithful love story. The entire exhibition is tied together by circles, but moods and feelings change with each piece due to colors, sizes of canvas, and materials involved in the artistic process.

Her First Thought, 2018. Mixed Media, 36 x 36 inches, $500

Her First Thought, 2018. Mixed Media, 36 x 36 inches, $500

To view more work by the artist, please visit amk-studio.business.site. Also please feel free to follow the artist on Facebook and Instagram.


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

Unorthodox Process

Travis Ballantyne is an abstract painter who emphasizes contrasting color relationships. In his work, he balances cool and warm and light and dark colors.

Dull Leaves, 2018. Acrylic on Canvas, 24 x 30 inches

Dull Leaves, 2018. Acrylic on Canvas, 24 x 30 inches

He usually applies paint directly onto the canvas from the tube and proceeds to manipulate the color with a variety of tools. Brushes, plants, cards and other non-traditional items serve his purpose. 

Shapes I, 2018. Acrylic on Canvas, 10 x 20 inches

Shapes I, 2018. Acrylic on Canvas, 10 x 20 inches

Vibrant, colorful abstractions such as Circles and Boats in Water result from this unorthodox process. Once finished, he often rotates paintings 90 or 180 degrees in order to offer the viewer a different experience of the piece. 

Crazy Shapes, 2018. Acrylic on Canvas, 24 x 36 inches

Crazy Shapes, 2018. Acrylic on Canvas, 24 x 36 inches

Ballantyne is a worldly artist. He grew up in a military family that relocated to a new country every two years. He spent time in the United States, Europe, and Asia, learning a great deal about cultures and customs around the world.

Tie Dye, 2018. Acrylic on Canvas, 48 x 48 inches

Tie Dye, 2018. Acrylic on Canvas, 48 x 48 inches

This multicultural background informs his aesthetic and artistic practice. After graduating from High School in South Korea, Ballantyne relocated to Texas to study art. While there, he also discovered his passion for teaching art to children and adults.

Shapes 8, 2018. Acrylic on Canvas, 24 x 36 inches

Shapes 8, 2018. Acrylic on Canvas, 24 x 36 inches

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


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

Fueled By Intuition

I was born and grew up in the Detroit area of Michigan.  I received my BA in visual art from Albion college and went on to receive my BFA from the Oregon College of Art and Craft majoring in Textiles.

Sketch 23, September 2016, Mixed Media, 6 x 6 inches, $125

Sketch 23, September 2016, Mixed Media, 6 x 6 inches, $125

After graduating in 1999 (party like), I impulsively moved to Colorado, wistfully following a childhood dream.  I now live in the Pikes Peak region of Colorado and share my life with my print-maker husband Nikos, and our strong willed and artistic children, Onora and Ivy.

Sketch 22, September 2018, Mixed Media, 6 x 6 inches, $125

Sketch 22, September 2018, Mixed Media, 6 x 6 inches, $125

[Melanie Audet] has participated / exhibited in several group and solo exhibitions through Oregon and Colorado, spanning over 15 years.

Sketch 24, September 2016, Mixed Media, 6 x 6 inches, $125

Sketch 24, September 2016, Mixed Media, 6 x 6 inches, $125

[Melanie Audet] currently acts as Education Coordinator and a founding member of Textiles West, non-profit organization dedicated to sustaining traditions, skills and art of textiles while honoring the earth. Learn more at www.textileswest.org.

Sketch 1, November 2018, Mixed Media, 12 x 12 inches, $175

Sketch 1, November 2018, Mixed Media, 12 x 12 inches, $175

These drawings are part of an ongoing project fueled by intuition.  I restricted the design element to line, texture and composition.  These are small in scale, the smallest 6 x 6 inches and the largest being 12 x 12 inches.

To view more work by the artist, please visit www.melanieaudet.com. You may also follow the artist on Instagram and Facebook.


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

The Convoluted Theories

“My thoughts, manifested visually, find their space in the cannon of a male world of art-making.” - the artist

Downstairs Neighbour, 2018, oil on canvas, 6 x 6.5 feet, $1150

Downstairs Neighbour, 2018, oil on canvas, 6 x 6.5 feet, $1150

When I began painting, I was more geared toward ecology, science, and natural systems, and my portfolio explored notions of land, borders, power. These issues and questions are obviously still important, however situating them in my own painting practice was at first a struggle until I abstracted them.

Pity, 2018, oil and charcoal on canvas, 6 x 6 feet, $1100

Pity, 2018, oil and charcoal on canvas, 6 x 6 feet, $1100

Frustrated that I couldn’t force these concepts into interesting paintings, I began to think about where my success lay in the past. Two things spawned from this reflection: first, it became painfully obvious that forcing creativity to spur out of ideas I vaguely had was probably not a great idea; second, in works where I perhaps offered myself more than the convoluted theories I was reading, thoughts poured out more naturally, more authentically, thus making the work more captivating. Realizing these things, as well as finally allowing for text to creep back into my compositions, has completely changed the body of work I am currently producing, and I hope, changed it for the better.

Hauptbahnhof, 2018, oil on paper and canvas, 30 x 40 cm, $250

Hauptbahnhof, 2018, oil on paper and canvas, 30 x 40 cm, $250

So, where am I now? Land: I throw myself into these abstract spaces that are seen through layers of paint and communicated through language. This space maps where I am in the process, it tracks my thoughts in two different, but converging, ways. Borders: where the edge of Payne’s Grey hits a line scrawled in charcoal, there is a need to read from a different part of the brain. When these different elements combine, it is necessary to translate, to shift, or to allow oneself to be lost in the in-between, perhaps. Frailty, uncertainty, blurriness.

The Descent, 2018, oil and charcoal on canvas, 6 x 8.5 feet, $1200

The Descent, 2018, oil and charcoal on canvas, 6 x 8.5 feet, $1200

Power: there is always a power dynamic when two things are forced to coexist. Maybe in a formal sense there is tension between the paint and the words, but power is also perpetually infused in the content, whether it is because I am drawing from the powerful masters of art history and reworking them, or because I am processing my own feelings of powerlessness in the process of painting, or even because the boldly painted swatches of colour that take up an entire wall, demand space and attention. Demand us to be immersed.

Pollux, 2018, oil on paper and canvas, 30 x 40 cm, $250

Pollux, 2018, oil on paper and canvas, 30 x 40 cm, $250

The last thing that I feel was an important progression is the aspect of mark-making: where form and text can combine into one amorphous thing. Perhaps because the abstract and gestural quality is so transfixed in a particular art historical tradition, namely Abstract Expressionism, putting my own words, gestures, and marks that are meant to alter that tradition is increasingly important in my work. My thoughts, manifested visually, find their space in the cannon of a male world of art-making.

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


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The Details Of Life

“Crafting oil paintings which embodies the details of life - from people, travels, and experiences - is my greatest joy.” - the artist

Newman, 2018, Oil on Panel, 16 x 12 inches, $750

Newman, 2018, Oil on Panel, 16 x 12 inches, $750

I am internally drawn to peaceful places, so within my artwork I create a sense of calm serenity, no matter what the subject matter.

Yuva, 2018, Oil on Canvas, 16 x 20 inches, $832

Yuva, 2018, Oil on Canvas, 16 x 20 inches, $832

Each piece has a realistic representational style where boundaries are blurred between real imagery and my imagination. I pay particular attention to light and composition to tie together the subject and its environment as a whole.

Bowie, 2017, Oil on Panel, 16 x 12 inches, $750

Bowie, 2017, Oil on Panel, 16 x 12 inches, $750

There are incredible people on this earth, from everyday heroes to cultural icons. This collection examines those who inspire us to always be better.

MLK, 2018, Oil on Panel, 16 x 12 inches, $750

MLK, 2018, Oil on Panel, 16 x 12 inches, $750

Each painting in this series is a black and white portrait with only the background and eyes having color. This draws you into the painting and allows different features to be seen at each passing.

Whitney, 2018, Oil on Canvas, 24 x 18 inches, $1,123

Whitney, 2018, Oil on Canvas, 24 x 18 inches, $1,123

BE AN ICON.

An oil portrait, an artistic representation of a person, has room for expression, power, passion, harmony, and life. In a world becoming less and less sensitive to the human condition, the more important portraiture becomes for preserving our humanity, culture, care, and what's most important - love.

Sofia, 2018, Oil on Canvas, 16 x 12 inches, $750

Sofia, 2018, Oil on Canvas, 16 x 12 inches, $750

To view more work by the artist, please visit mmgartstudio.com. You may also follow the artist on Facebook at www.facebook.com/MonicaMMGARTSTUDIO and Instagram @monica_marquez_gatica.
Also check out the artist's blog at mmgartstudio.com/blog.


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

A Distorted Reality

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About the collection:

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


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The Urban Landscape

“I started to draw with the ink pen when I was only 5 years old.” - the artist

Harrisburg, PA Pride of the Susquehannal, 2018, Pen & Ink, 17 x 14 inches

Harrisburg, PA Pride of the Susquehannal, 2018, Pen & Ink, 17 x 14 inches

I am an Italian American citizen born on June 27th, 1966 in Treviso, Italy.

I started to draw with the ink pen when I was only 5 years old: my father took home a rapidograph, an ink pen commonly used by Architects that time, and I never stopped to use it. My favourite subject was the urban landscape and in few years I won most of the painting competitions dedicated to kids of my age.

Harrisburg, PA South 2nd Street, 2018, Pen & Ink, 17 x 14 inches

Harrisburg, PA South 2nd Street, 2018, Pen & Ink, 17 x 14 inches

I drew very quickly and directly with the china without the help of pencil and rubber and in 1977 I exposed in my first solo exhibit In Treviso (“Forty drawings of an eleven years old boy”): the critics have predicted a successful career. Since very young I collaborated with editors and authors and at only 13 years old I got my most important success: I have been ranked first, among 350000 participants, at the National Drawing Competition in Rome, and my sketch of Treviso became a stamp of Italian Post (November 30th, 1980). The same year the Municipality, in recognition of the important success, invited me to exhibit my latest drawings of Treviso alongside those of my great grandfather who used the same technique a hundred years before. My family is important in the art field because for three generations (Girolamo, Mario and Memi Botter, the last my father), starting from 1890, saved and restored frescos in all the region of Veneto.

I decided to follow my family heritage in a different branch becoming Architect and in 1993 I graduated in Venice at the IUAV. Although I continued to draw while working as a professional, also because of the new tools, such as computers and CAD, I was reserving to this passion only my free time and vacations. During my trips in Europe and America I was habit to take with me my sketchbook to picture the most beautiful places I had the chance to visit.

Lancaster, PA Penn Square Fountain, 2018, Pen & Ink, 17 x 14 inches

Lancaster, PA Penn Square Fountain, 2018, Pen & Ink, 17 x 14 inches

After drawing my hometown for decades, I finally decided to sketch it from a bird’s eye view in 1997: in those last years of the Millennium there was still no Google Map and I had to climb the towers of the churches to take pictures and sketches from the high to understand the city shape. It was from 1813 that no one had attempted to draw the city with a view of this complex. After three and a half months of hard work, the perspective map of Treviso was introduced to the Press on November 30th.

From 2002 to 2004 I was Teaching Assistant at the University of Architecture (Architectural Design Course 1, Prof. Arch.Claudio Panerari) and from 2006 to 2008 Professor of Techiques of Drawings and Surveying at the International University of Art at the Giudecca Island, Venice.

The economic crisis had made me rediscover the pleasure of drawing that has now replaced my previous employment. My drawing skill has turned into real job and now I am working in the United States of America where my art is well welcomed.

Pittsburgh, PA Allegheny County Courthouse and Old Jail, 2018, Pen & Ink, 17 x 14 inches

Pittsburgh, PA Allegheny County Courthouse and Old Jail, 2018, Pen & Ink, 17 x 14 inches

In 2012 I decided to come back to the U.S. where my mother, also a painter, lived in the 50s and 60s. In Pittsburgh - Pennsylvania, I did find the right place to continue my carrier in the field of art. On January 2013 I exhibited for the first time in the United States at GalleriE-Chiz in Shadyside, the most exclusive neighborhood of the city.

Pittsburgh, PA View From Atop Benedum Trees Bldg, 2018, Pen & Ink, 17 x 14 inches

Pittsburgh, PA View From Atop Benedum Trees Bldg, 2018, Pen & Ink, 17 x 14 inches

On my recent drawings of the “Steel City” I combine the Italian aesthetic background with a family history rooted in the U.S. to envision the American urban landscape. I like the contrast between modern and historic buildings, and my sign in black and white helps to blend very well details of the contemporary era.

I was featured many times on local and national magazines and my sketches of Pittsburgh were published in the cover of the Pittsburgh Post Gazette.

Washington DC Old Post Office, 2018, Pen & Ink, 17 x 14 inches

Washington DC Old Post Office, 2018, Pen & Ink, 17 x 14 inches

To view more work by the artist, please visit guglielmobotter.com/Guglielmo_Botter_artist/Home.

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

A Result Of Serendipity

“Chance is a major factor in all evolution, but its mechanism is very slow.” - the artist

Snow Angel, 2018. Mixed media, 39.5 x 43.5 inches

Snow Angel, 2018. Mixed media, 39.5 x 43.5 inches

My work is process driven, a streamlined investigation of the natural mechanics that form fossils or sedimentary rock. I am intrigued by the fact that their formation is not governed by design but almost totally by random chance. I use pigmented grout to help naturalize my process.

Catch and Release, 2018. Mixed media, 35.5 x 45.5 inches

Catch and Release, 2018. Mixed media, 35.5 x 45.5 inches

Most of my major breakthroughs have been as a result of serendipity. Chance is a major factor in all evolution, but its mechanism is very slow. I purposely speed it up and give it free rein. The layers I apply first are hidden by subsequent applications, but exposed again in their original order when the piece is cast. I include found objects and recycled refuse as a statement for future contemplation. I am working almost blind and in reverse.

Intrinsic, 2018. Mixed media, 25.5 x 49.5 inches

Intrinsic, 2018. Mixed media, 25.5 x 49.5 inches

The original wax sculpting is totally lost during casting, much as organic material is lost or changed in the formation of fossils or sedimentary stone. The resulting image is a reversed negative textural image. My intent is to explore the contradiction of the initial design, and learn from the somewhat random artifact left behind. 

Truth Tablet No.2, 2018. Mixed media, 32.5 x 36.5 inches

Truth Tablet No.2, 2018. Mixed media, 32.5 x 36.5 inches

I am intrigued by the ambiguity of initial concepts in relation to their fruition and the unpredictable consequences of my actions and decisions. If I pay close attention, the work shows me what it is meant to be.

Heart to Heart, 2018. Mixed media, 38.5 x 38.5 inches

Heart to Heart, 2018. Mixed media, 38.5 x 38.5 inches

About the artist:

Hall was a founding member of the cutting- edge 500-X Gallery in Dallas and has exhibited in over 60 prestigious group and one-man shows throughout the U.S.  He has been awarded a Fellowship for Peripheral Vision Arts,  and is included in their inaugural publication "Salon 2017 ", including an essay by critic Georgia Erger.  Hall is featured in "Dallas Style & Design" 2017 Fall and 2018 Spring issues.  His work was awarded "Best of Show" for an art show and auction benefitting PBS channel 13 by the late Henry Geldzahler, famed curator of the Metropolitan Museum of Fine Art, New York.  Walter Hopps, then curator of the National Collection of Fine Art, DC, chose his work to be exhibited at the Fort Worth Museum of Modern Art. The late Dr. Edmund Pillsbury, 18-year Kimbell Art Museum Director and past Senior Fine Art Expert at Heritage Galleries & Auction House, was a fan and mentor.  Hall's work was on display for two weeks in the capital rotunda in Austin, TX in 1986.  That same year, he was an Official State Artist of Texas nominee. In April 2005, he was featured in American Artist magazine.  In 2012 his work was featured on the Jumbotron in "Art Takes Time Square" New York, NY. Hall's work appears in many private and corporate collections, including the Arlington Museum of Art, the corporate headquarters of MasterCard, NY, the corporate headquarters of In-N-Out Burger, California, One Bell Plaza and Market Hall, Dallas, and Linebarger Goggan Blair & Sampson LLP, Dallas,TX.


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Playfulness, Shyness and Honesty

“I'm always open to new things, experimenting, I like to acquire new knowledge that I can combine in my works.” - from the artist

Girl, 2018. Mixed media, 45 x 60 cm

Girl, 2018. Mixed media, 45 x 60 cm

My name is Timka Szőke. I'm a Hungarian artist. I was born in Budapest - Hungary in 1987. 
I studied in Secondary School of Visual Arts, where I studied sculpture. Then I studied stained-glass design and enamel design in Simultaneous Fine Arts School. 

Spring, 2018. Mixed media, 47 x 60 cm

Spring, 2018. Mixed media, 47 x 60 cm

I graduated in Metropolitan University's Art faculty as graphic designer in 2013. My versatility unfold in illustration, lead glass design and photography. 

Summer, 2018. Mixed media, 47 x 60 cm

Summer, 2018. Mixed media, 47 x 60 cm

I'm always open to new things, experimenting, I like to acquire new knowledge that I can combine in my works. When I studied lead glass design, it helped a lot in knowing this profession for the birth of a variety of new ideas. I made several stained glasses style pictures, because the beauty of this art industry was very impressed. I find it stunning as these solid, fragile, thin materials form a particular scene or figure, and the light that's filtered through it makes it magical.   

Countess, 2018. Mixed media, 45 x 60 cm

Countess, 2018. Mixed media, 45 x 60 cm

My artworks are inspired by the antique art trends, most notably Renaissance, Expressionism, Baroque, Symbolism and Art Noveau in addition the comics. I like to combine old styles with new trends. 

Princess, 2018. Mixed media, 46 x 60 cm

Princess, 2018. Mixed media, 46 x 60 cm

My characters carry a natural, special beauty. I love to display the facial mimicry that I spice with natural charm in my works. 

Childhood I, 2018. Mixed media, 50 x 60 cm

Childhood I, 2018. Mixed media, 50 x 60 cm

Because the grimace is special in every face, which tells playfulness, shyness and honesty about their owners, therefore I like to use my some pictures.

I work in pop surrealistic style. The classic, natural beauty characterizes the characters of my artworks.

Sky Child, 2018. Mixed media, 45 x 60 cm

Sky Child, 2018. Mixed media, 45 x 60 cm

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


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I Had Seen, But Not Connected

“In 2006 I had an epiphany... I had an epiphany that caused me to pick up my camera and re-evaluate the world around me.” - from the artist

I realized I had been sleepwalking through my surroundings for twenty years. I had “seen” but not been “connected” to my world for a very long time. Some serious introspection resulted in the following observations:

As we all grow older, I feel we lose touch with the child within us and become jaded, missing the new, magical and wondrous nature of our surroundings that mystifies and fascinates our children. Spend some time observing a toddler and you will find they are like sponges with sneakers, absorbing every bit of their environment, asking limitless questions of their elders and peers and filing it all away for future reference. Every second of every day, they are learning new things and coming to grips with their surroundings. As adults, we tend to lose our sense of wonder, having long ago filed away everything we see. Now, I try to preserve in myself the childlike wonder one sees in small children as they explore their new world. I consciously take the time daily to appreciate my surroundings and examine the minutiae that make up the world around me. With this viewpoint in mind, the images I produce are my attempt to present the magical nature of our surroundings in a manner so unique as to seem “new” again.

Earthbound, 2009. Photography, 19 x 28 inches

Earthbound, 2009. Photography, 19 x 28 inches

I suppose I see myself as half photojournalist, half historian and half artist. Wait... Math was never my strong suit. Is that right?

As a photojournalist, I'm trying to tell the individual story of each scene or subject I portray. Each unique object has it's own place in the universe and a story associated with the time and space it occupies.

The history of our environment needs to be preserved and I find myself attempting to accomplish exactly that with many of my images, especially where grave sites and desolate subjects are concerned. Since much of this will succumb to decay at some point, I would like to do my part in preserving these objects for future generations.

As an artist I strive to create artistic statements and, frequently resort to altered reality to convey the qualities that drew me to the subject in the first place. The essence of the person, place or thing that attracted me to it originally, is what I strive to illustrate via manipulation and creative control.

Little Elm, 2007. Infrared photography, 40 x 22 inches

Little Elm, 2007. Infrared photography, 40 x 22 inches

My influences range from O. Winston Link, Richard Avedon, Vargas, Maxfield Parrish and Andy Warhol to the advertising geniuses who have shaped our culture over the last fifty years.

I hope my work moves you to see your surroundings with new eyes, explore it as a child and appreciate your world as someone who has been given a second chance at life.

In closing, let me just say that I LOVE what I do. I LOVE capturing the very essence of a person, place, thing or event in a single image. I live by the idiom "A picture is worth a thousand words." I live for challenges and creating those timeless, memorable images that make people say "Oh Wow!" This was the most common reaction to my work over the many years we were doing the art show circuit and it was - and still is very gratifying to have my work elicit this response.

Music Lessons 098, 2012. Photography, 35 x 23 inches

Music Lessons 098, 2012. Photography, 35 x 23 inches

About the artist:

Warren Paul Harris (b. 1950, US)
warren@warrenharris.net warrenpaulharris.com    

Correspondence Course Photography in 1970
College of Marin, Art Course(s) 1992

He bought his first 35mm SLR camera, a Praktica IV-F, in 1970. After the 1971 earthquake, the widespread loss of power (and insomnia), encouraged Mr. Harris to explore time-exposure photography.

Working for Motown Records opened the doors to live performance photography, which proved to be a natural fit along with his background as a guitarist since the age of 14 – and a Grateful Dead roadie in 1968  He has photographed numerous artists. Moving his family back to Marin County in 1975, Mr. Harris began his career as a Recording Engineer, working with numerous artists, photographing their performances and promo materials, and honing his skills. In 1981, with increased fiscal responsibilities, Mr. Harris, as he puts it “hung up his cameras” to pursue a more lucrative career in the technical field. Mr. Harris credits an art class taken in 1992, with improving his appreciation of art and his com-positional skills, while confirming his belief in an inability to draw anything recognizable. He has freelanced for local newspapers, magazines and international publications. Warren  shoots for local businesses and government and participates in art shows. His work is on permanent display in City buildings, Frisco Square, Ebby Halliday offices and homes of collectors across the Metroplex.
Often referred to as a “Renaissance Man”, Mr. Harris loves cabinet making, welding, playing guitar, creating projects and is as comfortable with electricity and electronics as with woodworking and plastic fabrication. He is an Amateur Radio operator and is active in the  storm spotter network. Warren was an accomplished calligrapher, a skill taught to him by a  friend in 1969. Warren sleeps less than 5 hours a night, proclaiming “There's plenty of time to sleep when you're dead.” He loves to prowl the Dallas / Fort Worth Metroplex in the wee hours past midnight in pursuit of dramatic nocturnal city-scapes.

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

You may also learn more about the artist and his work at warrenharris.net/blog2.


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

Visualized Moods

“[My paintings]…can be described as visualized moods, with the colors exemplifying the emotions felt during its conception and among its completion.” - from the artist

Blue Scar, 2018, Acrylic, 36 x 48 x 1.5

Blue Scar, 2018, Acrylic, 36 x 48 x 1.5

Andreanna Taylor was born in Kansas City, Missouri.  She is a self-taught abstract artist living in Dallas, Texas. 

Foiros, 2015, Acrylic, 48 x 60 x 1.5

Foiros, 2015, Acrylic, 48 x 60 x 1.5

Creating a painting is an all-encompassing experience regarding the utilization of color and texture on canvas.  As an artist, [her] goal is to have the image and its presence stay with the viewer long after it’s been seen. 

Enrichment, 2017, Acrylic, 48 x 60 x 1.5

Enrichment, 2017, Acrylic, 48 x 60 x 1.5

The paintings [she] creates can be described as visualized moods, with the colors exemplifying the emotions felt during its conception and among its completion. The colors and shapes are not only pleasing to the eye, but to the touch as well.

Synapse, 2015, Acrylic, 48 x 60 x 1.5

Synapse, 2015, Acrylic, 48 x 60 x 1.5

“Creating a painting is more than color on canvas. It is my desire to give you the ability to close your eyes and feel the paintings presence long after it has left your sight. My work is as different as the moods and emotions we share.” - the artist

PURITY - Andreanna Taylor.jpg

“Feelings expressed on canvas are the most beautiful visions in the world. My painting are visualized moods. When I am painting, the colors, shapes and patterns are driven by emotions.” - the artist

To view more work by the artist, please visit artbyandreanna.com. You may also follow the artist on Facebook as well as Instagram @andreanna65.


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Explore The Coordinates

“This collection hopes to invite readers to explore the coordinates that accompany every photograph, and how those structures we encounter interact with their surroundings, giving us the ability to, in essence, paint with architecture.” - the artist

Bird Mirror, 2017. Color Photograph, 20 x 24 inches. Dallas, Texas. Camera Coordinates: 32.789305, -96.801574

Bird Mirror, 2017. Color Photograph, 20 x 24 inches. Dallas, Texas. Camera Coordinates: 32.789305, -96.801574

Nikola Olic is a Serbian photographer living and working in Dallas, Texas, focusing on architectural photography and abstract structural quotes that re-imagine their subjects in playful, dimensionless and disorienting ways.

Blue Rectangle, 2017. Color Photograph, 20 x 24 inches. New York, New York. Camera Coordinates: 40.741477, -73.960636 

Blue Rectangle, 2017. Color Photograph, 20 x 24 inches. New York, New York. Camera Coordinates: 40.741477, -73.960636 

Each o the artists’ works is accompanied with the exact coordinates and a short description where it was taken, offering a direct connection between the unexpected visual space of the photograph, and the real world of cars, buildings, people and noise in which it exists.

Square Pegs, 2017. Color Photograph, 20 x 24 inches. New York, New York. Camera Coordinates: 40.745522, -73.946869.

Square Pegs, 2017. Color Photograph, 20 x 24 inches. New York, New York. Camera Coordinates: 40.745522, -73.946869.

This is intended as a demystifying tool essential to abstract photography, reminding that these subjects -- beautiful or otherwise -- are on every corner, in places we visit and places we live in.

United Chrysler Nations, 2017. Color Photograph, 20 x 24 inches. New York, New York. Camera Coordinates: 40.746435, -73.958250

United Chrysler Nations, 2017. Color Photograph, 20 x 24 inches. New York, New York. Camera Coordinates: 40.746435, -73.958250

This collection hopes to invite readers to explore the coordinates that accompany every photograph, and how those structures we encounter interact with their surroundings, giving us the ability to, in essence, paint with architecture.

Building With Steps, 2016. Color Photograph, 20 x 24 inches. Fort Worth, Texas. Camera Coordinates: 32.750250, -97.340030

Building With Steps, 2016. Color Photograph, 20 x 24 inches. Fort Worth, Texas. Camera Coordinates: 32.750250, -97.340030

By re-appropriating urban entities we come across as our colors and brushes, these guerrilla photography exercises can help create new intellectual and philosophical visual spaces worth formalizing and exploring.

Vortex, 2018. Color Photograph, 20 x 24 inches. Las Vegas,Nevada. Camera Coordinates: 36.108235, -115.172827 

Vortex, 2018. Color Photograph, 20 x 24 inches. Las Vegas,Nevada. Camera Coordinates: 36.108235, -115.172827 

Abstract structural photography offers playful re-imagination of what urban structures might represent, both in a real physical sense and a personal experimental one, drawing us closer to the cities we explore by assigning these structures a purpose and meaning that reflects us, our stories, and our histories. 

To view more work by the artist, please visit www.structurephotography.org. You may also follow the artist on Instagram @NikolaOlic.


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