2016 Q 1st Prize Florida Museum Photographic Arts, category Science, Nature, Animals 2015
Q Remarkable Award Siena Photography Awards/Storyboard. Q Honorable Mention Fine Art Photography Awards/ travel. Q Gold Medal PX3 Paris. Press/Feature Story. Q Silver Medal PX3 Paris. Portraiture.
Q Bronze Medal PX3 Paris. Nature. Q Finalist 7th Julia Margaret Cameron Award QLandscapes and Seascapes Category. Q Finalist 7th Julia Margaret Cameron Award Q Documentary and Editorial Category. Q Finalist 7th Julia Margaret Cameron Award Q People, Culture and Daily Life Category.
Q Honorable Mention IPA. Category HomeQone Place. Q Selected APAQOff The ClockQLA travelling...
The subjects of her work are extensive in scope, ranging from thematic representations, still lifes and landscapes to church interiors and commissioned portraits.
An abstract application of materials in combination with a realistic approach result in a subtle liveliness. This combination of differing styles enhances both viewing pleasure and painting delight.
A freer touch has shown itself more and more frequently of late, lending itself excellently for her most recent subject, that of 'water'.
Jacqueline Kasemier's work has been exhibited at well-established Dutch galleries. She showed her work in England and Italy too.
The frequency of exhibition is 4 or 5 times a year.
Most of her paintings are part of private collections in W estern Europe and the U.S.A.
A book has been published in 2011, containing a review of her work during 40 years of art. W ellknown artists and publishers have contributed in this book with their views on her work.
Most of my paintings are of women. I wanted to create a collection of international women that inspired me. No fairy tail princesses, but strong independent women. Still, I wanted to express their pure feminine beauty without losing their strength. Sometimes we find beauty in faces due to events that happend to us and not because we’re born in that way. Looking to those female faces makes you think about their life-time events and how they survived it.
One day I hope I can be as strong as the women of my paintings.
EDUCATION AND PROFESSIONAL EXPERIENCE
1983 graduated Vilnius Art Academy, interior architect speciality.
1983-1996 worked as Art Director at “Sviesa” publishing house.
From 1997 assist. of prof. at Vilnius Art Academy. Read lectures on computer graphics, visual arts and contexts.
2000-2003 worked as an Art Director at JSC “Midas Baltics”, that was creating computer games.
From 2008 head of trans-discipline Arts studies at Vilnius Art Academy, Kaunas Faculty.
From 2013 proffesor Vilnius Art academy, Kaunas Art Faculty.
It works in the field of digital graphics.
Prof. at Vilnius Art Academy.
1987 Diploma, triennial of Posters of Baltic States, Riga.
1990 Diploma, Triennial of Posters of Baltic States, Vilnius.
2007 Diploma, Kaunas Art Biennial 07, Kaunas.
2008 I prize for money project of Lithuanian Bank.
2009 II prize for money project of Lithuanian Bank.
2010 III prize for money project of Lithuanian Bank.
2012 II prize for money project of Lithuanian Bank
2016 I prize for money project of Lithuanian Bank.
1994 Art gallery “Vartai”, Vilnius.
1999 Art gallery “Vartai”, Vilnius.
2005 Gallery of Vilnius Art Academy, Vilnius.
2006 Gallery of Architecture House, Kaunas.
2006 Gallery “Sofa” Druskininkai, Lithuania.
2006 Gallery of Ukmerges Culture Centre, Lithuania.
2006 Gallery of National Theatre, Vilnius.
2010 Gallery “Balta” Kaunas, Lithuania.
2010 Gallery “Sofa” Druakininkai, Lithuania.
For me it´s a longing to create beautiful things in the form of paintings, sculpture, gardens et.c. that make me and other people react, feel something deeper. In some way i could say it´s an extension of my mind and personality, bringing my inside to the outside.
On certain occasions i like my art to be provocative, carrying a message. The world is a source full of madness that can be critically expressed in my art over and over again.
How do i work?
Mostly i work spontanousely, letting my work begin with a faint idea evolving to a readymade object. Well, adding a longterm perspective one could say that i´m also in love with the process. I always walk around with a sketchbook, not so much for the sketching, it´s more a matter of writing down ideas. After having an idea, i love sitting thinking of it over and over again during months and years. Finally it's some kind of ready, so it can be produced.
Can you say that i paint in a particular way?
I am changing between four tracks and the first is collage with photocopies, the second one is carton with plexiglas, the third one is spray with varnish and the fourth one is carving on carton. Beside of that i have small ongoing projects, because i love experimenting with new type of expressions. I like nonfigurative and abstract figurative painting often with strong colours.
When did i start painting?
As a young boy of 13 i started with photo and making of jewellery. Since then i have had different periods with painting and photo until 2008 when i decided to be a...
The artwork of Alberto Saint-supery can not be classified. Nobody intends to label some creations that combine the classic concepts with modern and universal language, full of nuances, rich and moving. Obvious that the human figures are the best of its landscapes. There are plenty of expressive, tense, vindictive and full of hard bodies. His allegories and symbolisms have life. It seems as if the creator of the inert passivity challenged volume to provide figures of dynamism, drama, passion and even irony. His expressive rebellion remains outside fashions and conventions. The artistic language of Saint-supery is simple and imperfect, but it represents a manifestation of open and spontaneous obvious sensitivity about that irrelevant details. He has dedicated his professional life to make a statement.
The action-art of Ricardo Laires goes along with Paul Valery’s ditto. The “drip” paintings call for an expressive abstractionism, directing viewer’s attention to the emotional, to what evokes, rather than to what reveals, in a clear way or through explicit analogy.
Impulse, physicality and intuition go against the form. What really matters is expressiveness, texture and visual effects, not riddles or in-jokes to decipher.
With no recognizable image or conventional composition, Laires abstractions appear to fuse how and why, means and ends, instrumental method and expressive message, to match with reality.
His painting is inhabited by opposites: lyrical and violent, anguished and ecstatic, cathartic and obsessive, tormented and liberating. Which combination of terms is “correct” or definitive, when absent titles hampers the reconstruction?
Polissensorial, the hand-off way Laires deploys his medium embodies an idea with universal meaning, far beyond the mysterious surface.
The challenge that Whelan's art constitutes his motivation - that is to create resonances between or among the senses by exploiting the ever-changing detail of light and texture. His abstracts are worlds eliciting a multitude of emotional and intellectual responses that we, as viewers, must resolve.
Fintan Whelan was born in Dublin and has spent his adult life in Ireland, Spain and Germany (his current home). His work has been exhibited and acquired by numerous collectors across North America, Europe and Australia, and featured in prominent residential projects in UK and USA.
Hartmann´s pieces are shown on national and international fairs like the Affordable Art Fair and in a couple of european galleries.
Tobias Hartmann lives in Hamburg and on on the island Amrum, where he operates in his own studios. He is also a freelance creative director and creative consultant working for advertising agencies and companies.
In 2010 she purchased her first camera and from that moment she became obsessed with photography, the means to express herself. Starting from youth interesting in paintings from the Golden age in The Netherlands with painters as Rembrandt, Vermeer and Rubens. She spent a lot of time in museums all over the world and in the home library filled with books about history and art. Interesting in photography and to learn technical aspects she followed one and half yearlong professional training in Breda in The Netherlands.
The combination of photography and her education and fascination with the human psyche gives her potos a tension that leaves no one untouched. On this subject, Julija says: ´I´m inspired by the big themes in life, loneliness, vulnerability, the raw pure emotions in daily life. I want to capture this in the image, something that is almost invisible but always present.´ There are also a couple of images where religion come to the surface. It brings us to her background of restoring historical atmosphere. In her images this becomes visible through the sophisticated touch and finesse of her work and the attention to detail and proportions.
Characteristic for Julija´s work is the frequent use of Claire-obscure. This technique was popular among the painters in the Renaissance. ´When I´m working in my studio I always become fascinated by the light, which makes the models transcend above themselves and head to...
Their range reflects the natural colors: Earthy tones are in the interplay to ice-blue glaciers impressions, black night contrasts with the green juice springlike structure.
She started to study the Law Degree in her hometown but a year after she decided to leave it in order to start studying Interior Design in the E.T.S.A. school of Madrid. She is now still living in the capital and combining her work and her passion for painting.
Her sculptural messengers conveying the message that we are nature and that we are connected to something deeper and greater than technology and culture, an existential belonging.
Ane Sommerstad graduated with an BA Honors in ceramics from Cardiff, Wales, UK in 1998.
She has worked and studied in many cultures e.g. India, Canada, Guatemala and China.
She has been active as an artist since graduation, doing exhibitions and ornamentations for businesses, and especially the last five years has her art career escalated. By getting closer and closer to her deep felt message, and by finding her bold and authentic way of communicating it, she has now reached a large audience.
Artist statement: As an artist, it is essential for me to relate to our current situation as humans on the earth. We have the capacity to destroy our habitat, and that of other species. I strive to connect with people’s inner life by creating sculptures and pictures of human-like messengers that can act as bridges to the soul and deeper primal feelings. I want them to help transform fear and our need to control into trust, humility and a sense of belonging. Through the process of creating and living my artistic vision I encounter the power of the fire in my own heart, throwing...