IN TOTO Virtual's second group exhibition, "PUSH/PULL - Attraction, Repulstion, and the In-between" features 48 works by 29 artists across six continents.
Bio My name is Ioli Madness (ID name: Kontogianni Maria- Ioli) but I'm using 13Madness for my artwork and I’m 26 years old. I'm an artist/illustrator from Greece. I'm working on a completely D.I.Y mode on mostly black and white illustrations on paper using pens without presketching .I like to draw on textile or other materials, too and I am constantly experimenting on new stuff. There are also some colored and some digital edited pieces of my artwork. I’ve been working on my “strangehumans” project since 2015. EXHIBITION HISTORY Blank Space's EROTICA: The art of love, nature, and dick drawings | August 06 ,2019 – August 25, 2019 Oslo, Norway CONTEMPORARY VENICE 2019 ITSLIQUID International Art Show THE ROOM Contemporary Art Space | December 05, 2019 – January 10, 2020 Venice, Italy ⚬Dot⚬Dot-Dash SURFACE GALLERY, 16 SOUTHWELL ROAD, NOTTINGHAM Rolling online exhibition | April – June 2020 https://www.surfacegallery.org/dotdot-dash-gallery Online participation under the theme of “Homelessness Identity” (highlighting the lives of those most impacted by COVID-19 dedicated to raising awareness on homelessness) Through Arts We Rise West Hampstead London | 13th May 2020 https://www.facebook.com/JusticeThroughArts1/?ref=page_internal Interview • Interview: Ioli Madness Luca Curci talks with Ioli Madness during CONTEMPORARY VENICE 2019 at THE ROOM Contemporary Art Space. | February 04, 2020 Available online at https://www.itsliquid.com/interview-iolimadness.html Previous activity Scene designer for a Τheatrical team | September 2015 – June 2019
Main artistic idea The confused way we have begun to live cause of the complexity of the everyday life makes us crazy! So through my artwork I try to make everything at least easier on the eye. It is my try to depict different faces and feelings or even whole ideas through simple line illustrations, mostly black and white illustrations on paper using pens without presketching (there are also colored pieces). Through this I want to enter the eyes to a more relaxing state than to bombard them with the fully complexity of colour. It is my experiment on how the "monochrome" affects our feelings through vision. It's all about the beauty of simplicity.
She was born on December 16th, 1991 in Vinnytsia, Ukraine. Got a diploma with award on piano and music composing (Vinnytsia, Ukraine). Studied landscape architecture in Saint-Petersburg Forest Academy, graduated with award in 2013 (Saint-Petersburg, Russia). Since 2017 studies interior architecture and design in the University of West Attica (Athens, Greece). Constantly takes part in the exhibitions and art events in Greece and abroad showing interest for visual arts (installations, photography, performance, digital and video art) and sound design (sound & music composing and performing). Exhibitions and Awards: 2020 • Participation in the international art exhibition “The View From Here”, Elisabeth Jones Art Gallery, Portland, USA • Participation in the international group art exhibition "ONAR - Dreams", Marble Art Centre, Athens, Greece • Selected artist at First-Time Filmmaker Sessions, Pinewood Studios, London, Great Britain • Selected artist at Black+White III International Exhibition, Envision Arts Online Gallery • Selected artist at International Photo and Digital Visual Group Exhibition, LoosenArt Gallery, Rome, Italy 2019 • Honorable Mention by the Jury at LICC London International Creative Competition, London, Great Britain • Selected artist at Venice Biennale/Anima Mundi International Art Festival 2019-VISIONS, Venice, Italy 2013-2018 • Participation in the group exhibition of Ukrainian artists in Greece in the Ukrainian Embassy, Athens, Greece • Participation in the annual art festival “VinArtFest”, Vinnytsia, Ukraine • Laureate of Landscape Architecture Biennale, Saint-Petersburg, Russia
My passion is art in its different hypostases: visual arts, media arts, installations, performances, architecture and design. Actually, whatever is involving the process of creating, with an accent on the process rather than on the result - is art that I confess. I couldn't escape becoming an artist. Grown up in the artistic surrounding I learned to sense the art with all my being. Classical music and choreography predefined my way in performance art; studying architecture taught me to feel the space; design studies and travelling made me understand a very important thing: being an artist means waking up one person and going to sleep a different one. I believe in senses. I believe that the best art is born when the artist dives into the senses, feelings and emotions. Only the art that moves the artist himself can move the audience. My art style is changing all the time. Being a student makes me discover so many things every day that I can’t but try them! Visual arts, sound and video design, stage design, performing arts – these are the directions of my interest, and the most interesting projects are born on the crossroads of these directions. By means of art I prefer to talk about the subjects that I feel and experience as a human and as a woman. The deeper I feel something the better I can express it as an artist. As a matter of fact I often chose the topics of female psychology for my projects.
1958 - Born in Klaten, Java, Indonesia
1977 - First study under the guidance of artist Barli, Bandung, Indonesia
1981 / 1982 - Academy of Fine Art, Bandung, Indonesia
1985 / 1991- Academy of Fine Art – FH Cologne, Cologne, Germany, Master school of art by Prof. Schaffmeister & M. Brinkhaus.
Autumn Brown is a habitual maker, skill collector and interdisciplinary artist/designer. Her work explores the intersections of fantasy, horror, agency and liminality through illustration, interactive art and immersive installation. She recently graduated with a Master of Fine Arts from the University of Wisconsin-Madison, where she received a prestigious UWIDE Fellowship. She has exhibited both regionally and nationally, and her work has been recognized by the Society of Illustrators. She’s received numerous grants and awards, most recently from the Global Education Initiative. Over the summer of 2018, she partnered with the 4W Initiative and the University of Wisconsin-Madison Department of Design Studies to conduct design research and provide support to women-owned fair trade businesses in Kathmandu, Nepal. In Fall of 2020, she will begin a position as Assistant Professor in Foundations and Illustration at the The College at Brockport, State University of New York.
My work is a series of self portraits that don’t usually look like me, which doesn’t matter, because these women all are me. I strive to make visual the unseen traumas I carry due to my existence in the shape of a woman. These traumas manifest through surreal and even monstrous transformations—indelible manifestations that irrevocably alter the landscape of the body. Through these transformations, I explore a facet of the construction of the embodied feminine identity—the irrevocable change that trauma bears upon the body, the aftermath of countless aggressions that may have been only a moment to the aggressor, but which I carry forever, even though I do not want them. The images may appear beautiful depictions of women, but this does not mask the uncanny transformation contained therein, marrying two states of otherhood: the female, and the monster. This combination of disparate and contradictory states—death and eroticism, attraction and repulsion, tenderness and violence,—is the purest understanding I have in existing in a feminine form. To be desired, but also hated; to be admired, and pitied and feared all at once. That is what I know.
Brenna Tomas is a transdisciplinary artist, writer, mother and recreation therapist. She obtained her diploma in Recreation Therapy from Canadore College and her BFA in Art History and Studio Arts from Concordia University.
Although space is often attached to time, my association of time is affixed to memory. Space is believed to be depicted using reliable mathematics and time and memory are considered linear. However, the linear systems used to measure experiences of time and memory have been improperly imposed on our ideals, constantly marking our memories with beginnings and endings rather than depths and weights. The excessive documentation of my work is a performative practice which distinguishes time spent through marks made rather than seconds lost. When I work in collaboration, I make an effort to highlight the natural artistic skill that exists innately in all individuals while placing focus on the time based experience by applying adaptable and accessible art interventions.
Catalina Aranguren was born in Bogotá, Colombia. At the age of 5 her parents moved and she was raised in Caracas, Venezuela. She studied K - 12th at the International School there. Growing up, her friends were from everywhere in the world; religion, race, culture and language were not things she was aware of as differences … for her, these things did not define people, it was merely a part of where they came from. Catalina’s childhood was a constant wavering between languages, cultures, and third and first worlds, on a daily basis. At home, she would sit around the dining table and speak Spanish with her parents, turn, and speak in English to her sister. Catalina moved to Chicago to study photography and design at the School of the Art Institute of Chicago and received her BFA. Before she graduated, she did a semester in Europe at the Spéos Photographic Institute in Paris, France. Catalina is an artist and community organizer actively involved in enhancing and promoting Jersey City’s vibrant arts culture. An immigrant herself, Catalina is passionate about social equity and about giving everyone a voice, incorporating her passion for visual arts in grassroots creative placemaking efforts. She is currently raising three bilingual, bicultural, biracial and bustling boys in New Jersey with her husband and their giant dog.
Catalina Aranguren’s work is a dialogue about the modern world and our place in it. Light is the foundation and sets the tone of the conversation. Her work explores relationships between the learned and the subconscious. Because of the diversity of cultures in which she grew up, and perhaps in spite of them, her work explores the relationship between perception and cognition. Oftentimes in her work she captures an instant, which forces the viewer to come closer to explore for more detail, or to take a step back to understand the full picture. The idea of the “perceived” and the “actual” are rapidly shifting cultural concepts, though their ability to elicit reactions of fondness and fear remains a constant. As an artist she has the unique opportunity to exemplify, subvert, and redefine these concepts, adding her voice to a dialogue between the viewer and his history.
Chahat Soneja, a bachelor of Visual Arts has worked across both dry and wet mediums and is interested in the varieties and possibilities of other kinds of materials and mediums. She comes to you with a long list of original ideas, theories coming from her daily life and fascinating abstract portraits and ability to use mediums like charcoal, graphite, and acrylic and produce various mix media works.
I have worked across quite a few mediums and materials, drawings and paintings of women and other daily life experiences. I came across the beauty of portraying my own hands and what is ignored around or not considered beautiful or paid less attention towards. I found my hands also within the margin of beautiful which are often ignored and portrayed them outside of their general usage. Finding the aesthetics and the “not normal” in the mundane. I am realising my potential to see and portray human body differently and away from its general parameter defying the “standards of beauty”. There is so much more beautiful outside the things called beautiful. I have been looking for the outside. I can find so much within me, rather than looking outside.
Born in 1989, Turkey. Live in Antwerp. Interested in; architecture, queer-art, maximalism, eclecticism, photographic image, architectural and artistic research methods, moving image, graphic design, editorial design, video-art, cinematic intersections about design disciplines, arts & culture festivals and exhibitions, cooking, parties, chocolate...
University of CR Free courses in Chicago art institute Aesthethic courses ( 1 year ) Art philosophy (Roberto Villalobos UCR Diferents art covers for poetry books ( 6 authors)CR and Spain Many paint exhibitions ( Cultural center of Mexico CR Work with gallery’s in Washington USA Chevy chase galery Evian France O art d ‘Adjourhui Working rigth now in a exhibition in Paris with the Embassy of CR I believe that speeches are more for literature.Visual art has its own language with lines, colors, volumes and values. I like to get inside of the psychology of the characters and believe that them are not any copy of the reality, They are pure fiction creations.The interesting in art is not copy a pseudo reality made it for an optical illusion . The interest is to play with that illusion in combination with our creative independent and imaginative mind. Darija Stipanic
Maiden name Brajan, born 1973. in Rijeka, Croatia. Graduated at interdiscilplinary study of Fine Art and Art History of the Philosophical Faculty at the University of Rijeka, Croatia in 1997. Active in sculpture, painting and print. Had several sole exhibitons and participated art exhibitions in Croatia and foreign countries (South Africa, Srbia, Slovenia, Italy, Slovakia, Mexico, China, Canada,Lithuania, Macedonia, Japan, Bulgaria). Member of Croatian visual art society in Rijeka.
Creating or art is my life. This is the inner need that drives me. That is the need for the imposition of emotions and experiences It is research, it is a game, it is challenge and need for a frequent change. Sometime my motivation is nature that I see, or in other case just my internal life.
Coffee was forbidden for kids in my house while i was growing up. i was a highly energetic child and the last thing i needed was more stimulants. but my mother would reward good behavior by tipping a sip of her coffee into my mug of milk once in a while. i loved the taste and naturally i craved more of the forbidden elixir. I can't recall when i first touched a paint brush but the walls of my childhood home tell a compelling story from the marks i made on them. i picked up the brush again after a hiatus of 20 years. back home after riding and backpacking my way around the length and breadth of India, i was cleaning my closet and found the brush i pestered my dad to buy as a child – a camlin flat 4 that probably cost less than Rs.20. A good friend of mine is a coffee enthusiast and i thought it would be fun to paint her likeness in coffee. in the end she didn’t think the portrait resembled her, but the attempt rekindled my interest in painting and fueled my love affair with coffee. i’ve been using this surprisingly versatile medium for a few years now, and it’s variety of tones and depth of color never cease to fascinate me. My love for travel gives me endless inspiration and i’m fortunate that my coffee paintings have provided me the means. i have a dream to travel the world on a motorcycle and if my paintings can aid me in this endeavor, my creative circle will be complete.
There's nothing that excites me than coffee being brewed. I do my work to fuel travel and travelling has in turn rewarded me with more inspiration to work with Coffee. This all began when I painted a friend’s likeness using coffee as the medium. I realized that this beverage that I consume with so much gusto is a very malleable medium for making art. Earth tones are often associated with vegetable dyes and other mineral extracts. The earthiness that coffee brings to paintings has been a revelation; There is a richness in tone and depth of color that I find eternally fascinating. The manufacture of coffee has a long history and I have been invested in that story as well. From brewing in different ways to experiment with colors in coffee to seeing what exposure to the elements could bring to the material, my work aims at channeling the inner child who was fascinated by this beverage.
Eluned Zoe Aiano, Petra Belc, Gwen Descamps
Beautiful and Strange and New short visual meditation on the city of Bucharest, tradition as a descent into monstrousness and beauty and its history as inscribed in the city's architecture and embodied through its traditions. The (contemporary) exterior and interior walls of Bucharest's houses and buildings are treated like skin — the city's tissue that remembers and separates its inhabitants from the outer world. The burden of the past is depicted through a process of monstrous transformation. The film was inspired by the folk tale "Youth without Age and Life without Death" and made collaboratively in a stream of consciousness fashion, incorporating found footage, locations and props.
Repulsion and attraction fluctuate as well as all existence. Beauty and repulsion can be created in observance of all fluctuation.
I am a 2020 graduate that has just completed a degree in Fine Art at Loughborough University. Given the current circumstances I was unable to partake in a degree show, so to make up for this unfortunate missed opportunity, I am looking to gain as much exposure as possible as I begin my career as a young Artist. Outside of my degree at Loughborough, I have also received a diploma in international studies at the Universidad de Zaragoza (Spain). This entailed full time studies of Bellas Artes (Fine Art) for one year, paired with lessons in the Spanish language – an experience which has broadened my understanding and cultural perspective of the Arts – especially in regards to painting, which directly materialized within my painting practice. I am also a current volunteer within Surface Gallery (Nottingham), where I assist in the curation and promotion of exhibitions - including co-coordinating the exhibition ‘Surface Spotlight’ 2019. To conclude, these are some recent exhibitions my work has been displayed in: 'Visual impact' MTC, Coventry (2020). 'Line, you've crossed it' the Welcome Mat, Loughborough University (2020). 'Coordenadas' Universidad de Zaragoza (2019). 'Surface Spotlight' Surface gallery, Nottingham (2019). Selected for 'Open - 30' New Walk Museum and Art Gallery, Leicester, (2019).
Notions of liminal space underpin my practice, which is derived from the Latin word ‘threshold’. It signifies the boundary between one point and another. Through the transcendent act of painting I aim to cross this boundary in order to create a new space, one that does not conform to classificatory boundaries, it lies on the edge – amidst the limen. In this series, I utilize the bathroom as a physical space – chosen as a foundation because of its symbolic association to cleansing. This symbolism is comparable to liminal concepts, which fundamentally parallels a liminal zone to a space of transition, alluding a sense of purification. I am interested in overlaying this geometric space with a space that references dream – creating a confluence. As these two spaces merge a third is created, a liminal space. I am interested in working between the dualities suggested by the limen, harmonizing dream and reality, inside and outside, public and private – exploring the threshold that lies between realities. As a primary conceptual framework, I explore this two-tier terminology in relation to Gaston Bachelard’s transcendental philosophy of the home. Surpassing the limits imposed by the ceiling, or confines of the walls. My conceptual practice is amplified through process. During the creation of this body of work I immersed myself within the bathroom space by day, and by night I placed my canvases in a different room - painting from imagination. Distancing from the physical environment during the night allowed for a deeper connection to a dream – state in its temporality.
American visual artist Izosceles produces vibrant, fun pop-ish visual compositions that are irresistible and attention-grabbing. The artist had been drawing since a young child, heavily influenced by pop cartoons that they have carried with them into adulthood. The artist hopes to make cartoons and fun visuals a serious contender in the art world that are just as worthy of admiration and attention as fine art paintings.
Izosceles is an emerging American visual artist. With an immensely deep love for cartoons, vivid colors and fun imagery, the genesis of what the artist produces today started at a young age. Their drawings would often mimic the characters on TV, all the way down to the line structure and colors used.
Today, their works still remain colorful and whimsical in nature, however some display deeper tones and situations underneath the playful, digestible surface.
Growing up influenced by cartoons as a young child is what inspires their bold lines and imaginative colors that pull you in, and the visual composition and subject matter are what make you stay.
Kamil Macejko. Illustrator, muralist.
Keith D Buswell
Keith Buswell graduated with a BFA in art University of Nebraska--Lincoln. He works with various printmaking processes such as screen-printing, intaglio and mono printing and dabbles in drawing and multimedia. He currently is a member of Karen Kunc’s Constellation Studios where he creates his prints. His work has been shown in the United States, Egypt, Dubai, France and Italy. Notably, Keith received the Perry Family Award in 2018 and second place in the 40 Under 40 Showcase in Annapolis, MD. He is a contributing artist to issue #23 of The Hand Magazine. He recently finished a residency at the Kimmel Harding Nelson Center in Nebraska City, Nebraska and at Pyramid Atlantic Art Center in Hyattsville, Maryland. Originally from Council Bluffs, Iowa, he currently lives in Lincoln with his husband Brad and his dog Max.
I am constantly amazed at the labels I ascribe to. Culture establishes them to categorize each another into stringent definitions that simultaneously ease and stoke our fear of the other. I have learned that these stereotypes are nothing more than vases constraining the actual life that exists in all of us. At times they are used to define us to others. At times they are used against us through hate and fear. Understanding, discerning, and dissecting them allows us to combat their clinical dichotomy over our lives, while expanding our tolerance for new ideas.
Lily Zoumpouli was born in Thessaloniki, Greece on 1994. When she was 15 years old she attended a photography course including seminars & workshops (2010 - 2012) in Stereosis School Of Photography Thessaloniki, Greece. She got her BA (Hons) in Fine Art: Print & Time-Based Media Wimbledon College of Art, London UK(2014 – 2017). In 2013 she took part in a 5 day workshop (2013) masterclass directed by Magnum photographer Jacob Aue Sobol and a year after 5 day workshop directed by photographer Andres Petersen. Today she lives in Greece but keeps on traveling to photograph. Honours Runner Up For Fujifilm/Young Talent Award 2017
Photography series entitled ”Selinophilia” was a runner-up for the Fujifilm/Young Talent Award as part of the 2017 Emerging Photographer Fund. Shortlisted For Gomma Gran 2016 Photography series entitled ”Selinophilia” was shortlisted for the Gomma Grant 2016 Selected By LensCulture Editors As One Of The Favourite Conceptual And Fine Art Photo Series for 2015 Selected Exhibitions 2019 Young Greek Photographers, Thessaloniki Photography Museum 2019 La Nuu Photography Festival Rubi, Spain 2019 Fototeca Siracusana Festival , Syracuse , Italy 2017 Lily Zoumpouli: Anthropology, Hillsboro Fine Art, Dublin, Ireland 2017 Photo Boite: 30 Under 30, Women Photographers of 2017
2016 Environmental Fertile, Balkan Photography Fest, Turkey, Greece 2016 Atonal Collective, Interzone Gallery, Rome, Italy 2015 Young Greek Photographers, Athens Photo Festival, Greece 2015 Home, The Delmar Gallery, Ashfield, NSW, Australia 2014 Personal Mythologies, Cork Fest, Ireland 2013 Discolouration MIET Cultural Foundation, Thessaloniki, Greece
Capturing glances of the moments that passed us by, in times when we were maybe too young to realise that they weren’t there to stay until eternity would have torn us apart.But still old enough to know they were worth noticing. The need for a way of connecting through a medium with my own feelings and surroundings became the catalyst of this works existence. Each photograph has a background story that carries on its shoulders the reason for its own memory. The distance that separates us from our subject is the one that needs to be walked, in order to find the reflection of our inner selves and others combined into one image, forming a mixture of selves. A connection being conceived within a captivating atmosphere that was inspired by the desire of transferring into another reality, forming a duality through the final outcome of the photograph.The intense element of nude is depicting the return to an innocent comfort of being bare naked, but mostly of being pure towards yourself and towards the observer- displaying a self and its shadows. Every so often there are staged moments representing a personal dive within every part that belongs to a past or a present, trying to be revealed through a newborn subject so to keep on recreating itself. An autobiographical documentary combined with allegorical aspects give a sense of spontaneity along with the subconscious, and slowly take over during the process of discovering a world out and within our own individuality. Through this body of work I aim to capture moments of self -exploration. Anthropology, psychology, poetry, symbolism, intimacy and memories, all these are subjects that this project examines. As well as , people’ s relations with themselves, with others, with the environments surrounding them and with notions such as time ,change, death and life.
I am essentially self-taught. I was born in Trieste (Italy) on Aug. 24th, 1951, during the times when Italy was under the Allied Liberation Government. It was a free town, like the spirit of the artist, whose imagination and especially dreams never did leave him. However, Venice is definitely my fatherland, where I lives and works now. I was a business man obliged to leave my passion as an hobby. My studies are Economic & Management with degree at the Venice University. I attended with tenacity courses of painting and design, criticism and pictorial composition, of female nude taken by famous academicians of Art in the Venice’s area.
It can be said I paint for a long time. I faced, for time lack, my artistic preparation full time only after the 2005. I followed with tenacity courses of painting and design, criticism and pictorial composition, of female nude taken by famous academicians of Art in the Venice’s area. My personal pictorial search, after figurative approach and informal painting is landing toward the abstract impressionism. I experimented various materials and pictorial techniques. When I start to paint, I don’t know where I will go exactly, I have just a main topic. My feelings became more and more strong completing my work. Painting makes me feel so happy and at the end I am fully satisfied. My thought goes directly and fluently to the canvas with an action painting. I am an Informal artist or Abstract Impressionist.
My work has an expressionist-symbolist style and I use mythologies from eastern and western civilizations. Syncretism is the combination or fusion of different beliefs, philosophies, mythologies or religions, emphasizing an underlying unity that allows an inclusive approach to other faiths. Syncretism commonly has expressions in art and culture that can join together. I use Syncretism to develop patterns that reveal how our current culture opens itself into its different art’s functions to reflect our way of living, hopes and mistakes. The purpose with my work is to find a way to communicate our history and where we are now so that people can understand that we have choices as to our present and future. I will continue to work on my presentation to create broader understanding to create a better future. The prophecies that are in every mythology, philosophy, or religion will be the same today as they were in ancient times. They become alive when the patterns that created that prophecy are repeated in history. They are a warning, that history will be repeated if the patterns are not acknowledged and behaviors changed. Many of the civilizations that we don’t know anything about today is because they were subjected to a decline that crystallizes in fear and anguish and a profound failure to return to the positive spirit that was in its roots. My focus is on these patterns.
Maria Regina Ruiz
I was born in Lima, Peru. I grew up in several different countries in Latin America. I came to the United States when I was fifteen years old. I became a teacher and earned my Ph.D from the University of Texas at Austin. I have taught languages, literature and history for 26 years. Art was always my sane and safe place. I have always been fascinated by colors and textures. I have participated in several art competitions and my pieces have been featured in art shows in Dallas and Fort Worth, Texas. I currently live in Houston after spending three years teaching in Florida.
Michael Frechette’s work explores the landscape of the natural and fabricated outside world and its influence on the human experience. He attended school during the 80s at Philadelphia College of Art and has resided in Philadelphia since. A founding member of Vox Populi, Michael has shown his work around the country in spaces including, the Boston International Fine Arts Show, San Francisco International Art Exposition, and Snyderman Gallery in Philadelphia. Over the past several years, Michael has been working with his friend as amateur archaeologists and privy diggers, excavating construction sites and private property to find historic artifacts that would otherwise be thrown away in order to share those objects and information with others.
I was born in Detroit in 1965. Growing up, I watched the decline of a city that less than a century before was mostly farmland. From plowed fields and cows to boomtown workshop of the world to wasteland in 70 years. Neighborhoods abandoned, factories abandoned, skyscrapers abandoned and overgrown. This landscape and the wonder of its stories has informed my work ever since. The madness and magic of a city abandoned like Chernobyl, like Sarajevo, like Rome, this was my home.
Mpumelelo Buthelezi was born in the year of democracy, 1994 in Pimville, Soweto. I taught myself to become a photographer. I did it because I wanted to interpret the time and place I was born into, to tell the untold stories of the communities of my country, to present them as narratives, full lives lived in the margins. My parents had a different dream for me, their born free child. I was sent to study formally and I obtained a Diploma Degree in Engineering at the Central Johannesburg College in 2016 even though I knew I would never become an engineer. Now I could focus on my freedom, which was represented by my passion to take photos.Everyone knew about the famous Market Photo Workshop, home to David Goldblatt and Zanele Muholi, and that’s where I studied photojournalism and documentary photography, graduating in 2017. He has exhibited her at Market Photo Workshop student Gallery in Johannesburg, Social Art Award in Germany, Transitions Rotterdam Foto Festival in Netherlands, as well as a solo exhibition at WeTilt in Italy. He lives and works in Johannesburg.
THE RAW LIFESTYLE OF HOSTEL HOSTEL DWELLERS DWELLERS Nance field Hostel in Soweto used to be one of the apartheid government’s labour dormitories. It gained the fearsome reputation of the brutal Noxus in the 1990s, due to political violence between hostel dwellers and people living in the surrounding areas. Photographer Mpumelelo Buthelezi captured the mood and the evolving lifestyle inside these ageing buildings, now encircled by informal settlements with an estimated population of 3 000. The hostel is home to many young men and women born here after the advent of democracy in 1994. They have turned it into a vibrant, though poverty-stricken residential complex boasting one of the busiest Shisa Nyamas called Mutah, which is famous for its chicken and pap menu and is more hygienic than other vendors in the area. The younger generation plays with their peers across the neighbourhood. Michael Mthetwa is a traditional healer known as Bab’ Mnyambose, who has been living here with his three sons since 2000. He was born in KwaZulu-Natal. He says they used to rent these hostel rooms before. Today more men live here with their families. The government long ago undertook to change these hostels into family units, but local residents have transformed the environment into a homely, tolerant and child-friendly one.
Oceane Isla is an artist from Reunion Island (a french island in the indian ocean), who currently lives in Puerto Escondido, Mexico. She studied contemporary arts at the Beaux Arts de Toulouse (INSBA) in France. After she graduates in 2014, she moved to Mexico where she discovered Muralism. After a year in Mexico City, he street became her main canvas, she travelled around Mexico to paint murals. She now divides her work between mutalism and drawing.
As a woman, Oceane Isla is interested in visual manipulations of the female body, and their place in contemporary society. The female form and women themselves have been stereotyped throughout human history; help up and judged by cultural canons of impossible perfection. Across civilizations she became a sexual object, her body turned into an illusion; some idealistic creation of the human desire rather than a reflection of the female’s form and lived reality: her image stigmatized and subject to control by the collective. Over-domesticated by ideals of “appearance”, women are molded by society: looked a soft matter, they are transformed. Desired and required to annihilate every bestial element inherent to being human. We as a society and she as a woman have forgotten our deeply animalistic nature. We deny our genetic synchronicity with the untamed animal world. Exploring these ideas, Oceane Isla’s works tend to restore the bestial nature of women and liberate the female body from the stigmatized images in which they are trapped. Oceane seeks to reveal the mistreated body and recompose it, to play with our animal nature and open up new ideas that render a truer female form.
Pedro Marco Gonçalves
Born in Niterói, I was always fond of the arts, I studied painting in the Ivo Mendes’s Atelier, an artist from Niterói, and later continued studying painting the Escola de Artes Visuais do Parque Lage. The subject that inspires me the most is Brazilian culture and Latin America. I want to create pieces that my people can relate to and feel inspired about, portraying it through my own subjective experience, and in ways that would be intriguing to other realities. My biggest focus with my art is decolonizing the dominant narrative.
All of my pieces express my own subject reality along with the will of not creating something distant to the public. Also creating pieces that intrigue non latin audiences. I find so important to change the references and to simplify what art is and who is it for. My work exists in a tender and calming way with a precise and critical approach. As a young artist, to me is not only important to search for ways of improving my craft and expanding aesthetics, but also to challenge the status quo of the art establishment. With every project I intend to create pieces along with the influences of others that would, not only help me enhance my artistic skills but also bring another insight of how could I better my art poetic. Always trying to view artist as inspiration not competition.
Visual artist and graphic designer, he has developed works mainly in the area of sculpture and visual arts exploring themes as Precariousness, territory abandonment and depopulation, and queer experiences in the Antropocene Era context. After graduating in Graphic and Multimedia Design and subsequently having attended the course of Contemporary Jewelery at Ar.co, Communication and Art Center of Lisbon in the year of 2017, Pedro held exhibitions exploring sculpture, ceramics, jewelery and performance, intersection of these different media, plastic encounters and experiments with other languages in the paradigm of Visual Arts.
GENISTEAE REOCCUPATION After decades of land exploration by the man, the interior of the country suddenly is evacuated under the last measures taken by the previous governments: The disinvestment in the interior of Portugal´s territory is on the final path. Only boars and wild animals choose to live in these lands abandoned by civilization. A ceremony is taken to evoke restoration, to burn decayed human symbols of progress, and to celebrate Nature turned to herself.
Robert Jarvis www.robertjarvis.co.uk
ROBERT JARVIS' began his career as a trombonist and soon became involved in project work where the focus would be on the creation of a music composition, often through collaboration with other art forms, and eventually this work lead to the receiving of The Performing Right Society's Composer-In-Education Award. Towards the end of the nineties Robert began to make use of found-sounds in his music, integrating these into his musical score; however, it was not until 2003 that he had the idea of a more installation-type approach to his compositions. These pieces were quite successful and led to two separate ‘British Composer Awards’ as well as an invitation by The British Council to create a new work in Chongqing, China. In 2007 he was awarded a residency at The Hannah Peschar Sculpture Garden, in Surrey, and this in turn led to a series of other pieces designed for site-specific outdoor spaces, as well as a new body of work drawing from scientific data collected from natural processes. Since then, Robert has continued to explore new methods for musical creation, experimenting with novel approaches to music composition and attempting to build on his reputation for compositions that encourage a rethinking of aspects of the world within which we live. Projects of note include his bat-inspired Echolocation (2008), and also his astronomical aroundNorth (2014) - these last two works both being shortlisted for ‘The PRSF New Music Award’. When not creating or installing, Robert can still be heard playing his trombone.
My work as a sound artist lies somewhere between that of a composer and a creative researcher. I am involved in the creation of temporary and permanent sound pieces, and also work as a composer and performer. My creations make use of found-sounds, scientific data collected from natural processes, and other inspirational sources. My processes involve the acts of listening, engaging, collecting, composing and sharing, in order to bring out new understandings in harmony with the environment that I am researching. My work is concerned with encouraging people to rethink their environments and for them to question how they relate to their surroundings. My hope is to open up new worlds for those that come into contact with my work, posing new questions and enticing new appreciations of every day living.
Samantha M. Connors
Philadelphia based artist, Samantha M. Connors, creates work examining capitalism’s effect on the collective's mental and physical health and the condition of the world around us. They are a multi-disciplinary artist utilizing tactile fiber processes and materials as well as urban detritus to create sculptural forms and objects reflecting on issues surrounding gentrification, chronic illness and harm reduction. Over the past two years Samantha has completed residencies at Cassis Artist Residency in Cassis, France, Ora Lerman Trust in Laceyville PA, and The Sable Project in Stockbridge, VT. They recently had a solo show in February 2020 at SHOEBOX gallery and have an upcoming two-person exhibition in Philadelphia at AUTOMAT collective. They hold a BFA in Fiber and Material Studies from Tyler School of Art at Temple University in Philadelphia. Samantha is the Co-Chair of the Exhibitions Committee at the South Philly gallery, Da Vinci Art Alliance, a member of Paradice Palase in Brooklyn, NY and a member of the Common Field Network.
Within making, I am seeking a release of the internalized anxiety we repress day to day attempting to survive in this world. We live in a culture of oversaturation and stimulation - 24hr media cycles regurgitating what they want the public to be focused on, underpaid employees serving overpriced goods, the over prescription of pharmaceuticals leading to deaths of the consumer, developers kicking neighbors out of generational homes for their own greed. These class system imbalances add a weight to our lives and subconscious consistently. My work is an exploration of using or representing commonplace objects and tools found in retail settings, political spaces, and demolition sites; navigating these items outside of original intent in a new and healing context.
Swaeny Nina Kersaan
Swaeny Nina Kersaan (1995) is a Dutch artist based in London, UK.
In her work, Swaeny Nina refers to topics like digital media, software, and identity. “A *model is my material, my stand-in &| (and/or), my body. A (female) model that; circulates, interacts, appropriates; is appropriated, performs, reiterates; and merges with(in) the virtual space. Selling and telling complete fiction. Using recognizability to embrace the inauthentic. It is tempting to identify with digital models or correlate them with, ideas, feelings and our own bodies, but these digital bodies are different from what we perceive them to be.”
b. 1988 // BIO
Tenee’ Hart is an 'unconventional' fiber sculpture artist pursuing themes of feminism that delve into topics of beauty, anatomy, and injustices of women. Material usage throughout her practice is critical due to their innate history and meanings. Hart hails from Virginia, where she was born and raised. She received her Bachelor of Arts degree from the University of Mary Washington in 2011. Later, Hart pursued and currently holds a Masters of Fine Arts degree from Florida State University, where she has been teaching, at the college level, since 2014. She enjoys dinosaurs, radical feminism, glitter, stickers, fur babies, and everything that is the 80's!
Sitting at my grandmother’s feet, the thunderous roar of the sewing machine would cease with a sudden clank of a lever falling into place, the sound of the unraveling spool, led to the severing of this single tie. Excess would be snipped away, and with each pass of the metal edges, the pile would grow larger. I was lured to these remnants sinking into the carpeted floor, their frayed edges and abstract bodies. Making something out of this rubble was my mission, knotting ragged ends together and wrapping the whole bouquet of mishmash with, what felt like, miles of unwanted thread. What I didn’t realize at the age of three, was that I would be forever imprinted by this experience. The pairing of aesthetic beauty with topics that shock, entice, or disturb serve as staples in my work. The woman as creator, woman as the oppressed and the self perception of the woman are just some of the themes explored throughout my work. The pairing of these topics with formal aesthetics can, in turn, make these subjects more approachable. In a way, I am attempting to attract my viewers with formal aesthetics by beautifying the grotesque, unjust, and bizarre. I believe this visual attractiveness of my work lulls the audience into a false sense of security so that they can then be informed by the work.
Veronica Salas is a 29-year-old WA state resident who has studied visual art in Washington, D.C., Berlin and Rome. She is a multi-disciplined artist.
My work stems from the expectation of female representation. I use cosmetics to illustrate my own vulnerabilities and dysmorphia as a response to societal and media produced standards of beauty.
Media artist and professional photographer based in Bogotá. He is currently in charge of the Photography Laboratory at the National University of Colombia. His expertise is in visual & image design and advertising, while his interests are linked to academic practices. He is a teacher and researcher in fields such as media studies and artistic creation, centering his work around the questions of autonomy in regards to being in a society. The subject of environmental deterioration precedes several of his investigations. At the moment he uses photography as the main medium to develop his ideas, also hybrid formats such as GIF, cinemagraph, and animation.