About the Artist
Alea Pinar Du Pre is an internationally established mid-career artist currently living and working in both Amsterdam and Istanbul. Her inquisitive mind finds inspiration mainly in areas such as science, science-fiction, history, and anthropology. Du Pre has been continuously developing radically new and innovative approaches to painting in which she mixes digital art with ‘the real world’.
Active since 2008 her works have been exhibited in numerous solo and group shows as well as art-fairs throughout the US, the UK, France, Belgium, Austria, Turkey, Ireland, Singapore, Hong Kong, Dubai, etc. Her works are part of significant private and corporate collections like Ferko Holding, Sabanci Holding, Koc Holding, Bora Collection, Odeabank, ICBC Bank and many more.
"My endless questioning of the nature of our existence stems from an insatiable curiosity and an unfathomable love for truth. I believe in the sacredness of human experience. Art is a canvas to mutate my curiosity into a form I can share – to transfer scientific curiosity into pictures - to give form to the formless.”
Agnes Zaszkaliczky is Hungarian born visual artist based in Vienna dedicated to paint portraits. Her technique was acquired from Russian Masters including Caravaggio School.
She expresses in her portraits not only the technical challenge if not the soul of the subject reflected in every face and expression.
She is not only inspired by the beauty of her black models, but also by the personal story behind them, which she always finds interesting, as the personal relationship developed with her models.
She met Kaphia in Hungary, where she arrived from Somalia when she was 14 years old. Since then, she has pursued a career as a model and achieved success. Hungarian folk motifs and patterns can be seen on her clothes, which symbolize her new home, a fresh start, and an opportunity.
She has exhibited in USA at Art Palm Beach and various national and international exhibitions including solo shows in Hungary.
EXCLUSIONS v2" is an art series that reimagines gratitude through innovative techniques. With LED-illuminated geometries on old maps from 8 different cities, Rauhut blends art and technology to explore the transformational power of appreciation. This series invites viewers to reflect on gratitude, interconnectedness, and the impermanence of existence in a visually striking and spiritually subtle manner.
Emuná is an Infinity light box with a thermal hand modeling sculpture inside.
This piece is designed with the intention of generating a state of calm, being calm even though when we don’t have all the answers yet, but at the same time a state of transporting to the right path to find them.
They are abstract and modern sculpture,
They are swirls that develop from unceasing motion. made from laser cut acrylic molded out in heat, with no beginning and no end. It is a process of free propagation of the forms where the layers of malleable material interlace.
The acrylic is warmed by a thermal process and hand modeled by the artist with thermic gloves. The artist has only an instant to model the acrylic before the material returns to its rigid original state, it is an unrepeatable and unique piece.
Monumental Sculpture. Thermic Hand Modeling
After an almost 20-year career in business and finance, New Jersey-based artist Chadwick Arcinue decided it was time to pursue his passion for art. Originally from the Philippines, he established The Chadwick Concepts in 2018, a design company through which he promotes his art. A self-taught painter, Arcinue relies on creative intuition and experimentation to present color and texture in abstract and expressionist canvases. Fearlessly exploring bold ideas, new mediums, and original concepts, he pushes himself to expand the boundaries of his work every day.
While Arcinue's work was originally strongly impressionistic, he developed—almost instinctively—a sense of the abstract and expressionist styles, wherefrom his artistic personality became wholly original. His current body of work is expansive yet thematic, unorthodox yet familiar, intricate yet approachable, constantly shifting but always growing. He employs bold, brisk, and abrupt brushstrokes, lending visual intrigue and impact to each scene. Elsewhere in his portfolio are textured backgrounds and stately geometric forms, demonstrating his range of skills and interests. His mastery of color and surface design, combined with a keen sense of balance and a sharp eye for detail, make Arcinue’s work stand out among his contemporaries.
My work is not trying to show reality, but to interpret it creatively. The art in photography can never be truly objective. Contrary to the idea that photography reproduces honest duplicates of reality, the camera can see a different reality.
A primary and defining component of my work is that color is the main character. Complementing aesthetics and lighting with my profession as architect, I find a style of my own in abstract and geometric elements that stand out because of their color and texture. In my opinion, photography is more than a simple click. It's a combination of framing, light, and composition, that through the years I’ve portrayed in my style.
In photography light is the main character, it is light that draws over a blank canvas, creating shapes, forms and colors that clearly could be far from reality. Time is relative, a picture not necessarily freezes an instant, it can englobe a series of moments and movements that reflect more than what we see at plain sight.
The goal is to let the spectator perceive the most minimum detail, feel the texture, have the need to get close to the artwork and want to touch it. My artistic proposal does not end after I shoot, that is only the beginning. After taking different abstract fragments of reality comes the time to edit them all into one guiding thread that makes the final composition. The obsession for harmony and the imposition of order are the constants of my work.
In this artwork light is the main character, it is light that draws over a blank canvas, creating shapes, forms and colors that clearly could be far from reality. Time is relative, a picture not necessarily freezes an instant, it can englobe a series of moments and movements that reflect more than what we see at plain sight.
This artwork invites you to keep moving, not to stand still, to flow, to gradually discover what lies behind, to interact, making the spectator a protagonist in it. All this makes the work a living entity that vibrates in tune with its observer.
One of the main characteristics in my work is the use of color. The artwork is an abstraction of a graffiti wall. Lines of color are merged, creating a chromatic pattern throughout the diptych. There is a second layer that creates tridimensionality and gives movement to the artwork. The straight lines are suddenly cropped and discontinued depending on where you stand.
Sunset in Acapulco
In this artwork light is the main character, it is light that draws over a blank canvas, creating shapes, forms and colors that clearly could be far from reality. Time is relative, a picture not necessarily freezes an instant, it can englobe a series of moments and movements that reflect more than what we see at plain sight.
This artwork invites you to keep moving, not to stand still, to flow, to gradually discover what lies behind, to interact, making the spectator a protagonist in it. All this makes the work a living entity that vibrates in tune with its observer.
“Art calms the mind & soothes the soul. “
I have always felt that behind every obvious there are always the inconspicuous. Small details and the big picture go hand in hand. This holds true in life and is captured in my work as I explore different mediums to create layers and textures frolicking in a sea of colours. My artworks capture the viewer’s interest from afar as my subjects are usually bold and vibrant and at times with an optical illusion. In addition, there are always hidden colours amongst the layers of textures which can be found when closely observed and a different experience emerges as the multitude of colours bring on a different interest.
Evangeline is native of Singapore, she is an emerging-established artists with a successful career abroad. At the present time, she is represented by Contemporary Art Projects USA and participated a various art fair as Wynwood Art Fair and Art Santa Fe 2023.
What matters to each of us in this contemporary world? What do we want, what do we need? What are the dreams or lifestyle choices we make? How do we connect with one another in an authentic manner in this chaotic moment?
These are some of the myriad of questions swirling around me as I sat down this summer on Governor’s Island to receive a private poetry reading on the grass from two amazing poets. Their vibrance, openness and energy made way for authentic and meaningful connection in that moment. The colors are directly inspired by the clothing of the poets while the process is my constant meditation on these questions and more.
A combination of contrast and contradiction, Emery’s work is a constantly evolving cycle of completion & interruption. His use of circles, a frequent motif but subsequent metaphor, offer us a window to explore connection- layers of paint being dragged over and into other layers, color hiding just below the surface, palettes derived from the day-to-day. Centered in an understanding of humanity’s profound rippling effects on one another and our landscape, his carefully compassionate, meditative, & observational approach results in creation as richly diverse as the artist’s own inhabitance- immersed in the weave of New York City’s wildly intermingling human fabric, and rooted in a barefoot youth tilling soil & wood along the border of Canada & the Akwesasne Mohawk Reserve. Inspired by interactions with these familial settings, as well as the awe of the magnificent & mundane in his everyday life, Emery’s unending & earthly process is constantly disrupting itself; through use of destructive techniques such as ripping & water pouring, his work becomes at once meditative and spontaneous, interrupting the artist’s own technique, thought process, and control.
Redirection is further invited via co-creation- a powerful statement that exploration finds depth in community. Emery’s paintings evoke the complexity & simplicity of effortful humanity- a theme that is reflected in his daily practice of guerrilla portrait sketching; deliberate, vulnerable, startling, patient, humble; a true capture of the beauty of and in others. Much like the halo found in such natural phenomenon as the caldera, throughout the unknowable & chaotic, Emery’s work nurtures a deep love of repetition, sincerity, and familiarity, acknowledging every transformation that has brought us here.
“At the root of all this is my belief that we are looking for authentic connections with one another, and deeper connections with our place and the world around and within us. Art can serve as a bridge or portal, a mirror or a conduit to something better.”
Gregg Emery
What matters to each of us in this contemporary world? What do we want, what do we need? What are the dreams or lifestyle choices we make? How do we connect with one another in an authentic manner in this chaotic moment?
These are some of the myriad of questions swirling around me as I sat down this summer on Governor’s Island to receive a private poetry reading on the grass from two amazing poets. Their vibrance, openness and energy made way for authentic and meaningful connection in that moment. The colors are directly inspired by the clothing of the poets while the process is my constant meditation on these questions and more.
Tu m'aimes :
Just as the saying goes: No one can truly love another if they do
not first love themselves. Although many people learn to love themselves by first being loved by another person. The most important relationship you will ever have is with you. If you can embrace every part of yourself, including the things that society says are unlovable, then you will be able to do it more easily for others.
Je m'aime:
Loving oneself does not imply denying one's own limitations, nor thinking oneself more than others, but rather accepting one's own way of being, knowing that our negative aspects will require work and our positive aspects will require consolidation, but that just as we are, we simply, are.
Loving yourself means recognizing that you need self-care despite your imperfections, and by recognizing this you will be able to love others who are not perfect. This is how we equate our humanity with that of others and can love our neighbors. You love Me ? ... I love me.
I am encountering a metamorphosis. The transition is simultaneously intuitive and difficult. I straddle the space between my old self as a mother focused on her children and her career, to a new woman with an empty home, adult children, and newfound time. This internal narrative is in constant fluctuation between maintaining and relinquishing control while I express myself on canvas. As I redefine myself, I learn that being an artist and a mother is not a rigid identity, but rather is an intricate intersection of both.
This harmony between contradictions is a perpetual element in my work. It is the conflict between objectivity and subjectivity, beauty and distortion, control and chaos, realism and abstraction, individualism and archetypes.
I often find myself contemplating the female position. In this contemporary era, women are taking back their image, showing society that beauty is unique and found in all forms. I see beauty in individualism - scars, asymmetries, body shape, age- they are all beautiful.
Inspired by the abstract expressionists, I translate a particular state of emotion on the canvas through subconscious creation, yet limit my color palette to visualize an emotional state. I attempt to present the world solely from a subjective perspective, abstracting human features into vibrant, raw emotion. My large-scale paintings ill one's vision and peripherals, momentarily removing the viewer from the physical world as they enter a mentality driven by color.
Unapologetically self-taught, my art works as a form of institutional critique and challenges the need to have an arts education. My approach to art is an approach to life - full of transitions, contradictions, experiments, disruptions, and conversations to encourage scrutiny of their environment, cultural standards of beauty, and natural creativity.
Merril Steiger is a mid-career artist, living and working in Westport, Ct. She has exhibited extensively in both solo and group exhibitions at museums, university galleries, art fairs, and galleries nationwide. Her work is part of numerous public, private, and permanent collections.
Steiger’s painting reflects the extensive collage compositions that she begins each series and painting process with. Having an avid interest in science fiction, through movies and books, she explores this world through her own imaginary landscapes. Her combination of science fiction elements with pop-art imagery brings the unknown to life and reminds the viewer of life’s fantastical and fun nature.
In spaceships, a painting in “the Cosmic Imaginarium” series, I was inspired by Vintage postage stamps to create a three-dimensional world of life in space. As is expressed throughout the series, the use of reversed imagery for balance playing with both mirroring and slight variation complement one another in overall aesthetic and tone.
“The Gilded” is a reflection on the dichotomy of femininity—the external perception versus the inner reality. It asks viewers to question whether the woman in the painting was truly domesticated or if she held within her the power to break free from the gilded confines.
Voigt left her career with Non-Profits in 2007. She moved to New York City to return to painting. “Howard (Kanovitz) patiently and consistently reminded me that I had to live life in order to paint it. My art tells the story of the human soul and experience. I paint it as I have faced it. I no longer merely paint to change the world. I am a material contribution to change, and my paints continue to tell the unheard, under-heard and the unseen stories.”
Voigt exhibits internationally, in New York, Los Angeles, London, Florence, Miami, Palm Beach, Boca Raton, Connecticut, and Santa Fe. Annually she participates in major art fairs. Favorites include CONTEXT Art Miami, Palm Beach Modern + Contemporary, Art Wynwood, ARTROOMS London, Florence Biennale, and SCOPE. Her work can be found in many private collections, museums, and institutions. Voigt recently concluded a successful solo exhibition with Aston Martin at The Gallery, Aston Martin Residences, Miami, FL. Exclusive works are available through Bergdorf Goodman, New York. Many of her works are part of institutional and private collections.
Eurydice which is a name from Greek mythology. She was supposed to be very beautiful young woman and, helped raise Bacchus . Bacchus , of course, had bacchante which were wild drunken parties, the partgoers included satyrs which in art are often shown with hooves but also goat horns -like hers. The “dice” in Eurydice is pronounced as it would be in Italian.
Using oil paint to create an illusion of textiles and embroidery Rachel work pushes new ground within the textile contemporary art scene, bridging the gap between Painting and Textiles. This unique technique allows a certain sense of creative freedom that traditional needle and thread work would not permit. The viewer is enveloped into the tactile vibrant works, swept along by the illusion of thread and plunged into the dream like narrative of each
piece.
Rachel is an English Artist living in Connecticut. Born and raised
in Florence, Italy, surrounded by an abundance of history, culture
and the eccentricities of life in an artistic circle, her childhood has
without doubt heavily influenced her aesthetic and sense of space
and material. After attending Wimbledon and Slade Art
Foundations in London she went on to be accepted at
Camberwell Art School in South London to study Drawing.
Constantly questioning how materials can be used, how simplified
forms take up space or blend into their environment, Rachel
discards the “rules” and focuses in on instinctual form and mark
making. Deconstructing materials and objects and reimagining
them to create beautiful, bold and striking works.
As far back as prehistoric time, the feminine essence has been a favorite subject explored and exalted by artists via a whole genre of artworks ranging from fertility to deity. The piece Omaggio is my contribution to this line of tradition. It is an abstract expressionistic image in homage of the feminine. A tribute to the power, determination, strength and sensitivity that every woman carries within her core. The image is an adoration of the universal feminine in its pure essential essence.“
Rosaria is formerly a NY lawyer and law librarian professor, with an MFA from the NY Academy of Art, I am an award-winning Miami artist, who exhibits locally and internationally in different venues, including art fairs, galleries, government institutions and museums. I am a former board member of ArtsUnited and a member in good standing with ArtsUnited, the Broward Art Guild, and the National League of American Pen Women – National and Fort Lauderdale Chapters. I supported charitable organizations, most recently Stonewall Museum, OurFund, SFGN, Children’s Diagnostic Center, Island City Theater and Wilton Art with my art.
Art is my passion, my calling, my purpose. I perceive the artist role as that of messenger, philosopher, outlier, and empath. This role includes challenging our known perception and preconceived notions, and to dare to be raw, emotional, psychological, sensual, spiritual, and provocative.
My unique and noticeable style involves fragmentation of forms, raw emotive lines, and vibrant use of colors. The bare essence of the fragment -- abstracted, shredded, eroded, yet substituting for the whole. The line, in turn, allows for the abstract yet relatable emergence of the figures, portraits and objects, providing their movement, energy and vitality, as well. Thematically, by pushing the limits visually and metaphorically with my style, I explore the internal and external workings of the female form, androgyny, the inner psyche, objects of desire and beauty, and the essence that makes us energy in motion.
Sara Rayo is Colombian. Daughter of Rayo the Colombian Master
Sara Rayo’s latest collection of works is a Geometric Symphony in 4 movements in each of which she traces her voyage into both the farthest reaches of her art and its deepest origins. All of the movements of this symphonic poem are played on paper, her preferred instrument.
Sara continues her search for depth, and the invisible becomes manifest. The undulating, sacred, layered shapes evoke undersea microcosms as well as far off galaxies in their spiral dance. By hand cutting and bending the surface, she reveals the various superimposed layers (some) are illuminated from within, a secret or dimensionality we can find within ourselves. Through the layers which intertwine within each other, you can find the constant search for geometry, pattern, chaos, perfection and imperfection. We plunge with her into the light, swimming with the petals of cosmic corolas. Energy becomes a kaleidoscopic prism of sacred geometry. We are able to observe her work from all sides, a glimpse into the unseen structures within. We become aware that we are joining the artist in the exploration not only of her own origin but of the origins of life itself.
Transformations are fundamental to Sara’s artistic process. Rayo’s Geometric Symphony is indeed a revelation of the secret synergy of light and matter, sound, and energy. It is the music of the spheres, layers of light and shadow of reality incarnate in a woman’s art. It is a part of a poetic as much as an aesthetic that implies layers of consciousness the artist wishes to achieve and transmit to her viewers, faithful participants in a geometric ritual of creation.
In my work, energy flows to form clarity and purpose. While water and words are easy to pour; impossible to recover I shape metal into form.
But, it is the emptiness inside the forms that holds the shadows.
I express myself in metal, mostly steel and aluminum. For my twisted metal elements, I place one end of the metal in a vise while sliding the other end through a slit in the lower end of a “T” shaped primitive instrument that I built. I achieve the form of each element by using the power of my full body on the upper arms of the “T”, pushing and pulling against the inner strength of the metal. Mostly my strength overcomes the inner tension of the metal. Occasionally the strength of the metal wins in this game of arm wrestling, creating the unexpected ripples of the element that speak to the quality of the medium.
I express myself in metal, mostly steel and aluminum. For my twisted metal elements, I place one end of the metal in a vise while sliding the other end through a slit in the lower end of a “T” shaped primitive instrument that I built. I achieve the form of each element by using the power of my full body on the upper arms of the “T”, pushing and pulling against the inner strength of the metal. Mostly my strength overcomes the inner tension of the metal. Occasionally the strength of the metal wins in this game of arm wrestling, creating the unexpected ripples of the element that speak to the quality of the medium.