Pippa Hale-Lynch | Submerged Figures

Pippa Hale-Lynch’s paintings use figures and portraits to capture intimate moments of solitude and grief. She is a contemporary figurative realism artist working primarily with oils. Her works incorporating figures suspended within water capture beauty in fleeting moments of solitude.

More recently she is exploring the theme of grief, stemming from her mother's tragic and untimely death when she was 20. At first glance, the playful use of the sugary jam can be mistaken for blood, a visual representation of the wounds left by the destruction of grief experienced by the sitter.

Pippa uses techniques learned over 12+ years of practice and training in traditional representational drawing and painting. She uses herself, her family, and loved ones as sitters to best reflect the intimacy of the work.

Amy Ordoveza

Amy Ordoveza is a contemporary realist artist who creates detailed, imaginative still-life paintings. She carefully crafts and arranges the delicate cut-paper plants, animals, and architectural elements that she depicts in her oil paintings. The fragility of the paper objects suggests impermanence while Ordoveza’s close observation and meticulous handling of paint hint at their significance. Her compositions evoke a sense of beauty and mystery in ordinary surroundings.

Ordoveza received her MFA from the New York Academy of Art and her BFA from the Maryland Institute College of Art. Her historical influences include 17th century Dutch still life painters including Rachel Ruysch and Jan Davidsz de Heem as well as surrealists such as Kay Sage and René Magritte. Ordoveza’s work is included in the Lunar Codex and the Nova Scotia Art Bank and has been featured in publications and websites including American Art Collector, PoetsArtists, and Booooooom!

Confrontation

Opposing Forces

Confrontation looks different to everyone. It varies in intensity, in meaning and in circumstance. In some situations, the idea of expressing one’s concerns in direct opposition to another is so intimidating, the very notion almost impossible to consider. In other situations, confrontation is a natural and healthy part of life.

Continue reading American Art Collector.

Feminism Group Show 2024

Narelle Zeller

Amy Gibson

Elena Caravela

Leslie Singer

Q&A

What's the purpose or goal of your work?

My work emphasizes visual impact over narrative content.  It is influenced by fashion and design, with an emphasis on feminine and feminist themes.  A collector once told me she was going to hang my painting (Desert Gypsy) in her bedroom so that it was the first thing she saw each morning and would be inspired by the strong and beautiful woman it portrayed.  I thought that was the ultimate compliment and aspire to create those types of reactions and connections through my work.

Leslie Singer | Desert Gypsy, 2021 | Oil on panel 14x11 inch

How has your style changed over time?

My passion has always been representational art.  In school I was frustrated that it was not taught.  This led me to pursue a different career, which ultimately allowed me to return to painting on my own terms, studying at the Art Student’s League in New York and Scottsdale Artist School.  I never want to stop learning, and my painting style has evolved as I have continued my studies.  Travel and living in different parts of the country has also influenced my work and many of my recent works have a Western flavor since I now live in Arizona and New Mexico.

Do you have a network of other artists, and how do they support you?

I’ve met many other artists through schools and workshops around the world and have developed lasting friendships.  I also live in Santa Fe and Scottsdale, both of which have great art communities.  Many of my friends and neighbors are artists.   Beyond the camaraderie, these friends provide invaluable advice, encouragement, and inspiration.  Like most other artists I also have a social network on IG, Facebook, etc. where I can connect and get feedback from other artists from al over.

How do you manage a work-life balance as an artist?

Prior to becoming a full-time artist I was head of corporate communications for a global business.  I painted in the evenings and on weekends.  I used vacation time to take workshops or participate in art fairs.  Today, as a full-time artist, I still manage my time so that I’m balancing time in the studio with time doing marketing, learning, networking, and traveling to recharge and get inspired.

How has your education helped you in your career?

I changed course from art to English in college.  I have a BA from Georgetown University I think that communication is a vital skill for success in any endeavor.  And it’s more important than ever for artists as we have so much opportunity to take ownership of our careers, getting our art out to the world using social media and other channels that allow us to get broad exposure and sell our work.

What was your first experience of working as a professional artist?

At the height of my corporate career, I was still painting primarily as a hobby and was invited to do a local art.  It was actually in a bar, but I did sell a couple of paintings.  And it provided the encouragement that I needed to level up, move on to showing in galleries and art fairs, gain greater visibility, and sell more work. 

What is the best advice you have received in your career?

“You are the best person to represent your art.”  One of my first collectors, a seasoned art buyer, told me this very early on.  Over the years, I’ve seen how important it is for collectors to know you and connect on a personal level.

Sarah Warda

Q&A

What are your most valued skills as an artist?

I would have to say it’s my intuition. I listen to my inner voice as to what feels right in a painting. Empathy and sensitivity for my subject play a big role as does my use of light and keen observation which give me the ability to describe form. 

How has your education helped you in your career?

My education has had a huge impact on my skill to paint! I spent many hours at art school learning about the human form and principles of drawing. I was fortunate enough to study at The Lyme Academy of fine art under master figurative artists like Deane G. Keller and Dan Gheno. Also, several workshops with Aaron Shikler and with Harvey Dinnerstein at the Art Students League of NY. They taught me the “grammar” of art so that I could go on to express what I now want to say. Having said all this, I am forever learning.

Tell me about a time you received negative comments or harsh criticism. How did you handle it?

Criticism is always going to be there. I even find myself to be my harshest critic! The act of painting is largely a mental game.  I find that stepping away from my work has been most helpful. Sometimes, I take a few days to just ponder my work and then get back on track remembering what initially inspired me to begin the work in the first place.

Which art trends inspire your current work?

Because I rely so much on my intuition when I paint, I rarely find myself following trends.

For me, I find it disingenuous to try to force something that isn’t who I am. I don’t believe in using any “gimmicks” when it come to something as sacred to me as my art. I believe that the mere act of being who one truly is as a unique individual, will set each of us apart in the most natural genuine way. 

 I feel it’s also important to look at other artists’ work that is of a completely different style, that it might serve me well to try new things and step out a little from my comfort zone. I can find inspiration in that.

What was your first experience of working as a professional artist?

One of the earliest recollections of working as a professional artist happened a few years after art school when I was approached by another artist who was commissioned to paint a large mural in downtown New London where I lived. The painting would incorporate five figures about 40 feet high that the artist had apprehensions to execute. I saw it as an incredible opportunity and tackled it with gusto climbing rows of scaffolding and feeling like Michelangelo! I relied heavily on my knowledge of human anatomy and hundreds of hours of experience working from the live model to paint the human form at such a large scale. It was a great experience as an artist although fueled with controversy over the content of nudity, and the fact that the man who asked me to paint it took responsibility for my work. It was a real introduction to what it’s like for a female artist. 

What's the purpose or goal of your work?

My goal is to connect to people on a deeper level. To get under the surface and focus on our shared humanity. 

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David E. Morris

Morris’s figurative realism stems from an intense and persistent interest in human anatomy from multiple perspectives: beauty in form, function, and structure. While continuing to teach anatomy at the medical school level, Morris uses charcoal, graphite, and oil paint in his artwork to convey something beyond the scientific aspect of the body. He strives to share something about what he experienced in the presence of those he represents. In this process of portraying people he explores concepts of psyche, intimacy, and gaze as it relates to gender. 

What's the purpose or goal of your work?
The work that I make tends to be small and its usually about people - sometimes portraits, sometimes of figures or figures in groups based on people I have met, talked with, or worked with. So it’s personal in that way. This is also the type of work that I tend to be drawn to looking at, and that I choose to surround myself with in my own home. When I look at a painting whether it’s in my own or someone else’s home, a gallery, or in a museum, sometimes the piece grabs me; maybe I identify with it in its intention, maybe I admire the way it was painted, or maybe something else. When this happens it reminds me of humanity - of what people are capable of doing. Extending this to my own work, I hope that if I make the work truthfully there will be others that come across it, that are drawn to it and that it incites some appreciation for humanity and gives hope for humans’ continuing to make things by hand. 

Do you have a network of other artists, and how do they support you?
33PA has been an important network, as it is a worldwide group of artists who share a common interest in figurative-based work. I have become friends with some PoA members through the internet, while others who live near me in Chicago I have met in person and, collaborated with through portraiture projects, and attended each other’s openings. In either case, members stimulate each other in terms of responding to common themes in exhibition calls, seeing how each other address these calls, and sharing technical and marketing ideas. 

What factors influence the price of your work?
My pricing is based on size of the painting per square inch. From that  I calculate a baseline price which I may modify based on any of the following: complexity (eg. does the piece contain one versus multiple figures), whether it is framed, and the commission of the gallery for the particular show. 

Describe your ideal working environment.
Much of my work is based on the figure or multiple figures within an environment or scene. When working on a piece where there is any sort of complexity, I break up the process into stages: concept sketches or thumbnails, acquiring the references (drawings and sometimes reference photos), value and color studies, transferring the piece to a substrate, and then the final painting. My ideal working environment depends on which stage I am in, as stages vary in terms of required concentration. For initial small concept sketches, I can do these anywhere. For value and color studies and for the final painting, I need to be in my studio, at my easel where I work under good quality lighting and have enough space to walk back and forth to assess changes. I like background music, sometimes jazz, sometimes electronica, but it can’t be too complex because it will distract me from solving the painting problems. 

When I am at the stage of working with models, I do everything possible to make those enjoyable sessions from the perspective of the model- from setting a comfortable temperature to having them pick the music. I have my studio set up well before such sessions in terms of lighting, props, furniture, etc. I always communicate with models beforehand as to the concept of the painting, types of poses I am looking for, and types of clothing if applicable. Often I will email them sample images/sketches to give them an idea.  

What are your most valued skills as an artist?
I recall a quote that goes something like “every invention starts with a drawing, even on a napkin in a restaurant.”  I think drawing is important for everyone to learn. For visual artists, especially those that work figuratively it’s indispensable and its important to continue to practice and refine.

An ongoing curiosity is valuable - about nature, about visual phenomenon, about why things appear the way they do, about how I can represent objects in a convincing way, and about why I like or don’t like certain pieces. This sort of questioning is what gives me, or any other artist their unique voice. That voice is bound do resonate with some other people, while not with others, and in fact it may even upset others. Through such curiosity and questioning, we each develop our uniqueness that will come across in our work, and that’s important, in fact beautiful.

What is the best advice you have received in your career?
Perhaps paraphrased, but persevere in continuing to make your work, especially starting new projects, and make a lot of work. Most of the visual artists and musicians that I admire were prolific and I am sure made a huge amount of work that most of the public doesn’t know existed. Realize that in your work there will be some successes (eg. acceptance into a desirable show, or even just making a piece that you feel good about) and many more failures. Don’t spend too much time thinking about any one success or failure, but rather keep moving ahead in making the best work you can.

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Deborah Scott

Deborah Scott is the originator of Structural Omission, a framework in contemporary realist painting that reframes absence as a structural condition of representation. Her paintings hold the known and the unknowable together, embedding incompleteness as architecture rather than style. Exhibited in museums including the Fort Wayne Museum of Art and the European Museum of Modern Art in Barcelona, her work has also been featured in Fine Art Connoisseur, American Art Collector, and Poets & Artists. She has attended residencies at the Vermont Studio Center, Byrdcliffe Arts Colony, and the Museum of Loss and Renewal.

Find her current paintings with 33 Contemporary at Artsy.

Do you have a network of other artists, and how do they support you?

Engaging in visual art is inherently a solitary pursuit, and the presence of a network of fellow artists is vital for my overall well-being. I am fortunate to be part of various artist "tribes" that offer diverse connections, including artists, curators, enablers, and muses. My primary support systems currently revolve around the art students I work with, past studio mates, fellow artists from group exhibitions, artists discovered through social media, and those I’ve built friendships with through artist residencies.

These networks offer inspiration, creative energy, and valuable insights into the motivations and methodologies of fellow artists. The reciprocal nature of these relationships allows us to expand our connections within the art community. Most importantly, there is a profound sense of fulfillment derived from being present for others as a friend, meeting them in their moment. By extending support to fellow artists, I am simultaneously nurturing my artistic journey.

What are your ultimate career goals?

To have the freedom to be fully committed to making art and to have time for the people I care about.

Describe your ideal working environment.

My week revolves around 3-5 days spent immersed in the studio. When I'm in work mode, I deliberately eliminate distractions – no texting, no calls, no

social media, etc. My studio mirrors this intentional minimalism; the sole focus is the canvas on my easel. My workflow involves intense 20-minute work blocks followed by brief breaks. Stepping out of the studio, attending to messages, and scheduling time with family and friends rejuvenates me. I've identified my optimal focus span at 15-20 minutes; surpassing that threshold leads to fussiness and overworking. This approach aligns seamlessly with my personality. It's a delicate dance between complete immersion and stepping back for a broader perspective, perfectly attuned to my style

What is the best advice you have received in your career?

Work hard. Trust yourself. You are not for everyone, and your work will not be for everyone. But it will speak meaningfully to some.

Tell me about a time you received negative comments or harsh criticism. How did you handle it?

I jumped right into the deep end by attending a full-time atelier program with essentially no art background. The initial feedback on my first project was brutally honest, with the instructor expressing that my presence in the program was precarious. Rather than succumbing to the sting of criticism, I viewed it as a stark but accurate assessment that fueled my determination.

In response, I opted for an unconventional approach. During breaks when fellow students were away, I dedicated myself to daily sessions at the school, working with unwavering intensity and initiating a new drawing every 20 minutes. The negative comment served as a catalyst, motivating

me to challenge my limits and measure my progress within a condensed timeframe. By the time my peers returned, I felt I had not only caught up but had also gained the confidence to move forward with renewed assurance in my artistic journey.

Deborah Scott Unsettled, 2024 | Oil and mixed media | 24 x 18 inch

Describe an artwork you are most proud of. Why?

There is no singular work of art that earns my pride. Rather, my pride and heart belong to whatever canvas is currently on my easel. It is within this space of possibility that my pride soars. The act of painting feels to me like an active dialog. The canvas, my collaborator, conveys its needs with each consecutive brush stroke. I am an impatient person, but oddly, I have a lovely, patient approach to art making, a trust that the painting will reveal itself in due time. This process, seemingly mystical, transforms the act of creation into an act of discovery. The completion of this artistic journey is not just a finished painting but also a memory of my exploration of the realm of creativity. The culmination of this artistic dialogue is not just a personal triumph but a story to be shared, a revelation that transcends the boundaries of my studio to engage others.

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Pauline Aubey

Paulina Aubey’s LEGO portraits ingeniously merge popular form with popular content in order to question our relationship to celebrity. Having begun her artistic career working with pastels, Aubey’s passion for pop culture inspired her to try her hand with a more popular medium: LEGO bricks. She has elevated this unusual medium to the status of fine art, creating expressive portrayals of contemporary icons and the idols of her 1980s childhood. Her portraits of religious figures, movie characters, and pop stars—including David Bowie and Marilyn Monroe—blur the distinction between figurative and abstract art. They appear highly detailed from a distance and become pixelated upon closer inspection; this viewing experience prompts audiences to reflect on how much we can ever truly understand our idols. In order to create her portraits, Aubey chooses a digital image of her subject and manipulates it to create the desired expression and color scheme before selecting appropriate blocks of LEGO to build the work.

Daggi Wallace

Balance, 2024

Pastel, opaque metallic watercolor

16 × 20 in | 40.6 × 50.8 cm

Laurence O’Toole

Q&A

What's the purpose or goal of your work?

I have spent my life looking for something beautiful in my work, something meaningful and worthwhile. I am driven by the natural world and all its magical revelations and as I have aged, this fascination has morphed into the backgrounds for my narrative pieces. Pieces about life, society, humanity, pieces about hope.

How do you navigate the professional art industry?

This industry and career has changed a lot since I first started showing, back in the 80s. It was a career with more painting and deliberation and contemplation, Where you spoke with your gallery on a weekly basis as you shipped or dropped new work to them. Now I would spend as much time painting as I would with the admin side of my career, It is not worse, nor better, just different but a very necessary part of this modern art world, as contact and promotion, inquiry and submission, social media growth and presence has to be maintained.

How has your style changed over time?

I am probably painting over 40 years now, I am self thought, as it was my only option when I was young. It is a very slow progression but very rewarding, it brings you down paths that you may have otherwise been warned to steer clear of. But everything we do, we learn from. I started out with a form of magical realism and slowly drifted into abstraction, then came back to realism and am tipping into magical realism again, as the circle becomes complete

Do you have a network of other artists, and how do they support you?

I have maintained a good relationship with many of the artists that I have met along the way. I believe it important, as I can bounce ideas off people I know will answer me honestly. I also get to see their new ideas, styles, reasons and encouragement, when you’re lucky. It's like living abroad in a foreign city, but having a small band of people who all speak your language.

Is there a specific environment or material that's integral to your work?

For me, I like the studio to be mine, as in, I like to work alone, music going, canvases in all states of progression, books and reference at hand. I always tend to have the studio in my home, I like to wake up and walk straight in, fresh eyes, see many things. It also allows me to eat and live with the work and this can bring good closure to some pieces.

What factors influence the price of your work?

Sales and accomplishments are the real triggers for my prices to increase. It is seen as a sign of success to have elevating prices every few years but it is also a precarious path, as the more money your work commands you may find yourself in a shallower pool of clients. But as we grow we sometimes spend longer on our works and this reduces our output, which in turn, increases our prices.

How do you manage a work-life balance as an artist?

I travel as much as I can. I will do residencies abroad, get out of my comfort zone, and experience new places and people. I will get in my car and drive to Europe for months on end, away from the repetition of day to day life. I will paint and travel and then return to the studio refreshed and start the whole process again.

What is the best advice you have received in your career?

I met a painter on a flight to South Africa back in the 80s. He was famous in SA and I was only starting out. I was in the seat next to him and we chatted over the 12 hour flight. He was very generous with his experience and knowledge and told me that I needed to find that one thing that I would never tire of as this will also be the one thing I excel at. I need to work it, until it becomes my nature, then I can wander into any unknown territory for I will be well equipped.

Laurie M. Landry

Q&A

How can your work affect societal issues?
The Deaf community's concerns regarding the potential loss of American Sign Language (ASL) due to advances in medicine and technology are deeply multifaceted. ASL is not merely a tool for communication; it is a cornerstone of Deaf cultural identity, linking individuals within a shared community and history. Centuries of historical oppression and forced assimilation have spurred a resilient movement to safeguard ASL against the pressures of the medical model, which often seeks to 'fix' deafness.

Advocates tirelessly emphasize the linguistic equality of ASL and its myriad benefits, working towards legislative protections and raising awareness about its profound richness. There is a palpable fear that an overreliance on technological solutions might erode the need for traditional, face-to-face ASL communication.

My artistic work is a response to these critical issues. I aim to highlight ASL as a cherished language and a vital part of Deaf cultural heritage. Through my art, I strive to visually represent the depth and beauty of this language by using hands as a central motif, capturing the essence of ASL's expressive and gestural nature.

Laurie Landry | Playful Gracesof AJ, 2021 | Oil | 38x76 inch

Which art trends inspire your current work?
The Baroque era (Rubens, Rembrandt and Gentileschi); “disruptive realism” artists such as Lucien Freud, Jenny Saville, and Alex Kanevsky; and Cubism, particularly where the focus is on overlapping body movements.

How has your style changed over time?
When I began my artistic journey, I started with acrylic paints, focusing on still life and landscapes. As I honed my skills, I transitioned to oils, delving into the world of landscape and still life painting in the styles of old masters such as Cezanne and the Dutch still life painters.

However, my true passion lay in figurative works. To delve deeper into this passion, I went to Paris to immerse myself in a month-long study of figurative drawing. Despite my initial lack of skill, I was determined to improve, dedicating myself to practice and seeking guidance through workshops and mentorships with masters like Cesar Santos and Nicole Sleeth.

Around four or five years ago, I underwent a significant shift in my artistic approach. I moved away from what I term 'technical painting' and began painting from a deeply personal perspective—drawing inspiration from my own experiences. Being a deaf woman, I found profound meaning and authenticity in creating artworks that reflect my unique perspective and journey.

What are your favorite and least favorite parts of professional art?
My favorite aspect of being an artist is the opportunity to connect with various individuals in the professional art world—meeting artist peers, engaging with art consultants, discussing with gallery managers, and sharing moments with those who genuinely appreciate art for its intrinsic value. It's incredibly thrilling when a random stranger reaches out to me, mentioning they encountered my work in an unexpected place and how much they loved it.

However, my least favorite part is encountering the darker side of the art world—scams and greed that exploit artists and collectors. These experiences have made me cautious about those who approach me out of the blue. It's a reminder that, unfortunately, one can never be too careful in navigating this industry.

What factors influence the price of your work?
As an artist, I carefully consider various factors when pricing my work, aiming to establish its perceived value in the art market. My education and experience, cultivated through investments in art school, workshops, and mentorships, contribute significantly to my skill and craftsmanship. This heightened quality justifies the higher price points I set, appealing to collectors who seek exclusivity and appreciate the mastery behind each piece. I also look to my peers, aligning my prices with those of similarly skilled contemporaries to ensure competitiveness and a sought-after position within the art scene.

The past sales of my artwork serve as a benchmark in my pricing strategy, reflecting the value collectors place on each acquisition. By maintaining consistent pricing, I aim to show respect for my patrons and cultivate trust in my work. I also factor in materials and production costs, showcasing the investment in premium materials and the labor-intensive nature of creating each piece. The size and complexity of my artwork further contribute to its price.

In the evolving art market, considerations such as past exhibitions and gallery placements underscore the exclusivity of my art, emphasizing its value beyond the canvas. Ultimately, my pricing strategy blends my skill, reputation, and market awareness.

What are your ultimate career goals?
My ultimate career goal is to be featured in renowned art museums and to secure representation with a blue chip gallery. I aspire to achieve international recognition and respect within the art world.

Tell me about a time you received negative comments or harsh criticism. How did you handle it?
When I posted my painting, 'The Playful Graces of AJ,' depicting a person who is Deaf-Plus, specifically living with cerebral palsy, I received generally positive reactions from the Deaf community. However, one person, who also had cerebral palsy, reacted very negatively, accusing me of mocking both AJ and cerebral palsy itself. I was taken aback and deeply concerned.

In response, I reached out to AJ directly to seek her perspective. I asked her if I had misrepresented or mocked her in any way with my painting, and I made it clear that if I had, I would remove the painting from public view immediately. To my relief, AJ loved the painting. She told me that it captured her personality truthfully and honestly, and that it resonated with her deeply.

AJ also reminded me that while there may be individuals who are disturbed by such representations, there are many more who appreciate the honest portrayal of multiple disabilities. She shared that the painting had a positive impact on many within the community and beyond, lifting their spirits and validating their experiences.

This experience reinforced to me the importance of engaging directly with the individuals I portray and seeking their perspectives. It also highlighted the diverse reactions that art can evoke, and the need to navigate these sensitivities with care and openness.

Describe a piece of art you are most proud of. Why?
As an artist, the journey of skill development is constant. There are moments when you reach a new level of competency, a feeling of leveling up that is incredibly rewarding. For me, 'Breathe' is that painting—it informed me that I had pushed through my limitations and that I have the potential to continue growing and improving.

Laurie M. Landry

Breathe, 2023

Oil on panel

14 × 14 in | 35.6 × 35.6 cm

In the Flesh | Oil paintings conveying body language →

33 Contemporary, with locations in Chicago and Miami, presents another exciting online exclusive hosted on Artsy.net. The show titled Flesh runs for almost the entirety of February, and features 20-plus artists who “work with the figure and use paint to convey body language,” notes the show curator, Didi Menendez.

Nicole Bishop

First Light, 2023

Oil on Dibond

36 × 20 in | 91.4 × 50.8 cm

In works like First Light by show artist Nicole Bishop, the body language is telling a story of healing after hardship—one piece out of a series that walks the viewer through stages of a female figures “metamorphosis and change,” says the artist. “Each piece stands alone and does not need to be seen with the others to be appreciated. First Light especially is a stand-alone piece and a personal favorite of mine.”

CONTINUE READING AT AMERICAN ART COLLECTOR

Artists Painting Artists | A Window into Creative Souls →

In the realm of painting, there's a profound beauty in artists painting their peers. This practice is more than just a mere portrayal; it's a tribute, an intimate dialogue between creatives who share a relentless impulse to express. The online exhibition "Artists Painting Artists" magnificently en- capsulates this concept, offering viewers a chance to witness one artist's perspective of another's essence.

Imagine a world where each brushstroke is an ode, where every color and line is a symbol of respect for a fellow artist's journey. In this unique form of portraiture, the artist is both a narrator and a participant, engaging in an unspoken conversation with their subject. It's akin to self-portraiture, yet here, the artist sees themselves through the eyes of another, providing an external viewpoint that is often enlightening.

The exhibition leads us through various narratives, each portrait unfolding a story that beckons us to explore deeper. There's a certain magic in the gaze captured by these artists. It invites us to ponder, to lose ourselves

in the depths of the subject's character. What lies behind those eyes? What stories do they tell? These are questions that resonate throughout the gallery.

Historically, the art world is rich with examples of artists painting their contemporaries. These portraits are not just mere records; they are tes- taments, eternalizing the honor and reverence of being the subject of a fellow artist's canvas. They forge a bond across time, connecting the past, present, and future in a continuous thread of artistic admiration.

As you delve into this exhibition, let each portrait intrigue you, drawing you into the narratives they weave. Each piece is a journey into the heart of creativity, a celebration of the artistic spirit that connects us all. This is not just an exhibition; it's a homage to the enduring bond between artists, a tribute to the shared passion that fuels their creative souls.

- Sergio Gomez, MFA

Lisa Fricker

Laurence O'Toole

Aki Kano

Karzai Amal

Amy Gibson

Chenoa Warner

Gabriella Di XX Miglia

Christopher Cart

Julie Kavanaugh

John Hyland

Katarzyna Adamiak Jaśnikowska

Steven DaLuz

Leah Lopez

Sarah Warda

Lydia Rose Spencer

Michael James

Patricia Schappler

Eva Evangelista

Diana Carolina Lopez

Scott Brooks

Kei J. Constantinov

“I conjure neo-medieval, Magic Realist imagery and custom frames, using
time honored methods and materials, seeking to “edutain” my audience.”

— Kei J. Constantinov

Best known for her neo-medieval “magic realist” paintings dealing with courtesans, organ grinder monkeys, Moors and vanished landscapes, Kei J. Constantinov’s work may be likened to historical fiction excerpts: gilded vignettes of a European dreamtime featuring Venice.

Her self-crafted oil panels embedded within frames redolent of 15thC Italy, enhance her narrative oil and egg tempera work, executed with time-honored Flemish and verdaccio techniques. In tandem with ancient materials she often uses contemporary methods and tools, such as CMYK oil glazing, for an indirect and jewel-like effect.

Conjuring influences such as Albrecht Durer, Rembrandt, Holbein and German illuminated manuscripts, she invites us to reflect on her imagined, nostalgic milieu, reconsidering the splendor of human folly.

What concept or narrative is behind your work?  When I was a lithographer everyone asked me “what’s the story here?”, so I came to understand my work was narrative, and began using triptychs with the beginning-middle-end model.  Now I am working serially and larger in painting, employing nostalgic, old world imagery – Italian, and (often) specifically Venetian.  Through the use of  metal foil gilding, high relief  frames and nostalgic imagery I create time capsules, often alluding to medieval courtesans, organ grinder monkeys, imagined cityscapes and palettes which I hope are evocative of the past, but with a contemporary spin.

What medium do you use for your studies, and how does that translate to the final painting or artwork?   Because each of my paintings are embedded into a Faux Relic, self-styled frame, the process is considerably longer – so my preliminary studies are often just dashed off on scrap paper, but then refined and drawn directly onto the image area.  In the old French method one would do many studies, but unless I received a large commission, which entailed showing the client the concept, I prefer to work directly.

What turns has your art career taken?  Following an MFA at Umass, Amherst, I moved to New York and taught for seven years at Bob Blackburn’s Printmaking Workshop in Chelsea.  At that time I also received a Revson Grant from the Art Students League, which enabled me to create an artist book with handset type and lithographic images – so I was very much identified as a stone lithographer.  Fate and marriage took me into the realm of interior design, where I had the opportunity to convert an historic church property into a B&B and cultural center on UM campus in Ann Arbor, which I ran for sixteen years, untold we sold in 2013.  So since then I have been painting almost exclusively, while keeping my hand in as a fiction writer.

Explain your process. Tempus Edax Rerum was executed in a CMYK oil process (cyan, magenta, yellow, key = black), a commercial method of color layering in printshops, which I teach as an oil approach.  Using transparent oil glazes one can achieve a stained glass effect, as the colors bounce up from the image below, creating a glowing effect.  The wood panel was embedded into the custom frame, prepared with oil ground, then secured and sealed from behind.  An antiquing process, corner bosses, gilding and forger’s varnish were used.  The same approach was used for Venetian Monkey and A Moor in Venice.  These works are all available at present, at Studio Krakow or through 33 Contemporary Gallery. Haven Gallery in Northport, New York also has some works available for purchase.

What is the impetus of your creativity?   I think many Creatives are blessed with excess energy, and perhaps my compulsion to paint many hours each day stems from a channeling need.  I do take infinite pleasure in it, and it is my “practice”, much as other people have yoga, religion, or cybergames for channeling.  Then there is that metaphysical explanation, the “je ne sais quoi” aspect which approximates a spiritual experience while working!  Habit forming . . .

Elvira Kravenkova

“I paint the beauty of ordinary things and people and my thoughts about this world.”

— Elvira Kravenkova

Elvira Kravenkova is an award-winning Canadian artist residing in greater Vancouver area. She works in impressionistic realism style rooted in her Russian background. She was born and started her art education in Russia and later, after coming to Canada with her family, continued her art education going through Anatoly Badriashwilli’s studio and Mandy Boursiqout’s Atelier.

Elvira is teaching art since 2016 when she was invited to instruct at a private art school and started to teach at her studio. Kravenkova’s works are in private collections in Russia, Australia, Italy, Israel, USA and Canada.  She shows her works internationally and in Canada (including multiple juried and curated shows). In last three years she participated in four museum shows in the US and Canada.

What is the impetus of your creativity?

I can not stay away from my art materials for too long, at least a graphite pencil and my sketch book should always be in my car or in my purse. While other people talk about their day, I sketch my impressions of the day. Art is my way to communicate with the world and the thing that helps me to get through even toughest times of my life. It also helps me to find like-minded people who finally become my friends and collectors. So, the impetus of my creativity is my love to life and interesting people.

What is your art philosophy? 

World is beautiful. Even when I go through some terrible times, my ability to find beauty everywhere, helps me to get through. I remember my conversation with my grandmother when she was about eighty-six. She told me that she was tired of life and a few minutes later she asked if I could help her to replace her window curtains with something nicer. My answer was: Sure. And then I laughed and told her it means she is not tired of this life.  She also laughed and said she is tired but she still wants to be surrounded by beautiful things. With the help of my art, I try to teach people to notice wonders and beauty of this world. 

What medium do you use for your studies and how does that translate to the final painting or artwork?

For my studio works I spend a lot of time to do preparation. I start with multiple thumbnail sketches, which are done with graphite pencil, trying to find the best composition and light. I also use my reference photos when I need them. After I decide what thumbnail sketch is the best for my painting, I start doing color studies where I use either watercolors or oil paint. My choice really depends on my mood, it is not my technical decision. 

If I work with a model, I usually start sketching with charcoal or Conte crayon and later work with oil paints. For my final paintings, I usually use oil paints which is the medium that I love more than anything else for its versatility.

Do you ever venture out of your creative process to try out new things?

Since my education does not include art only (I am also trained in science and medicine), I love to experiment. The longevity of my art career gave me the chance to go through different styles and different mediums. I was trained in classical realism and started to show my works as a realist. 

Later, when I needed some challenge, I decided to try abstractionism. It was a period of my super-bright works that were done in acrylics. I still have one of my abstract works on display in my living room. It is titled Sunny Day and helps us to survive long gray West Coast winters. My personality always moves me from one thing to another and does not allow me to get stuck. After awhile I got tired of my abstractionism period and got back to realism, this time it is impressionistic realism. I also love to try different mediums, including some digital sketching and try to incorporate the results into my oil paintings. 

New things always inspire me and keep me learning.

This portrait was inspired by the personality of Anna Rivina who used to fight for the most vulnerable people in Russia  and now, after being forced  to leave Russia, started to protect women and children who are going through difficulties of adaptation after they had to leave their own home countries.

Katayoun Stewart

What is the impetus of your creativity?

The empetus of my creativity is the blend of my personal experiences, emotions and curiosity about the world around me and expressing thoughts and feelings that I can’t articulate in words.

How has social media changed your art practice?

Social media has significantly transformed my art practice in several ways. For example sharing my works on Instagram and facebook and receive instant feedback. Also I have been exposed to a diverse array of artists which has broadened my creative horizons. On the business side, social media has become a tool for marketing my art.

What is your art philosophy?

I believe art should evoke emotions and provoke thoughts. My philosophy in figurative and portrait painting is grounded in the pursuit of capturing the essence of the human spirit. I believe that every face tells a story, and my goal is to bring those stories to life on canvas and uncover the unique character and inner life of the individual. This process is not just about achieving physical likeness, but about understanding and depicting the personality, mood, and energy of the person. I am particularly drawn to the play of light and shadow on the human form, as it reveals not just physical features, but also subtle emotional states and hidden narratives.

What influenced your art style?

I have always had a deep admiration for old masters’ classical technics with a contemporary perspective. I am particularly drawn to the play of light and shadow on the human forms as it reveals not just physical features but also subtle emotional states and hidden narrative.

What turns has your art career taken?

My art career began with a deep engagement in abstract landscape paintings, a realm where I expressed my visions through the interplay of color and form, capturing the essence of nature in a way that resonated with my personal perspective. This phase was marked by a freedom in expression, where each canvas was an exploration of the abstract world.

However, a significant turn in my artistic journey occurred against the backdrop of unfolding political events in Iran. Witnessing the social upheaval and the impact of these events on individual lives, I felt a compelling need to shift my focus. This period marked my transition from abstract landscapes to figurative art, a change driven by a desire to capture the human condition and its complexities more directly.

This shift was not just in subject matter but also a profound alteration in my method and approach. Figurative art allowed me to explore and portray human emotions, stories, and the underlying psychological states of individuals living through these tumultuous times. It was a way to connect more deeply with the audience, offering a mirror to society and the issues it was grappling with.

Embracing this new direction, my work began to reflect the narratives and experiences of those around me, painted with a sense of urgency and authenticity that abstract landscapes did not permit. This phase of my career was characterized by a more grounded and realistic portrayal of life, a response to the immediacy of the social and political climate.

Currently, my art continues to evolve within the figurative realm, constantly influenced by the world around me. This journey from abstract to figurative art, prompted by external circumstances, has not only broadened my artistic repertoire but also deepened my understanding of the role of art in reflecting and responding to societal changes.

What are you frustrated about?

There’s often a tension between creating art that is true to my vision and producing work that is commercially viable. 

Although I’m constantly reminding myself of the value of artistic integrity and trying to find a healthy balance between commercial and creative goals, this conflict sometimes impacts my creative process, leading to periods of self-doubt and reduced productivity.

Additionally, the current economic climate has made it more difficult to secure funding and resources for new projects. This has limited some of the plans I have for exploring and expanding my artistic practice.

These challenges, while frustrating, have also been learning experiences. Looking forward, I hope to continue finding innovative ways to sustain my practice and to create art that resonates both with me and my audience.

News from the Lunar Codex Project

The Serenity Collection draws from our other time capsules, mainly because my timeline from contract to payload onboarding was tight (Dec 8-12). Serenity will likely launch sooner than Polaris.

Serenity will include 3 sub-collections on 2 types of media. Medium 1 has lifetime comparable to Nanofiche, so is costly. Medium 2 is rad-shielded semiconductor memory.

Serenity is included in a larger time capsule from my payload partner, a replica of which will go on a traveling exhibit and eventually be offered as a permanent exhibit to a major institution.

- Serenity A:
Analog images from 25 artists. Archive medium 1.
--- Artists selected by 5 art curators. The specific selection of artworks was curated by Samuel Peralta.
--- Morrisseau (Androgyny), Gomez (Lifted High), Horton (Ring of Bright Water), Gadino (Robot Betty), Okamura (Wu Tang Tee), Ingold (Postpartum), Read (Requiem), Scott (Only Good News), Longhurst (Body & Mind III), Ross (New American Gothic), Van Doren (We Can Thrive From This), Deng (ASMR), Aubey (Emerald Girl), Dzhuraeva (Calm Water), Zeller (Wrapped in You), Anghik Ruben (Passing Through Time), Swingle (Pool Party), Bitanga (Concatenations), DaLuz (Between Worlds), Wiesenfeld (Starship) Bess (Rapture), Randall (Dreaming Moon), Savenkova (Oceans), Malang (Coming Storm), Peralta (Wingbeat of Birds)

- Serenity B:
Around 1500 creatives. Digital format. Archive medium 1.
--- Art magazine covers - All from Nova - Menendez/Goss183, BBM, and FAC covers
--- Music - Waveforms and sheet music from Nova
--- Nonfiction - Assaf (Say Please) from Polaris
--- Novels - Parsons (Elliott), Maidman (Zanzibar), Blouin (Billy) from Polaris
--- Plays & screenplays - J Peralta, P/S Cawdron, JM Alberto from Polaris
--- Poetry - All Nova poets + Best African Poetry 2019-21 poets from Polaris, Clevenger and Whedon from Polaris
--- Short stories & anthologies - A Weir (Sephalon Tales), B Sujiwaro (Yesterdays Tomorrow), authors & editors from 23 official volumes of the Future Chronicles from the Special Edition, AI, Dragon, and up to CW:HWH (~300 creatives), Memory's Children & Knight's Gambit from Polaris

- Serenity C:
Around 2000 creatives. Archive medium 2.
--- Selected from Polaris, not yet fully documented. Work selected for Serenity will *still* be included in Polaris.

Welcome aboard!

Erica Calardo

Erica Calardo is a figurative painter living and working in Italy. Her works in oils, watercolors, and pencils are windows on the solitude of lost souls. She explores the realm of Beauty, Grotesque, and Magic, by creating eery oneiric feminine figures who tell tales of long forgotten dreams, of an imaginary timeless past.

Deeply rooted in the Italian Tradition, her technique is inspired by the Renaissance and Mannerism old masters (Leonardo, Bronzino, and Lavinia Fontana above all). She is mostly self-taught and has learned her skills from old dusty books. She has recently studied academic painting with Italian master Roberto Ferri.

Since 2010, she has showcased her work in galleries in Italy (Mondo Bizzarro, Studio21), and abroad (La Luz de Jesus - LA, Auguste Clown - Australia, Modern Eden, Swoon, Flower Pepper, WWA, and Spoke Art, Distinction - USA, Pinkzeppelin - Berlin among others). Erica's paintings have appeared in several magazines and books, like Miroir Magazine, Beautiful Bizarre, Il Manifesto, Inside Art, Italian Pop Surrealism, Illustrati.

ADD TO YOUR ART COLLECTION @ARTSY

Lorena Lepori Interview

Add to your art collection @Artsy.

Lorena Lepori's figurative oil paintings have a narrative based on the representation of feminine figures beyond gender, relating to everybody who can express the power of femininity. She uses cross-dressing to reach out and create iconic alter egos to expand and embrace a hidden part of her models’ personality through look transformation. She relies on myths, fairytales and clichés challenging the traditional representation of the matters, re-introducing them in a contemporary setting, mixing old and new symbols to relate more with universal concepts.