Vivienne J Riggio’s artistic journey is a testament to a life steeped in observation and the transformation of the mundane into the extraordinary. Her studio has been described as a crucible where she takes shapes and textures and creates mystical sculptures of wonder. Her trust is built around her deep intuitive character and wildly active imagination. This trust has guided her well before identifying as an artist. She’s been a creative since birth.  

ABN: What is your background?

Born in the coal mining region of Murphysboro, Illinois, and now permanently residing in Santa Fe, New Mexico, Vivienne’s path to becoming an artist was as intuitive as it was inevitable. From her earliest memories, she was captivated by the world’s shapes, images, and designs, finding solace and expression in the arts as a young girl. Her childhood, characterized by quiet introspection and a deep internalization of her surroundings, laid the foundation for her unique artistic language, which she began expressing through three-dimensional art as early as five years old. 

This fascination with shapes led her to the world of design at the Fashion Institute of Design. However, after a summer employed at the Santa Fe Opera costume shop, her vision and a new north star beckoned. That was when three-dimensional life-size sculpture took hold and hasn’t let go since.  

As a career, Vivienne took a dramatic shift towards defending the rights and conditions of factory workers throughout most of the world. This profound pool of collective imagery, culture, language, and empathy has deeply inspired her work. When she wasn’t traveling, she decomposed herself in her art, sculpting, making mosaics, and hiking. 

ABN: What is your work philosophy and how does that impact your work?

As a multi-media artist Vivienne’s superpowers stretch from many regions of her vast imagination. Sculpture, mosaic, metalwork, fiber arts, block printing. “My truth allows me to shift boundaries as the inspiration and images appear.” Her sources of inspiration include other artists, both contemporary and historic, the wilderness, the sky, the sunlight and rain. The seasons of spring, Indian summer, and autumn also deeply influence her work. All these elements are rooted in her subconscious as she is out and about interacting with the world around her. Once she steps in her studio, however, the magic unfolds. 

ABN: What artist(s) inspire you?

I’m inspired by Alexander Calder for his unabashed creativity, Magdalena Abakanowicz for her ingenuity to repurpose and courage to go big, Bette Saar to bring renewed life to the discarded, Graciela Iturbide for her stunning black and white photographs of rural Mexican women, and Rose Simpson for her courage.

ABN: What is the best advice you’ve received? 

“You’re different than the others, consider that a gift.” My dad told me this when I was about 5 years old. 

ABN :When you are not working, where can we find you?

I enjoy being outdoors, at the movies, golfing, socializing with others, going on road trips, exploring wherever I live, and going to museums, galleries, and art events. 

ABN: What have you done recently that enhanced you as an artist?

People ask and wonder where the idea for the Sheep Collection, or the Herd, came from. Why has she been compelled to create mythical creatures that take us to another realm? The sheep, the bulls, and the bison. So she began researching the prominence these animals have shared with various deities. Her research and curiosity took her to Mesopotamia. In doing so, it was discovered that many deities from this region, where the origin of life had beginnings, are where goddesses and gods had bulls, cows, and rams as their companions. This information inspired Vivienne to create a new cohesive body of work—three mythical heads, the guardians of the cosmos. Stay tuned! 

ABN: Any plans for 2025? Where will your creativity take you?

Vivienne has a well-thought-out plan for 2025. It includes exhibiting strategies, the intention to go deeper into her imagination with no boundaries set, no expectations, to explore ideas and play with concepts unabashedly. To continue to explore where ideas come from. To continue to play and have confidence in the outcome.  

The post Meet the Artist Vivienne Riggio appeared first on Art Business News.

The post Meet the Artist: Cecilia Anastos appeared first on Art Business News.

A fascination with paper in all its aspects: its texture, color, and history all speak to Chicano artist Patricio Tlacaelel Trujillo y Fuentes and give him a voice to share their whispers with the viewer.

With rice paper, construction paper, shopping bags, and magazine clippings, Patricio Tlacaelel Trujillo y Fuentes creates beautiful and thought-provoking works that are reminiscent of the traditional papel picado that adorn the fiestas of Meso-America.

Art Business News recently asked Tlacaelel to offer insight into his creativity, style, and career.

The post Meet the Artist: Patricio Tlacaelel Trujillo y Fuentes appeared first on Art Business News.

Linda Mariano, Editor in Chief

North Carolina mixed media artist Alissa Van Atta finds emotion in paint, texture, composition, and color. She explains: “Art courses through me, shaping my identity and guiding my journey. Starting out as an abstract painter, I spent a great deal of time learning about texture, color and composition. Reintroducing the figure weaves context and narrative, intertwining abstraction and figurative elements. Inspired by vintage ads, my paintings embody humor while boldly confronting women’s rights regression and objectification.

“Through my art, I illuminate pressing issues while remaining deeply connected to my experiences. Creative expression offers solace, healing, and a platform to challenge societal expectations and advocate for women’s rights.”

Art Business News recently met with Van Atta to learn more about her career and journey in building her art business.

ABN: Let’s start at the beginning — tell us about how and when you decided to make art your career.

Van Atta: I’ve always done art, so it’s just as soon as I could pick up a crayon, it’s always been a part of me. I remember stressing in my high school years about “What am I going to do for the rest of my life?” and freaking out. Art has always been there for me, so made a deal with my dad that instead of art school, I would major in art and something else too. I ended up just doing art and got my BFA with a Painting and Art History focus. He always thought I should have added accounting on top of that. But it’s just how my brain works. I could only focus on one thing, so I would have to take all my other requirements in the summer  because all I wanted to do was art.

When I graduated my mom said, “You know you have to make money, right?” I got a little derailed into the world of retail. But art was always there — I knew I had talent and I just had to a take the leap and leave the world of retail. I really didn’t make the complete jump until my mom died, about eight years ago. It occurred to me, you only live once — if not now, when. That’s basically when I dove headfirst and decided “Let’s do this as a full-time thing!” Since then, it’s been a matter of figuring out what works, what doesn’t, and getting comfortable with calling myself a full-time artist.

ABN: I didn’t know you had a retail background. I’m sure it comes into play so many times and in so many different ways. You might not have the accounting degree your dad suggested, but you learned about balance sheets, profit & loss, pricing, and so much more from your retail management experience for sure.

Van Atta: Exactly. I was part of a designer brand. I wasn’t selling $35 khakis. I was selling $1,000 jackets and other pieces in that price range. So even in that world, the clientele was different, the approach was different. I see a lot of things mirrored in how I view who looks at my work. I sit back and just pick up little clues — and so far, that tactic has had good results.

ABN: Alissa, what is your work philosophy and how do you decide what to create? How does that work philosophy impact the art that you create?

Van Atta: Basically, my main philosophy is show up every day. So even if I’m not feeling like things are coming together, I go back to sketching and thinking up ideas. Or maybe doing the stuff that I hate doing, the behind the scenes things like managing inventory, managing the bank account. It doesn’t have to always be in the studio, but my frame of mind is always centered on get something done, at least feel like you’ve put in a day’s work. I basically like to do that in the beginning of the day, so I can go: “Whoosh, I’m done!” Then I can go from there.

Ideas are something that sticks with you. You’re not off the clock. It’s always marinating. Even just getting some ideas out that have been pestering. It’s just a matter of doing something that show you’ve accomplished something in some way, even if it’s just making notes. Just showing up every day. And I also like to challenge myself. If something didn’t happen or if it’s a timing technique, then that drives me to work on those things.

ABN: There are so many artists that do exactly what you’re saying — make a plan and stick with it every day. Whether it’s starting the day with the management things, like planning for fairs, creating invoices, reaching out, creating social media posts, all of those things that must be done to keep the business moving forward. Then moving on to creating. Or the other way around — whatever works best for each person. Your advice to work every day, getting to it, and being productive are keys to success.

What do you think was the best advice you’ve ever received and how have you used that?

Van Atta: During my senior seminar, I was very fortunate to have a mentor who was also my senior seminar instructor and my instructor for abstract art. I didn’t listen. I’m learning the hard way now and remembering his words. Showing up every day, working on developing yourself as an artist, and loosen up. Loosening up not only  my technique, because I used to be very precise, but also loosening up my frame of mind.  Basically, anything I’ve ever set out to do, the plan goes one way and I go another way. So no matter how much I think it should be this way, I’ve learned to loosen up my expectations and just go with the flow. I have to remind myself of that all the time. It’s not a failure if it didn’t work out. I learned something different.

ABN: Great perspective! Sometimes you have a perceived notion of what something should be, but maybe you haven’t explored everything it could be. And that’s really what you’re talking about. I think that there’s a learning in all of that. Absolutely. So what do you do to market yourself and your art?

Van Atta: Basically, being visible as possible as I can be, whether through my website or Instagram. Instagram is a beast — it’s harder now to get an audience. But it’s a place where people can find you and discover your art. It’s another little portfolio. The main thing with marketing, I’ve learned, is meeting people. So getting into art organizations, doing fairs. You never know who you’ll meet, who and a connection that will benefit you. It’s an opportunity to get to know a person one on one. Sometimes it’s the weirdest thing of who knows who and it ends up being a small world. Or “Yeah, I’m an artist” and things spark from there. But growing it organically is what I’ve been focused on because it’s the proven method of what’s gotten me sales, collectors, and a following.

ABN: At the art fairs, I notice that you are very engaged. You’re right there, you’re standing up, you’re very approachable. And usually when I walk by, you’re talking to somebody, whether it’s another artist, maybe it’s the exhibitor that’s next to you. But I think that that’s a really good point because you don’t ever know where you’ll find a great connection. Maybe they’re just visiting the fair, looking at art, and they have an experience with you. And six months from now, they’re contacting you and asking, “Do you still have that piece, or is there a piece like that one?” And you don’t ever know what all of those connections, how they might play out in a myriad of ways.

Just one more question. Any particular advice as an emerging artist that you would give an aspiring artist?

Van Atta: It’s tough. And oftentimes, you’re your own worst enemy. So my advice would be to surround yourself with people that genuinely want you to succeed. People that support you. And remind yourself that it won’t happen overnight. This is a marathon. So if you don’t do great one day at some event, it does not mean it’s over or you’re a complete failure. We all play mind tricks with ourselves. So it’s just reminding yourself to just show up every day. It’s all a learning experience and  keep moving forward.

ABN: Really great advice. It’s been terrific having a conversation with you. One of the reasons for your success is that if you are enjoying what you’re doing and you have a positive attitude. Sure, it can be scary. It’s your career, it’s your livelihood. But working it each day helps you meet the challenges.

Thank you so much. It was great getting to know a more about Alissa Van Atta, the artist.

The post Meet the Artist: Alissa Van Atta appeared first on Art Business News.

Recycling Plastic One Painting At A Time

Linda Mariano, Editor-in-Chief

Artist Pedjman Mohammadi’s collection is a breathtaking fusion of creativity and sustainability, transforming plastic waste into stunning abstract art. Each piece is meticulously crafted from recycled materials, merging eco-consciousness with aesthetic brilliance.

Pedjman’s artistic vision breathes new life into discarded plastics, turning them into unique, visually captivating artworks. His artwork offers a diverse array of colors, textures, and styles, ensuring there’s something to inspire every art enthusiast.

Art Business News recently met with Pedjman to learn more about his career and his amazing works of art.

ABN: Let’s start at the beginning — tell us a little bit about how and when you decided to make art your career.

Pedjman: I’ve been painting since 1995, but I started painting full-time just last September. Being a father of an 11-year-old, the future of the next generation is very important to me. My daughter is a very focused environmental individual:  she gathers plastic and tries to recycle just about anything. So this last September, I decided to team up with her and try to work as much as I can with recycled materials to create my art. And that’s how everything started. Then I connected with Redwood and Artexpo New York to create my first exhibition in April, and the rest, as they say, is history.

ABN: One of the most intriguing parts about your work is that you’re not just using environmentally correct products to create the work, but you’re recycling things and incorporating them into each mixed media piece of artwork — and in some very interesting and compelling ways. When it gets down to the day-to-day of creating, what is your work philosophy and how does that impact your work on a daily basis?

Pedjman: Let’s see. Part of my timeline was living in Japan, part was living in Vienna. Living in those two countries informed me how to pay close attention to nature, recognize art, and pay attention to the environment around me. And that is essentially who I was and who I am. Those two experiences in my earlier life are still a big influence on me today. And then, the rest is really trying to be an environmentally conscious individual. I try to recycle as much as I can. I do believe there is a bridge between creativity and sustainability, and I can form plastic and create art and deliver that to my audience.

ABN: And the pieces you create are definitely show stoppers, not only from a size perspective, but they are dramatic and compelling. Let’s switch topics just a bit and ask you to think about people that you’ve talked to, people that you know, or people that you’ve read about. What’s the best advice that you’ve ever gotten, and how has that impacted your success?

Pedjman: Best advice I received was really from Redwood Art Group. I decided it was important for me to come to an art fair and present myself. I wasn’t expecting anything out of that experience. I just wanted to know where I stood i respect to today’s art business and art culture. Really listening to the advice I got, everything that Eric told me about price point and how to deliver myself to the visitors at the fair really helped me. Listening about marketing piece and how to put my booth together and curate my artwork to make the best impression really helped me to showcase and position each piece for the audience. I would say the best advice I received was really from Redwood.

ABN: Well, thank you. Wow! I wasn’t expecting that. So what do you do to market yourself and your art?

Pedjman: I leverage Instagram daily. I share my work and my daily work process on Instagram. I try to get out there as much I can, join art events as much as I can, and go to art galleries as much as I can. I think seeing art and speaking to people helps to create connections and relationships.

 

ABN: Making connections is so important. Whether it’s being at art events, whatever they are, really being present and working it. When it’s a first time, like one of Redwood’s fairs or even getting your work in a gallery, it’s important to remember it’s also the first time the work is being seen by that audience. So you might not sell anything, but it’s the networking and creating connections that can lead to amazing outcomes. Those connections build one on the other — and that’s how you start to establish yourself with a base and as a career artist.

Thinking about that, what has been your greatest success in terms of building your career and your client base?

Pedjman: That’s sort of a challenging question because I’ve really only been in this full time for less than a year. My greatest success really started at Artexpo New York. Like I said, I didn’t have any expectations, just wanted to see where I stood. It was remembering the small things, like “Hey, stand up in front of your booth.” It was one of the things that really captured everybody’s attention and drew them toward me, and I was able to talk to every single person. There were so many conversations that opened doors in all different aspects. In the fair, I was able to sell three of my pieces out of ten that I presented. 

But then so much came after based on all of the connections that I gathered — I got commissions after commissions, two weeks, four weeks after. And it was a joy for me to be able to listen and execute on everything Redwood had advised me. And it worked. Even my Instagram account, I started with 250 or so followers when I was in Artexpo New York. today I have nearly 4,000!

All of these small things might be small, but it was a big, big victory for me as a beginner. And all of those are the things that really work. And I try to stick to those things, over and over.

 

 

ABN: What you’re really talking about is building blocks. It’s building a foundation, no matter what you’re building — you’re building a house, you’re building a career, you have to have the foundation, then you can stand on that foundation and it’s solid ground.

Just one more question. Any particular advice as an emerging artist that you would give an aspiring artist?

Pedjman: Well, I would say be honest with yourself and be consistent. Do what you’re doing day after day. Get out there, and build relationships. I think that’s the most important piece of the puzzle. And not only that, maintaining that relationship is very important. This means that whether you gather a phone number or an email address, reach out to those clients and individuals when you have events coming up. Enjoy the ride. Try not to stress and enjoy the experience, set the tone and set the mood. I think everything starts with the attitude — when the attitude is right and the attitude is out there it creates a positive vibe that captures attention. I think that’s very important. And I’ve experienced it first hand. So that would be my two cents.

ABN: You are so right! I think one of the things that has attracted your success is that if you are enjoying what you’re doing and you have a positive attitude. Sure, it can be scary. It’s your career, it’s your livelihood. It’s always going to be challenging. But I think you’re meeting the challenge. And congratulations.

And, Pedjman, if you don’t mind, we’ll love to check back with you in a year or so and see what’s happened then.

Pedjman: Absolutely, that would be great! Thank you so much!

The post Meet the Artist: Pedjman Mohammadi appeared first on Art Business News.

ALEX FUNES LOVIS

In the fascinating world of digital art and photography, emerges the remarkable work of Alex Funes Lovis, originally from Mexico born on November 8, 1966, a passionate Plastic Artist whose creativity transcends conventional limits. Through his lens, he captures the very essence of iconic places around the world, transforming images and textures into authentic masterpieces that resonate with the depth of lived experience.

The work of Alex Funes Lovis is characterized by his ability to fuse the rich visual heritage of the places he has visited with sacred geometric elements, vibrant colors and the mystique of numerology. Each creation is a journey in itself, a bridge between the viewer and the destinations they have explored, a connection that goes beyond the physical and penetrates the emotional and spiritual realms.

Q: What is your work philosophy and how does that impact your work?

A: My philosophy as a visual artist, photographer and creator of digital art focuses on the deep search for internal knowledge through sacred geometry. I believe that art has the power to transcend mere intellectual appreciation and can touch people’s hearts and souls in a deep and meaningful way.

Q: What artist(s) inspire you?

A: Leonardo da Vinci, Sandro Botticelli, Gustav Klimt, Remedios Varo, Leonora Carrington, Salvador Dalí, Pablo Picasso, Vincent van Gogh, William-Adolphe Bouguereau, Antoni Guadi. 

Q: What is the best advice you’ve received?

A: In short, living from moment to moment is the most powerful advice I have ever been given in my life.

Q: What does exhibiting at Spectrum Miami 2023 mean to you?

A: Exhibiting at Spectrum Miami 2023 is, without a doubt, an opportunity to promote my work and make my artistic talent known on an international stage. It is an invaluable opportunity to present my creativity and personal expression to a diverse audience, connect with other artists and lovers. of art, and take my artistic career to the next level. This experience represents the recognition of my talent and dedication, as well as the opportunity to share my artistic vision with the world.

ALISSA VAN ATTA

Alissa Van Atta is currently based just outside Asheville, NC and is a mixed media painter and ceramist.  Alissa is inspired by texture, nature and unique surface treatments in her abstract artworks. In 2022, sparked by the overturning of Roe v. Wade, figures emerged in her paintings.  Feminist themes are subtly explored with a neo-pop art style inspired from vintage advertising, pin-up girls and commercial art from the 1950s – 1970s.

Alissa has participated in exhibitions and art fairs in the past few years to further expand her exposure across multiple markets. “The most rewarding part is meeting people that are attracted to my work and I get to connect to people over my pieces and the stories behind them.”

Q: What is your work philosophy and how does that impact your work?

A: You may have an idea of what the work may turn into, but allow the art to lead you forward.  The end result may be very different from the initial idea, but letting the art take you on the journey is what I love the most about being an artist.  The impact on my work can be unexpected, but it allows me to grow authentically. 

Q: What artist(s) inspire you?

A: Jean-Michel Basquiat, Eva Hesse, Joan Mitchell, Wilhem de Kooning are just just a few of many.

Q: What is the best advice you’ve received?

A: Do what you love.  Allow yourself to be vulnerable.

Q: What does exhibiting at Spectrum Miami 2023 mean to you?

A: Miami Art Week is such a flurry of art and people that love art.  I’m excited to be a part of it and excited to show my art in front of such a large crowd.

ANASTASIIA KOZLOVA

From childhood, Anastasiia has been drawn to math, geometry, and unseen concepts. Later in her older years searching for life answers esoterics came to her life and she developed a sense of living life through the aesthetics of every day. And in one of the dark moments of her life, she found a glimpse of light in connection with all things through art and expression of beauty, geometry, mystery, and interconnection of all things. That was a touch of higher guidance sending a message to her that we are not alone and always have been guided and protected. And this guidance started to be expressed through sacred geometry.

Her enigmatic artistic journey began as a kaleidoscope of curiosity and exploration. From the very first brushstroke, she fell in love with the beauty and intricacies of sacred geometry. Like a blossoming flower, their artistic path unfolded, guided by patterns, symmetry, and a profound reverence for the hidden mysteries of the universe. She immersed herself in the study of ancient cultures, seeking wisdom from past civilizations that honored and revered the power of sacred geometry. Over time, her artist work transformed into a mesmerizing tapestry of vibrant colors and meticulously crafted shapes.

A: The philosophy behind sacred geometry is all about finding beauty and meaning in the geometric patterns that exist in nature and the universe. It believes that these patterns are not random but hold a sacred, underlying order.

Q: What artist(s) inspire you?

A: Nature’s Magic: Taking a close look at the mesmerizing patterns found in flowers, seashells, and even the structure of the universe itself. The Fibonacci sequence and the golden ratio are all around us, just waiting to be transformed into sacred geometry art. 

Ancient Wisdom: Diving into the vast knowledge of ancient cultures, like the Egyptians, Mayans, or Greeks, who incorporated sacred geometry into their art, architecture, and religious beliefs.

Meditation and Reflection: Finding stillness within myself and letting my mind wander. Sacred geometry can be a portal to inner peace and spirituality. Exploring the depths of my thoughts and emotions, and translating them into symbolic shapes and patterns.

Music and Sound: Letting the rhythm and melodies guide my creative process. Turning on some inspiring tunes or exploring the harmonious vibrations of specific frequencies. Allow the music to flow through me and influence my artwork. 

Personal Meaning: What aspects of sacred geometry resonate with me on a deeper level? Is it the balance, unity, or complexity? Connecting with the meaning and symbolism that speaks to my soul, and infusing it into my art. The greatest inspiration lies within myself. Trusting my intuition, play with shapes and colors, and let my imagination run wild.

Q: What is the best advice you’ve received?

A: Probably the best advice I’ve received was to learn to trust yourself and your intuition. Not to be afraid of the unknown. Just calm your mind, come back to yourself and you will find all the answers within. 

Q: What does exhibiting at Spectrum Miami 2023 mean to you?

A: The exhibition of my sacred geometry art is a truly special milestone for me! It’s a chance for me to share my unique perspective and expression of sacred geometry with others. I think of it as a magical moment where my art takes on a life of its own, spreading joy, curiosity, and appreciation to those who have the privilege of experiencing it. So, I’m embracing this opportunity with excitement and confidence, knowing that my art has the power to inspire and captivate others. And feel so grateful for this amazing opportunity.

ANDREA BERTHEL

“Within the Square of my canvas, I show the world in a fish can. My artwork is message-oriented. Vibrant colors, humor, and the joy of telling stories lure the observer into a world of its own. My koi express their feelings and state of mind but still keep their fishy appearance.

My artwork draws you in and challenges you to think about society, politics, and culture, about our values and how we implement them. I do not want to scare observers off by negativity, but attract their interest with humor and vibrant colors and let them discover what I am trying to express.

The initial idea runs like an undercurrent through my subconscious until it has matured and can be put down in a rough sketch to determine formal design, light, and shadow. I start to fill in the details, elaborating fish portrayals, often including some funny eye-catchers. The process is fluid and new ideas are included. I paint in oils and cover the canvas with one first layer, deciding upon color and illumination. Then the long process of putting on more thin layers of paint, thus intensifying color and volume, begins.

My work is a constant search to express my ideas about the world I live in, the statement oscillating in the polarity between joy, laughter, anger, and sadness.”

Q: What is your work philosophy and how does that impact your work?

A: I am concerned about the world I live in and my themes are political, philosophical, social, cultural, etc. The ideas of how to express those themes pop into my mind at 4 or 5 a.m. For example in the “American Dream, “ the koi close to their leader are white, the ones in the less advantaged places, squeezed under the lid are darker, red, and black and not well equipped (rifles). It shows white supremacy and racism. The pledge to defend democracy is counter-phrased by the halo of automatic rifles and guns around the president’s head. With the koi in cans, I can criticize with humor and irony, with vibrant colors and high technical quality.

“If my art has nothing to do with people’s pain and sorrow, what is art for?”

“I think art is a very important weapon to achieve human freedom.”

Those quotes from Ai Weiwei say what my motivation for painting is.

Q: What artist(s) inspire you?

A: Artists like Caravaggio, Tiepolo, Veronese, Velasquez, and Goya inspired me. I love to study their multi-layered meaningful compositions, the way they handle light and shadow, and how they achieve depth and volume. I admire the sense of Humor Banksy and the stark impact of Ai Weiwei’s concert hall pillars in Berlin wrapped in swim vests.

Q: What is the best advice you’ve received?

A: “You don’t have to please anybody, but yourself!” (my husband). So I paint what I have to „say“, not looking on easy sales or  mainstream art.”

Q: What does exhibiting at Spectrum Miami 2023 mean to you?

A: The Art Scene in America is very lively and diverse. It was such a pleasure to attend finally (waiting 3 years) the ArtExpo New York earlier. The positive and encouraging feedback was great. On top of that PopArt belongs to the cultural self-image of Americans. I feel at home in your country and to show my art at Spectrum Miami is a great honor to me.

ANTOINE ART

Antoine de Villiers (South African, 1977) is one of life’s travelers and blessed with an artist’s soul. Antoine works in many mediums, yet, there is always something quintessential of her throughout the core of her work, like a wick in a candle drawing her creations out. During a difficult childhood as a daughter of parents struggling with mental illness, Antoine was in a devastating motorcycle accident that claimed the life of her friend/driver. Days later, the diary she kept meticulously for years was stolen and she lost her medium of expression. It is then that Antoine found her artistic voice and art became a means of survival.

Q: What is your work philosophy and how does that impact your work?

A: I want my work to be visceral, honest, and vulnerable. Early in my career, I was drawn to the human figure as my world came crashing down amid my struggle with severe depression. I found exploring the complexities of human emotion freeing and using the subject of the figure as a means of expression. While I felt emotionally and physically out of control, my work became autobiographical and gave me much-needed relief. Philosopher Alain de Botton said that art can ‘help us to be less lonely’ and that is exactly the role it played in my life. My figures are nude, as that is the most honest and vulnerable we can be. They are usually anonymous to help empathize with the emotion captured rather than the identity of the subject. But ultimately, as William Kentridge aptly noted, no matter what subject you choose, it will always be a self-portrait.

Q: What artist(s) inspire you?

I love art and can never get enough of it. From old masters like da Vinci and Turner. Modernists like O’Keeffe and Hepworth, but most of all, contemporary artists like Jenny Saville, Harry Paul Ally and Yulia Bas.

Q: What is the best advice you’ve received?

A: “Turn your pain into purpose”

Q: What does exhibiting at Spectrum Miami 2023 mean to you?

A: I had the privilege to exhibit at Spectrum Miami in 2021. It marked the ‘relaunch’ of my career -not long after my return to the US after living in India for 5 years and teaching art to children living in slums and brothels. This year I’m grateful to be able to return to Miami once again and I’m very excited. I believe my work has grown and I can’t wait to show 20 new pieces never exhibited before.

BRINTON FARRAND

Brinton Farrand is from Indianapolis, Indiana. He received a teaching degree from Purdue University and a Master’s in Art Education from DePauw University. He taught High School Art and Photography for over 30 years, and while teaching he was the recipient of a Lilly Endowment Grant. He studied classical realism at Studio Escalier in France for three months with Timothy Stotz and Michelle Tully. After retiring, he studied painting at Herron Art School in Indianapolis with Professor Marc Jacobson and independently with artist David Slonim. He continually expands his skills through classes and experimenting in his studio and enjoys presenting in multiple shows and venues where he can talk to the public about his work.

Q: What is your work philosophy and how does that impact your work?

A: As a young man, I competed in High School and College Wrestling. To succeed and be the best, I drilled, practiced, and trained relentlessly.  I took that work ethic into my teaching and coaching career.  When I retired from teaching, I might say I ‘refired’ myself into a successful artist. I explore myself and the world around me, using new tools and techniques. My goal is to continuously learn from the past artists as well as the new artists of the 21^st century.  I enjoy storytelling and searching for creativity; that is what I enjoy most in my life.  After all, those who are creative and can improvise, adapt, and overcome will succeed in this new age.

My work philosophy is to paint or draw every day. I love drawing with pen and ink. The power of a single line can tell so much of the story of a painting.  Color and contrasting through colors is my favorite aspect to work on.  Color and line work continue to be central themes.  A few years ago I saw an artist using dribbled layers of color and decided to experiment with it.  Each color has a different characteristic of dribble. The line can be fat or thin and the paint may drip fast or slow.  Dribbling has taught me to make mistakes and be freer with my painting.  It has evolved into something unique.

Q: What artist(s) inspire you?

A: Camille Pissarro – He painted every day and was not afraid to explore new styles as they came along.

Van Gogh – A painter who was strongly influenced by color.

Edgar Degas – An artist trying to capture motion with his dancers.

Salvador Dali – He is my favorite because of his technical skill and he was not afraid to explore art in any direction.

Johannes Vermeer – I like how easily he portrayed the effect of light on a subject.

Eduardo Kobra – He is my newest inspiration, a Brazilian street artist known for his use of vibrant colors.

Q: What is the best advice you’ve received?

• Find the best, copy what the best are doing, and then “plus” it.
• Do not wait for inspiration. Amateurs wait for inspiration, the rest of us get up and get to work. 
• Do not think when you paint.

When I am not painting you can find me walking outside in nature each morning. I enjoy sitting and listening to music as I observe the seasons changing.  The absolute best thing is to sit in a bar and watch people, yet even then my sketchbook is out to catch the moment.

Q: What does exhibiting at Spectrum Miami 2023 mean to you?

A: To be involved in Art Basel/Miami Week – the biggest art festival in the world – is truly exciting.  Even before participating, we came to Miami to see the art and be inspired.  My favorite venue was Spectrum because the artists seemed to be the friendliest of all the venues, very eager to explain their work and share their thoughts.  To be surrounded by so many talented artists and friends is truly inspiring and a great learning experience.

CHRISTINE LAUBACH

Christine is a passionate painter from the US, Eastern Shore of Maryland. Born in Washington DC she has always had a deep connection with art. As the youngest of 7 she was influenced by the Artists and Scientists in her family. She fell in love with ice skating and spent countless hours creating magical patterns on the ice. Now as a visual artist she paints intricate patterns reconnecting with that sense of magic and wonder. Driven by compassion, she pursued a career as a Trauma Operating Room Nurse, plastics, reconstructive and craniofacial specialist, where she witnessed the resilience of human spirit firsthand. Painting became a bridge that allowed her to express her creativity and bring healing to those who have experienced trauma including herself.

Q: What is your work philosophy and how does that impact your work?

A: My “Why” is clear. I want to share the meditative and transformative powers of art universally. My art is a vessel for healing, a source of inspiration, and a reminder that beauty can emerge from even the most challenging circumstances. I create, explore, and touch lives through my art. With every brushstroke, I invite others to embark on their own transformative journey, reminding them that art has the power to heal, transform, and ignite the spark of hope within their souls. My paintings are a reflection of my journey- the resilience and perseverance to stand in the face of adversity, abstracting the beauty I discover in unexpected places, and the depth of my emotions. These paintings tell the story of love, loss, and the indomitable spirit that resides in all of us. Each piece is a testament to the power of following one’s passion, even when life takes unexpected turns. But the journey doesn’t stop there. I realize my art has the potential to touch lives and make a difference. With a compassionate heart, I use my skills to help others to heal and transform. I offer breast cancer survivors and people living with all types of scars a unique form of support. I create intricate camouflage and 3-D tattoos specifically designed to help reclaim their bodies and embrace their scars as symbols of strength and resilience. Through my art these individuals are empowered to embrace new beginnings in their journey of healing.

Q: What artist(s) inspire you?

A: Rembrandt, Rubens, Johnathan Lasker, Joan Mitchell, Gerhard Richter, Chagall, Kandinsky, Pollock, Susan Caporael, and more.

Q: What is the best advice you’ve received?

A: “Imagination is more important than knowledge. Imagination is the language of the soul. Pay attention to your imagination and you will discover all you need to be fulfilled.” -Albert Einstein

Q: What does exhibiting at Spectrum Miami 2023 mean to you?

A: I’m looking forward to this opportunity to share my work on a large scale in one of the most exciting shows of the year! This means connecting with people who are seeking to collect original art where the experience, the story, and vision inspire them. Meeting buyers, collectors, other artists, and aspiring artists will give rise to future collaborations.

The post Spectrum Miami Artists to Watch, Part 1 appeared first on Art Business News.

The joining of Aehee Kang Asano, Tomoko Takeda, and Eric Beal to create “Revelation” brings different disciplines together to reveal the individuality all people share in the face of each other, technology, and politics. With a lens on emotions and the interactions thereof, “Revelation” brings the artists’ perspectives together in the pursuit of focusing on the exposure of human truths.

Q: Who are you and what do you do?

A: The artists in “Revelation” are newly joined for this show. Aehee Kang Asano is a Korean Japanese photojournalist, visual artist, and poet based in New York City photographing concerts and performing arts with an emphasis on their lives on stage and behind-the-scenes. Tomoko Takeda – also based in New York City – is a painter contemplating the possibilities of art and human potential in an age of AI technology to uncover the role humans will evolve as AI becomes increasingly prominent. Eric Beal is a painter based in Los Angeles that creates political paintings using spray paint and stencils to italicizing societal issues on an individual level.

Q: What is your background?

A: Although Aehee’s parents came from North and South Korea, she was born in Yokohama, Japan, where she grew up. At age 15 she started her career as a poet, screenwriter, and underground art critic. After she moved to Brooklyn, New York where she found a way to visualize her poetry and became interested in documentary photography.

Tomoko hails from Tokyo, where she worked in 1995 as a graphic designer in advertising and packaging. Desiring more human, sensory experiences in contrast to her digital career, she started  working as a chef in 1999 and continued until 2018. Tomoko developed a deep fascination  with organic forms and the natural science world, so she began taking painting classes in Tokyo and I moved to New York in 2019 to develop her practice further.

Eric concluded his formal art education in high school, pursuing a biology degree and working in medical research for years. After moving back to America from Tokyo, Japan in 2017, Eric shifted focus to becoming a full-time artist, drawing on his former street art experience from years prior.

Q: How do you work?

A: Aehee carries her camera to performances or in the streets and, in a way, unconsciously lets her eyes and hands freely select the subject and click the shutter. Whereas, in the darkroom, she has her mind regain control, patiently developing the films and printing repeatedly until the final work is just right. Tomoko develops paintings among several series within her body of work. Whether it is creating semi-abstract acrylic-on-canvas paintings to examine “the world as seen through intuitive human energy” with the mathematical beauty encompassed in biological life energy or egg tempera-on-canvas to express a narrative based on human thought and emotion with influence from Asian religious paintings. With a focus on the political, Eric creates paintings touching on climate change, immigration, homelessness, war, and policing. He formulates dialectic scenes in order to highlight these contradictions and inform the viewer, then paints a limited series of each design so that the paintings, when purchased, decorate multiple locations.

Q: What art do you most identify with?

A: Aehee bases most of her work in street and documentary photography, utilizing black and white to light up the soul of subjects and decisive moments to underscore the emotions, stories, and interactions between herself and the subjects. Tomoko – in her various series of works – draws from both contemporary art depicting human function and senses, as well as folk art expressing human emotions and stories derived from indigenous thought and environments. Eric identifies with political art that causes the viewer to question norms in society.

Q: What has been your favorite experience so far as an artist?

A: Every interaction between creating, photographing, and learning that Aehee gains from photography is fulfilling and precious. The truly great moments come when her subjects or creative partners (her muses) view a photo and say “this is me,” as that creates a deeper connection between her and the subject than any language can describe. For Tomoko, she draws on childhood experiences that inform her work to this day, times that she contemplates the flow of time, space, and altered states of consciousness as human functions and possibilities through art. With Eric’s background in medical research, his favorite experience thus far has been partnering with a population genetics researcher at the Keck School of Medicine of USC in the Artist and Researcher 5 group show curated by Ted Meyer to create an art piece that reflected the lab’s research on population genetics.

Q: Who inspires you?

 A: Aehee – renowned Japanese authors, Osamu Dazai, Yutaka Haniya, Kobo Abe, Tōson Shimazaki, French philosopher Jean-Paul Sartre, Chinese philosopher Zhuang Zhou, and by the works of French filmmaker Jean-Luc Godard and François Truffaut, French New Wave. I love Thomas Hardy, Mikhail Bulgakov, Hermann Hesse, J. D. Salinger, Ursula K. Le Guin, Gabriel Garcia Marquez, and Tennessee Williams.

Tomoko – Sarah Sze and Terry Winters, Hyman Bloom, Henri Rousseau, Japanese Ukiyo-e painter Yoshitoshi Tsukioka, contemporary artist James Jean

Eric – Barbara Kruger, Paolo Freire, mutual aid organizers, Glenn Ligon, Banksy, Ai Weiwei

Q: What is the best advice you have received?

A: Aehee – “With considerable soul searching, to the utmost of my ability, I have let truth be the prejudice.” – W. Eugene Smith

Tomoko – “If you could say it in words, there would be no reason to paint.” – Edward Hopper

Eric – The bare minimum to being an artist is to make art. So make art.

Q: When you are not working, where can we find you?

A: Aehee loves to visit the theaters in MoMA, public libraries, book stores, record shops, concert venues, and on the street shooting around. Tomoko is also often walking the street of New York, drawing in the inspiration in her worldview as an Asian person, as well as the universal sensibility we all have as human beings perceiving the world. Eric can be found interviewing other artists or editing videos for The Artscene, an online publication of artist interviews from around the globe for artists and art lovers.

Q: How has your career as an artist shifted during the past year?

A: Aehee has connected with many artists and found opportunities to collaborate in photography, art direction, and sharing different perspectives. Tomoko has considered the various possibilities of art and how artists should contribute to society amidst changing values and lifestyles after the pandemic. Eric has grown the number of working artists he knows in Southern California while expanding into Japanese and European art markets through The Artscene to join positive support networks.

Q: How long have you been painting/drawing/creating?

A: Aehee began writing and poetry at the age of 6 and has been a photographer for 7 years. Tomoko grew up in a home filled with art and music, learning Japanese calligraphy at a young age, and has created throughout her life. Eric began painting as soon as he could hold a brush on a Fischer Price easel, but became serious about the impact of his work at the age of 6 after seeing his teacher cry from a drawing he made about the effects of deforestation on animals.

Q: Do you have a list of collectors?

Aehee has a list of trusted clients that ask for photography. Neither Tomoko nor Eric have a list of collectors.

Q: How large are your pieces?

Aehee – Gelatin silver prints I make with my hands are mostly 8×10, 11×14, and 16×20, and mix media and digital print works are up to 30×40 inches.

Tomoko – 30×40 & 6×8

Eric – vary in size; medium to large. typically single pieces around 24 in x 24 in

Q: How many pieces have you sold? At what prices?

A: Aehee – About 30 and they are Gelatin silver prints and archival pigment prints.

Tomoko – 10pieces＄800~2000

Eric – 18 works in the past 2 years ranging from $350 – $550

Q: What mediums are used? Canvas, archival paper, oil, acrylic, etc.?

A: Aehee – Gelatin silver print, cyanotype and other alternative and classic photography printmaking process, in digital archival pigment print, water color, and mixed use of classic photographic process and water color on papers.

Tomoko – Acrylic on canvas / Egg tempera on canvas

Eric – spray paint on canvas, occasional paint marker

Q: How do you market your work?

A: Aehee – Social networking like Instagram @red_dream_factory. Also she directly contacts agencies and publishers with her portfolio.

Tomoko – @okomot.adekat2019

Eric – on social media (@ericbealart), personal website (ericbealart.com), and through podcasting

Revelation will be exhibiting at Spectrum Miami this coming December.

The post Meet the Artists: Revelation appeared first on Art Business News.

Q: Who are you and what do you do?

A: My name is Cat Huss and I am an abstract painter and visual artist.

Q: What is your background?

A: I grew on the Texas Gulf Coast and moved away when I was 18. I lived, travelled, and raised a family in Mexico for 13 years before coming back to the States. As a mother of teenagers, I worked and studied Communication in the Midwest. I started my art career in 2017 and have been building it ever since.

Q: How do you work?

A: For me, creating art is a meditative process that starts with a lot of thinking and studying visual things that interest me. I usually find these things out in nature, in tidal pools, sea grass, ripples of water, etc. Out there alone is where I think more clearly. Once I’ve filled my head with images, I try to think more deeply about my fascination with them. I usually have a plan of some kind. I make rough sketches, take notes, and think about color and composition. Once I am in the studio and start painting, though, I try to let the process take over and just pour my thoughts out onto the canvas.

All the work starts with pouring. There are many layers of that before any discernible shape overlays are applied. Adding rough geometric shapes is sort of my way of making order of it all.

Q: What art and artist do you most identify with? How have they influenced you?

A: I’ve never thought of myself as someone who is particularly influenced by others. I don’t. have an art degree and didn’t study art history so I have fewer reference points than many in my position. I would say my approach is very similar to Georgia O’Keefe’s. I’ve read about her and it seems we have a similar way of looking at the world…I deeply identify with her approach to the work, her worldview, and her love of nature and discovery.

Visually speaking, I think I’m most influenced by Mark Rothko. I appreciate the rich fields of color which convey intimate detail upon close inspection. It is visually minimal, but the work invites you in and you feel you are having an experience with the work unlike any other. I hope my work can achieve that for the viewer.

Q: What has been your favorite experience so far as an artist?

A: I think just the privilege of being able to make the work and have it experienced by others. Art is something that impacts lives in a very subtle way but it is meaningful. It is pure expression. It sparks conversations, and makes people feel something and that’s valuable to me.

Q: What is the best advice you have received?

A: I. haven’t really had the advantage of mentors in the art world. What I can say is that I’ve tried to surround myself with honest, straightforward people who support my work and process. These are ‘can do’ people. I don’t know whether I heard it from someone or it’s just part of who I am but I’ve always held true to the belief that if I produce something honest and true to myself and put it out into the public eye on a regular basis — the rest will just happen on it’s own. I’m not trying to make it sound easy, this approach requires consistency and fearlessness in putting yourself out there. I try to keep intelligent people around me who support that even when it sounds a bit crazy.

Q: When you are not working, where can we find you?

A: I am always working. What I mean by that is that my experiences all end up in the work and I am constantly observing and being inspired by things. Every moment is an opportunity to notice something…discover something new never seen before. When I am not painting, I might be out in nature, at the beach, spending time with my significant other or visiting with grown children but it all ends up in the work.

Q: How has your career as an artist shifted during the past two years? And did the pandemic have an influence on your art? 

A: My art practice has really expanded in the past couple of years. In 2019, my plan was to stay in the studio in 2020 and not do any shows, fairs etc. I was feeling lost in the commotion of creating for those events and felt like I needed to create just to create. I needed to get more grounded in my processes and understand more of what inspires me. I needed to reboot creatively. Then the pandemic happened and that gave me even more solitude and room to create without feeling pressured by the outside world. I posted more frequently about process on social media and expanded my studio into a larger space. My sales to private collectors increased and I started working more with art consultancies and designers on different projects.

Visit and follow Cat on Instagram to see more of her work.

The post Meet the Artist: Cat Huss appeared first on Art Business News.

Q: Who are you and what do you do?

A: Alejandrina Calderoni. Mexican Self taught artist who lives and works in Los Cabos, México. A large part of my work is based on different techniques such as collage, acrylic, oil, encaustic and etching prints. I am profoundly influenced by the feminine figure in movement in disciplines such as ballet and flamenco and the stillness of feminine bodies or portraits that reflect either a void or a thought that relates to the context of living in a particular moment. I believe that moments of stillness gives us the opportunity to find knowledge and peace. 

Q: What is your background?

A: Born in Monterrey, Mexico studied abroad in the United States and Europe, with a bachelor’s Degree in International Business.  During my university years, I started experimenting with different art techniques, I consider myself a self-taught artist, but I had quite an interesting upbringing,  My mother RIP was a psychologist, a sculptor, a flamenco dancer, and a guitar player… my brother also played the drums, piano, and the guitar, so I grew up surrounded by music and in art concerts, art exhibitions, dance festivals, and literature groups. I feel so blessed to be brought that way, I believe that art gives us a sense of freedom, but also makes us more empathic with our surroundings. I truly believe that art unifies many differences that need to be avoided to reach peace.

Q: How do you work?

A: I first try to research the color palette that I will be using. The music is also an incredible key for my imagination, I start with few sketches and then I continue freely the process by painting the canvas.

Q: What art and artist do you most identify with? How have they influenced you?

A: I like expressionism, Impressionism, and contemporary art. My favorite artists are Gustav Klimt and Willem de Kooning,  as for living artists Lita Callebut, I love her work.  

Q: What has been your favorite experience so far as an artist?

A:  The day I won my first acquisition prize in a Visual Arts Bienalle, the moment I saw my work displayed at the Grand Palais Museum in Paris, and the grant I received from FONCA ( Fomento Nacional para la Cultura y las Artes).  Very important moments in my career.

Q: What is the best advice you have received?

A: To have discipline and consistency in my art process, and to receive judgments with gratitude, since we are all different every opinion can be a new map to be researched.

Q: When you are now working, where can we find you?

A: In my studio in San José del Cabo, BCS Mexico

Q: How has your career as an artist shifted during the past two years? And did the pandemic have an influence on your art?

A: It was quite a struggle, too much pain and loss surrounding the world was difficult to see, and we lost good friends in the process, as an artist my shift was to reach within and find peace of mind, I started painting faces, trying to imagine the voids that needed to be filled and remember that we need human contact to thrive. Im grateful for the moments that I spent with my loved and closest ones

The post Meet the Artist: Alejandrina Calderoni appeared first on Art Business News.

Q: Who are you and what do you do?

A: I am a multidisciplinary artist living and working in Los Angeles. My work is an intersection of fine art and design which I call “liveable art”, a freedom aesthetic that bleeds across each project. I rarely dream up a new piece without considering the home content it will sit in, so it’s been a natural progression for me to brand into home decor and categories such as mirrors, TV cabinets, tables, rugs, and shelving. 

Q: What is your background?

A: I was born in New York City and graduated from the Savannah College of Art and Design.

Q: How do you work?

A: I feel really lucky to have a studio within the loft where I live so I can constantly be immersed in my work. I love to be able to eat, sleep, and breathe around my art, it’s allowed for a natural progression from painting to designing and translating my aesthetic across different objects. I turned my outdoor patio into a makeshift woodshed so I can live quickly go from a sketch to a wood prototype. I’m a pretty spontaneous worker so having all my tools at my fingertips is key. 

Q: What art do you most identify with?

A: I’m so inspired by artists who turn their vision into an entire world. I visited Marfa and got totally immersed in the works of Donald Judd and was amazed at how he translated his aesthetic across humble plywood chairs to larger-than-life concrete installations. The breadth of work and all the different types of spaces it touches really does it for me.

Q: What has been your favorite experience so far as an artist?

A:  My studio also functions as a gallery and showcase and the best thing is that it lets me open it up to prospective collectors. I love having people over for tea and showing them my latest pieces. Especially with custom commissions, I work closely with my collectors to understand their space and how they uniquely live in it so anytime that download can happen face to face over here, it’s really enjoyable and productive.

Q: What is the best advice you have received?

A: I’m a huge fan of Elizabeth Gilbert and she said this thing once on her podcast that really stuck with me. I think of it every time I feel like I’m holding on too tightly to the desired outcome and just try to enjoy the ride. 

“Let go of this whole idea, it worked, it didn’t work. It was a success, it wasn’t a success. When did inspiration promise us that it owes us anything? As far as I understand inspiration, it owes you nothing except the transcendence of experience of working with it all. That’s the only contract that we have with inspiration. It wants to dance with you and we want to dance with it. The result? That’s all human ego questions. Inspiration doesn’t look at you and say well that didn’t work. Inspiration looks at you and says that was fun, look what we did!”

Q: When you are now working, where can we find you?

A: I try to get to the beach once a week to recharge. I was such an art and theatre nerd growing up I completely missed the whole sports thing and was surprised to fall in love with tennis a few years ago. I’m a flea market addict and find a lot of inspiration from thrifting. 

Q: How has your career as an artist shifted during the past year?

A: In the last few years, the biggest change was finding my new studio in West Hollywood. It was the height of the pandemic and it seemed like there was nothing left in LA and I desperately needed a bigger studio. In my last place, I often found myself moving the sofa into the hallwasy to get more floor space to work so I eventually just left it out there. I got really lucky with this one! I was actually on the phone with a collector discussing a commission and he mentioned he worked in real estate. A few weeks after that call he found this place for me and the extra space has allowed my work to reach new dimensions; it feels truly incredible.

The post Meet the Artist: Hannah Polskin appeared first on Art Business News.