In this issue
Vera Tanasić
Dmitry Artyukhin
Peter Eugén Nilsson
Sharone Reef
Cornelia Tersanszki
Manuel Ramos
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28
48
76
102
124
Vera Tanasić Serbia
While I was a teenager, I explored various art forms, especially marble mosaics. It is then that I discovered the multitude of impressions created by refraction of light on changing angles of the stone three-dimensional surface. I wanted to reproduce this phenomenon on canvas; with its true application in dark paintings. Black occupied my canvases and it had to be sufficient. My first paintings were all in black, but I still use the same principal in all my works. A solid relief of shapes allows every color to stand by itself on the canvas and be like a sculpture. I always make sketches before transferring my idea onto canvas. I use sketches to solve problems of balance and content. In the beginning, I didn’ t do this at all which resulted in errors and binned works. Considering I use expressive relief, I have to draw sketches of several segments. However, when I start working the process often take me into new directions as the idea evolves and refuses to be contained. This makes the process complicated, long and detailed. Regardless of where the idea is coming from, to avoid unnecessary mistakes, I think the best way is first to develop the idea in sketches. Also, the advantages of sketching are in the possibility to simultaneously get ideas for other paintings.
Roger Bénichou-YchaÏ Austria
I have sought in pictorial work to free the hand from the tyranny of the eye. Tact is important to me, to paint and to play music. Thus, I tried to connect " the visible " and " the invisible " by seeking, from the dreamlike inner vision, dreams. I try to escape from too much clarity that does not allow art lovers to establish a personal relationship of interpretation at work. I have also sought, in the search for substance and form, not to differentiate, too much to categorize, the form of matter, but rather to follow light and its shadows. I stand before the white canvas, contemplate it, and try to clean all the images that project on it. I do not like to paint on pristine white, so I smear to see well. I do not try to project images on the canvas, but to work with it, in a dialogue that becomes fruitful little by little.
Yirang Kim Canada
My paintings are based on the stories that I create from the chaos of im- agery, which I’ ve been gaining from my unknown self and the world that I perceive. The world is full of stories as the smallest grain of sand occu- pies as an important part of the universe, and every one of them tells its own unique story. What I try to achieve is to visualize all forms of stories in the world, and document them with the purest form of my own visual language. I have come to appreciate every existence in this world, that has been forgotten or neglected by people, and I try to interpret their stories from their perspectives and document them as an imagery. Spaces, objects, emotions, and everything you can imagine from this universe becomes my inspiration to create art. Sometimes serious, sometimes fun, some- times heartbreaking stories I have collected, they are documented in a figurative imagery with my bold and textural visual language.
Anna Zviebel
Roger Bénichou-YchaÏ 176
Yirang Kim
144
202
Special thanks to: Charlotte Seegers, Martin Gantman, Krzysztof Kaczmar, Tracey Snelling, Nicolas Vionnet, Genevieve Favre Petroff, Christopher Marsh, Adam Popli, Marilyn Wylder, Marya Vyrra, Gemma Pepper, Maria Osuna, Hannah Hiaseen and Scarlett Bowman, Yelena York Tonoyan, Edgar Askelovic, Kelsey Sheaffer and Robert Gschwantner.