In this issue
Vera Tanasić
Dmitry Artyukhin
Peter Eugén Nilsson
Sharone Reef
Cornelia Tersanszki
Manuel Ramos
4
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 .