Stefanie Wolfson

Lee Musgrave

Marie Rioux

Chung Nguyen Van

Mally Elbaz Almandine Tsz Mei Wong

USA

USA

Canada

Viet Nam

Israel

Hong Kong

My work deals with abstracted landscapes, spirituality and the effect of both ideas on the viewer. The landscapes are created as a form of meditation. The making of each piece is a different meditative experience, using the slowness of making. The juxtaposition of making these works into prints causes a tension between the slowness of the meditative process and the fast paced methods of printing, such a silk screening and lithography. My silkscreen prints deal with the meditative aspect of nature. By using simple, repeating lines, I am able to abstract a landscape into a simple image that can still be perceived as a landscape by the viewer. Yet, the image is deconstructed to the extent that meaning can be shifted and interpreted. It creates a link between the landscape’ s reality and what the audience can imagine. These prints also help to cause a meditative experience for the viewer. The repeating lines that is present in this body of work allows for optical illusions, which makes the viewer slow down and actually look at the prints.

It is my habit to crush or cut up waste materials before discarding them and almost daily, I experiment with this random assortment of stuff by tossing bits and pieces of it onto a light pad to see how it looks. If nothing grabs me I shake the pad or add more stuff or delete some and look again. In this process I’ m merging random occurrence with conscious creation in pursuit of“ visual” surprises that reveal the elegance within the chaos. The resulting photographs provide an opportunity for viewers to embrace unpredictability within an approach that values intuition and expressionism … where serendipitous encounters channel risk in the experience of observing and honoring the historic art principle of‘ taking advantage of chance’. The light passing around and through these odd assortments of objects bonds them together in engaging and thought provoking ways. It also creates a wonderful array of color tints and tones that are not perceptible when holding the objects in ones hands. The light pad also makes texture details become more apparent and strikingly enriching.

y painting is the product of an irrepressible impulse which pushes me to express and communicate my emotions without hesitation. First, I picture the dominant colour I wish to explore. Then my ideas unfold with a multitude of options.

Through spontaneous gestures, there then cornes the pleasure of mixing colours, sketching shapes and bringing out textures. An initial composition emerges, followed by a considerable labour of reconstruction, leading to the final work. Recently, I have been working with monochromes, which adds a dramatic touch to my atmospheres. The places I depict in my work are mostly my own. They are North American and of the present. Sometimes one may see in them figures present in particular atmospheres.

As I create I incorporate unusual elements into the work, which in a discordant manner echo our presence and our traces in the contemporary environment.

Once, a person asked me:“ What is the meaning of numbers in your painting?” I answered: They have no meaning, they are my feeling, sometime I am going to draw like this, and it is finally in another way. However, finishing a completed work for people to enjoy is not simple. I have invisible feeling and intuition, for example, why is a work full of numbers but some works still have one or two numbers. I myself feel that this is fine but that is not fine or adding leads to damage or cutting down leads to lack. I also give another example of music to interpret the painting. When you hear the symphony No. 1, 2, or 3, maybe you do not like, or you prefer symphony No. 2. I am sure that you will not explain, but that ' s your invisible feeling to the music. The abstraction in my paintings, too- Viewers like, or dislike. For me, oil painting on fabric or watercolor painting on paper also has equal expressive value. For oil painting on fabric known by most people, it has many methods for your expression such as patching, filling, erasing until you satisfys.

" Almandine "- a natural mineral Traditional value and culture purple gem tends to Bordeaux. are the ever lasting sources of The building blocks of my inspiration. The great creations are based on the endeavor our forebears being almandine gems. The gems are made to let the unique cultures be formed should be stones, and in Hebrew stones treasured for the aesthetic are metaphor for a person ' s standards and the efficacious distress. I hold a philosophical rules of creation are concept of how to deal with discovered and evolved during human distress. It seems that the course of evolution. the stones that I played with as a Actually it is the traditions child, stones that accounted a that have nourished and world of images, hold a double developed the contemporary meaning now that they arts and it is not wise to blind constitute the cornerstones to to the wisdom of our the images of my creativity. The ancestors. Therefore I had laid creation of the painting itself the groundwork for a good consists of small pieces that are command of traditional painting which is the weaved into a kind of chain of prerequisite skills required of small colored stones. The image an artist. However, I am not of these pieces of stones stands just follow the steps of for the pieces of life that are tradition. I synthesize twined into a whole. A whole traditional painting and lifetime.

Western art as an attempt to A lifetime that consists of mordernise Chinese paintings. numerous childhood experiences Chinese painting is and memories that have had fundamentally a linear art. substantial influence on my Thus, the dexterous mental being. On top of that, it manipulation of the brushwork seems that there is also the for precise expression is an derivative of my forefathers in essential prerequisite. Being a contemporary painter, though

Yemen. My grandfather and my the vital tradition being the late father were engaged in the underlying theme, would sewing and embroidery crafts in adopt an approach in a more Sana ' a. My father was a tailor structural form; the emphasis who also knew the craft of of spatial position, visible making sleeveless pullover from shape of content are placed in goats ' and sheep wool. a painting.

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