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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