Posts tagged Fine Art
California Artists: Brea Art Gallery Call for Entries

This annual juried exhibit showcases artwork from all over the state of California. MICA strives to highlight artists in all stages of their careers and offers them a chance to compete for a number of awards, including the coveted solo show opportunity. This regional show features artwork from an extensive variety of mediums and explores creative movements happening in California. 

Entry Deadline: February 28, 2019

Art Miami Exhibitor Highlight: Leslie Feely Gallery

December 4 –9, 2018

In its 29th edition, Art Miami maintains a preeminent position in America's modern and contemporary art fair market and is globally recognized as a primary destination for the acquisition of the most important works from the 20th and 21st centuries.

Friedel Dzubas,  First Run , 1972 Acrylic on Canvas, 96Hx96Win

Friedel Dzubas, First Run, 1972 Acrylic on Canvas, 96Hx96Win

Interview with Dakota Sica

Briefly tell us about your gallery and what type of art you specialize in.

Leslie Feely Gallery is located on the Upper East Side in New York City. We specialize in Post War and Contemporary Art.

What can visitors expect from your booth this year and what specific works should they pay attention to?

This year we have a dedicated a section to Richard Diebenkorn, highlighting works from every period of his career.

Including examples of early abstract drawings, stunning figurative works, and an impressive Ocean Park.

Another star of our booth is “First Run" a rare large-scale painting by Friedel Dzubas - this never before seen work is a Dzubas masterpiece.

It will be accompanied by smaller paintings that illustrate the artist’s contributions to color field painting.

We are also proud to present the works of Kikuo Saito. These large-scale gestural abstractions sing with color!

What tips would you share with new art collectors or fair visitors?

I recommend that visitors ask questions. It is very rewarding to talk with people about the work of an artist they may or may not know. Art Miami is an inclusive fair where experienced and new collectors come to learn and grow their collections.

Art Miami Exhibitor Highlight: Galerie Forsblom

Booth AM117

December 4 –9, 2018

In its 29th edition, Art Miami maintains a preeminent position in America's modern and contemporary art fair market and is globally recognized as a primary destination for the acquisition of the most important works from the 20th and 21st centuries.

Interview with Katarina Siltavuori

Briefly tell us about your gallery and what type of art you specialize in.

Galerie Forsblom, founded by Kaj Forsblom in 1977, holds a unique position on the Nordic art scene as one of the largest and most international contemporary art galleries by bringing international established artists to its exhibition spaces in Helsinki and Stockholm. While the exhibition programs consist of a wide range of media within the visual arts, Galerie Forsblom is highly profiled as presenting excellence in contemporary painting as well as sculpture.

What can visitors expect from your booth this year and what specific works should they pay attention to?

Galerie Forsblom showcases both established American artists, such as Peter Halley, Jacob Hashimoto, and Keith Sonnier and young Finnish rising stars, Toni R. Toivonen and Reima Nevalainen.

Our booth presents a coherent synergy between playfulness and harmony – the booth is curated with a joyful spirit as Peter Halley’s bright-colored, neo-geometric conceptualist works juxtapose Jason Martin’s large-scale monochromatic sculptural paintings which consist of thick surfaces of oil or acrylic gel.

The booth prevails a lingering harmonic atmosphere with Jacob Hashimoto’s works, which combine Japanese handicraft tradition with Anglo-American minimalism, Stephan Balkenhol’s raw and spontaneous wood sculptures, and Bernar Venet’s dynamic steel sculptures and arches, playing with gravity and three-dimensionality.

What tips would you share with new art collectors or fair visitors?

Be curious and ambitious. Let passion be your guide and trust your instincts. Buying art can be fun – and don’t be afraid to go big!

Above image:

Jacob Hashimoto, Reaching Desperately for the Darkening Sky Through Geographies of Time and Season, 2018 Acrylic, paper, bamboo, wood and Dacron, 167.64h x 152.40w x 20.96d cm, 66hx60wx8.25din

Order the Art Miami 2018 Edition!

Create! Magazine Issue 12 | Art Miami 2018 Edition 


Please allow 2-3 weeks for domestic delivery and 3-5 weeks internationally. 

(Ships after on or December 9th)

Pre-sale price valid until November 30, 2018


180+ ad-free pages of interviews and features with established, mid-career and emerging contemporary artists for you to discover and be inspired by!

Issue 12 Contents

On The Cover 


Madison Parker



Waves, Waterscapes and Wanderlust 

Interview with Artist Nina Brooke 

By Alicia Puig 


Postgraduate Plans 

Interview with Emerging Artist Rosabel Rosalind Kurth-Sofer 

By Alicia Puig 


James Bullough 

The Voices of Street Artists 

By Christina Nafziger 


Edra Soto 

Creating Community Through Artistic Practice 

By Christina Nafziger 


Reimagined and Remembered 

Interview with Charlotte Keats 

By Ekaterina Popova 


Standing up for Women Artists 

Interview with Liezel Strauss, Art Girl Rising 

By Ekaterina Popova 


A Glimpse into Another’s World 

Interview with Anna Shukeylo 

By Ekaterina Popova 


Spot on 

Neo-Pointillism by Pj Linden 

By Alicia Puig 


Adam D. Miller and Devon Oder Creating a Gallery Through an Artist’s Perspective 

By Christina Nafziger 


The Beauty and Complexity of the Natural World 

Interview with Alonsa Guevara 

By Ekaterina Popova

Art Miami Fairs Highlight Exhibitors


A unique perspective from galleries exhibiting at Art Miami Fairs 2018


Artists Selected by Guest Curator, Kaly Scheller-Barrett, Associate Director of Hashimoto Contemporary


Stacey Beach

Isabel Chun

Ben Dallas

Scout Dunbar

Lesley Gold

Raul Gonzalez

Erica Green

Elizabeth Jung

Thomas Kelley III

Lydia Kinney

Huanying Koh

Forrest Lawson

Megan Magill

Amy Meissner

Aly Morgan

Hedda Neelsen

Yuria Okamura

Madison Parker

Anastasia Parmson

Diane Pribojan

Sara Allen Prigodich

Meganne Rosen

Molly Scannell

Lindsey Schulz

Max Seckel

Val Shamma

Anne Cecile Surga

Andrea Taylor

Anna Teiche

Sophie Treppendahl

Charlotte Urreiztieta 

Jimmy Viera

Ellie Ji Yang

Madeline Zappala

Angie Zielinski

Spotlight Artist


Andrew Salgado


Highlight Artists


Andre Bogart Szabo

Valentina Sarfeh

Ambera Wellmann Exhibition Opening at Projet Pangée

Artist: Ambera Wellmann

Exhibition title: (Wo)man and Beast in the Round of Their Need 

Opening: Thursday, October 11, 2018, 5:30 pm - 8:30 pm

Exhibition: October 11 to November 17, 2018             

Ambera Wellmann is a Canadian artist working in painting, assemblage, photography and video. Wellmann graduated from the Nova Scotia College of Art and Design (2011) and earned her MFA from the University of Guelph, Ontario (2016). She is the recipient of the Joseph Plaskett award (2016) and the recipient of the RBC Canadian Painting Award (2017). Her works have been exhibited at the Power Plant, Toronto, the Museum of Contemporary Canadian Art, and the National Gallery of Canada. She currently lives and works in Berlin. Wellmann gratefully acknowledges the support from the Canada Council of the Arts. In this recent series of paintings, Wellmann continues her investigation of porcelain as a bodily substitute and a vehicle for perversion, manipulating the sensuality of painted surfaces to blur the distinctions between material and flesh. Wellmann’s paintings hybridize a range of canonical motifs, transposing the grandiosity of historical figuration into intimately realized, darkly humorous works.

"Blue Rainbow" Exhibition by Andrew Salgado at Angell Gallery

ANGELL GALLERY is pleased to present  Blue Rainbow, the first solo exhibition in Toronto by London, U.K.-based Canadian artist Andrew Salgado. Featuring a suite of new paintings by the internationally exhibited artist, the show runs from Thursday, Oct. 4 to Saturday, Oct. 27, with an opening reception with the artist on Thursday, Oct. 4 at 7:00 p.m.

Blue is associated with the sky and the sea - vast spaces often used as metaphors for freedom and inspiration, or signifiers of tranquility and calmness. Perhaps this is why Andrew Salgado chose this colour as part of the title of his exhibition Blue Rainbow. After years of making work in which the political was very personal, Salgado's new paintings find him unburdening. "My practice was being weighted down by my own history," he explains. "I have been vocal about LGBT issues, but I think I'm cooling down."

Salgado insists that his latest work isn't political; however, with the rise of right-wing attitudes in many parts of the world - and the anti-LGBT sentiments that often accompany them - producing positive representations of gay people can be read as a political act. Salgado, who has been the target of hate crimes, dealt directly with his experiences in earlier works such as Bloody Faggot (2011). That painting represented what he was going through physically and emotionally at the time. In 2017, when he mounted a solo exhibition at the Canadian High Commission in London - making him the youngest artist to do so - Bloody Faggot was a central work in the show.

Salgado has closed the door on that period of his life. Now, he wants his work to be about the sense of joy and discovery that he experiences while creating paintings, and he hopes that visitors to his shows feel the same when viewing them. "The process, the joy, the colours, the feelings I get ... I want those to be enough for me, and I want them to be enough for viewers," he says. "I've learned to stop talking about what my work means because what others bring to it is just as important as my intentions."

Salgado's figures throughout Blue Rainbow are situated within vibrant and textured environments that suggest the out-of-doors: quiet moments on azure beaches, walking through a garden or contemplating a cobalt sky at dusk. Serenity, freedom and expansiveness inform the paintings; they serve as meditative yet irreverent rejoinders to the socially and politically proscribed lives that people too often feel hemmed in by. "A line from the Bjork song Big Time Sensuality - 'it takes courage to enjoy it' - really hit me recently," says Salgado. "I've heard this song a million times, but suddenly I was like: Oh my god, that's so true. So, this show is me, learning to enjoy." 

- Bill Clarke

The Complexity and Intricacy of Graffiti Tags: Interview with Stef Sutton

Stef has been practicing photography for about 10 years, starting with film in college. She gained an AA in Photography and later a BA in Art History and Museum Studies. Since then, she has worked with various Philadelphia museums and nonprofits such as the Penn Museum, Rosenbach Museum & Library and the Stedman Gallery at Rutgers University-Camden. She currently works full-time as Executive Assistant at the National Museum of American Jewish History and serves on the board of AIGA Philadelphia—a local chapter of the National graphic design organization—as Communications Director, practicing photography in her free time and through her travels around the city of Philadelphia. 


The birthplace of graffiti and home to its own unique style of writing, Philly is filled with various forms of street art, yet tags are often the most overlooked form of street art, often appearing on (and quickly disappearing from) dumpsters, construction equipment, and the walls of abandoned buildings. In photographing tags, I hope to highlight the complexity and intricacy of this artform and the diversity of the artists that create them.

By Sarah Mills


Tell us a little bit about your background in the arts. 

I’ve had a love for art and have a B.A. in Art History. I’ve worked in various Museums and nonprofits and have been introduced to many different forms of art. Art is something I’ll never get bored of. 


Were you always interested in tags? What was it that drew you to them?

I’ve always been interested in graffiti in general and tags seemed like the very underappreciated form of graffiti. Everyone likes the big, colorful pieces but less people notice tags—which are just about everywhere. Philly’s tags are surprisingly intricate and are unique to the artists creating them. I love when I’m able to recognize tags throughout the city. I’m trying to figure out a way to add that skill to my resume.  

ive been drinking.jpg

How has photographing artists tags helped you connect with that art community?

Taggers aren’t easy to find when they’re even on social media, so in attempting to attribute tags to the right people, it takes research and asking around which in turn has helped me connect with the community. 


What is your favorite part of your artistic process?

I’m still new to this world of tags, so my favorite part of the process is when people—artists and/or other graffiti enthusiasts—help me identify tags when I post on Instagram.  

What is the best piece of advice you have been given in your art career that you would like to pass on to our readers?

I hate the word networking, but it really is the best advice I’ve been given and pass on. Attending gallery openings and other art events is the easiest way to meet other creatives. But even if you aren’t meeting people in person, finding creatives on social media and following their work is really inspirational—it’s also how a lot of really cool collaborations can start.

In your bio you state that you practice photography in your free time, how do you find balance and make time for your art?

I carry my camera with me every where I go, which makes finding time to practice A LOT easier. I can shoot before work, during a lunch break, or on my way to a meeting or event. I’ve also found that having a hobby outside of my regular 9-5 job has been beneficial to my mental health so I really do make an effort to make time for photography whether it’s actually shooting or researching and discovering other photographers.  

What do you hope viewers will take away from your photographs?

I hope that my photographs encourage people to find and appreciate all forms of art. There’s something oddly beautiful about a sharp, crisp tag on a blank wall, door, or dumpster.

"Body Rock" Exhibition at Central Tattoo Studio

Central Tattoo Studio and Create! Magazine are pleased to present the opening of a group exhibition titled "Body Rock".

The show includes the work of five artists inspired by tattoo culture. This exhibition includes work by artists that interpret the theme by using their unique style, subject and creative approach. 

Opening: September 22, 6pm


Central Tattoo Studio

171 W Girard Avenue

Philadelphia, PA 19123

Exhibition dates: September 1 - October 28, 2018 

About Central Tattoo Studio

Central Tattoo Studio is a fine art forward, custom tattoo studio in Philadelphia, PA. Our first floor gallery space features rotating exhibitions from local and emerging artists whose work bridges the gap between fine art and tattoo work. Our second floor tattoo studio hosts tattoo artists with a strong understanding of the foundations of fine art; color, form, line, space and composition. Our tattoo artists specialize in watercolor tattoos, abstract/graphic tattoos, geometric tattoos and black and grey realism tattoos.

Participating Artists

Tracy Kerdman

I was born in Huntington, West Virginia. A city now known as the heart of the opioid epidemic. At the age of five I moved to Myrtle Beach, South Carolina. I studied painting at the College of Charleston where I earned a BA in Studio Art. In 2010, I moved to New York to continue my study of painting at the National Academy Museum and School and MoMA, where I would take extensive lecture classes. My paintings have been exhibited in Germany, Canada, New York and throughout the United States, from the Korean Cultural Center in Los Angeles, to the Museum of Fine Arts in Tallahassee, Florida. I live and paint in Hell’s Kitchen in NYC with my husband.

My work largely draws from the cultural inconsistencies of my background of growingup on the Grand Strand of South Carolina, a place recognizable for its hospitality, and paradoxically, its bigotry. Figurative painting is what drives my interest and helps me to explore contradiction and anxiety buried in normalcy. The work aims to be familiar and within the realm of conventional, figurative oil paintings only at first glance. Working within the context of traditional representational work and portraiture, the goal is to create something unsettling and more disconcerting than an academic, technical representation.


Brandi Merolla

Born: NYC

BFA: Photography & Drawing, Mason Gross School of the Arts, Rutgers University.

Art Director Tower Records 4th St./Broadway, NYC 1983-1986.

Merolla Displays; Custom 3D foam-core displays for record companies, FAO Schwarz, Howard Stern Show. 1986-2018.

The ritual art of tattooing has been practiced since ancient times. Then in 1876 Thomas Edison invented the "Electric Pen" in the age where electricity began to make it's way into our culture. Famed tattoo artist Samuel O'Reilly then used this new modern invention to tattoo in NYC. 

At that time, mostly sailors got tattooed. They had their bodies marked with patriotic, nautical and religious symbols. For the next few decades tattoo designs expanded to include memorial, sports and romantic symbology to a broader audience.

In my new body of artwork, I take tattoo flash from the years 1900-1940 and I blow them up from 2" high drawings to 3'-4' high 3D foam-core sculptures. I stay true to these primitive line drawings and make them larger than life just as they are remembered historically. My reverence for these original designs explains the scale shift.


Brandon Straus

My paintings are a visual dialogue about the contemporary and historical relationships between art and commodity fetishism. With respect to traditional subject matter such as still life, interiors, and portraiture, my paintings explore the material world and question their current cultural implications and narrative potential. Modernism, fauvism, and orientalism mingle in my compositions in flattened rendering, brush stroke and color, and still life objects. 

My source images come from online shopping, design magazines, social media, and personal objects. In their combination they create a visual archeology of personal identity. My compositions use vocabulary that addresses themes of queerness, Judaism, and historical modern painting with humorously self-aware nonchalance.


Mishal Weston

Mishal Weston (1988) is a Zimbabwean born designer and artist based in Cape Town, South Africa.

As I walk through the streets or meander down the beach, my eyes wander from side to side looking for little treasures to collect. Things that are beautiful in my eyes, but that some may find strange. Through a shifting lens, I capture objects from a different perspective, looking closer than most seeing more than the naked eye would care to take in.

But then I look up and see the marked collections of stories adorned on flesh. Stories that within their marks tell a story, each line, dot and shadow overlaying a crease, a blood vessel, a mole or even a story past and now covered. Now collecting the collectors.


Julianne Merino

Julianne Merino (1991, Hickory, North Carolina, United States) is a New Orleans based visual artist. Combining sewing, collage and painting, Julianne juxtaposes the process of painting, that has a predominantly masculine history in western art, with sewing –considered women’s labor. She graduated from Pioneer Valley Performing Arts with a concentration in costume design in 2010 and with a BFA from Massachusetts College of Art + Design in 2014. Julianne has worked as a printmaking instructor and as a journalist of art in New Orleans. 

I take dolls very seriously. I started making paper dolls from magazine cut-outs and scraps of fabric as a child. Using these materials as an adult, my work reimagines the definition of what a doll is. As marionettes, paintings, or collages, these female figures sit waiting for something to happen to them.The passive female figure is an enduring theme from old master paintings to fashion magazines to vintage pin-ups. 

I work on translucent vellum, painting, collaging & sewing from front and back to create layers with a distorted sense of depth, reminiscent of skewed perspective from the medieval period. A visual hierarchy emerges that subverts traditional power structures. Rather than a scene the viewer might step into, these landscapes feel more like a reverie, replete with all the non-linearity of a sleepy-eyed subconscious. 

Through collage, I juxtapose classical symbols and quotidian commercial imagery, challenging culturally inherited assumptions about femininity. The disharmony between these two extremes allows me to critically explore and decode their meanings & create a cipher of personal iconography. 

Sewing & embroidery, which I first learned from my mother, has historically been women's work passed down through generations. I have expanded my craft amid costuming culture in New Orleans, specifically learning from the work of a Mardi Gras Indian chief, and now employ these materials as a visually stark departure from my collage and painting, an art form dominated by men throughout western art. I engage these mediums to complicate gender dynamics of not only theme, but process. 

I will further develop my process, including threading into paper, printing onto fabrics, and deepening the relationship between textile and mixed media works. I want to focus on making interactive pieces, like marionettes, and sculptural work. I’d like to incorporate family heirlooms, sewing and putting them into new works, creating a sense of femininity through generations. I want to juxtapose this familiarity and intimacy with the dark, satirical, & extraordinary imagery of Mardi Gras culture. 

I’d like to create tapestries and/or wearable art that combines embroidery and 2d imagery, reminiscent of secret fraternal banners, but through the classic iconography of women throughout different history/ religions. What if women had their own secret orders? What would their traditions and symbols be? I’m drawn to this double standard because secret fraternal orders were considered to be wise and ritualistic, whereas women were considered to be heretics and witches. These were the archetypes that capitalism had to destroy. 

Using embroidery looms, silk-screening and beading, I’d like to create 3d fabric pieces, reminiscent of medieval hell mouths and the faces on old Mardi Gras floats. Creating pieces that viewers can interact with is important to me, whether through puppetry, wearing, or unveiling something hidden under a piece of cloth.

This residency is an opportunity for growth — not just spatially or methodically, but also a growth in the sense of community. I feel excited thinking about this residency as a chance to be surrounded by like-minded and supportive people. 

The Language of Painting: Podcast Interview With Artist Anna Valdez

In this episode of Art and Cocktails, Kat and Anna Valdez share a few drinks and dive into Anna's incredible journey as a painter. We chat about how her experiences in archeology and anthropology influenced her current work. Anna talks about her love of processes and rituals and explains the inspiration behind her beautiful paintings.

Born in 1985 in Sacramento, California, Anna Valdez’s interest in cultural formation and collective consciousness began in her hometown. Exposed from a young age to a uniquely Californian cultural milieu, her proclivity for collecting and crafting a poignant and meaningful visual vocabulary took root during time spent sharing in the traditions and environments of people within her community. Her fascination with the ways in which cultural identities intersect lead her to pursue a career in sociocultural anthropology.

It was on an archeological dig in Ireland that Valdez first discovered her skill for art making. Valdez was encouraged to keep a sketchbook of the site, creating scale drawings and maps. Visually reinterpreting these “abandoned sites” allowed Valdez to explore the connection between anthropological and artistic methods of cataloguing and record-keeping.

Today, working across painting, drawing, printmaking, collage, and digital media, Valdez examines the relationship between material and cultural identity. Valdez incorporates articles found in domestic spaces such as plants, textiles, vessels and keepsakes into her work as a method of storytelling.  Her colorful work invites the viewer to consider objects as emblematic of personal and collective experience, shifting between still life and portraiture. 

Anna Valdez received her MFA in painting from Boston University in 2013. Her work has been exhibited in museums and galleries across the United States. Valdez’s work has been featured in Juxtapoz Magazine, New American Paintings,, and Daily Serving. Her work has recently been exhibited at the Crystal Bridges Museum of American Art, Masur Museum of Art, the Danforth Museum, Boston University Art Galleries, Hashimoto Contemporary in San Francisco, and Parts Gallery in Toronto Canada.

Anna's Work:

Recent Museum Exhibition at Crystal Bridges:

Anna's Instagram

Photos by Nora Lowinsky

Rajab Ali Sayed

Rajab Ali Sayed is a visual artist who lives and works in Houston, TX. He received his BFA from the National College of Arts in Lahore, Pakistan in 2013 and his MFA from the University of Houston, TX in 2017, minoring in Art History.

Rajab has attended Augustana University in Sioux Falls, South Dakota as a Fulbright Exchange Scholar (2011) and completed the Sam and Adele Golden Foundation and Vermont Studio Center Residencies on the East Coast (2017). He has also taught drawing and painting at The University of Houston and Art League Houston.

Rajab was recently curated by Whitney Museum Curator Chrissie Iles into "30 under 30", an emerging artist showcase at Viridian Artists in Chelsea, Manhattan. His work has been acquired into private collections in the US and Pakistan.


My work creates a dialogue between identity and representation within the history of painting. I often co-opt visual cues from historical paintings and lived experience to express personal mythologies, placing figures in compositions as pictorial devices, or leaving figures out of compositions to reflect on human presence in absentia. My paintings are thickened internal narratives, and visual devices such as color, mark and perspective are married with titles to explore conceptual ideas within, and across multiple bodies of work.

Meet Me At Delancey/Essex Exhibition at Spoke NYC

Spoke NYC is pleased to present Meet Me At Delancey / Essex, a group exhibition featuring over 20 artists living and working in the greater NYC area. As the local landscape continuously changes, Spoke Art recognizes the importance for the street, lowbrow, pop surrealism and new contemporary genres to have representation and an outlet to exhibit work within the community. The gallery aims to provide a cornerstone for supporters of these genres and to continue to build a sense of community within the art world in New York City.

About the exhibition, curator Jennifer Rizzo states, “Meet Me At Delancey / Essex is a celebration of community, in every sense of the word - by bringing together both emerging and established artists as well as being a physical hub for creative exchange, my hope is that SPOKE NYC becomes the go to destination for the lowbrow and new contemporary genres.”

Above image by Logan Hicks

Participating Artists:

Aaron Li-Hill | Beau Stanton | Bryce Wymer | Buff Monster | Caitlin McCormack
Dennis McNett | Ellis Gallagher | Fumi Mini Nakamura | Cash For Your Warhol
Ian Ferguson | Jeremy Hush | Jim Houser | Jordan Seiler | Justin Hager
Logan Hicks | Luke O’Sullivan | Olek | Scott Albrecht
Sergio Barrale | Swoon | Taylor Schultek

Meet Me At Delancey / Essex

A group exhibition curated by Jennifer Rizzo
On View: March 3rd - 25th, 2018

The Space in Between: Interview with Morgan Ward

I have always retained an interest in the concept of the painting’s picture plane, and significantly, how this can be manipulated. In my practice, I aim to investigate the relationships between colour and the interaction of forms. Questioning how one might choose to fill the space of a canvas as an object, and whether paintings can communicate and inform themselves. A key aspect is the expansion of a space, both physically and as an abstract illusion.

I have adopted and developed a practice that allows me to constantly interrogate problems and outcomes. Persistently working from preliminary studies in a sketchbook and allowing them to inform, but not dictate, my paintings. Thinking about communication between paintings and how paintings can be viewed as an object in space, not just a flat surface that reacts only with the eyes. Wanting the paintings to interact as a body of work, interconnecting within itself, translating forms and using colour suggestively to signify space and build these networks. Using the space around a painting to play an equal role in how the painting is consumed by the viewer as the content of the picture plane. Where a painting begins and where it ends, your entry point of a painting, and where you are allowed to enter a painting. How adjacent space can alter how paintings communicate and how the viewer can be manipulated in a space to react a certain way towards specific works.


What is your artistic background?

After living in London my whole life, I decided to take the plunge and completely change scenery and study Fine Art at the University of Chichester in the South of the UK. I returned to London where I live and work in my studio and from then on my practice has continued to grow.

When did you start exploring the idea of paintings in relation to their space and environment?

Like most artists, you start from a very early age producing works from visual stimulation of what is around you, be that your friends or family, scenery, or anything you can get your hands on. But, I always found myself so much more interested in the space in between and how that changed the space/object(s) adjacent. I suppose it derived with the formal thinking of compositions and the curating of a visual plane.


We love the intensity and installation-like effect of your work. What would you say your current work is about?

The central questioning of my practice has been that of what constitutes the space of painting. How one might choose to fill the space of a canvas as an object, and whether paintings can communicate and inform themselves through relational proximity. In thinking about communication between paintings and how paintings can be viewed as an object in space, not just a flat surface that reacts only with the eyes has led me to explore work in series wanting the paintings to interact as a body of work, interconnecting within themselves both singularly and across the sequence as a network in actual space.

Your palette is absolutely stunning. How do you come up with the color in your work?

My colour palette has derived from many many studies and paintings and it’s a continually growing thing that I carry around in my brain. Its kind of organically grown from itself, testing colours and knowing what works and what doesn’t and manipulating these good and bad relationships between colours to open and close and illusionistic space in a fixed object in reality. But I do get into phases of really overly enjoying a specific oil paint colour, it sounds like such an odd obsession, but its so satisfying finding a colour that’s just exactly what you are looking for.

Morgan Ward 2.jpg

Give us a glimpse into your process. What is a typical day in the studio like for you?

I always like to get started with just throwing a colour down into a sketchbook and pushing to see what I can do with it. Give myself a line on a page and make myself produce a composition relation to that specific line as a focal point. Once I get started with investigating one tiny idea or a colour it always leads to something hopefully substantial, I find myself spending a whole day just exploring one form or one colour to the limits of what it can or could be.

Morgan Ward 1.jpg

What are some of your interests outside of art-making?

Now this may seem a little odd, but I have a slight obsession with collecting plants… Wherever I go I always find myself picking up a plant or two or a type of pot for them to go in, it does a great job of brightening up my studio, I always enjoy buying the plant that looks a little worst off than its counterparts and bringing back to life.

What is the best piece of advice you received as an artist?

Keep going, everyone always says to just keep producing what you feel is right, never forget your artistic direction wherever it takes you, trust your own judgement, always question things and just go with it!

SERIGRAPH at Spoke Art

Spoke Art is proud to present SERIGRAPH - a dynamic group exhibition celebrating screen printing and analog printmaking as both a medium and a process. This comprehensive survey includes artists from a wide variety of genres, backgrounds and styles.

Each artist brings their unique experience in screen printing from their broad ranging experience in the worlds of gig/rock posters, movie and film work, street art, fashion and beyond. Working with single and multicolor screen prints, each artist has created a new limited edition pushing and melding the boundary of the analog print process.

Typically working with art directors and clients for commercial and licensed projects, SERIGRAPH allows this curated artist list a creative freedom not commonly found in their day to day work. Allowing for an exploration of artistic practice in a completely restriction-free space has resulted in stunning array of works within the medium.

Please join us for the SERIGRAPH opening Thursday, November 30th, with an opening night reception from 6pm-9pm. Prints will be available on a first come, first served basis and some artists will be in attendance. The exhibition will be on view through Friday, December 22nd, 2017.

Participating Artists:

Florian Bertmer, Bungaloo, Burlesque Design, Sam Wolfe Connelly, Rhys Cooper, Craig Drake, Matt Dye, Jeremy Fish, Jayde Fish, Icy & Sot, Nikita Kaun, Landland, Aj Masthay, David Moscati, Prefab77, Jermaine Rogers, Justin Santora, Snik, Chuck Sperry, Marq Spusta, Matt Taylor, Jeff Wood and Zoltron

Nikoleta Sekulovic at Rebecca Hossack Art Gallery

Aletheia - the Greek philosophical term that defines ‘unveiling, uncovering, the Greek notion of Truth

Nikoleta Sekulovic creates in the tradition of Odalisque portraiture, and yet by choosing to paint mothers, she redefines her subject as both parent and muse. 

The female form is depicted in a muted palette, devoid of props and distractions.  Through this, Sekulovic strips her subject of external expectations, revealing them in a more authentic state as opposed to traditional expressions of sexuality. The looser lines celebrate the imperfections and irregularities of the human body and recall Egon Schiele's Vienna and the minimalism of Gustav Klimt's studies.

'My approach so far has been to focus on less rather than more. I try to use fewer lines and a simple colour palette. I search for ways to bring movement into the contours of the figure or into the skin. I believe the figure needs to breath. It needs to reflect something of the human fabric, which is that we are both orderly as well as complex, angular as well as curved.'

A mother herself, Sekulovic’s process becomes as much about productivity as about reduction. Painting is a time to step back into the studio for still reflection on the different elements of her subject matter, who in turn is pared down and given repose on the canvas.  As Sekulovic has observed,  ‘muse’ as a noun represents a source of artistic inspiration. But as a verb, it means ‘to think about something carefully and for a long time’. 

Sekulovic was born in Rome to a German mother and a Serbian father and is presently working in Madrid. She has exhibited in London, Paris and New York. Her first collection for the Rebecca Hossack Art Gallery, the exhibition's paintings take their titles from the fundamental principles of Greek philosophy. Just as Sekulovic looks back on these basic precepts for inspiration, she in turn presents an unadulterated and honest version of femininity.

November 29 - December 22

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Studio Sundays: Jean Smith

"The thirty years’ worth of characters I’ve created in song lyrics, novels and paint intend to instill or arouse empathy.

I studied painting at the Vancouver School of Art before forming the underground rock duo Mecca Normal in 1984. I am a published novelist represented by the Carolyn Swayze Literary Agency, and a two-time recipient of Canada Council for the Arts awards."

Jean Smith