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Stephan Rossmann

myartspace id:superrossi

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Grow up Flourish! The pictures of Stephan Rossmann are described as bold, multicolored, floral and a little psychedelic. He discovered its preference for graphic and design late. After a theory to become a foreign trade buyer and different activities within this range, it was clear that his love belongs to creating posters. After training as a digital media designer he works today as a commercial artist. Flowers are his passion.

Petra Pyro Engelhardt

myartspace id:pyro

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http://www.gestaltendekunst.de ART is my life and I use ART to bridge. I hope that people will find a way without wars especially religion wars on this planet... My tension is to make contrary as my issue in materias - colours and my ideas. Contrary became more and more a part in my work. The experience with contrary in my life has left big impressions. I am working as course instructor in social facility. Since 2000 again working as free artist In 2007 starting active with exhibitions _______________________________ 1975 Performance Art Multimedia-Theater Eyes & Ears Aktion und Expressiondance Making masks and dresses etc. Working and singing with Rio Reiser und Ton Steine Scherben in Fresenhagen Direction & Art for the group Brühwarm in Hamburg mit Corny Littmann (heute Schmidts-Tivoli theater in Hamburg) und Rio Reiser Staying in the atelier of the painter Ralf Meyer-Ohlenhof in Munich 1977 free working in fashion 1984 Education in Art & Design R. Engelhardt (he was my teacher and he was guest by Prof. Beuys Academie of Arts in Düsseldorf) Working and showing own works Gallery Re Design in Düsseldorf. Organisation Exhibitions and Vernissages for Artists from the Malkasten Düsseldorf: Ferdi Walter und Herma Körding Sonderausstellung: Pit Querlis Arttraveling to South France, Spain, Portugal, Italy and Isla Kreta (Greece) Since 1987 free working in Art as a sideline

Mark van den Hoven

myartspace id:markvandenhoven

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Artist from the Netherlands. Main focus on photography and digital art. Tries to show the obvious in an unconventional way. http://www.MarkvandenHoven.com

Mick Davidson

myartspace id:davidsonmick

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Inspirations: Picasso, Bach, Phillip Glass, Tom Waits, Marc Bolan, Surrealism, all Latin music, people who strive to break the rules in creativity, AE Poe, Laurie Lee, Vicente Amigo, Paco de Lucia, FG Lorca, Borges, mountains, the sea, space, very small things, clouds, the colour blue, silence and loud music, Zen Flesh, Zen Bones.

Roberto Foddai

myartspace id:Roberto

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I am Sardinian and I moved to London 10 years ago. Most of my work is photography based but I consider myself bein an Artist rather than a photographer.

Pessi

myartspace id:Pessi

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Rick Shipley

myartspace id:cageone

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Frank Christopher Schroeder

myartspace id:franklin

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JANUSZ MULAK

myartspace id:MULAK

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Janusz Mulak Academy of Fine Arts in Warsaw where he studied both painting (with Professors Zofia Kowalska and Bohdan Urbanowicz) as well as architecture with Professor Romuald Gutt. He won an honorable mention at the world competition for fine arts academy students organized by Gramercy Park in New York.. He received a diploma with distinction from the Warsaw Academy of Fine Art Janusz Mulak's diploma work was awarded the first prize at the National Competition for graduates of the arts academies. He lived in Denmark on a grant from the Danish Ministry of Culture. He continued his studies at the University of Heidelberg (with Professor Riedl) where he took a course in the history of art. Janusz Mulak had collective exhibitions and one-man shows in Paris, Moscow, Berlin, Sofia, Copenhagen, Stockholm, Warsaw, Dusseldorf, Prague, Dallas, Heidelberg, New York, London, Cologne. Janusz Mulak's interests include environmental projects, project-art and actions. At present he is working with multimedial projects with social engagement. Art-video: "Messiah in Warsaw's courtyards", "Messiah in Warsaw's courtyards","Warsaw Central Station - Platform number one" (drug-problem). Janusz Mulak's works are to be found in numerous museums and private collections in almost 20 countries. The author lives and works in Warsaw.

Lidia Shaddow

myartspace id:lidia195757

BIOGRAPHY:

Lidia grew up in israel and immigrated with her family to America when she was forteen.Studied in the school of Visual arts in New York and earned her BFA from Art Center College of Design in Pasadena. Lidia works through un focused emprovization, experiment and chance that results in heavy textures and colorful mixed medium paintings. She is now working with digital photography.

LAURA ROMERO

myartspace id:lulita

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Gerhard Scholz

myartspace id:roku

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Digital Art Inspired by Abstract Expressionism, Informel, Pop Art and Op Art during my traveling as a pilot for Lufthansa Airline, I started with Digital Art selfeducated in 2000. 11.09 has been the turning point. I decided to retire earlier and began to work as artist. www.rokuart.com

ozgur kerem bulur

myartspace id:ozgurkerembulur

BIOGRAPHY:

He was born in Luleburgaz in 1976. He has finished the primary school and secondary school in Luleburgaz. In 1993 he began to the faculty of architecture at Yildiz Technical University. He graduated in 2000 and received a Bachelor of Architecture Degree from Yildiz Technical University. Now he is doing master in Y.T.U in “design on computer.” He keeps on practicing architecture and painting in Istanbul from his own studio. COMPETITIONS - In 1999, “The Cultures Which Came With Water” competition which was arranged by Urban Planing , he won exhibition and honourable mention award. - In 2000, WORLD GOLD COUNCIL “Suffix Design “competition he won honourable mention award.

Daria Voronina

myartspace id:izograf

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Margherita Fascione

myartspace id:margotblue

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benjamin johnson

myartspace id:benjaymin

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I am a freelance illustrator/ designer based in Melbourne, Australia. My work is largely concept driven and aims to evoke a response from the viewer. I have worked for publications including Rolling Stone, Lonely Planet and Lothian Books amongst others and am open to any artistic challenges! I am a founding member of Hot Trash studios.

John Gargano

myartspace id:johngargano

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John Gargano grew up in New Jersey. From his early childhood days he recalls being fascinated with making things. He made all types of plastic models of cars, boats, planes, and military vehicles. He built train sets, and various types of wooden models. He played with Lincoln logs and he had an Erector set and a Chemistry set. He made numerous science projects. One year he made a scale model of a Mercury capsule complete with the launch escape tower that was over four feet tall - all from scratch. He continually had some type of wheeled vehicle in some state of completion and throughout his school days he remembers always carrying around a wood shop project along with all his books and gym bag. He found hobby shops to be an endless source of inspiration where he never tired of looking at the various materials and processes people were employing to make projects conceived by others or objects of their own design. He loved working with plastic, spray paint, colored pencils, balsa wood, decals, Testors cement and X-acto tools. When he wasn’t making something of his own he was working with his father who was a home builder. One summer, he and his brother and his cousin began cutting out circles from old sheets and attaching eight or ten strings to points on the perimeter. They next experimented with tying everything from rocks and other heavy objects to the strings to form home-made small scale parachutes which they rolled up in a every way they could think of. They proceeded to hold contests where they threw the parachutes up in the air as high as they could to see how slowly they could get them to come down. And they did this all summer long. After taking wood shop in school for many years he finally opted to take a class in metal shop while he was in high school. He remembers his guidance counselor having an issue with taking metal shop once per day as a major course as opposed to three times per week as a minor course. Since he was preparing to go to college he was strongly discouraged from taking metal shop as a major. Nonetheless, he prevailed. He was fascinated by the power of the machinery and he liked the strength and permanence of metal objects as opposed to those made of wood or plastic. He recalls the enthusiasm of his metal shop instructor who was a very dedicated, caring and knowledgeable teacher. It seemed the capabilities of the metal shop were those of industry. No longer was he limited to making toys, scale models or crude devices. In his first year he learned about the capabilities of each of the machines and the endless possibilities that could be accomplished with fasteners, casting, welding, sheet metal and machining. In his second year he took on a project that even his shop teacher tried to discourage – the ball peen hammer from the South Bend project book which had a tapered and knurled, hollow handle. He went on to complete that project much to the amazement of many people. It even won a prize in the annual science fair. Aside from all of the knowledge he gained about materials, processes and techniques, he had no idea at the time that he was in the process of discovering something about making things that would transcend the value and capability of even the most accurately and skillfully made objects. He later learned that by taking up the task of making tangible objects he was accomplishing an objective many people seem to find illusive. After many years of making so many different things he had no idea that through learning how to cut, shape fasten, polish and paint, that he was developing a sense of confidence and becoming a capable person. These things lead to an overall feeling of confidence and the development of a vivid and powerful imagination. These intangible attributes of character eventually came to permeate every aspect of his life. When it came time to go to college Mr. Gargano studied liberal arts only to quickly discover that such a course of study was most certainly not the most appropriate for him. At that point he transferred to Virginia Tech to study art and architecture. In his freshman orientation at Virginia Tech he remembers a professor from Switzerland telling all of the new students and their parents that the college of architecture had no classes, no books, no lectures and no tests. All they had were projects. A hush came over the room as everyone seemed to be amazed by this statement. Everything they had know about education up until that point was about to change and they seemed visibly worried. Mr. Gargano, on the other hand, was so elated it was all he could do to keep from jumping up and cheering! Over the next several years he totally immersed himself in projects of all types. During those years he had the feeling that sleeping was nearly a complete waste of time. In his third year of study he developed a five foot square modular graphic composition that was made of illustration board and colored paper on a wooden frame. After the class in which he presented that project that same professor from Switzerland who was at freshman orientation three years earlier took him aside. The European professors at the time were not known for their diplomacy while evaluating the merits of a given student’s work. To say there was a bit of tension in the moment would be an understatement. The professor looked at Mr. Gargano very sternly and said with a heavy German accept, “You should now begin to use more permanent media in your work”. Having prepared himself for a sound thrashing, Mr. Gargano required a moment to fully assimilate the implications of that particular remark. Everyone at the time was making models and various design projects out of paper or cardboard because with up to three projects per week, those materials were inexpensive and easy to work with. Since the projects were only for learning about concepts, they had little value after they were completed and most were shortly discarded. With the recommendation to use more permanent media in his work it took Mr. Gargano no more than a few seconds before he came upon a very simple yet distinct realization. He thought going forward that he could make his projects out of metal and machine them if they were three dimensional. It took a few more seconds after that before he came up against a stark realization. There was no machine shop! In high school the machine shop had three South Bend tool room lathes, a pristine Bridgeport milling machine, a shaper, a drill press, two band saws and numerous other tools for cutting and bending sheet metal. There was a furnace and crucible for melting metal for casting, two welding machines and supplies of materials, abrasives and fasteners to be envied. The college of architecture at that time had a rudimentary wood shop and several dark rooms for photography. Nevertheless, the distinct question, why not machine the components of his work, lingered on in his mind for years. In the entire realm of artistic composition one can readily see stone, plaster, cast bronze, clay, welded metal, glass, sheet metal, plastic and nearly every other material and process known to humankind. But after years of looking, there was vanishingly little machining or other industrial techniques employed in the making of artistic compositions. There is no question that the most often used medium was paint on canvas. Why was this? He kept coming back to this seemingly obvious question. On every visit to nearly every museum from New York to Washington DC (and that’s a lot of museums) Mr. Gargano kept seeing similar media and techniques over and over. Mr. Gargano went on to practice architecture in Colorado for many years and even took on simple industrial design projects on occasion. He kept up his photographic skills and engaged in silk screening and painting. That question from the third year of his college studies continued to linger in his mind. Why not use more permanent media? Why not make artistic compositions from machined elements? Twenty years after graduating from Virginia Tech, after having practiced architecture and venturing into other diverse design disciplines, Mr. Gargano decided that he had spent enough time thinking about these questions. He decided it was time to take on the task of learning the machining trade for the sole purpose of making artistic compositions. He immediately enrolled in trade school and went to classes in Downtown Denver three nights per week after work. It was clear the trade school was on its last legs and soon to be shut down. The machines were all very old, everything was out of square and all the cutting tools were dull. Of the 14 students in the class, three were from Indonesia, two were from India, three were from China and no one knew about the last foreign student because no one spoke his language. All but three of the students were in the CNC class and had never used manual machinery. Again, Mr. Gargano had to persist against the strong encouragement to start with CNC. It was explained in the very first class that no one used manual machinery any more and there was really no one to provide instruction for it. When he explained that he wanted to learn how to use the Bridgeport milling machine, he was told that he first had to learn how to use the lathe. And the first thing one had to do in learning how to use a lathe was to grind a cutting tool - by hand on a dilapidated grinding wheel! When he came to the second class Mr. Gargano brought in the ball peen hammer he made in high school and showed it to the teacher hoping to persuade him that that he could skip the lathe class. No problem there. He was next handed two video tapes about milling operations and told to watch them. It soon became obvious that there was no time for the instructor to leave the CNC class and provide instruction on the manual Bridgeport milling machine. Mr. Gargano next contacted the local Bridgeport dealer and purchased a manual for the machine – fully expecting that it would explain how to use the machine! After spending $35 on a thin light blue book it was obvious that the “manual” was nothing more than a disorganized compilation of technical information sheets the Company had accumulated over the years for the various versions of that machine. Useful as they were, there was no information on how to use the machine. Mr. Gargano remained at the trade school for two more semesters until it closed. During that time he became very proficient at tramming the milling machine because he had to tram it every time he used it. After the trade school closed he decided to purchase a used Bridgeport milling machine. After many months of looking at worn out machines it turned out the local dealer had just taken back in trade a machine that was sold to the University of Colorado 25 years earlier. It seems the machine was located in a Physics lab and although it was manufactured in 1968, it had hardly been used. It was in absolutely pristine condition! Expecting that purchasing such a machine would include delivery, Mr. Gargano was quite surprised to find out that he had to hire riggers at a cost of $600 to load up the machine and have it delivered to his house. Delivery of that machine was an occasion the entire neighborhood will most likely never forget. After having a semi tractor and trailer pull up with the machine and a specialized fork lift, it became evident that forks lifts don’t work very well on steep icy driveways! Knowing the riggers hourly rate, a few neighbors helped to clear a path through the ice and the machine was subsequently placed in the garage. After it was all done, one of the neighbors came up and said, “that’s a pretty fancy drill press you’ve got there!” One neighbor, an 80 year old precious woman from across the street knew exactly what was going on. Her father was a mechanical engineer and he had worked with a Bridgeport milling machine. It turns out she had a reasonably sophisticated wood shop in her basement complete with several high end machines. Not only that, she really knew how to use them and she could make anything known to humankind! Needless to say – that very nice lady was by far his favorite neighbor and they became very good friends. After delivery Mr. Gargano hired an electrician to come over to wire up the phase converter, he leveled the machine, trammed it, and went to work. What a relief it was not having to lug all of his tools to the trade school downtown three nights per week. Over the next four years, Mr. Gargano diligently worked with that pristine Bridgeport milling machine in every spare moment of his time. He could barely conceal his pleasure and joy. No more cardboard and paper models! As time went on it became more and more obvious why no one was making artistic compositions from machined metal components. First of all, most artists are not inclined towards technical disciplines. That said, it became very evident after making nothing but junk – for years – that simply acquiring a Bridgeport milling machine does not make one a machinist! Not only that, but an end mill that is the same diameter as a given drill bit is about eight to ten times the cost. All those little red Starret boxes were quite an investment. The little blue Valenite boxes were even more of an investment. So the answer to the question began to reveal itself over time. No one was making artistic compositions with machined elements because learning the machining trade was extremely time consuming (as well as unforgiving) and the expense associated with the machines, tools and materials was significant. That said, Mr. Gargano was not the least bit deterred. Just having a Bridgeport milling machine in his garage caused him to walk around with a grin like a Cheshire cat. It meant nothing to him that it was taking a great deal of time to become proficient. This was exactly what he learned growing up. Staying with an activity that does not provide immediate gratification, but instead requires a long-term concentrated effort, required discipline. And Mr. Gargano had learned from all of his experiences in shop classes, and through working with his father, that nothing worth having comes easily and provides immediate gratification. Further, whenever one goes where they have not previously been, one is immediately bestowed the title of novice. If one readily takes on that title and honors it with an attitude of respect, the activity will provide a wonderful experience in the moment, and with the investment of time, one will obtain the return of satisfaction and a feeling of accomplishment. These feelings, which are absent amongst many of our young people today, in turn bring about feelings of security and self esteem. These feelings make one sure-footed and capable as they go through life. Mr. Gargano believes that many so-called personality problems such as “attention deficit disorder”, and other psychological issues, which today are treated with pharmaceuticals, are in fact nothing more than deficits of self esteem and feelings of emptiness many people feel for not having taken on, and prevailed through, objectives that require discipline and hard work. Objectives of this type are not honored in a culture of instant gratification. While many people shun adversity, Mr. Gargano believes only through embracing and overcoming adversity with the proper attitude can one realize their fullest potential in life. He knew that success was built upon mountains of failure. After working with the Bridgeport milling machine for four years, Mr. Gargano decided to purchase a lathe. He looked on eBay and inspected various types of used machines in the region. Since Colorado is not know as a hub of industry, suitable machines were not readily available. One day he found the perfect machine. It seemed a local gentleman who was an EMCO aficionado had taken on as his first retirement project the rebuilding of one complete machine from three used machines. He disassembled each machine, inspected the parts under magnification, selected the best ones and vibratory cleaned each one. He then purchased German SST metric socket head cap screws to replace the black oxide fasteners that came with the original machines. When he could not find acceptable parts from one of the three used machines, he acquired original parts from the manufacturer. But for new paint, the final machine was mechanically perfect and extremely accurate. Mr. Gargano considers this machine to be a treasure and he uses it on every one of his machined metal sculptures. After having worked with both machines for another year Mr. Gargano decided to begin his first machined metal sculpture for public consumption. That sculpture, Stiletto, was meticulously produced over the course of the next year. Stiletto was machined from steel and the parts were nickel plated. Since he developed tendonitis from handling the heavy steel cubes, Mr. Gargano went forward from that time working with aluminum. Mr. Gargano produces machined metal sculptures today that typically require months to complete. A unique feature of his work is that he rarely removes the machining marks. Instead, the machining marks are carefully and consistently made to reveal the true nature of the process. This is consistent with the Bauhaus orientation which honors the true nature of a material and resists decoration and adornment. When he begins a new piece he has learned to stay away from thinking about when it will be completed. That type of thought process is bothersome and not conducive to making high quality parts. When people ask when a given piece will be finished, Mr. Gargano now simply smiles and says, “I don’t know”. Consideration of dates and times of completion are not an integral part of the creative process. Today, four years after making his first piece, Mr. Gargano has produced only seven pieces of machined metal sculpture. For each project he carefully prepares detailed measured drawings and instructions. Each piece of his work is an attempt to execute an all encompassing work of art that that addresses both the technical and aesthetic aspects of the task. His work has twice been accepted into the Rocky Mountain Biennial Juried Art Competition which covers a seven state region and Stiletto received an honorable mention in that competition. Mr. Gargano has also exhibited his work in fine art galleries and his work has been accepted for exhibit at the Cherry Creek Festival of the Arts in Denver, Colorado. To date he has received two commissions to create pieces for specific art collectors. Most recently, after having moved to Florida, he has exhibited his work in Naples, Florida as part of the Saturday Art in the Park Program and the commission called Barton was recently accepted into the 56th All Florida Juried Exhibit and Competition in June of 2007. Art is anything someone does as a form of expression that is based on their talent and proficiency. Throughout recorded history, fine art has provided viewers with a dimension of experience beyond one’s everyday occurrences. While people may debate about whether or not a given piece of art is “beautiful to them”, people have learned to appreciate that which may not appeal to them if it exhibits merit, or talent and dedication on the part of the maker. This is a universal principle. Mr. Gargano today makes art that embodies the values and principles that have defined his life. Every piece of his sculpture is a carefully executed composition that expresses in machined metal the same things composers try to express with music or poets try to express with words. Unlike many of the contemporary artists of the last 50 years, Mr. Gargano has endeavored to challenge himself as opposed to his audience. He enjoys seeing work of any kind that embodies the principles of discipline, dedication to learning, and the time honored practice of craft. Mr. Gargano’s work can be seen on his web site at http//www.garganoart.com

jan singleton

myartspace id:singletonj

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willemant thibaut

myartspace id:thibaut-willemant

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hi, i'm a french painter. My art is a contemporary drawing and painting (the principal topic is a body, the nude) www.thibaut-willemant-peintre.com

AAZCLAIRICIA Rene

myartspace id:aazclairicia

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Born in Antibes, France

yoann trellu

myartspace id:keyframed

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video artist

Luis Pisco

myartspace id:piscografia

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Pisco was born in Lisbon in the summer of 1966. Twenty years later, in the autumn of 1986 he, suddenly, purchases a Praktica. After finishing his studies, in the early winter of 1993, he spends his time taking notes and looking around. In the spring of 2001 he leaves Lisbon and comes to Porto, where he currently lives and works.

Jan Esmann Jensen

myartspace id:Esmann

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Danilo Verticelli

myartspace id:danilo

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bright colours, smart nuances, realist subjects, deeply touched by contemporary facts and ways of live, he is able to get the observer into the painting in a very new Pop Art celebration. The incommunicability of idea is the initial skill of DV?s present representations but they don?t represent neither a story or an ideal concept of his own, on the contrary they express the denial of possibility to reach univocal meanings in the process of enjoying the work in itself. The Deconstruction of the idea, finally represented in this case is developed by shaving the not-meaning in the connected representation of superimposed layers (space-time) which are equally potential towards the final result. The placing (or displacing) of layer does not consider either a defined time or a defined space, they have not got chromatic priorities, not a superimposition arrangement, they include just the contemporaneity of old components we have been just talking about, a changing contemporaneity where at first the chromatic or time or space aspect is preferred, the signifying aspect by searching a logic and grammatical thread among the represented elements. The research and affirmation of equipotentiality of each portrayed element, the absolute neutrality of each observation point of view or every reason of an observation besides being basic concepts of design even deconstructivist building deny those who claimed to give functions and meaning to architectonic objects by inhibiting completely the interpreting processes of observation in the name of ? meaning despotism?. The use of ?writing? on canvas is at this point a weak key of the puzzle for the observer but this often hides a dislocation game between the mentioned text and the real meaning which is understood by the majority of people or through a less deep observation. Few element of DV?s paintings which oblige to meditate in a alternative way include the earlier drawing technique and the drawing project which is the basement of representation on canvas, the link of more diachronistic events through the black lines which tie together the figures and their collocation in the space-time coordinates and which generate also the plot or the network of the meant stories and also the drawing stream without solution of continuity which absorbs the different elements into a unique multidimensional outline but when it is ideally projected on the surface of canvas it creates a linear overall, a wire frame which asks for the use of colour; the use of different colours also on not congruent elements, the use of different colours on congruent elements instead, the presence of concurrent perspective layers which are cut through space/time secants, the use of shaded chromatism to delimitate different moments even if concurrent in the drawing, the constant presence of human figures and their asexuality even if physically exuberant but never completely female or male, without having a real signifying autonomy, which a real only in relation to the final combination, which is more or less evictable but never definitive and the mutual interaction on canvas and in the exhibited theme. The dislocation of common thought is one of the keys to interpretate DV?s works, and also the deconstruction of representative rituality of the portrait, of stories, space and time, the improbability of shade of colours, the fusion of drown fields into different moments, but even in the same whole which is immediately and synthetically understood as a story. A story which is a tale about daily life in its de-viate and de-bilitated forms.

Stefan De Battista

myartspace id:Stiefnu

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My interest in Art and Design has been developing since I was nine years old, although my parents say that the talent had been present and visible from early days. The word 'Art' conveys to me a deeper meaning than it might do to others. I believe that it is a form of 'Activity', the same activity any person can perform. Everyone interprets ‘Art’ in their own way. Artists are able to develop their own ideas and are able to express and covey their feelings and emotions, liberating them through their Art. When I examine the work I create, I’m struck by the curves, the bright colours and the contrasting tones which resemble the technique of ‘Hard Edge’, a technique utilised and mastered by Harry Alden and Twanny Darmanin, two artists whom I highly admire, because their artistic work helps me understand better, and provides me another view of a different expression of Art. I believe that everyone possesses artistic qualities that can be developed and no one should hesitate to show and express it. After all, 'We are what we Create'

Frank Ettenberg

myartspace id:fettenberg

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I first called myself 'artist' when I was about 15. That means I've now been working as such 47 years. I was exposed to a number artistic choices by my first real art teacher, Earl Jacobs, Jr. I decided straightaway that I liked doing abstract pictures the most. That is, non-objective, invented pictures. From that early time until the present, I always enjoy looking at de Kooning, Pollock and Klee. Over the years I've slowly been developing my special concerns and the focal 'events' in my art. It has never been a totally straightforward process, when it's come to evaluating the meaning of it. Before I shuffle off, I hope to find art historians who will decide to evaluate what it all means.

Gilli Austin

myartspace id:gilliaustin

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Pop Art and abstracted images in acrylic. Influences from design, photography, advertising and popular culture. The work also reflects Gilli's sense of humour as well as hidden messages about morals, women's issues and current affairs. Current artistic influences come from the work of Jeff Koons, Miriam Wosk, David Hockney, Andy Warhol and Sir Peter Blake. Her work has been published through DACS, she has appeared on UK television as well as previous work as an art tutor for Tim's Art Supplies and for Art Of Course Ltd. Numerous UK exhibitions , art fairs and four solo shows. International selling artist with artwork in private and corporate collections, currently working with The Saatchi Gallery. Gilli's artwork ranges from £50 to £1,000 (US$100 to US$2,000 approx) each. Commissioned work starts at £300 (US$600). More of Gilli's images and links to her other sites can be seen at www.gilliaustin.co.uk

Ben Rotman

myartspace id:benzi

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My Motto is: The paint Iím painting need to give my inner sound, color and shape.

timothy niall-harris

myartspace id:labhran1

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www.timothyniall-harris.com www.bamboomouse.com Facebook

Atanas Lyapchev

myartspace id:atanas

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robert tilleard

myartspace id:tilleard

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Hannah Doyle

myartspace id:hannah1301

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My work is concerned with the everyday, the banal, and the excitement within it. Are things really ever as they seem, as simple or as complex? Observation, collection, colour, humour and interaction are key to my practice which can lead me in many directions. I am primarily a painter but use many different materials in my approach to realising a project. I gather thoughts, ideas and images in my notebook, like a diary. I like to explore different methods of art production such as sound and installation, often using them to create atmosphere within my work.

Paul Carter

myartspace id:paulcarter

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Paul Carter recently completed a six-year study period in the fine art faculty of the National College of Art & Design where he graduated with a Masters in Art in the Digital Age. A founding member of the Gorey School of Art, Carter researched, designed and wrote documentation for a degree program in Fine Art, where he continues to work as an art educator. Carter explores social and historical themes in his art practice. A distinctive spatial awareness is the hallmark of his work, which is included in both private and public collections throughout Ireland. His work was recently published in an OPW publication called Reflections . Patrick J. Murphy HRHA (Art Advisor, OPW) wrote in his introduction; "Paul Carter's Temple of Hephaistos demonstrates the exciting possibilities of lens-based art at the present time." "The connecting concept in my work is a research topic called, topophilia. Images of topophilia are derived from the surrounding reality. People pay attention to those aspects of the environment that command awe, or promise support and fulfillment in the context of their lives' purpose." Paul Carter lives and works in Gorey, Wexford, Ireland.

Chris Fraser

myartspace id:chrisfraseronline

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Ingemar Nystrom

myartspace id:ingemar

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I work in both traditional and digital techniques as pencil, coal, ink, watercolor and computer. I also paint in oil. Mostly from nature; birds, trees and water. I also work as an art teatcher and illustrator.

dameon priestly

myartspace id:dameon

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Born: Belfast, Northern Ireland. Currently living and working in London

William Dolan

myartspace id:billdolan

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b. 1961 Joliet, IL lives Chicago Education: DePaul University, School of The Art Institute of Chicago

MILLE KALSMOSE

myartspace id:MILLE

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Since graduating from Universitat Autonoma de Barcelona, Spain in 2005, Mille Kalsmose has moved to Denmark and now works as an artist in Copenhagen. The artistic viewpoint of Mille Kalsmose consists of two parallel worlds – the abstract and imaginative, together with the reflective and real world. The artworks are expressed in a simple and distinct aesthetic language, in series where she blurs boundaries between the reality of autobiographical memory and imagination. Her work is staged as an enquiry of what it is - actions, decisions, history, a moment in time - that makes us ourselves. Her work is conceptual, but also grounded in process, as her every day life has a direct influence on her artworks. In this sense Mille’ s work is autobiographical: the artworks and reality are intimately connected in the process of creation. In the Summer 2007 she traveled to Tokyo, Japan with the documentary film director Suvi Andrea Helminen, on a grant from the Danish Film Directors Committee, to work on their common film project “Finding Way”. The film is about questioning identity, about ways of perceiving oneself and the possibilities and barriers involved in redefining oneself, and is still in progress. Another project which is also taking shape is a computer program with programmer Leif Skov. The project is about swapping lives, and questioning how choices influence life. Mille Kalsmose has been exhibited nationally in juried exhibitions such as Kubstnernes Sommerudstilling, The Art Museum of West Jutland. Internationally she has exhibited in Japan and Spain and been featured in publications and TV-shows. Mille also takes part in think tanks, pilot projects and discussion groups of art and innovation including Københavns Kommune, Nordjyllands Amt, Ørestad, Copenhagen Business School, Atkins Rådgivende Ingenører, Dansk Design Center

cuzco

myartspace id:cuzco

BIOGRAPHY:

artworks original painting and photography by cuzco

Rui Ventura

myartspace id:ruiventura

BIOGRAPHY:

I'm an Artist inspired by Real Life. The big and small things, Street Art, Advertising, Design, Toys, Memorabilia, Old TV Heroes and People.

maurizio cintioli

myartspace id:macintio

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Michael Prax

myartspace id:prax

BIOGRAPHY:

1961 geboren in Burghausen a. d. Salzach 1977 Malen von Wandbildern 1978-81 Kunst und Kesselschmied (Apparatebau) 1981-85 Kunst am Bau 1986-99 Kinetische Edelstahlskulpturen / Malerei 2001 - Lichtkunst / Malerei 1993 Kulturförderpreis des City-Rings der Stadt Singen Seit 1999 am Bodensee in der Schweiz Zahlreiche Ausstellungen im In- und Ausland Ab 2001 Ausbau des Sammler- und Kunstnetzwerkes im internationalen Kunstmarkt. Vorträge über "Kunst und Kommerz", "Der globale Kunstsupermarkt", "Wie Wirklich ist unsere Wirklichkeit", "Wahrnehmung und Bewusstsein", "Die Entwicklung zur Beliebigkeit" und "Das duale Prinzip?" Umsetzung neuer Projekte in der Fotografie, Film und Internet. Lichtkunst: Entwicklung neuer Techniken mit Kaltlichtkathoden und RGB-LED Ab 2005 Umsetzung der Werkreihe "Silentio" , Lichtbilder- und Lichtobjekte

Louise Treleaven

myartspace id:treleavenl

BIOGRAPHY:

I work to commission painting pastel portraits of dogs, cats and children from photographs.

Valentina VR Richter

myartspace id:Valentina-VR

BIOGRAPHY:

1984 - 88 Artistic School at the "Union Bulgarien Artists" - Varna (Bulgaria), 1989 - Emigration to Germany 1989 - 90 Study of Modern Art at the University of Tübingen. 1992 - 94 Specializing to Etching - Vienna

Paul Davies

myartspace id:allart

BIOGRAPHY:

Tom Durham

myartspace id:tjdurham

BIOGRAPHY:

The sculptures and drawings are contemporary allegories that combine the classical with symbolic surreal imagery. They become personalized mythology influenced by literature, observation of life, and art. The dramatic imagery, are like still pictures, that have a narrative that alludes to its own past and future but it is the viewer that really defines the story with their own experiences and interests. Like most mythology, the narratives are heightened with the emotional complexities of everyday experiences that combine humor, pathos, and introspection of humanity.

Tomaso Marcolla

myartspace id:tomaso64

BIOGRAPHY:

“Il percorso artistico di Tomaso Marcolla, iniziato con la grafica, lo ha portato negli ultimi anni a confrontarsi con nuovi mezzi di espressione pittorica. Dal colore dirompente dell’olio, alle sfumature degli acquerelli, all’assemblaggio di materiali diversi, fotografia ed acrilico, computer grafica, fino all’uso dell’acquerello abbinato alla penna a sfera. Un percorso che sembra confrontarsi con la tradizione, nella ricerca di moduli nuovi e nuove conferme, in una costante e multiforme ricerca che sarebbe arduo arginarne lo “stile” entro facili schemi. È forse questa una delle particolarità essenziali di una attività artistica che sa adattarsi alle più svariate motivazioni senza mai perdere in originalità.”

marco antonio abbagnara

myartspace id:marcoabba

BIOGRAPHY:

Marco Antonio Abbagnara was born in Catania, Sicily, in 1966 but he also spent part of his youth in Tuscany. These two regions, where art is the heritage bequeathed by three thousand years of history, have with no doubt provided him a solid basis for his artistic mind since the very beginning of his life. He started moving from one place to another pretty soon and he once admitted that he is an "untiring traveller". As a matter of fact, the subjects of his works represent the result of what emerges from his own personal reflections and sensations constantly inspired by every corner of the world which the artist himself visits and explores. He lived in Australia for two years where he met young talented artists like him and where in 1990 he attended in Sidney an art-school course (organized by the Local Institution for the Promotion of Artistic Industry) which helped him to improve his artistic knowledge and better his technical skills. Successively, he lived in Thailand for six months as well as in New York always breathing his love for contemporary art, his biggest inspiration as expression of freedom. After many important years of training and experience on canvas he has finally reached his artistic top form on black Metal Leaf by means of which the artist tells old legends, depicts images, expresses sensations of every kind and deep thoughts based on his personal experiences directly to the eyes of his spectators.In addition to being featured in New York and exhibitions around the Europe. He currently lives and works in Italy www.marcoantonio.it

Jeremy Holton

myartspace id:jeremyholton

BIOGRAPHY:

1940 Born in Dunstable, England 1965-66 Geologist in Dar-es Salaam and Dodoma, Tanzania, East Africa 1966-67 Town Planner in Kent, England 1967-69 Geologist, with BHP in Whyalla, South Australia 1969-70 Trained in Information Technology by BHP in Wollongong in NSW 1970-77 Established and managed IT support for exploration, mining and petroleum business units for BHP. Regularly travelled around Australia to support mining sites 1977-87 Seconded to Woodside in Perth. Established and managed IT function for the NW Shelf Gas Project during feasibility, construction and operation phases of project 1987-99 Management Consultant with accounting firm Ernst & Young. 1989-99 Owner manager commercial stone fruit orchard in Mount Helena, Perth Hills. 1993-99 Artist with part time management consultant and orchardist. March 1995 Established the first Internet World Wide Web galleries in Australia (Peach Tree Gallery, http://www.peachtreegallery.com). 1999 to date Full time artist 2004 to date Established studio in Thailand Medium Oil, oil pastels and inks on canvas and paper Subject matter Landscapes, flowers, nudes and works from imagination. Studies 1988-94 Studied for Diploma of Art at Claremont School of Art in Perth Influences Lloyd Rees, Van Gogh, Bonnard, Klimt, the Fauvres, Lucian Freud, Arthur Boyd, John Perceval, Brett Whitely, Chagall, Garry Shead and Fred Williams

Bogdan Soban

myartspace id:sobanb

BIOGRAPHY:

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