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sung lin hon

'Greyday’, Oil on canvas, 40 x 40 x 2 cm, 2021

'Greyday' was inspired by the artist's solitary walks on the university campus. It was a windy summer yet everyone was busy enjoying the companions with their friends and families. She has never felt as lonely as the flags hung high up in the sky. Neither had any conjunction between nor receiving attention from the crowd, the artist found herself distancing from everyone in the scene. It was another sunny day on the campus.


‘Winter Sun in Dusk’, Oil on Canvas, 40 x 40 x 2 cm, 2021

Sung Lin Hon spent a year living alone during the pandemic to study and develop the emotion of solitude. "Winter Sun in Dusk" was one of the first few paintings showing her current painting style around shadows and emotions. With this painting, she started to develop a better understanding of employing emotions in her work. "Winter Sun in Dusk" was named for its inspiration, the shadows of the falling leaves on her way back home from the studio. Bringing back that solitary walk in the autumn night was all the painting about.

‘The Opposite’, Oil on canvas, 40 x 40 x 2 cm, 2021

Painting is a way that the artist uses to vent and speak to the public. "The Opposite" is the inversed version of the light reflection on the window. Separated from a darker version of one's emotion, it is more neutral and peaceful to the audience. It marks a turning point in Sung Lin Hon's work, from eternal dark painting to studies of indistinct emotion of oneself. Her work presents her vision of light and darkness while sustaining the ambiguity within the image.

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nata buachidze

‘Inside the Dream’, Oil on Canvas, 100 x 150cm, 2019

We humans are always waiting for something, waiting to grow up when we are children, waiting for happiness, for things to happen, waiting for bad things to end, waiting for magic, for sun, for rain, for all the things we wait for and all the ones we miss while we are waiting. These paintings are about the present, about the moment, which is the most precious and if one day you wake up and realize that you already have the present which allows you to wait for the future.


paki paola bernardi

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‘Final Cut', Diptych Dry point on plexiglass printed on Washi paper, 41 × 50 cm, 2019

Final Cut is the representation of the sudden and definitive closure of a relationship between two entities, people or energies that up to that point were in close communion. The clean cut of the glass and the sharp metal frame are a metaphor for that act of separation.


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stacey cheng

‘Tin-eyed garden’, 16 x 12 in, oil on canvas, 2021

I was working on a poetry chapbook with the same title while painting this work, and both involved the process of active looking and selecting moments for safekeeping and elaboration. This painting was an enactment of values—an investigation on gaze and attention. The life and heat of natural forms held my curiosity in this painting that emerges from a still-life. A traditional representational gaze fails, but an eye for touch and stroke replaces its necessity, privileging bodily experience of making. The atmosphere is pervasive and a prominent character. Leaves and branches enmesh into the space itself as an overflowing garden, enclosed by two sheets of color that cradle and constrict its growth.


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ding ruyi

‘Time Crevasse 02’, Acrylic on wood, double sided painting, 2021


Over the years, the theme behind Ding Ruyi’s  paintings is mostly related to mountains, rivers, earth and seas. The artist has explored various mediums, materials and methods to express her passion and fear of nature. When she was deep in the deserted snow mountain or uninhabited primeval forest, Ding would often sneer at her inability and innocence when describing the beauty of nature. The artist has engraved all these feelings in her works which are mostly 60cm wide and 120cm high, because through her perspective, these rectangular paintings are not only like a door connecting her with nature, rather a mirror reflecting the unique romance and loneliness of artists themselves.


In Ding’s native language system (Chinese), there is no clear tense to express the past, the present or the future, so there is a vague immortality in that cultural context. Through the crack in the middle of the painting, the audience can observe the shape of the white pigment over time from the back. The artist aims to express her view of time through this solidified metaphor, namely, eternity.


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helen jones

'Writhing’, A3 sized print, Photography, 2020


This photography is part of an ongoing series I am working on in order to capture the natural light in various ways around my home. About two months before the first lockdown in March 2020, I moved to new accommodation, which was part of a fresh start for me, with exciting possibilities and friendships. I had no idea at this point just how much time I would be spending in this new environment. Over a relatively short period of time, the house became my home. Staying at home throughout the day meant I could explore the light patterns in different rooms and capture their movement through film and photography. I enjoyed watching the light become stronger in certain areas, and then disappear to nothing. The national lockdown meant I spent the majority of my time at home; exploring the shadows and light shapes created in this space even further. Through this process I documented the time passing each day; which seemed to be moving in such a strange way during those times when routines had been shaken up, and activities outside of home were limited. With these photographs I am capturing a fading moment, which transforms into something different when it is revisited the next day or even minutes later.


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suliaeva margarita

'Mzungu Sheet 3’, Mixed media, 54 × 48 inches, 2021


Both of these works are a part of the graphic series "Mzungu" consisting of 7 canvases worked in mixed media. Mzungu is a term that was originally used to refer to people of European descent, literally translated (based on the etymology of the word) is "the one who wanders around" or "wanderer". The series was supposed to reflect the moment of cultural fusion, namely, to convey the African "flavour" through the prism of the European view. The reflection of the ethnic, African principle in these works can be considered as an abstract solution of human figures, which are in the center of attention of each canvas. And also, the special fragmentation and seeming structure lessness of the composition, inherent in the primitive painting of African peoples. And, finally, the interpretation of volumes reminiscent of the masterpieces of African plastics - statuettes, masks.


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paul butterworth

‘Abstract #2’, Oil on Canvas, 76 x 61 x 2 cm, 2021


Paul Butterworth is an artist commencing his final year BA (Hons) Painting in October 2021 at the University for the Creative Arts, Farnham – Open College of the Arts campus.

​Butterworth predominantly  works in oil and repeatedly generates chance mutations which he covers over and reworks into as the painting evolves into something aesthetically pleasing. His process of layering, covering, masking, and revealing is intuitive. However, intuition is not given but built. Butterworth’s  intuition is a mixture of his evolving art skills, experience and a deep love for nature based on having been brought up in the countryside, and spending much of his adult life walking the hills and absorbing the colours of the limestone soaked Dales valleys in Northern England.


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amy deal

‘Summer Afternoons’, 36” x 36” x 1.5”, Acrylic, Color Stick, and Pencil on Gallery Wrapped Canvas, 2021

The painting titled Summer Afternoons represents the conflict of the artist’s childhood and the guilt she holds from her children’s youth. She spent many summer afternoons collecting roadside wildflowers that would ultimately be sacrificed for paint pigments. Yellow came from dandelions, orange from ‘railroad lilies’, pink from peonies, pale purple from lilac bushes, and shades of green from grasses and leaves. These created colors became her palette. Summer Afternoons is a richly, colored abstract that epitomizes the artist’s heavy guilt that the current generations are not able to readily experience the feeling of wander and examination. The conflict that her children were given a great academic setting, but they were not given the opportunity to learn and explore on their own. The artist paints her emotions intuitively from her memory of her childhood freedom.


So much art & So little time!


© 2021 by, Aishwarya Kulkarni

All rights reserved.

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