‘Meditation’, Oil on Canvas, 24 in x 18 in
Valdengrave Okumu is a self-taught artist who works primarily with oil and acrylic mediums. His artwork takes a critical view of social and cultural issues while leaning towards surrealistic and philosophical themes. His paintings include details that deeply engage the viewer and provide a chance to challenge one’s perceptions, perspectives, and assumptions. Okumu’s works encourages the viewer to delve into the unknown, something we are not comfortable doing. This is accomplished by painting in a way that uses new and unpredictable cycles of thought and associations through juxtaposing seemingly unrelated images to create a harmonious work of art. The subject matter of each body of work determines the materials and the forms of the work. The inspiration for each painting stems from a wide range of different media (Music, Literature etc.), an event, a work of art or even a passing thought. Once an idea for a painting is conceptualized, he begins to sketch and group together specific themes and meanings. During the research and production phases, new concepts arise and lead to new paintings.
As an artist, he seeks to fully grasp the ability to express his thoughts and ideas through all art tools available to him, not limiting himself to a specific style. His goal is to employ all that is useful to honestly create thought-provoking and timeless art in a natural way.
‘I See Through you with Kindness’ Acrylic on Canvas Panel, 24 × 30 cm, 2021
I mainly focus on portraits of women in my figurative works. For the first time in this painting, there are men as well. It is a mix of ideas that are flowing through me from a certain field and a conscious decision I had made as a result of my inner development. Yes, I want to be in groups of people I feel connected with. Yes, I want to create a supportive community and yes, I feel that I'm already connected and held. Even though one can see only two people, there is a feeling of group. The pink horse on the left side is my alter ego, that appears from time to time in my paintings and in my signature too.
petra amtsberg hoffmann
‘Pond’, Oil on Linen, 120/95, 2020
‘Pond’ tells its own story about the small wild pond in the back of my garden that over the years created an oasis for all sorts of wildlife. Sitting there while reading books and enjoying the few rays of sunshine that reach through the tall trees surrounding me, I enjoyed nothing more than the busy tranquillity of nature working its way. This work is meant as an experience of nature that through the painting should almost be able to recreate all the sounds and smells of blooming life that I have experienced while creating it.
PETRA AMTSBERG HOFFMANN
‘Lover Boy’, Charcoal and Acrylic on Canvas, 42 × 30 inches, 2021
This painting is part of a series I called "VRNCLR" which means "Vernacular". It is a collection of works made to highlight the impact of colonialism on African Dressing while addressing contemporary issues in the society. The boy is dressed in a colourful striped cloth known to the western world and wearing an oversized Africa cap. The oversized African cap symbolized Vernacular which means something (Virtual language) that is not allowed in a particular space. Lover Boy is a story of a young man who's in love with a lady that does not love him back. He however continues to show his love to his lover regardless of the respond he get, with a disappointed facial expression.
wibaa - will i be an artist
‘The Fire’ Acrylic, oil, chalk on Canvas, 70x50 cm, 2021
We wait to return to normal. We wait for the fire to be lit. Uncover the fire that is within us.
We stay indoors in the evening just when we should go out to have contact with other people.
“We have an ancestral need to be with other people. I happened to think how paradoxical the curfew is. In the past century, where a "curfew" was an evening bell which warned people to cover their fires for the night, to prevent accidents. Today the curfew prevents accidents; prevents the virus.”
nguyen hung duc
‘Traces of Time’, Ink pen on paper, 80 cm x 60 cm
The passage of time leaves behind the currents of art and culture that create spiritual values for each person. Time is accumulated and accelerated onto many layers on the surface of history marking the development of mankind. That transformation is a cumulative process that creates beautiful layers of color over time. Time has no specific stamp, in each stage and moment of each person, time becomes precious and makes an imprint in the subconscious of that person.
NGUYEN HUNG DUC
‘Self Portrait’, Oil on Canvas, diameter 22.5 cm, 2020
There are some given facts in life that involuntarily shape you, sculpt you, in such a way that you cannot even imagine another reality. Each canvas has its own history and thought. Tamar Melikishvili’s thinking base is still a figure. She has always wanted to paint portraits, and was never interested in herself. Melikishvili painted for the first time 15 years ago and when the pandemic started she became more interested in herself and wanted to paint herself every day. The artist realized how interesting each wrinkle was or the facial shape was. Form, plasticity and inner thinking are so intertwined that the artist turned self-portraits into a series. She can say that people are her main area of interest. The world has one regularity, the people she loves.
‘Rocks, Ancient Oak Trees, and Fungi’, Acrylic and oil paint on canvas, 30 in x 40 in, 2021
This painting uses black acrylic paint to capture the textures of organic matter with the intention of representing nature. Layers are built upon this central form to describe the human relationship with nature. Fabric doused in paint is pressed into the painting to represent the weight the fashion industry places on nature. Surrounding the central image are repetitive marks that recall the repetition of industrial machinery. Still there are visible indicators of nature surviving and thriving in the shapes of tree branches and sprouting fungi.
江峰 jiang feng
江 峰 JIANG FENG
‘U.S. (Unwholesome Shelter)’, 「美」國, Photography, 2019
This series juxtaposes the torn and dirty USian flag with the naked bodies of all genders, races, sexuality, nationality, and cultural backgrounds to capture their vulnerability, emotions, and strength, critiquing the United States as the dreamland and shelter for all. The U.S. is alleged to be the most open and tolerant country but it fails to welcome people from various backgrounds equally. Everyone was invited to join the project because most of the people were immigrants in some ways at some point in the history of the country even if they're citizens now. Moreover, the artist is interested in the body, not the mainstream beauty. 江峰 Jiang Feng encouraged everyone to model nude because that artist was not interested in censoring any specific body parts. If they are part of the body, they deserve to be seen/there.
‘Sisterhood’, 18 x 24 in, oil on canvas, 2019
This painting arose out of revisiting Toni Morrison’s Sula during a moment of transition in my life. Inspired by Morrison’s vibrancy and incision, I envisioned relationships between women in real time, fraught with intergenerational memories—loves and traumas. I reflected on the connection between these two fictional sitters through the process of making, expanding upon the metaphors as their stories and attitudes manifest. I see women exploring intimacy and comfort through acts of survival and mutual reliance in a space transforming through time. A bedroom space abstracts, comes in and out of recognition, and ultimately relies on memory and association to form itself. Blankets become oceans and transform into free wildflowers.
So much art & So little time!
© 2021 by, Aishwarya Kulkarni
All rights reserved.
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