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eva wang


‘Can you Seat Me, Please’, Digital Photographs, 42 x 29.7cm, 2021


This sense of self, and its relation to others and to Other, sets you up to take up a position in the Symbolic order, in language. Such a position allows you to say “I”, to be a speaking subject. “I” (and all other words) have a stable meaning because they are fixed, or anchored, by the Other/Phallus/Name-of-the-Father/Law, which is the center of the Symbolic, the center of language.[1]


Physically, Wang cannot keep still at a position because of her anxiety. The artist’s mind and body are separate and misplaced. She is unable toposition or settle herself. This unfulfilled desire of getting positioned is presented through her attempts of seating herself properly as chair is the only daily object designed for humans to be settled awake. [1] Mary Klages, “Jacques Lacan,” (Lecture Notes, University of Colorado).

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evan d. williams


‘Prison Yacht’, Electrostatic Print on Manila Folders, 2020

Since 2020, many of us in the 'first world' have been living in an ambiguous state of deprivation and privilege, kind of like we're on a prison yacht. This image overlays a prison on a yacht schematic, and the pale column of letters spells out the DNA sequence of SARS-CoV-2, interspersed with L. Ron Hubbard quotes at random intervals.

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sharon james

‘Summer Magic 3’, Emulsion and Acrylic on Watercolour paper, 15 x 15 cm

If the artist can say it in a brushstroke or a mark then the vocabulary is infinite. James is neither restrained nor constrained by any formal structure. The artist is free to explore narratives both simple and complex. Choosing between letting the medium drive the work or letting his concepts come to the surface, expressing his preoccupations and obsessions visually.

The artist wanted to create a visual dance of colours that interplay with each other whilst retaining their own independence. That spoke of the essence of summer, the energy, the brightness, the possibilities, heat, blue skies and the joy. James uses emulsion paint (house paint) as it has a flatness to it that somehow allows the colour to behave differently.


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claudia pollack

‘I Remember Me’ Acrylic on Canvas, 80 × 100 cm, 2021

'I Remember Me' is influenced by a hypnosis session about self-love and at a certain point during the session I could feel a flower, opening and blooming in my chest, I carried this flower with me since then. I finally remembered me, and I felt a strong connection to the child I was, and I could see how concepts, beliefs and experiences become my reality. I have used pink as the primary color for this work to portray the calmness achieved In prisons painted in pink color. I was delighted to read about this, because rose and pink are very important colors in my palette.


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petra amtsberg hoffmann

‘Fille de Fleurs’, Oil on canvas, 150/110, 2020

‘Fille des Fleurs’ is one of many paintings that were completed in the middle of this global pandemic. Being isolated from everything that makes life colourful, I felt that nature was the only accessible way of gaining new impressions in such dark times. Being outside had a very strong impact on not just my well-being but also my art and creativity.


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wibaa - will i be an artist

‘Sunrise in the desert’ Acrylic, oil on Canvas, 70x50 cm, 2021

“How can you imagine the sunrise in the desert? The sand that merges with the sky. A blurred vision. Red, orange and yellow. The sand reflects the sunrise. The morning dew evaporates. I used acrylic paints and then oil paints diluted with turpentine. The abstract work, according to my point of view, describes a desert weighing where haze prevails. It is the vision of a new sunrise, the colors are rarefied but in the distance you can see a red / orange light. A light that will lead us to a new life, a life of relationship with others.”


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paki paola bernardi

‘Tempi Intermittenti 007’, Etching printed on Hahnemuhle paper + henna powder and burns, 125 x 132 cm, 2019


Tempi Intermittenti 007 is a printed testimony of an action, a series of emotions engraved with heels by dancing directly on the etching plates, creating an emotional map that represent a shamanic rite of liberation. The goal is transformation: a process of overcoming the limits of fear from a state or place that, although it may be perceived as protective, has become paralyzing over time. What prevails in the end is the desire to go beyond and be reborn.


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ding ruyi


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

So much art & So little time!


© 2021 by, Aishwarya Kulkarni

All rights reserved.

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