★★★ Waves Concerto ★★★
Carey Conner, a native Austinite, embodies the roles of painter, mother, and educator with profound dedication. Her art is a celebration of nature’s intricate beauty, capturing its essence with unparalleled reverence. Driven by the awe-inspiring moments of sunrises, sunsets, and the ever-changing dance of clouds, Carey often pauses her day to marvel at these natural wonders. This reverence translates into her art, where she zooms into the minutest details of nature, abstracting and exploding them onto the canvas. Her work is a journey into the subtle nuances of the natural world, exploring texture and color to convey the profound significance she finds in each detail. Carey’s paintings are not just visual experiences but invitations to witness nature’s hidden intricacies through her eyes.
I expect my paintings to invoke a feeling, pushing me to experience a single emotion or range of them. I carry inside the memories of landscapes and nature and reinvent them as I remember. In this way, the subtleties become significant, the longing expressed in the line, the rejuvenation in the color, and the memory in the tone. The lines are open as they leave the panel or canvas, suggesting an extension of the mass from whose center I have plucked. The viewer can fantasize about the image’s girth, remember a familiar scene, and understand the abstraction. My art is a vulnerable expression of my connection to the natural world, an intimate dance of memory and imagination.
★★★ Well Stocked ★★★
John was born in Columbus Ohio, graduated from Ohio State, and lived in Southern California for 30 years. Although John learned to draw and paint as a young boy, his degrees are in the computer science field. It wasn’t until 2010 when his wife bought him a large easel and encouraged him to start painting again, that he began to take his art career seriously. Since then John has been selected in over 200 gallery shows and juried contests, including the National Oil & Acrylic Painter’s Society 2014 Best in America show. John’s Carousel Horse #1 was featured in the June 2014 issue of the Artist’s Magazine Competition Spotlight, and he was featured in the ‘Artists to Watch’ section of the Southwest Art March 2016 edition. John’s acrylic paintings have been included in AcrylicWorks Best of Acrylic Painting volumes 1 through 10 and his paintings have been voted FAV15% in Bold Brush on a number of occasions.
I was sitting at the bar at a local restaurant one evening and noticed the cascading reflections from the dozens of bottles of liqueur on the glass shelves. I knew immediately that I wanted to paint the scene. As I started gathering photo references my thoughts coalesced around the idea of glass bottles as precious objects. The shapes sizes and colors of the glass and the liquid inside all meld together to sparkle like gemstones.
I had painted several works that featured reflections in water, but never glass bottles. My goal was to get the viewer to see something more than bottles of booze. Some shiny objects that glitter and sparkle.
★★★ Women On The Brain ★★★
Born in Copenhagen on November 5, 1973, Jasper is an artist who trained herself from the ground up. As a child, Jasper felt the liberation and delight of creating art. He had experience as both a carpenter and a construction architect. He had returned to painting as an expressive, enjoyable, and freeing activity. He became more well-known for his work in 2018 after joining an art club. Major art galleries all around the world have hosted his exhibitions, such as Zenith Art & Fashion, Miami, USA, VAN GOGH Art Gallery, Madrid, Spain, Capital Culture House, Madrid, Spain. He has been featured at the M.A.D.S Art Gallery, Milan, Italy, Artifact, NY, USA, Artio Gallery, NY, USA, HMVC Gallery New York, NY, USA, World of Crete, Greece, The Holy Art Gallery, London, UK, and ArtSpace Innovations, London, UK. He is featured online on PLOGIX Art Gallery, London, UK, TRiCERA Art Gallery, Tokyo, Japan, Artavita, Santa Barbara, CA, USA, Artifact, NY, USA, HMVC Gallery New York, NY, USA, Singulart, Paris, FR, and Circle Foundation For The Arts, Lyon, FR. He won the coveted International Prize Donatello, Florence, Italy, Top Artists The Protagonists of Contemporary Art, Venice, Italy, Creative Excellence Award 2023, Artistic Excellence Award 2023, Masterful Mind Award 2024, and Honorable Mention Award 2024, Circle Foundation For The Arts, Lyon, FR. A participant in The European Art Guide 21/22, Bellamonti Art, Helsingborg, Sweden, Art Anthology III 2021, Art Anthology VII 2024, Guto Ajayu Culture, Madrid, Spain, Art in America Annual Guide 2023 and 2024, Artifact, NY, USA, Masterful Minds Digital Magazine Vol. 1 and 2, 2024, Circle Foundation For The Arts, Lyon, FR, The Holy Art Gallery Magazine 2024, London, UK. Interviewed in 2024 by Aatonau, Osaka, Japan, and in 2020 by The Magazine of Contemporary Art, The MoCA, LA, USA. He took over the 2020 @10011mag Instagram account for 24 hours, where he shared his personal artworks, experiences, and studio via live stories and posts in NY, USA.
★★★ Worship – Puja ★★★
Subodh Maheshwari was born in Aligarh, Uttar Pradesh, North India where she learned folk art and classical music. She passionately believes: “In the threshold of my life, my present is the window to the past and a key to the future”. She acquired her degrees and studied art at Agra University, California State University of Fullerton, and the University of California Irvine. Subodh has won numerous awards, including the Regional Fellowship Award at UCI in 1986, the Bharat Gaurav Award in India in 2015, and the 60 Masters Award in 2017, 2018, and 2019. She is also registered in Marquis’ “Who’s Who in America”, the standard in biographical information. Her paintings have also won awards in a variety of categories including landscape, open, all women, nature, elements, seasons, and abstract.
Subodh is a diversified artist who enjoys telling stories through her artwork, whether it is through landscape, flowers, or abstract art. Her art is a fusion of Eastern symbolism and Western composition, influenced by 16th and 17th century Rajasthani and Mogul art, and accented by poetry, passages, and phrases in Hindi, Sanskrit, and English. She admires Georgia O’Keeffe for her floral influence, and Frida Kahlo for her courage. Whether it is the serene beauty of nature, her spirituality, or the current political climate, she finds inspiration. Having a life shared between India and America, she sees the beautiful similarities, like love which transcends all borders. Highly individual in her style, her works are described as emotional, mysterious, personal, spiritual, and humorous.
01. 07. 25.
Jack Farkas has donned many hats: Dean of Gibbs College, owner of Estate Fine Art and Associates, and President of the Nutmeg Symphony Orchestra. His expertise has been sought by numerous art boards and judging panels, where his keen eye and vast knowledge have shaped the landscape of contemporary art. One of his crowning achievements was orchestrating solo exhibitions for iconic artists like Willem de Kooning, which garnered acclaim, with the New York Times lauding it as the “”Coup of the Century.””
Globally recognized for his lectures at leading art institutions such as The Met, the National Gallery of Art, the Louvre, the Prado, the Hermitage, the Uffizi, the Vatican Museum, and the Guggenheim, Farkas has shared his vision and insight into the fusion of art and architecture. His lectures have not only educated but also transformed the way audiences perceive and interact with art.
Known for drawing inspiration from the essence of life itself, Farkas’s works are reflective of emotions, symbols, spirits, and cosmic energies. His creative process is dynamic, allowing the medium to speak and take form organically, whether it’s pastel, paint, or any other medium. Each work is an interplay of color, shape, and symbolism, pushing the boundaries of the medium to convey profound messages to the viewer.
Among his many accolades, Farkas’s works have been heralded across various exhibitions, including the B&O Station Gallery MICA in Baltimore, the Silvermine Biennial, and the Academy of the Arts in Easton, Maryland. His art, collected by institutions such as the Museum of Art Science and Industry in Bridgeport, has been lauded by critics for its unique use of color and form, drawing comparisons to Matisse yet standing apart with its own vibrant identity.
Outside the realm of art, Farkas leads a meaningful life steeped in simplicity and tradition. He owns a small farm, growing much of his own food, making wine, smoking foods, and even crafting cigars from homegrown tobacco. A true Renaissance man, he seamlessly blends his love for fishing, food, and community service into his everyday life. As a devoted Freemason, he holds numerous honors and positions, embodying the values of integrity, philanthropy, and leadership.
Life itself is my greatest source of inspiration. The intricacies of the creative process and the enduring quest to leave one’s mark on the world fuel my artistic endeavors. My hope is that my art will serve as a beacon for those who come after me, guiding them with insights and reflections that make their own journeys more enlightened and less fraught with obstacles.
In sum, my artistic practice is a holistic engagement with the elements of color, symbolic representation, and spatial dynamics. Seamlessly weaving these components together through Life itself is my greatest source of inspiration. The intricacies of the creative process and the enduring quest to leave one’s mark on the world fuel my artistic endeavors. My hope is that my art will serve as a beacon for those who come after me, guiding them with insights and reflections that make their own journeys more enlightened and less fraught with obstacles.
In sum, my artistic practice is a holistic engagement with the elements of color, symbolic representation, and spatial dynamics. By seamlessly weaving these components together through painting, oil pastels, and printmaking, I strive to communicate in the universal language of art. Through this language, I aim to build lasting, meaningful connections with my audience, enriching their lives with the rich tapestry of color, emotion, and symbolism that populate our shared world. painting, oil pastels, and printmaking, I strive to communicate in the universal language of art. Through this language, I aim to build lasting, meaningful connections with my audience, enriching their lives with the rich tapestry of color, emotion, and symbolism that populate our shared world.
040717 Adrian
Dana Potter is an artist and educator specializing in two fields: printmaking and digital studies. Recently hired as a Professor of Interactive Digital Studies at the University of Northern Iowa, her students create digital projects to illustrate and inform public dialog. Potter maintains an active, vocal presence in the national arts and printmaking communities. In 2020 Potter received her Master of Fine Arts in printmaking from the University of Knoxville, TN. 2019 was a particularly advantageous year for Potter: she organized the first laser-cutter and printmaking-specific portfolio, “The Laser-Printmaker” for the Southern Graphics Council International Conference, Dallas, TX; and attended international, inter-media art residencies at The Eugeniusz Geppert Academy of Art and Design in Wrocław, Poland, and Arts Quarter Budapest in Hungary. Recently Potter’s work has been in both national and international exhibitions “9th International Printmaking Bienal Douro,” Douro, Portugal 2018; “2017 Beyond Printmaking 5,” Texas Tech University, Lubbock, Texas; and “Stand Out Prints 2016,” Highpoint Center for Printmaking, Minneapolis, MN. Recent solo shows include “Coherent Shadows”, Minneapolis College of Art and Design, Minneapolis, MN, 2019; and “Public Information Only” Ewing Gallery of Art, Knoxville, TN.
My studio is a laboratory where I test biometric and sensory technologies. I’ve worked with eye-trackers, Geo-location mapping, computer-mouse movement recordings, and most recently facial recognition. These technologies translate the physiological and behavioral characteristics of an individual into readable data for a computer. The collected data sets are visually rich for artistic appropriation: Eye-trackers reveal gradient heatmaps; facial recognition uses graphic lines and shapes overtop photographs, and computer-mouse movements create abstract line drawings. I make artworks to reveal what these complex processes look like because they are an invisible presence in our everyday life through touchpoints such as mobile phones, internet connection, and CCTV cameras. Translating these invisible forces into physical objects makes the reality of surveillance feel present and personal. The digital frontier is a capitalist one, social media platforms are the factory farms, and our individual profiles are harvesting grounds for data.
In the recent series, Data Figures, I created a series of screen-prints to investigate the computer vision behind facial recognition (FR), to understand what the computer does to a face. I reinterpret the logical instructions of facial recognition (FR) as artistic prompts for hand-collage and filter photos directly with facial recognition (FR) software called Edge Detection and Gabor Filtering, which are military technologies for identifying figures in video and images. The mixing of facial recognition and other surveillance tools with selfies and group photos tangibly connects social media to its role in surveillance capitalism. In early 2020, a technology company called ClearView AI scraped millions of public sites, including Facebook, YouTube, and Venmo, amassing nearly 3 billion photos for facial recognition, and sold the datasets to more than 600 law enforcement agencies in the US.
10 Days
I’ve spent years trying to figure out who I am as an artist. In this search, I have moved all over the United States, seeking out forms and techniques – both old and new – as a means to study art. Initially, when I was younger, I pursued a classical education in New England as I had hoped to join the vanguard of a new figurative movement in art. I spent years drawing and sculpting from life, studying anatomy, and casting the human form. While I still love it – and consider it my home – I came to realize there was an absence for me in that singular pursuit. After some time and a few life-changing events, I moved to Chicago to pursue graduate studies in sculpture and sound art. After graduation and teaching at SAIC for a few years, I was awarded a tenure-track position at Central Michigan University, where I am now an Associate Professor. I still make sound sculpture, but these days I’m becoming interested in Silence as a phenomenon in and of itself.
Much can be said by saying as little as possible, and in service of this, I hope my work can speak for itself. I find that objects granted agency through sound (or removal of it) can become as intimate and immediate as we are to each other. These works resonate in their own bodies and become a viscous medium that pours into the ears of all those nearby. The connection of form and sound is powerful, and the experience one has when both are brought to bear is both natural and uncanny. Time is an important element in my work, and sound is a way for me to mark both distance and the passage of time. In many ways, I seek to close the loop and bring the past back to the present. Sound has this ability. While I don’t claim to have found a magic recipe for artmaking, I know that by embracing both the visual and the transmission, I can connect to my audience on a deeper level. You can always look away from a sculpture, but you can’t close your ears.
16th From The Fool
Stephanie Kolpy is a Senior Lecturer of Art in the focused areas of Drawing, Painting, and Printmaking at the Ernest G. Welch School of Art at Georgia State University in Atlanta Georgia. Kolpy has participated in over 140 international to invitational exhibitions with seven solo exhibitions since 2003. Kolpy has a solo exhibition at Gallery 72 in Atlanta, GA, scheduled for June 2024. Since 2003, she received over 30 awards based on her portfolio and has been included in 30 art publications including the international publication in 2011 NOPLACENESS: Art in a Post-Urban Landscape, highlighting contemporary southern artists, and in 2022 The Hand Magazine, a competitive journal publishing printmaking and photography. Kolpy’s work is in the permanent collections of The Bradbury Museum in Arkansas, The Zuckerman Museum of Georgia, and The Yun Xiang Ju Group / Baoding City China Cultural Museum.
My current work is realized through multiple layers of monoprinting, drypoint, and hand-painted high-density watercolor ink. A symbolist in my approach, I’m interested in the visual and thematic parallels between apocalyptic mythos and the Holocene extinction—our present age—where ancient species are dying off en masse due to climate change. The theme of apocalypse—from the Greek word apokalypsis, meaning “to reveal”—has driven me to articulate what the future might “reveal” regarding the natural world. As our ecological crisis intensifies, humanity’s struggle with itself also intensifies through social unrest, toxic polarization, global pandemics, violence, and war. In my work, this conflict and unrest are exacerbated by modern-day conspiracy theories and harmful, science-denying myths, and I interrogate such narratives within a broader landscape of religious history and mythology.
19
Emily Weber, a recent graduate from the University of Hawaii at Manoa, uses photography as her creative medium when words fall short. From an early age, her natural eagerness to transform anything into art caught the attention of her father. Recognizing this as an opportunity, he introduced her to the world of photography, igniting a newfound passion for capturing life’s moments.
Growing up in the scenic beauty of San Diego, Emily’s attraction for Earth’s landscapes blossomed. She developed her skills in landscape photography, drawing inspiration from the picturesque surroundings. Noticing her talent, friends began to hire her for portraits and lifestyle shots. Emily also entered her works into many local art shows, one being the San Diego County Fair.
Following her high school graduation in 2017, Emily pursued her education at a local community college while simultaneously excelling as a student-athlete on the golf team. She earned her Associates in Photography, laying the foundation for her artistic journey. In 2019, she faced a pivotal decision upon moving to Oahu, Hawaii—to continue her golfing pursuits or fully embrace photography. After a hard decision, she enrolled at the University of Hawaii at Manoa, expanding her photographic horizons.
By the time Emily graduated in December 2023, a noticeable shift had occurred in her work—from capturing landscapes to delving into the realm of self-portraiture. Her lens began to focus on revealing the rawness of life and the challenges individuals navigate in the real world.
As she embarks on the next chapter, Emily is enthusiastic about the prospect of continuing to create impactful images and unraveling more layers of herself through her evolving artistic journey.
Emily Weber, a photographer based in Oahu, employs self-portraiture as her new medium to capture the burdens of societal expectations and their impact on individuals. This photograph embodies rawness, offering a glimpse into internal struggles stemming from the pressure we put on ourselves. Emily’s artistic vision aims to break down the mask of perfection, laying bare the authentic emotional landscapes within individuals navigating today’s society. Her body of work stands as a touching reminder to embrace imperfections and seek reassurance in the common threads of our shared human experiences.