Natura Omega
Sean Gray, born in Denver, Colorado, is a contemporary artist. Drawing from his personal experiences and inner emotional spaces, Sean creates art that ranges from expressive abstracts to realistic portraits, and everything in between. He believes that the style of art should suit the subject matter or the message the artist is trying to convey, and as such, Sean is constantly exploring and pushing the boundaries of his creativity.
Sean’s art has evolved into a purely personal and exploratory interaction with mark-making and materiality while switching between numerous themes and aesthetics. He alternates his work between exacting artisanal technique and the aesthetics of abstraction because he is fascinated by how the physical characteristics of mediums express a mood, a story, a moment, or even a gesture. Whether it is combining various materials or differing techniques, he places a lot of value on authenticity and mindfulness.
I have always had a connection to nature. I grew up traveling all over the United States exploring the natural wonders this world has to offer with my parents and extended family. This love and connection is the reason I created a series called Natura in which I explore those concepts in subtly different ways, by changing the forms while keeping the textures and colors similar. While this is going to continue to be an expansive series, I love to create in triptychs because I can explore variations on a theme in all its creative ways using a similar color palette.
I must contend that while I’m sharing my conscious thoughts, the work is also created on a subconscious level. Viewers have seen a variety of images in my work. I feel that in each one of my works, I am communicating a part of me, which viewers pick up as objective images in my work. I feel that I tap into that subconscious through creative energy inside me.
Nature In Motion II
Immediately after Secondary School, she took various painting and painting sculpture lessons, followed for several years by painting lessons in the Stedelijk Museum with the painter Peter Schenk. She also followed and completed the evening academy at the “Kleine Academie” in Amsterdam, lined up at the Rietveld Academy. Marianne also followed a teacher training in drawing and textiles. At that time she gave lessons at a school in Amsterdam. She initially worked with various materials such as oil paint, pastel, watercolor, gouache, etc. The last few years mainly with acrylics. She works from her own studio.
Marianne also makes and paints objects. She regularly works on assignments and exhibits at home and abroad, in both galleries and museums. She has won several prizes, both nationally and internationally. Marianne is a member of the VAK. Marianne signs her work under the name MARFEL.
How I experience the world, life, my contact with people, and nature around me is the starting point for connecting with this through my art. I express this emotionally through the colors and shapes in my work and the title that ultimately gives my paintings. Through my art, I try to express the feeling that lives inside and outside me and the world and to convey this to the viewer, and visitors of my work and in that way make connections. I also want to make people happy with my art. My country, the Netherlands, is flat and that is why we have to do water management to prevent flooding. That inspired me in this painting that shows water movement and stillness.
Navajo Nights
Nicole Martinelli is an artist, and a Photographer originally from the western suburbs of Chicago, Illinois, who recently relocated to the Pittsburgh, Pennsylvania area where she finds inspiration in the surrounding mountains and rural areas for her latest creations.
The cascades of colors and vivid images She features in both her Digital paintings and photographs are a direct representation of the bold, immutable, beautiful feelings she experiences while initially viewing and during the initial creation of the subject matter and scenery for her artworks. She as An artist feels that they actually choose her.
Nicole as an artist feels that it is her obligation to capture and create beauty and the healing power and comfort of nature and create artworks that encourage us to appreciate nature, and our environment and to also preserve it.
Nicole Martinelli, the Artist and photographer Photographs and digital painting artworks have been recognized and featured in multiple juried group exhibitions in prominent fine art galleries throughout the United States The Artist is currently being exhibited and featured in Marble Head Arts Association Gallery in Marble Head, Massachusetts, and Kavanaugh Gallery St. Charles Illinois as well as Vestige Concept Gallery Pittsburgh, Pennsylvania and an upcoming exhibition at CORE Artspace, Denver Colorado. The Artist has received international success and recognition as well with her acceptance into international group juried exhibitions. Nicole Martinelli has Won multiple awards for her photographic artworks, One being an honorable mention award in the International exhibition Helvetart based in Geneva, Switzerland in December 2022.
“There is always a stream to catch your tears and a sunset to brighten your life.” – “If I can inspire, awaken, and bring, solace, peace, and happiness to others as I have found myself while creating, then I have achieved my artistic goal.”-Nicole Martinelli
Near Taymyr: The Changing Calm Of The Russian Arctic
Bruce Williams is an abstract painter and professor of cultural studies at William Paterson University of New Jersey. Born in Great Falls, Montana, he studied at the University of Pennsylvania, completing an M.A. with an emphasis on German theatre. Williams subsequently earned a Ph.D. at UCLA, where his doctoral dissertation explored the relationship between cinema and poetry in Brazil. His many multilingual publications have dealt with cinema theory and history, photography, and the relationship between poetry and the visual arts.
Growing up painting traditional landscapes, Williams moved to abstraction while a doctoral student in Los Angeles. He returned to painting several years ago as a natural extension of his research. His paintings have appeared in juried exhibitions, both in-person and virtual, throughout the United States and in a Brazilian political and cultural studies journal. One of his most recent solo exhibitions, “Topographies of Curiosity,” was held virtually and curated by Kledian Myftari of Prague.
A monograph on Williams’ art will be released in Russian in Gdańsk, Poland, in early January 2026. Edited by Anna Stepanova, Где свет иной (Where the Light is Different) draws on the poetry of Alexander Blok to probe the relationship between inner and outer light — between illumination as revelation and as erasure. The book’s title reflects the heart of Williams’ work: how light can hold memory without possessing it, how the past can shimmer just at the edge of perception.
My painting practice is an act of excavation — a continual attempt to retrieve what resists naming. Each canvas begins as a search for the invisible architectures of memory: traces of a gesture, a place once inhabited, or a voice that has dissolved into silence. I paint to understand how absence becomes form — how what cannot be said still insists on appearing.
The visual language I have developed relies on the tension between containment and rupture — veiled planes interrupted by sudden intrusions, fragile transparencies coexisting with dense accumulations of pigment. These formal contradictions mirror the deeper human ones that interest me: fragility and endurance, intimacy and distance, the persistence of beauty in the face of decay. Every composition is a negotiation between order and the moment when order gives way.
In each painting, color functions not as decoration but as emotional structure. I often begin with subdued, earth-toned — greens, browns, muted yellows — and then work toward what I call “intervals of luminosity”: thin passages of translucent pigment where breath enters the surface. These intervals recall the suspended pauses in music or film, the instants that precede recognition. They are spaces where the painting breathes and where the viewer may find their own reflection.
My process is deliberately slow and iterative. I build layers, sand them down, and rebuild — allowing time itself to leave a visible trace. This pacing resists the acceleration of contemporary culture and affirms painting as a medium of attention. Each work holds within it the history of its making — the reversals, hesitations, and recoveries that define human experience.
Underlying all of this is a deep concern with humanism — with the capacity of art to bear witness to the persistence of meaning even in the aftermath of loss. I am drawn to moments when language falters: when words no longer suffice, and only color remains capable of speaking. A Hungarian writer once spoke of his colleague, a cultural historian, proclaiming that “Marianna Birnbaum was an idea.” This phrase has become a compass for my own practice. To paint is to give body to an idea — not to illustrate it, but to let it breathe and change.
While abstraction provides my formal vocabulary, my work remains grounded in the physical world: in the textures of places I have lived or conducted extensive research — the New York City metropolitan area, Los Angeles, Paris, São Paulo, Tirana, Moscow — and in the emotional landscapes they evoke. Geography, memory, and light intertwine; the horizon becomes a metaphor for what connects and divides us.
Ultimately, my aim is to create spaces of stillness and resonance — paintings that invite the viewer not to decipher, but to inhabit. Each work asks: what remains when speech ends, when image becomes echo, when the visible world dissolves into its own afterglow?
Near The Accademia Bridge, Venice
Gail Rodney studied drawing and painting at the National Academy School of Fine Arts in New York City, where she earned a Certificate in Painting. Classes took her onto the city streets, where an enthusiasm for plein air painting began. She is known for her landscapes of Chappaquiddick Island and NYC streetscapes. She served on the board of the Martha’s Vineyard Art Association for 12 years, four years as president. In addition to annual exhibitions at the Old Sculpin Gallery in Edgartown and the Salmagundi Club, she exhibited frequently at the Gallery of Graphic Arts in New York City. She works in pastel, oil, collage, and watercolor, and over the past 40 years has been collected in private collections, by institutions, and has done many commissions.
Juried Memberships
Salmagundi Club, New York, NY,
Martha’s Vineyard Art Association, Edgartown, MA
Pastel Society of America, Associate Member
Goga Group, New York
For me, the process of making art is a meditation. I work best when I do not think about the outcome but concentrate on seeing and capturing, observing, and comparing one element to another. This approach is usually more satisfying than work done more consciously.
Any object or landscape can be beautiful when bathed in light, when color is most exciting. I am drawn to landscapes, particularly with water, and the urban experience of my NYC life. As a landscape painter, I prefer to integrate figures and wildlife into a larger environment. Over the past 30 years, I have worked in watercolor, pastel, collage, and oil. Watercolor offers unmatched translucency. Pastels provide a sense of immediacy, the chance to draw and paint simultaneously, and the tactile sensation of working directly with your fingers. Collage is inventive; the papers take me to unexpected places. Oils are endlessly malleable, capable of the most subtle color, the most varied texture.
Three projects in collage, inspired by three favorite poems, led me to experiment with bookmaking, resulting in three artist books in limited editions. In addition, in 2014, I published the Martha’s Vineyard & Chappy Sketchbook, a collection of ink and watercolor sketches.
Though I work predominantly in a realistic style, I believe the abstract elements of a work are the most powerful conveyors of what the artist feels. Drawing and painting deepen my appreciation and observation of nature, and I hope to convey the joy of these observations in my work.
Nebula
I am a primarily self-taught photographer and began creating digital collages as a new means of expression. In creating images, my goal is to create images that evoke a story of some kind that often moves far beyond the relatively literal boundaries of traditional photography. I have exhibited widely and have earned recognition in local, regional, and national exhibitions. My works are also included in several corporate and private collections.
I draw from a wide range of photographic subjects such as landscapes, botanicals, and wildlife as well as urban environments and people. I follow an intuitive yet somewhat ordered process of layering or merging portions of photos until an image that speaks to me emerges. Most often this is more likely a random bit of serendipity than deliberate intent. Images often suggest a sense of time and place or reflect a rich and ethereal interplay of color, shape, or form. Images may provoke an indefinable question that does not readily yield answers without further study and reflection. Ultimately, my collages provide a vehicle to stimulate both my imagination and that of the viewer, leaving one free to interpret and create an individual sense of meaning and value.
Nel Silenzio Del Tempo
Visual artist, painter, and graphic designer with over 20 years of experience in solo and group exhibitions, art events, and national and international competitions.
From 1998 to present – Freelance painter
Active participation in exhibitions and competitions in Italy, Lebanon, Qatar, the Netherlands, USA.
Solo exhibitions in galleries and cultural spaces (e.g., Click Art Cormano, Flyer Art Gallery, Rome, MAEC Milan, etc.).
Organization and curation of group exhibitions (e.g., “Impronta d’artista” at the City Hall of Cinisello Balsamo).
2003 – 2011 – Collaborations with fashion ateliers in Lebanon
With Badih Semaan and Roger Semaan: artistic design for interiors and painted decorations.
High fashion workshops (Mohammad Maanaki, Jean Fares Couture, Basil Soda): painter, airbrush artist, fabric ornament designer, stylist using Photoshop.
2010 – 2014 – B.M.A Paints, Nahr El Mot (Lebanon)
Airbrush artist, painter, responsible for creating color catalogues.
Camelia Rostom’s artistic research is characterized by continuous experimentation with techniques, materials, and styles. Her work reflects a strong visual impact, playing with light, chiaroscuro, and symbolism. Her path is marked by expressive freedom, with a production that constantly renews itself like a chameleon of art.
Neona Nyx
Born in Venezuela in 1970 and now based in Norway, my work is shaped by an intimate connection with nature, memory, and the unseen. My artistic journey began in childhood with oil landscapes, but everything changed with the sudden loss of my father in an airplane accident when I was 11. In the wake of that event, art became my refuge—a means to navigate life’s complexities. At 15, I moved to Norway, where the tranquil winter landscapes inspired my transition from painting to photography. I worked in the darkroom for years before moving into digital photography, exploring the idea of “painting with light”. I pursued formal studies in Art Photography at The Interdisciplinary Art Institute in Bærum, Bilder Nordic, and the Oslo Art Photography Academy, learning from talented artists such as Fin Sersk-Hanssen, Richard Ferrar, Carll Goodpasture, Julio Silva, Tammo Rits, and Manit Sriwanichpoom. My artistic practice is informed by a belief in the spirit that inhabits all things, guiding my exploration of connections that shape our experiences. This perspective enriches my understanding of light and presence, while the serene landscapes around me invite a sense of stillness. My work has been showcased internationally, with exhibitions in Bangkok, Art Basel Miami, and galleries in Oslo and Los Angeles. I have been published in Black and White Photography magazine and received an honorable mention in the Monochrome Awards. Additionally, I have sold my work to private collectors. I continue to work with photography as a form of exploration, drawing from my personal journey and cultural influences. I invite you to read my artist statement for a deeper understanding of my creative philosophy and the themes that inspire my work.
Artist Note
In this new series, I extend my dialogue with light — shaping color as energy, emotion, and spirit. Working from my own portraits, I use digital manipulation to explore how the human face becomes both vessel and vibration — a portrait of presence itself.
Network
Professional painter Nijolė Mečkovskaja is a painter from Lithuania, living and working in Trakai. She graduated from Kaunas Higher School of Art, majoring in ceramics, and later continued her studies at the Lithuanian University of Education, earning a Bachelor of Fine Arts in Art Pedagogy. She currently works at the Trakai Art School.
Since 2023, Mečkovskaja has become intensely interested in various painting techniques and styles. She organizes personal exhibitions in Lithuania and participates in plein air. She is a member of the painters’ group Blue Art. Her artworks have been published in European magazines.
My work is characterized by both pastel and dynamic, harmonious, expressive colors and forms. My creative activity covers various artistic periods, in which I consistently seek to convey human inner feelings, the beauty of nature, and subtle expressive compositions.
I pay great attention to detail, and my paintings often combine abstract and realistic compositions. Existential and philosophical questions remain important to me, and emotional depth is central to my practice. The predominant themes in my work are nature, its beauty, and personal experiences.
My works often reflect my personal experience, natural motifs, and subtle symbolic elements. They are marked by sincerity and reflect a deep inner world, with suggestive expression playing an important role in my artistic compositions.