In my art practice, I describe my creations as Textural Acrylics. This term represents the exciting experience of observing paint flow from the palette knife, forming captivating textures and colors. Each stroke channels emotion, and every canvas captures a moment of creative inspiration.

My process is spontaneous – I start with a loose outline, sketch the composition, and then fully immerse myself in the act of creating. Throughout the process, music is my closest companion, its volume soaring. I dance to the rhythm, losing myself in the beats, and, on occasion, even letting out a song. My painting process is a multisensory experience, an immersive journey into the fusion of sound and color, where each note becomes a brushstroke, and every stroke on the canvas is a dance of creation. I often liken my paintings to cherished children—it’s a relationship that involves nurturing, engaging in heartfelt conversations, and weathering the challenges of creative adolescence with boundless love and patience.

*The artworks by contemporary Turkish woman artist Pinar Ture Gursoy are immediately charged with feeling and deep emotion.
Her expression is figurative and the subjects of her paintings are described in a beauty that is not only corporeal but also metaphysical. The contours of the bodies became almost evanescent and the faces often have empty or impressive eyes, telling of the complexity of living and the torment of feelings.

What also distinguishes her work are the ruined surfaces that, in some cases, are reminiscent of the fresco painting which contributes to the perception of a malignant action of time.

Her art, influenced by an expressionist language, nevertheless remains linked to the tradition of her origins, also showing a strong interest in Greek and Ottoman culture.

*Written by Italian Curator Francesca Brunello

I am a magical realism painter with a focus on figures, hybrids, whimsical, and the metaphysical. Life as it is and life as imagined. I explore dreams, meditations, and the cosmos. My studio, I have come to understand, is a work in progress. Sort of like a provocative daydream. I seek to discover the soul and spirit of what I am engaged with, making visual narratives about life in the now moment. In my work as a channel/healer, I often experience people in the most intense times of their lives, both in pain and joy. I have learned to draw upon this, creating narratives reflecting personal growth in my paintings. I am interested in the complexity of mysticism, spirituality, healing, and otherworldly explorations. I share stories about my personal life experiences, which can remind me that my work is a visual diary. I am inspired by Guillermo Lorca, Odd Nerdrum, and John William Waterhouse, who seek to tell stories within their art. And finally, I am forever inspired by Pierre-Auguste Renoir and Berthe Morisot.

Rather than subscribe to a particular icon, subject, ideology, or style, I prefer not to be limited. I start with large brushes, allowing for a free-form “gliding” over the canvas. In that way, it’s easy to feel that my process is like an open-eye meditation. I point my brush in the direction to capture the essence, the soul of my subjects. Perhaps to give the viewer a sense of connection, a sense of timelessness, to enter the art and be part of it. I like to think of what I do as outrageous, spontaneous play with the Unseen, to make the Seen. I am in constant dialogue with the muse to discover what’s next, to listen. In that way, my work feels less controlled.

My work in fine arts has principally been in 2 classes of abstract paintings: oils and water-based paints. However, I have completed numerous works in drawing. I focus on color, texture, methodology of delivery, and composition. In composition, I am interested in positive space and negative space as well. I believe the painting/drawing is a manifestation of my emotional state of both conscious and unconscious feelings.

In the last three decades, I have been creating wall-mounted, cast resin, and aluminum sculptures combined with canvas and gold leaf and exploring the computer as an art tool for creating digital artwork.

All my life, I have loved to create art full of emotions and feelings, “soul,” with the satisfaction of fun. I am interested in the balance and composition of colors and objects rather than the reality of the items.

The direction of the last two decades has been aimed at understanding and, through artwork, expressing the human struggle of emotions and adaptations. For the past ten years, I have been polishing my creative work in the Surreal-abstract style.

The main motto of my artwork is: Just as in a good story, the readers have space to create their image; in a good picture, the viewers can form their own account.

I’ve developed a painting style blending street art, impressionism, mixed media, and traditional oil techniques. My work often reflects global happenings, serving as a creative response to today’s chaos, and offering a contemporary view of culture and trends. I express myself and who I am as an artist through gestures and a liberal application of paint. If you look closely, my work has many layers of paint and texture plays a big part in the composition of each piece. This endeavor symbolizes the many layers of raw human emotion we experience as we go about each day and process the world around us.

My interest in art lies in the exploration of self as well as in the physical construction of paintings. I seek out therapeutic craft practices and attempt to elevate them to the level of fine arts through the experimental mixture of media. I work not only with paints but with embroidery, weaving, ceramics, wood, and photography as well. Often, these and other forms of art will come together in one piece, linked by color, pattern, or a unifying thread. Through a process of visually and physically breaking down and reconstructing a subject, which is often rooted in a deeply personal place, I can create something that is both structurally unique and personally rewarding.

I began a journey of shift in 2019 and I am continuing to travel along it now and for the foreseeable future. I identify as a trans woman. Years of struggle with that gender dysphoria led me to the realization that I always felt the happiest and most whole when I was dressed as a woman. In addition to those emotional and psychological challenges, I was attempting to picture the turbulence and disarray. In 2020, when most of us were trapped inside our homes, I began a series of pictures that expressed that. They were difficult for me to look at, but they allowed for a more thorough examination and further development over the following few years. becoming a spirit journey and realizing that there are two spirits. Therefore, the artwork I’m presenting for review is the result of two spirits’ ongoing development—light and dark, positivity and negativity. Non-binary and binary terms.

In my artistic exploration, I meticulously manipulate the interplay of light and shadows, employing a nuanced palette that breathes life into warmth and coolness. The canvas becomes a symphony of hues, where warm tones caress the soul and cool shades invite contemplation.

Bathed in the glow of warm colors, my creations exude a vibrancy that mirrors the positive spirits within. These hues dance with the light, casting a radiant glow that embraces the viewer with a sense of comfort and affirmation.

Conversely, cool tones carve out spaces of reflection and depth, embodying the nuances of negativity and the shadows within. It’s a delicate equilibrium, a visual dialogue between contrasting elements that harmonize to evoke the complexities of the spirit journey.

Thus, my artistic expression transcends the mere visual, inviting the audience to feel the warmth of positivity and the cool embrace of introspection in a symphony of colors, shadows, and light.

Coraline Zhou’s Asemic Ghost exists where language fractures within the body’s wiring. What remains are asemic marks—pre-verbal traces that move like thoughts not yet bound to words. These forms hover between materiality and vapor, ghost-like, untethered, expanding into emptiness.

The visual language mirrors neural architecture: synapses firing and failing, signals doubling back, collapsing into quiet. Each work suggests a mind rewiring itself in real time, as if consciousness were receiving transmissions from outside its own borders. The messages stay encoded, oscillating between knowing and sensing, between clarity and interference.

Drawing from Barthes’ notion of textual pleasure, text as body, as tactile surface, these pieces trace the nervous system’s search for pattern amid disorientation. They become fossil records of that groping: asemic ghosts of thought itself, caught between understanding and dissolution.