Us

Artist Statement: The collages are a part of a larger body of works on a concept named Us. The inexhaustible theme of the relationship between human nature with its social constitution is displayed through juxtaposition and duality in the materialization of the concept. The visual approach to the problem of the individual-society, man-woman, human-nature-social norm is interpreted in layers, in parts, gradually removing redundant information in order to provide insight on the uniqueness of existence.



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ANA JOVANOVSKA received her M.A. in Printmaking from the Faculty of Fine Arts – University Ss. Cyril and Methodius, Skopje, Macedonia (2016). Upon receiving a scholarship she spent time studying abroad attending École supérieure d’arts & médias de Caen/Cherbourg in France (2013-2014). Ana had 10 independent and more than 100 group exhibitions in Macedonia and abroad in countries such as: Serbia, Montenegro, Greece, Bulgaria, Bosnia and Herzegovina, Slovenia, Romania, Czech Republic, Poland, Russia, Italy, France, Germany, Spain, Portugal, Mexico, Argentina, Colombia, USA, UK and so on.

Subtle Ladies

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‘Subtle Ladies,’ grayscale digital scan of original brush and pen and ink drawings on watercolor paper with digital text added, 2019


JOHN VIEIRA‘s visual art (digital, and in various physical media) has steadily appeared in print in small presses and in gallery and museum group shows in the U.S. and in over a dozen other countries, as well as appearing in mainstream anthologies and reference books, including The Art of Typewriting (Thames & Hudson, 2015) and A Dictionary of the Avant-Gardes, 2nd edition (New York: Schirmer Books, 2000).

Portrait of A Lady Wicca

Artist Statement: Whatever technique I use, my goal is to catch the expression deep inside the character. For me, the portrait is the mirror of the soul of the model…of the painter too. There is a lot of me in my portraits, mixed with a lot of my models.


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‘Portrait of A Lady Wicca,’ Acrylic on Wood, 2019


DOMINIQUE DÈVE is a french painter. His expressionist figurative style allows him to exhibit in Paris, Los Angeles, New Delhi, Sheffield. ArtMajeur Golden Award In 2018, he obtained ArtCheval Medal in 2019. « The portrait is the mirror of the soul, of the model, of the painter. »

Illusion

Artist Statement: A woman presents herself within the landscape. She turns a mirror towards the viewer, breaking up the solid environment. She interacts with the landscape she wanders in, blending into the background, changing with scale, or holding a part of the landscape itself. The whole image becomes a pictorial illusion and as the photographer, I am in complete control of the composition. Using a medium format film camera and no digital manipulation, I create an illusion within the lens. I am inspired by 1890’s Pictoralist photographers and how they create a purely photographic reality in their images. I use Infrared film to emphasize the grain and to create a more surreal and distant reality. I challenge the notion of the landscape by referencing what makes a photograph: the women use their mirror to re-frame what I have framed and capture in their mirror like a camera captures in the lens.


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JULIA FORREST is a Brooklyn based artist. She works strictly in film and prints in a darkroom she built within her apartment. Her own art has always been her top priority in life and in this digital world, she will continue to work with old processing. Anything can simply be done in photoshop, she prefers to take the camera, a tool of showing reality, and experiment with what she can do in front of the lens.

Julia is currently working as a teaching artist at the Brooklyn Museum, Medgar Evers College, USDAN Art Center and Lehigh University. As an instructor, she thinks it is important to understand that a person can constantly stretch and push the boundaries of their ideas with whatever medium of art s/he chooses. Her goal is for her audience to not only enjoy learning about photography, but to see the world in an entirely new way and continue to develop a future interest in the arts.

Emblems

Artist Statement: The etchings in this series are based on the 17th century emblem book. The Renaissance emblem book presented engravings of familiar elements and scenarios in association with a common saying, intended to invoke meanings with a particular lesson in mind. In this tradition, my images are combined with Latin aphorisms to create a web of analogies, associations, and implications on different elements of the universe, guiding the mind to often to simultaneously different and usually contradictory levels of meaning within a somewhat rigid, schematic spatial setting. This work is about the process by which we see, acquire, and possess things, and what they mean to us, in their variety and complexity, beauty and presence.


 

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BRIAN D. COHEN is a printmaker, painter, educator, and writer. In 1989 he founded Bridge Press to further the association and integration of visual image, original text, and book structure. Artist’s books and prints by Brian D. Cohen have been shown in over forty individual exhibitions, including a retrospective at the Fresno Art Museum, and in over 200 group shows. Cohen’s books and etchings are held by major private and public collections throughout the country. He was first-place winner of major international print competitions in San Diego, Philadelphia, and Washington, DC. His essays on the arts and education are a feature of Art in Print magazine and the Arts and Culture section of the Huffington Post.

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CEDRIC VAN EENOO is an award winning artist, musician, filmmaker and scholar. He is a member of Brooklyn Arts Council and affiliated with Manhattan Graphics Center. His art is represented by Tokyo Art Agency, Gallery 104 and World Fine Art Gallery in New York City.

Kempt

I’ve been living in my body for many years. It has changed. Girls my age use tweezers and razors, but I let my hair spread lawlessly. When I’m in the bathroom, I take a shower, look in the mirror, and observe the strays that nest beneath the wingspan of my eyebrows. I let them be, wild as beasts beside our backyard creek. I seldom ask for money to visit the drugstore. Deodorant, a little shampoo, and conditioner is all I need. My father says, just use soap. Tried that once. There were flecks in my hair that wouldn’t come out. I walk into my bedroom. Instead of grooming, I use my fingers to draw shapes and shades late into the night. There’s no T.V. My brother is gone. He stole a credit card and was off to Thailand. But there is peace in the house.

Then one night my brother returns home.

A mildewed backpack and a ripped sleeping bag are flung beside the front door where he walks in.

He steps into the bathroom. Unlike me, he loves to shave and pluck the hairs on his body. 

He’s hairy because my mother struggled with infertility for three years. She swallowed a lot of testosterone right before she got pregnant with him.

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‘My Brother’s Death’ by Chuka Susan Chesney, Watercolor with Pen and Ink, 2015

The bathroom door remains locked for many hours. When I have to go, I use the powder room.

When he comes out, the counter is covered with dark stubble, as if it had grown a beard. The razor on the sink is full. I look in the tub. A ring and black, curled pubic hairs blemish the porcelain.

“Clean it up,” my mother tells me. “It’s good practice for when you’re married.”

My brother shaves his cheeks above his beard, his upper arms, his back, and wherever else he can reach. He sculpts his eyebrows because he wants to be pretty.

When he’s not shaving and plucking and tweezing away, he simmers mussels in the kitchen─and leaves a mess. 

After he eats, he drives off in his dented Firebird.  

“He’ll turn up again like a bad penny,” my father remarks.

My brother calls us from the E.R. with a broken jaw. His brakes went out. The car swooped down the hill and wrapped around a traffic pole. 

My father picks him up at 2 a.m.

My mother blends oxtail soup in the blender for him.

When his jaw is healed, he steals a credit card─again.


CHUKA SUSAN CHESNEY has a BFA in Fashion Illustration from Art Center College of Design and an MAT from Occidental College. She is an artist, poet, curator, and editor. Her award-winning paintings and sculpture have been shown in galleries all over the country. Her poems have been published on three continents. You Were a Pie So We Ate You, a book of Chesney’s poems was the winner of the 2018 San Gabriel Valley Poetry Festival Chapbook Contest. In October 2018, Chesney curated the “I Pity da Poe” exhibition at the Hive Gallery in Downtown L.A. In November, Chesney hosted a poetry reading with Don Kingfisher Campbell at the YEAR ONE exhibition featuring Loren Philip and Tomoaki Shibata’s collaborative art at Castelli Art Space in Mid City. Chesney’s anthology of poetry and art Lottery Blues, coedited by Ulrica Perkins will be published by Little Red Tree Publishing in 2019.