Sept 2024 - Fall Issue : simplebooklet.com

MODERN RAISSANCE CREATE ALAND APARMODERNRWORLD ARA NOTE FROMTHE EDITORPolyxeni ZiaziaArt DirectorDear Readers,Welcome to a new chapter of creativity and artistic passion! In this month's issue,we are delighted to present a variety of artists' stories that record the essence ofour shared winter journey. Our team features contributions from artists from allover the world, creating a diverse mix of perspectives and experiences. As artistsshare their stories, they become valued members of our ever-expanding team.Our mission remains untouched: to make art accessible to every individual whoenjoys and is passionate about it. As members of this team, we are dedicated tocreating an inclusive and accepting environment that values diversity while alsoencouraging unbridled expression of individuality. Modern Renaissance Magazineis more than just a publication; it is a platform for voices that challengeconventions, respect traditions, and gently access the relationships of identityand art.We extend our heartfelt gratitude to every reader and artist who helps to keepour magazine vibrant. Your inspiration and creativity power the pages of ModernRenaissance, creating an authentic representation of the art that connects us.Polyxeni Ziazia06

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What do you aim to say by the themes inyour art?My theme is urban. My images are always anchoredin the chaos of modern life, in the way the city framesus, signifies us, and reveals us. It is not a critique, butrather a graphic commentary on how theenvironment we live in defines us as individuals andas groups, and how sometimes these two aspects canbe completely contradictory. I like to think that theinherent message of my work, if there is one, isalways a question, the seed of doubt that leads theobserver to contextualize themselves within thisconcrete jungle which, while dehumanizing us, isalso a wonderful point of convergence. Sometimesall of this pushes us to the limit, but it is at this limitthat self-knowledge hides. All art is a mirror for thosewho view it. Mine is no different.Who has influenced your work, orcontinues to influence your work?Although influences come and go, being a livingpart of an artistic journey and of our own lives, mymain artistic roots are primarily in the 1990s whenI began to discover graphic computing anddecided to use it to create non-applied art.Prominent graphic designers of the time, such asNeville Brody, Vaughan Oliver, and especiallyDavid Carson, form the foundation of myaesthetic education. After that, DeStijl fromMondrian, particularly for its use of color, and,reaching further back in art history, the Europeanavant-gardes of the Roaring Twenties. I like todefine myself as a poet of chaos, and all theseelements have come together in a melting pot toconsolidate what I imagine to be my voice as anartist.Do you feel your art challenges existing barriers?My work emerges already throwing itself against abarrier, which is the issue of digital art and all theprejudice it still faces, even today when computershave become an inherent part of our lives. Breakingthe perception that the common man holds thatcapital-A Art is directly tied to manualcraftsmanship, excellence in execution, and, yes,incredibly, to figurative art and mimesis, is achallenging task that accompanies me every day,especially in a traditional market like Brazil, and evenmore so in the region of Brazil where I live. If you donot develop a very solid conviction about what youdo and the artistic value that exists in it very early,this tribunal of tradition can ruin your spirit. At atime when generative artificial intelligences areemerging, this barrage of criticism comes from allsides, including from within the artistic communityitself, which should be an oasis of open and curiousminds but where, paradoxically, most of the biasedviews are found. Keeping the strength to swimagainst this current is an important and exhaustingpart of the work.8

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What are your longterm artistic goals?I am not the romantic type of artist; quite thecontrary. Despite all the chaos that inhabits myimages, my art is very cerebral and responds tohighly theoretical questions that are part of myaesthetic research. I often say that, for me, art is theexpression of the intellect in fury. However, this doesnot make me immune to the feeling that art is a wayof escaping death, a condition that allows us tosurvive our finite nature, which is something thatscares any living being but takes on much greatermeanings for the human species. Perhaps what I amtrying to say is that in an era where images havebecome a thousand times more banal than everbefore, I hope that something in my work canendure, that it simply does not drown in the graphicverbosity in which we live. It is the simplest ofaspirations that an artist can have, but at the sametime, it is the most ambitious. What defines thepermanence of a work is the relevance it manages toachieve while it is in the spotlight... and the period inwhich an image is in the spotlight today boils downto the scroll of a phone screen.How would you describe your creative process?I really do not have a creative process. And I striveto keep it that way. In my work as a graphicdesigner, I have a process; as an artist, I do not.Processes are dangerous things that can quicklyteach you to cheat, to take shortcuts, and it is inthese shortcuts that your voice gets lost, thatthings gradually become pasteurized with theegotistical aim of pleasing everyone, of gainingone more like, one more share, one more pat onthe back. I like to put myself in uncomfortablesituations as an artist. I like the gray areas. I oftensay that whenever I am one hundred percent sureabout something, I am not doing my job right. Andprocesses end up bringing those certainties. Theytake you to a safe place; they are like Hansel andGretel’s trail of breadcrumbs: when you knowwhere to go back, there is no risk, only the illusionof risk. And without risk, art is born dead.BAD TYPOGRAPHY #3 STUDY ON A TRISTAN TZARA'S STANZA10

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Where does your inspiration come from?My inspiration always comes from a question. What if? This way of starting is probably a reflection of my work as a graphicdesigner. Designers answer a question, solve a problem, and are motivated by a provocation. This approach is very presentwhen I conceive a new series. My art is very self-referential; it deals with themes that are connected to the Art universe itself,seeking to fill gaps that I perceive others before me have overlooked or simply chosen not to address. Perhaps we can say it ismeta-art, Art speaking about itself, dealing with its own issues in an almost narcissistic manner. My work is not transcendent;it serves nothing other than itself. On the rare occasions when it approaches a sensitive topic, it always does so in an aestheticway. This scrutiny of Art is my inspiration. And it is inexhaustible.NU CLEAR LOVE

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Do you have any experiences thatimpacted your journey?When I first started painting, it was a way forher to express myself and escape from thepressures of everyday life. Moving far awayfrom home, I found solace in the strokes of mybrush and the vibrant colors on the canvas.However, in 2020, a major life event causedart to take a backseat. That same year, Iwelcomed my greatest creation, a baby boywho became the biggest project of my life.Despite the challenges of balancingmotherhood with my passion for art, I neverlost sight of my creative drive. In September2023, I felt a newfound sense of inspiration,leading to a series of artworks that capturedthe essence of my feelings of missing home,motherhood and the joy of having a family.What do you aim to say by thethemes in your art?My art draws inspiration from my home, allthe símbolos, colors and feelings that remindsme of it. From the unapologetic boldness ofMexican traditions like ~Dia de los Muertos~and the lovely aesthetic of Talavera Poblana,which grounds the composition and adds atouch of cultural significance.ROSA DURANZOHow would you describe yourcreative process?In my creative process, I strive to capture theessence of still life with a unique blend ofrealism and stylization. I aim to infuse my artwith soulful rhythms and patterns that dancewith colors and emotions, creating a visuallanguage that speaks to the heart and soul.Utilizing a variety of mediums such as acrylics,watercolors, ink, and digital tools, I bring myvision to life in vibrant and expressive ways. Ilike to explore the depths of my emotions,creating art that resonates with others on adeeply personal level.

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What is integral to your work as anartist?Throughout my life, I have faced challenges andtriumphs that have deeply affected my art.Whether moments of joy and celebration or timesof sadness and reflection, each experience hasfound its way into my work. Through my creations, Ihave found a way to process and express myemotions, creating a visual diary of my innermostthoughts and feelings.When did you begin your artist journey?From a young age, I had a natural inclination towardsart. The process of transferring my thoughts andemotions onto a canvas or object has always been a formof therapy for me. It wasn't just about creatingsomething visually appealing, but rather aboutexpressing myself in a way that words couldn't dojustice. I am grateful for the opportunities I have hadand excited for what the future holds in my artisticjourney.Do you feel your art challenges existingbarriers?It challenges my own barriers, which I’mdiscovering in the process. I have honed my craft tocreate pieces that not only captivate the eye butalso challenge the mind. Each stroke of my brush,each line drawn, and each color chosen is adeliberate act of rebellion these days, where joyand positivity it doesn’t come easy. I refuse toconform to society's expectations and insteadchoose to carve my own path, one that is filled withcreativity, imagination, and boundless color.SLOT MACHINES

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NICHOLAS ERKERWho has influenced your work, orcontinues to influence your work?I am fortunate to have many things that influence mywork. I grew up in a small Kansas farm town in the1980's. That was a time and place where there was agreat deal of freedom and a carefree lifestyle thatallowed children to explore. My brothers and I spent agreat deal of time in the great outdoors exploring andexperiencing life in a way that not many children dotoday. We played in the wheat fields, rode bicycles formiles, and played outside until the street lights cameon. I draw a great deal of influence from thoseexperiences and memories. Additionally, I grew up in alarge family of excellent storytellers. The oldermembers of my family told and retold vivid storiesthat I retell using visual narratives.BASED IN LEE'S SUMMIT, MO. USAWhen did you begin you artist journey?My artistic journey had a beginning and a rebirth laterin my life. My mother was a strong advocate for thedevelopment of my art skills. I was a very imaginativechild and enjoyed depicting my world and storiesvisually. I guess you could say that my journey startedthere: with my mother urging me to pursue art. As Igot older, went to art school, and then became an artteacher, I fell away from producing my own artwork tofocus on education. When my mother was dying ofcancer, I realized how important that part of my lifewas an started painting again as a way of coping withher death. I felt that preserving family stories was away to keep those who had passed alive andcontinuing the oral tradition in my own way.AMAZONSWhat do you aim to say by the themesin your art?Keep memories alive by telling them in your ownway. I pride myself on how I have taken some ofthe best stories from my family and retold themthrough my artwork. I am very proud of my family,artwork, and the immense amount of support Ihave received over the past 10 years. I could not bewhere I am today without family.16

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When did you begin you artist journey?I don't come from an artistic or creative background.Just a few years ago, I used to tell people that I couldn'tdraw anything beyond stick figures. My life took a turneight years ago when I moved to Southern Californiaafter experiencing homelessness for three months. Achallenging conversation with my sister and arealization after 12 years of struggling with drug andalcohol abuse motivated me to take a chance on life.It wasn't until COVID hit that I delved into anythingcreative or artistic. In October 2020, on a random night,I created my first piece of art. Fueled by my passion forbusiness, motivating others, my life experiences, andmy newfound creative spirit, I've developed a deepobsession with painting. The evolution isn't just withinme and my practice but extends to the continuoustransformation of the art itself.Who has influenced your work, orcontinues to influence your work?The list is extensive, often changing on a weeklybasis as I closely examine the work of variousartists, much like my approach to music. Thesephases of admiration for different artists havebecome an integral part of my identity andcreative process. Notable figures on my ever-evolving list include Cy Twombly, ChristopherWool, George Condo, George Morton-Clark,Devon DeJardin, Matt Gondek, William deKoonig, and Joyce Pensato.SHE SAID I LOVE YOU ANDTHIS WAS HIS RESPONSE22WHERE DOES IT END?

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FOOLISHWhat is integral to your work as anartist?Certainly, my sketchbook holds significantimportance. Previously, I would embark on myartworks without a sketch, but now, I rarelyundertake any piece without a preliminarysketch. It serves as a guiding framework orskeleton for the entire artwork.How would you describe yourcreative process?Being an artist is a continuous, year-roundcommitment, with no off-switch. My mind isalways engaged in thoughts about my workand what I can create next. There might be ahint of fear in this constant contemplation, theuncertainty of having the next artisticendeavor. I find myself spending periodssketching until I feel prepared to transition topainting. Unlike my previous approach ofdrawing directly onto the canvas without aplan, I now recognize the importance of a morestructured process. This shift allows me todevelop my ideas more extensively, providinga skeleton to work from while still allowingroom for improvisation during the creativeprocess.Where does your inspiration come from?Life, conversations, interactions, people, places, things,colors, music—virtually anything on this planet can serve asa wellspring of inspiration. This concept has transformedover time, but fundamentally, living itself is an ongoing actof drawing inspiration. It involves actively pursuing life inall its facets, embracing the good, the bad, and the uniqueexperiences that shape it.What do you aim to say by thethemes in your art?For me, it's about establishing connections,inspiring individuals, and challenging theirminds—all while building a business. Theultimate objective is to inspire children, drivenby my therapeutic efforts to heal my own innerchild. I believe that by instilling this sense ofhealing and inspiration in children from ayoung age, we contribute positively to society.At least, that's my hopeful perspective.What advice do you have for aspiring artists?Persist in pursuing your dreams. I transitioned from ahomeless drug addict to a homeowner in SouthernCalifornia, earning a living through painting, and, mostsignificantly, attaining freedom from self. Anything ispossible in this life.

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Where does your artist inspiration come from?My two main sources of inspiration are nature and life experiences, and when the subject is the natural world it isthrough the lens of moments or places that have been important to me. I find that dismantling key moments in lifereally helps me examine my part in them or view of them -- and helps me deal with the subjects in a new way.How would you describe your creative process?It's not always the same, but fairly close. I usually start with a word, phrase or snapshot of memory and sketch fromthere. The sketches are often more complex than the final product, which I arrive at by stripping down lines,simplifying, and then pulling in color. My aim is to portray the subject in a way that gets to the feeling of the subject inthe simplest way, so as not to be distracted by detail.DOUBT26

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What do you aim to say with the themes in your yourart?My aim is to share the way I see the world before it's all gone. It's not "youcan't take it with you" that bothers me, it's that you can. You can die andtake your perspectives, experiences, and ways of seeing the world withyou and nobody will ever see them. I want that all out of my head. I find acertain level of peace in knowing I got an idea or experience outeffectively or accurately and can move on to the next.A HOUSE IN NEW HAMPSHIRE, NO 2Do you have experiences that impact your art?Everything. Everything from uncomfortable moments as a kid to bliss ata lake at age 19, to the feeling of sleeplessness at 45. I'll drive down thestreet and notice the way the light is filtering through the trees and knowI won't see it that way again -- and I feel a determination to document itbefore I forget! I find myself concentrating on the setting lately – a roomor a place in time as I remember it.

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Do you have any advice for aspiring artists?Try new things. There is no "way to do it." If someone tells you that they're missing the point of creativity.SUMMER, I28Who has influenced your work, or continues to influence your work?There are a number of easy answers when it comes to visual art, such as Matisse, Picasso, Mondrian... but I'm moreinfluenced by music than any other art form. A line in a song can bring on very visual thoughts that push me to explorekey moments in my life. A song can relate to a scene or a subject and the feel of the lyrics and the instrumentation helpsme work through the feel of the colors and line work in something I'm developing in sketches.When did you begin you artist journey?I've drawn as long as I can remember. I really got into it in high school and decided to go to college in Boston to learnpainting and illustration. While there I started looking at cubist word and artists who broke down their subjects. Sincethen, I've been focused on finding the simplest way of getting at the topic, subject, or feeling I'm trying to get across in awork.

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Art has always been an excellent way of showing resistance, building identity, and telling the stories ofpeople highly marginalized in mainstream discourse. In the case of SOMA Pilipinas, the Filipino CulturalHeritage District of San Francisco, the combination of art and activism takes center stage in preservingand promoting Filipino culture, heritage, and history. Under the stewardship of Raquel Redondiez,SOMA Pilipinas takes on gentrification, cultural erasure, and the ongoing struggle for presence andvoice. How do they fight off the forces which come with dislocation? And how does an organization makesure that art-namely, public murals-speaks to general experience-namely, identity and survival? Theseare some of the questions that face SOMA Pilipinas in its mission to safeguard the legacy of FilipinoAmericans.Public art, particularly murals, does much of that work. Large-scale mural-work, situated in public space,allows the community to tell their stories and stake their claims in a most visible, accessible, andimpactful way. The artists, like Johanna Poethig and Venezir Martinez, have emerged to become leadingfigures in this realm, using their artistic talents in contributing to the narrative of Filipino Americanhistory, struggle, and resilience. These artists do not only celebrate Filipino culture through their worksbut also challenge dominant narratives and create spaces for voices of marginalized people.Mural arts in the Filipino diaspora comprise the works of cultural cultivators of the Filipino Americancommunity, which this paper shall discuss. From there, the paper will go to discuss how their work alignswith the goals of SOMA Pilipinas and the broader mission of cultural preservation and revitalization. Inthis context, we are able to assess how art functions as a mode of activism or community building inresponse to systemic ills.30IN PROGRESS PHOTO: JEEPNEY MURAL WITH CECE CARPIOPHOTO CREDIT ALEXA TREVINO

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31SOMA Pilipinas and Its Role in Cultural PreservationThe Filipino American community in San Francisco-from the gentrification to erasure of cultural landmarks-has long struggled for its place and identity. It is here that SOMA Pilipinas, under the leadership of RaquelRedondiez, ensures that the history and culture are a continuous and valued part of a community's identity.It is in designating SOMA as a Filipino Cultural Heritage District that SOMA Pilipinas creates that space toclaim the presence and narrate the stories of Filipino-Americans.This is one way SOMA Pilipinas does it: through public art commissions, like murals depicting the FilipinoAmerican experience. According to Redondiez, the murals are "living monuments" that give beauty to thecommunity and educate both Filipinos and non-Filipinos about the rich history of the diaspora. The murals,therefore, are not just artworks; they are weapons of resistance against erasure.Redondiez echoes that in SOMA Pilipinas, the model of leadership is in collaboration. "We don't just dictatewhat the community needs; we listen to what the community wants to preserve and create." Thiscollaborative ethos can be seen well in the ways Poethig and Venezir work with the residents andorganizations of the locale so that the art reflects the desiring and experiences of the community.Let’s take a brief virtual tour around vibrant artisticSOMA Pilipinas for an amazing representation ofmurals in the cultural district. Each mural will be atestament to the heart-softening Filipinoexperience that weaves history, identity, andresiliency. We will travel through the special styleand theme of works by artists Johanna Poethig andVenezir Martinez that demonstrate how suchmurals do not only beautify the urban environmentbut also serve as potent statements of community,memory, and resistance. Let us begin our journey inlearning the stories encapsulated within thedynamic works of art.RAQUEL R. REDONDIEZ, DIRECTOR OFSOMA PILIPINAS, FILIPINO CULTURALHERITAGE DISTRICT OF SANFRANCISCO.

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Ani- Harvested Hopes Mural 275 5th St, San Francisco, CA 94103By Venazir MartinezRenaissance Entrepreneurship Center and SOMA Pilipinas“Ani – Harvested Hopes,” is a mural created in collaboration with the Renaissance Entrepreneurial Center andSOMA Pilipinas, celebrates the contributions of immigrants to the U.S. During our interview, muralist VenazirMartinez explained that "Ani," meaning “to harvest” in Tagalog, symbolizes the journey of migration and the act ofretracing cultural roots. The mural features a traditional water pump, representing continuity, and Filipinolaborers, showcasing the resilience and impact of immigrant communities. Native Californian flora, like poppies,weave together heritage and the broader American landscape.Martinez shared how her murals, especially in cultural heritage districts like SOMA Pilipinas, go beyond artisticexpression—they serve as cultural markers that anchor communities to their shared history. By engaging deeplywith local voices, she ensures her work reflects authentic experiences, strengthening the identity of both youngerand older generations. Through her art, Martinez aims to honor the past while inspiring future generations.ANI- HARVESTED HOPES MURAL BY VENAZIR MARTINEZPHOTO BY NIX GUIRRE32

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Pagsasama-sama Mural 1048 Folsom St, San Francisco, CA 94103by ChiChai MateoMade possible by: SOMA Pilipinas and SOMA West CBD"Pagsasama-Sama" ("joining together" in Tagalog) celebrates the unity of SOMA Pilipinas. The mural interweavesthe solihiya rattan pattern, creating bursts of life throughout the neighborhood.At its center, two diwatas emerge from waves, symbolizing the connection between the Philippine islands and theSan Francisco diaspora. The diwatas’ hands reach out as the Philippine sun shines, reinforcing the theme ofcommunity.Inspired by Franceska Gamez’s "Pagmamana," ChiChai uses painted “wood carvings” to depict stories ofbayanihan, activism, and joy. The Russ Street side continues with waves and the word "makibaka" (struggle),honoring the Filipinx fight for social justice.PAGSASAMA-SAMA MURAL BY CHICHAI MATEOSOMA WEST CBD AND SOMA PILIPINASPHOTO BY CHICHAI MATEO

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INTERVIEW WITH JOHANNA POETHIGWhy are you passionate about projectsthat promote Filipino culture andheritage?I grew up in the Philippines from four months oldthrough high school and have returned manytimes for creative projects. It’s my first home, andmy first languages were English and Tagalog. Theculture and history I learned there are deeplyembedded in me. When I arrived in the U.S. as ateenager, I was struck by how little people knewabout Filipino culture—especially 40 years ago—and the colonial ties between the Philippines andthe U.S.Though it’s not my ancestral land, I believe myperspective as an American raised in thePhilippines offers something unique. The colors,fashion, art, and music I grew up with continue toinspire my work.How do you balance your artistic visionwith the cultural stories of thecommunity?When I created Ang Lipi ni Lapulapu in 1984, Iaimed to reflect SOMA’s 40% Filipino population.I sought stories from the community andcollaborated with other artists to bring them tolife.Muralism is about telling community stories. Iwork with symbols and compositions that fit aspace, like the rice terraces in Ang Lipi niLapuLapu that flow with historical figures andFilipino symbols. For me, artistic vision andcommunity storytelling are one effort—designing a mural that captures both my visionand the essence of the place.34Ang Lipi ni Lapulapu Mural 50 Rizal St, San Francisco, CA 94107by Johanna PoethigSOMA PilipinasPhoto by Nix GuirreAng Lipi ni Lapulapu is a visual timelinedocumenting Philippine history and history ofmigration of Filipinos to the Americas. The mural,first installed in 1984, highlights the 300 year oldGalleon Trade to the waves of migration includingagricultural and fish workers, nurses, doctors andteachers.Included in the mural are important figures in thefight for Philippine liberation such as AndresBonifacio, Jose Rizal, Tandang Sora to morecontemporary historic figures like Carlos Bulosan,Victoria Manalo Draves, Pancho Villa, and LarryItliong.

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Heroes in Our Windows Mural 1010 Mission St, San Francisco, CA 94103By Mel Vera Cruz and England HidalgoSOMCANThe word Bayanihan in Filipino is the practiceand spirit of working together. This word comesfrom the word Bayan, which in Tagalog canmean household or community. The wordBayani (Bayan plus “I”) refers to the protector ofthe community or what we might call a hero. 36HEROES IN OUR WINDOWS MURAL BY MEL VERACRUZ AND ENGLAND HIDALGO PICTURE CREDIT -SOMCAN AND ANTHONY BONGCOJeepney Mural975 Bryant St, San Francisco, CA 94103By Cece CarpioSOMA PilipinasAThe jeepney, a popular mode of publictransportation in the Philippines, mirrors SanFrancisco's Muni buses. Known for its vibrantdecor, the jeepney has become a symbol ofPhilippine culture, much like Muni busesserved as canvases for street artists during therise of hip-hop culture in the 80s and 90s.JEEPNEY MURAL BY CECE CARPIOPHOTO BY SEAN SANTOSOriginating from U.S. military jeeps used inWorld War II, jeepneys have been reclaimedand transformed into cultural icons. Thismural places the iconic jeepney alongside afamiliar object in the Bay Area, showingintergenerational Filipino figures at a busstop. These figures represent Filipinoimmigrants navigating the worlds of thePhilippines and SOMA. Among them aremanong veteranos still awaiting U.S.citizenship and Filipino nurses and caregiverswho risked their lives during the pandemic,symbolizing the Filipino diaspora's journey.This is why when the mural team created thetheme “Heroes in Our Windows” paintingheroes of the neighborhood above the centerwas consistent with the concept of Bayanihan.The heroes and sheroes that have been placedon the mural, have all in their own ways foughtfor and shaped the South of Market community.

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38The World is Yours 531 Bryant St, San Francisco, CA 94107By Vivian CapulongSOMA Pilipinas, United Playaz, West Bay, RobbyPoblete FoundationThis mural will accompany sculptural installationpieces by the Robby Poblete Foundation thatrepurpose recycled gun metal. Our Home of Sampaguitas and Dahlias Mural 51 6th St, San Francisco, CA 94103By Allison HUEMANSF Parks AllianceThis mural features silhouettes of San Francisco Filipinosthroughout history, pulled directly from archival photos.Within these silhouettes are community advocates,business owners, protestors and veterans, placing aspotlight on the community's rich history. Dahlia andsampaguita flowers are featured prominently--theofficial flowers of San Francisco and the Philippines,respectively. Within these figurative shapes are flowingpaint textures which have come to be a signature of mywork. I used the Filipino flag as a starting color palette,the silhouettes bleeding into one another as a way toshow that in a community, no one person is an island,every action of one person affects the whole.Lastly, there is Babayin script to the far right (ancientFilipino script) that simply translates to “home”.THE WORLD IS YOURS BY VIVIAN CAPULONGOUR HOME OF SAMPAGUITAS ANDDAHLIAS MURAL BY ALLISON HUEMANPHOTO BY NIX GUIRRE. In this piece, we see a mother and her child walkingdown the street towards the sunset, exploring theshops and buildings along the way. The young childpoints forward at the shops/sunset and pulls hismother’s hand and guides her to keep movingforward. The mother looks down at her child with asoft smile. Along the side of the buildings is a varietyof different shops and attractions that the child isdrawn to.The goal of this piece is to nurture the hopes,dreams, and potential of a person, but also stillraising awareness for gun violence.

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Banig Crosswalks 6th St San Francisco, CA941036th Street Improvement PlanSOMCAN and OJ MonegasThe designs are the result of acommunity planning process led bythe South of Market CommunityAction Network and OJ Monegas,and incorporate patterns and colorsassociated with banigs. A banig is atraditional handwoven mat fromthe Philippines. These patterns anddesigns expand the visualrepresentation of the Filipinocommunity in SOMA, and will be atreasured addition to the SOMAPilipinas Cultural District.BANIG CROSSWALKSPHOTO BY NIX GUIRRE.Tayo Ay PinagtagpiMural 4th St & Mission St SanFrancisco, CA 94103By Dre SibayanYerba Buena CommunityBenefit District and CityCollege SFThis colorful and geometric takeon the design pays homage tothe rich history of textile designand the interwoven culturalcharacter of SOMA PILIPINAS.Not meant to represent actualtribal Philippine woven fabrics,this direction aims to createmodern representations ofpattern and texture that evokesa feeling of the motherland butrepresents interconnectednessof people, places, andbusinesses that make up SOMAPILIPINAS.TAYO AY PINAGTAGPI MURALBY DRE SIBAYANPHOTO BY NIX GUIRRE.Inside of the certain cells of the design will be miniillustrations depicting different aspects of people, place, andculture in the neighborhood.

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Pasalubong Mural 701 Mission St, San Francisco, CA 94103By Franceska GamezSOMA Pilipinas and SFMOMAFranceska Gamez’s mural for SOMA Pilipinas and SFMOMA tells a story of healing and honoring the motherland. Itdraws from memories of home, the immigrant experience, and family stories—both of joy and endurance.Inspired by her Lola’s WWII stories, the mural reclaims symbols of violence, such as a rifle, transforming it into aharmless object carrying sampaguita flowers for hope and strength. The central figure wears an Ifugao Bakunawamask, asserting identity and connection to her roots, lifted by her elders.Reflecting on colonization’s impact, the mural calls for collective healing and emphasizes the deep connection to theland, with the figure’s Filipiniana sleeves transforming into mountains and rivers. Paper planes and boats symbolize thesacrifices of immigration and the resilience that shaped the artist’s journey.Free For Our Freedom Fighters Mural 701 Mission St, San Francisco, CA 94103By Malaya TuyaySOMA Pilipinas and SFMOMAThis mural serves as both a tribute to activists and a critique of MoMA's ties to harmful institutions. Tuyay created themural to redistribute funds in honor of Adelaida Macusang and Mumia Abu-Jamal, both imprisoned for their activism.Adelaida Macusang, a peasant activist from Mindanao, fought for farmers' rights but was unjustly detained underMartial Law. She died in 2020 due to the poor conditions in prison. Her story calls for justice for all activists oppressed bythe state.Mumia Abu-Jamal, a Black Panther and journalist, was wrongfully convicted of murder in 1981. Now suffering fromsevere health issues, his case represents the broader fight for the release of political prisoners and the abolition of thePrison Industrial Complex.PASALUBONG MURAL BY FRANCESKA GAMEZPHOTO BY NIX GUIRREFREE FOR OUR FREEDOM FIGHTERS MURAL BY MALAYA TUYAY40

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Vanilla Sky Mural124 Townsend St San Francisco, CA94107By Cheyenne RandellVanilla Sky is a real mixed media mural byCheyenn Randall, who has been working inmixed media for over twenty years. Pictured isGrace Nono, a renowned female vocalist in thePhilippines.Vanilla Sky is housed in Plant-forward, Vibrantand Fresh Pan-Asian, Filipino Fusion restaurant,Mestiza SF.VANILLA SKY MURAL BY CHEYENNE RANDELLPHOTO BY MESTIZA SFStevenson Lanterns1064 Mission St, San Francisco, CA 94103By John LuccaSF Parks AllianceAs a nod to SOMA Pilipinas, the FilipinoCultural District, the lanterns feature thePhilippine sun. When lit, these brasslanterns will cast shadows of the graphicaltextures in the lanterns onto thesurrounding walls and streetscape.STEVENSON LANTERNS BY JOHN LUCCAPHOTO BY NIX GUIRRE

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Mural works coming from the likes of Johanna Poethig and Venezir Martinez, among others, mean so muchmore than artistic expression-they become acts of resistance, storytelling, and the forming of culture. Theseworks guide viewers on a visual journey through both the history and the present struggles of the FilipinoAmerican community. They are living monuments of challenge against the erasure of culture and hope for acommunity deeply set in both the Philippines and the United States.In this, Raquel Redondiez embodies the important work of SOMA Pilipinas: collaboration between artistsand activists, and communities in order to fight back against cultural erasure. The murals herein by Poethigand Martinez stand as a visual testament to the strength, beauty, and resiliency of the Filipino Americancommunity and serve as vehicle to guarantee their stories are told for many years to come.SCAN THE QR CODE TO EXPLORE THE SOMA PILIPINAS LIVE GOOGLE MAP 42

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INSTAGRAM @_K.ARTISTIC_CHAM, SWITZERLANDKristina Lazović (K. Artistic) is a photographer who captures and reveals the essence of thehuman soul through her lens. Her journey into photography began with a deep passion for visualart, and today she focuses on portraiture and artistic projects that explore identity, emotion, andnon-verbal communication.Her work has been featured in numerous exhibitions in Switzerland and Serbia, as well as ininternational projects. Kristina draws inspiration from everyday moments and the people sheencounters, transforming these fleeting experiences into timeless visual narratives. Shecurrently divides her time between Switzerland (Zug) and Serbia (Belgrade), often acceptingopportunities to work in various locations around the globe.K.ARTISTICBIOGRAPHYSTATEMENTPhotography, for me, is far more than capturing a fleeting moment—it is a means of exploringand expressing subtle emotions and untold stories. Each photograph serves as a window intosomeone's inner world, where reality and imagination blend seamlessly. With every shot, I aimto capture the essence of what words cannot express—unspoken thoughts, emotions, andmoments that transcend time.I find inspiration in people, their life stories, and the seemingly unnoticed details of daily life thathold deep symbolic meaning. I believe that each photograph has the power to unveil bothexternal and internal beauty, turning ordinary scenes into visual poetry. My work invites theviewer to pause, reflect, and see the world from a fresh perspective.44WHIRL OF SILENCE

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INSTAGRAM @MAIVALENTINESEver since I can remember I've been called a crybaby. I've always felt like my emotions were too bigfor my body. Now, I use my art as an outlet for my emotions, to use them to tell a story rather than letthem overwhelm me. Nothing helps quiet my thoughts more than picking up a paintbrush and makingart. Through my paintings and drawings you can see my highest of highs, lowest of lows, andwhatever I'm feeling particularly passionate about at the moment. I'm particularly fond of doingportraits, especially self-portraits. MAI VALENTINESSTATEMENTBROOKLYN, NYBIOGRAPHYMy name is Jamai and I'm a 20 year old self-taught artist born and raised in Brooklyn. Since I was alittle kid I've always been extremely passionate about the arts, but never quite had the time or spaceto really explore it. At the start of the pandemic in 2020 I found myself with the most free time I'd everhad and found myself starting to experiment with watercolor, gouache, and acrylic painting. I spenthours teaching myself how to paint everyday and found myself falling back in love with art. Over thepast four years my body of work has substantially grown and I have grown as a person throughcreating.SAVING FACE (2004)

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KISSIMMEE, FLORIDAAniella Maggie was born and raised in Miami, Florida and currently resides in Kissimmee, Florida. As aself-taught artist, she loves to experiment with different mediums from graphite to vector graphic imagesto clay to landscape photography, but her preferred medium is acrylic paint. Her interest in visual artslead her to studying Graphic Design Technology at Miami Dade College. Her artwork reflects heavily onher experiences as a latina woman and impressive emotions.ANIELLAMAGGIEBIOGRAPHYHer artwork consists of feminine subjects that go against society’s beauty standards yet, still capable ofbeing beautiful. Society views femininity as weak and soft, but her work invokes feelings ofunderstanding, comfort, unity, and a sense of nostalgia. Choosing from bright, saturated colors to stealyour line of vision, she has made blue, green, and pink her signature trio. Each piece displays a degreeof her motto - “cry responsibly” - meaning it’s normal to feel uncomfortable or negative emotions, but toalso remember life keeps going. STATEMENTINSTAGRAM @ANIELLAMAGGIE46WHAT'S IN MY BAG; CIRCA 2005

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PERNES LES FONTAINES, FRANCEJean-Paul Soujol Benedetti is a minimalist photographer whose work is deeply influenced by theworld of contemporary painting. His artistic vision revolves around the search for purity of line andform, with blue as the dominant and omnipresent element. Inspired by renowned contemporarypainters such as Pierre Soulages, Mark Rothko and Yves Klein. Soujol Benedetti’s work bearswitness to his meticulous aesthetic research.In his minimalist compositions, the horizon acts as a guiding line, imbuing his photographs with asense of infinite space. The sea often occupies a central place in his art, as a significant subject.However, his latest works have taken a more abstract turn, incorporating a plastic and conceptualapproach to their creation. This evolution in style adds depth and complexity to Soujol Benedetti’sportfolio, offering viewers a captivating and stimulating visual experience.BIOGRAPHYSTATEMENTI am a conceptual photographer inspired by minimalism and contemporary art. This artisticinclination drives me to transform the reality of what the eye perceives into a deeper exploration ofcolor and form. My images reflect my fascination with the elemental nature of color, which I explorethrough aesthetic research. The dominance of the color blue, the horizon and the square format areat the heart of my work. What intrigues me most is the idea that each viewer can interpret myimages in their own way, using their own imagination. To develop this concept, I draw ontimelessness and the notion of infinity. For me, photography is not just a passion, but a creativelanguage that allows me to convey complex ideas and emotions through minimalist compositions.JEAN PAULSOUJOLBENEDETTIINSTAGRAM @JP.SOUJOL47URSULA#2

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INSTAGRAM @PASCALPIERMESANTA FE, NMPascal Piermé (b. 1962, Saint-Raphaël, France) began his career in France. In 1997, Piermé moved toSanta Fe, inspired by the magical landscapes of New Mexico. He works with wood, enjoying its fluidityin appearance and strength retention. His works are studies in contrast, replete with meaning, void ofconclusion. Piermé’s work portrays honesty in illusion, harmony in divergence, realism in abstraction,and simplicity in complexity. Represented by five galleries, his exhibitions number 120+. Publicationsand press include the monograph Origines + Life; Magazine 43; LandEscape Art Review; Western Artand Architecture; Santa Fean Magazine; and American Art Collector.BIOGRAPHYSTATEMENTI have always been an explorer at heart, more in search of questions than answers. My hope is thatthis translates in my work. I try not to conclude or explain anything in a piece. Rather, I invite theviewer to take an internal journey of discovery with me. Titling a piece only serves as a portal of entryfor the imagination. The artist-viewer dynamic and engaging the spectator on the search excites me.The energetics at play in both the natural and man-made worlds. Those balances, movements andinterconnectedness are motifs in my work. I am also interested in assimilating what isn't meant to fit:And akin to a scientist, I am engrossed with the research and development aspects of a project,especially pertaining to exploring the various finishing mediums.The onset of a new sculpture begins with a desire to create, as if it were my first attempt at venturingout. I try to forget everything I have done before and wait in that still, fertile, now place for something toemerge. Eventually it sparks a potentiality to life - a startled bird’s fluttering wings, a strain of music,the tail end of a recent dream floating by. Any stimuli might germinate an idea. It is a joyful, exultantmoment. Creativity is conjured up when the artist surprises himself. An adventure begins.Sometimes I feel like my brain functions like a giant blender where I pour my admiration for acontemporary building, the unique color of a fruit’s skin, a morning frost on desert grass, themovement of clouds in the sky, insecurity felt from a surprising sound, an old piece of fabric thatchallenges and awakens my memory, an intense conversation with a stranger and, of course, doubt,love, anger, desire, and ego. Unable to know which elements will assert their primacy, or prioritizeitself in this mixture, I accept with confidence the irreversible choices that become a new piece. New?This is where the biggest challenge is for me – temporarily letting go of the past and being profoundlyin the present – being open and unguarded so discovery takes hold.Every phase in my work has reflected a prominent steppingstone in my own inner growth. Like any life-long companion, my work and I seem to have reached a comfortable, reliable familiarity with eachother. That surety of presence brings a confident, expanding freedom to the relationship, keeping itengaging and intriguing.Fundamentally, my intention in my work, and in my life, is toward simplification. I work hard at thatevery day. It is the most difficult challenge for me, as with many artists - to arrive at the essential, andthen to recognize it as the true stopping point.PASCALPIERMÉ49

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INSTAGRAM @MOKHA_LAGET.STUDIOSANTA FE, NMMokha Laget is an international artist known for innovative geometric abstractions on shaped canvases.Her work explores spatial ambiguity and perceptual paradoxes through a fusion of color, form andarchitectural sensibility. Her multifaceted career spans writing, curating, art restoration, theater designand explorations of sound and visual art. Degrees include a BFA, Corcoran College of Art & Design(1982); MA, Museum Studies, Cal State East Bay (2004); and Interpreting and Translation, GeorgetownUniversity's School of Foreign Service (1992). She was a studio assistant to Washington Color Schoolpioneer Gene Davis. Accolades include a Pollock-Krasner Foundation grant (2019) and residencies at theAmerican Academy, Rome, Italy; Artist-in-Residence, Vladem Contemporary, Santa Fe; Mass MoCA,Massachusetts; Millay Arts, New York; and Golden Foundation, New York. Recent solo exhibitions:Gallery Sonja Roesch, Houston; Louis Stern Fine Arts, Los Angeles; David Richard Gallery, New York;CONTAINER, Santa Fe; American University Museum, D.C.; Brian Gross Fine Art, San Francisco; andHarnett Museum, Richmond. Recent group exhibitions: Alfred University, New York; Turner CarrollGallery, Santa Fe; Knoxville Museum of Art, Tennessee; The Wright Contemporary, Taos; Fort WayneMuseum of Art, Indiana; and Santa Fe Community Gallery. In 2022, a major ten-year survey of her workwas presented at the Katzen Arts Center, American University, Washington, D.C. Laget's paintings areheld in prestigious public collections worldwide, including the Kennedy Center for the Performing Arts,D.C.; Palm Springs Art Museum; Sheldon Museum of Art; Oklahoma City Museum of Art; and the U.S.Department of State's Art in Embassies program.MOKHALAGETBIOGRAPHYSTATEMENTMy work explores the intersection of geometry, perception and space through shaped canvases thatdefy traditional boundaries. I construct visual paradoxes using forced perspectives, warped planes andsaturated color, creating environments that are at once believable and impossible. These pieces serveas laboratories for investigating the interplay of light, color and form. Liberated from rectangularconstraints, they actively engage with their architectural surroundings, blurring the line between artworkand space.Drawing on diverse art historical references, from Renaissance perspective to Color Field painting, Ipush beyond established conventions. My practice has expanded into interdisciplinary territory,particularly music, where I use technology to animate and project static works into dynamic, multi-sensory experiences.Ultimately, my art challenges viewers to recalibrate their perceptions, offering new ways to processvisual information and understand spatial relationships. It invites a deeper exploration of how weconstruct meaning from what we see, creating a dialogue between the work, the viewer and the spacethey inhabit.51

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INSTAGRAM @RITZCREATIVEEYESJERSEY CITY, NJ, USABorn in India, now a New Yorker, Rita travelled all through her life, lived across cities and went oninternalizing different ways of living. She trained in painting at New York University, and New YorkStudio School. Rita’s paintings are expressions of her way of seeing life, a harmony of emotions,cultures, and nature. Overflowing with texture and feelings, each ushered with a soulful mind and spiritof life. Rita is also an MBA from NYU Stern School of Business. Her works have been shown at NewYork City Galleries in Chelsea, at Saphira & Ventura Gallery, Midtown, NYC, New York Art Expo, 2019,Solas Studio – NYC, Brooklyn Waterfront Artists Coalition (BWAC). Rita is versatile in her style, lovesexperimenting with color and shades. Nature is the biggest inspiration for herBIOGRAPHYSTATEMENTPainting to me is like a dear friend who I can open up to. Painting to me is like my own child who I lovinglywatch growing up. Painting is like writing a beautiful memoir, telling stories of life, penning a travelogue of thewonderful places I have been so fortunate to have traveled to. I find inspiration from nature, from old songsthat I grew up listening to, some new ones from the country I adopted, from people around me. Playing withcontrasting pallets, giving shapes to beautiful thoughts, capturing memories on canvases is what my paintingall about. Painting is also paying homage to great masters of all ages, Impressionism in particular is my favorite genre. Ilove expressing myself through abstract paintings too, taking my audience with me on a journey in search ofthe unseen, unknown and untouchable feelings.RITABASUMALLICK53

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My recent collage series addresses the intersection of politics, capitalism and current culturalthemes. I use an assortment of 3D objects, stickers, my own pen & ink drawings, foundobjects and other media sources collated together for a collective review of each element as if you(the viewer) were personally immersed in our social media platforms. As part of a generation withunfettered access to the internet in its infancy, I witnessed the growth and change in this mediumand meme culture that now greatly influences the chaotic and seemingly random basis of my work;and supports my goal of shedding light on niche topics that warrant a closer review. The work I’vemade is out of decision of letting go of the filter. Sifting through every idea and just letting go ofwhat is a good idea and what isn’t, and see what comes to pass. Being a part of a generation withunfederated access to the internet through our youth has given us an interesting number of mediato consume. Bring that to the forefront of my work allows me to address the intersection of politics,capitalism, and current cultural themes I’ve found myself in. my intent in this is to cultivate a spacefor review of each element collectively as if you were thrown into our social media platforms. Thiswork mainly comprises itself off of collage of images, my own drawings, 3D objects, stickers, andother media you might see floating around all comprised together. In terms of artist and other mediathat influences my work. Joey Cannizzaro (sweerjoeyvermouth) is the first artist that comes to mindis art is truly random and chaotic in nature. His work is mainly collage based similar to mine in thathe uses social media influencers as the back drop of the piece with coloring book pages andstickers stringed throughout the work he makes. Other influences in my work are mainly contentcreators, streamers, youtubers, notable mentions are PaymoneyWubby is a streamer that mainlydoes react and gameshow content that gives inspiration to the chaotic imagery and “meme”images I use to back my collages, HasanAbi (hasan piker) A political streamer that shines light ontopics that main stream media typically doesn’t go into detail into and advocates for socialistcauses like public transit, union works, and free health care.Caroline is from Fort Smith but currently resides in Fayetteville, Arkansas. She is pursuing herBachelor of Fine Arts with a Concentration in Drawing from the University of Arkansas. In her senioryear, she has enjoyed many opportunities to feature her collage, mural and digital pieces in Schooland Community Exhibitions and was recently one of two nominated to attend the Yale School of ArtSummer Residency program. She is also a recipient of the Walton Family Foundation Scholarshipand the Arkansas Academic Challenge Scholarship. Caroline’s body of work draws from earlyinternet comedy and how information was cultivated by a patriarchal society. She uses the jesterprivilege to satire how internet comedy and mainstream media overwhelm us with informationrooted in consumerism. She works at the intersection of this attention grabbing, consumer drivenmedia and sensitive geo-political and socio economic issues to spark conversation and step back tosee our media consumption differently.PLUSHBIOGRAPHYSTATEMENTUNITED STATES55INSTAGRAM @PLUSH_.ART

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INSTAGRAM @DOLORES.ROS.ODUBLIN, IRELANDDolores Ros Huesca is an illustrator and visual artist born in Valencia, Spain in 1999. Where shestudied Fine Arts and a Master in Artistic Production at the Polytechnic University. In 2023 shemoved to Dublin, Ireland. She is currently taking a course in museology while working on her firstgraphic novel.I am interested in the concept of -fictional narratives- because I consider that it is from the artifice,from a context parallel to reality, where individuals can develop without prejudice their true desiresand concerns.I appropriate this term -fiction- to be able to explain all those manifestations that are not disputed inthe tangible present. We live in a very limited space and time, therefore, I consider of extreme importance to exercisethe practice of fiction, to imagine beyond the physical. The story allows us to delve beyond themerely circumstantial.DOLORES ROSBIOGRAPHYSTATEMENT57

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INSTAGRAM @IMOGENAUKLANDImogen Aukland (b. 1999) is a multimedia artist living and working in Brooklyn, New York. She is agraduate of Sarah Lawrence College, where she studied fine art and ethnomusicology, and recentlyreceived her MFA from Pratt Institute. In her work, Aukland explores modes of image-making andperception, in a process which works with both digital and analog forms. With a focus on different forms ofcollage, Aukland considers the space between abstract representation and empirical knowledge. For moreinformation about Aukland’s work, visit imogenaukland.com.Using a combination of digital and analog methods, I explore potentialities of the collage process. My workexpands out of a single image - a handmade collage formed from archival imagery, which is scanned anddigitally manipulated to create a system of iterative pieces. The resulting sequence of images lives in ahazy ambiguity of form and process, thus questioning modes of objectivity through imagined space.Ambiguous, clouded expanses appear simultaneously as terrain, sky, and sea; even as cellular or cosmicactivity. The screen-like surfaces oscillate between dense static and rippled light, creating concentrationsof tone and color that distort and dissolve. Overlaid with fragmented handwritten annotation that gesturestowards languages of empiricism, questions are raised about the certainty of visual representation and thelimits of abstraction.IMOGENAUKLANDBIOGRAPHYSTATEMENTBROOKLYN, NEW YORK59

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INSTAGRAM @JOANNEMATTILLOIn 2000, Joanne graduated from California State University, Los Angeles with a Masters of Fine Art (MFA).She is now a full-time artist. In addition to color and black and white film, Joanne shoots digitally and employs the techniques ofinfrared imaging and enjoys creating 3D anaglyphs to be viewed with red/blue lenses. As an extension ofphotography, she has branched out to do videos and have a YouTube Channel, THE VIDEO ART OFJOANNE CHASE-MATTILLO. Along with nature, Joanne frequently photographs female and male subjectsat themed studio shoots. Joanne has exhibited throughout California, nationally, in Korea, France, England, Switzerland, Scotland,Greece, Spain, Germany, Japan, Belgium, Holland, Brazil, Dubai, Canada and Italy. Her work has alsobeen selected for Lunar Codex, a very special project partnered with SpaceX to deliver the images of art ina time capsule to be permanently affixed to the surface of the moon. I have always been in awe of the golden age of Hollywood, often defined as between the 1930’s - 1960’s,when the studio system employed the very best of actors, directors, writers, cinematographers, set andcostume designers and so many magnificent artists were allowed to show their skills and crafts. It was anexciting opportunity to work with lighting masters at a studio in Los Angeles, who offered the opportunity torecreate images that honored the best of the cinema masters using the same lighting that thrived in thegolden days of cinema. The models were dressed in vintage style gowns and MUA artists provided elegantmake up as a throwback to classic Hollywood style Noir. Though I do not have the power behind a majorstudio guiding my photographic pursuits, it was a thrill and honor at least for one day to be able to with a2024 camera to return to a time when the best of artistry on every level was granted the opportunity toshine. JOANNE CHASE-MATTILLOBIOGRAPHYSTATEMENTLOS ANGELES, CALIFORNIA, USA61

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INSTAGRAM @SUSANNE_TABET.ARTI create large-scale, semi-abstract paintings that celebrate femininity in all its forms. Byportraying women, not as objects of desire, but as individuals with their own agency andexperiences, I challenge traditional perspectives in art and culture. Through this work, I aimto offer a distinct perspective on the female experience. Inspired by the AbstractExpressionists, I experiment with a diverse and unconventional color palette to evokemoods and emotions. I want to amplify the female voice through unapologetically boldcolors and dynamic compositions. My subjects often gaze back at the viewer asembodiments of strength, courage, and autonomy.The act of painting itself is a significant component of my practice. I apply spontaneousbrushstrokes, building up layers of paint to create a tactile and visually engaging surfacewith texture and depth. My final works often border on abstraction, with undefined elementsthat invite diverse perspectives and reject prescriptive, fixed meanings. I strive to enableviewers to engage with my paintings in a way that is personal and meaningful to them.SUSANNE TABETSTATEMENTFALLS CHURCH, NORTHERN VIRGINIA63

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INSTAGRAM @ARTNICK67For me, each new painting is a journey into the unknown, and in that way, a metaphor for life. I have no idea what liesahead, how I will get there, or if I will succeed. The journey unfolds a little at a time, slowly revealing to me which path tofollow. My approach is based on the idea of "happy accidents," in which I encourage and curate a certain amount ofchaos, and then sculpt it into a composition. This process requires me to step further out of my comfort zone to find waysto make essentially random events work together as a whole.Each journey is different, not only in outcome but also in technique. I use all manner of media including pens and pencils,crayons, acrylics, magazines, and spray paint. I call this media fusion.My subject matter is most often determined closer to the end of creating a piece when apparent themes begin to emergefrom the chaos field. It is only then that an image or motif will arise to give a meaning or direction to the entire piece.I don't really require inspiration or ideas; I just start working and the materials themselves suggest what to do. I simplyfollow the cues they are giving me. I work on several pieces at once so I can move to whichever one reveals the nextsteps, while letting the others remain fallow until they are ready to divulge their directions to me.My current body of work uses a lot of collage elements such as articles and illustrations from magazines. I often use thepages as palettes for mixing paint colors, or even leave them outside in the elements to create texture and distortionbefore merging them into drawings. In the information age there is rather a lot of "information pollution," which I up-cycleinto art. I apply the collage elements into a sub-matrix created by intuitive drawing, which gives them a very organic flow.This blend of chaos, intuitive response, and media fusion creates a unique tapestry where each piece becomes its ownjourney of discovery, both for myself and, ultimately, for those who engage with it.BRETT NICKELLSTATEMENTVANDALIA, OHIO USA65BIOGRAPHYBorn in 1967 in Middletown, Ohio, Brett grew up in a blue-collar Appalachian community where he honed a natural abilityto turn everyday materials into creative works. From a young age, he transformed simple items like cardboard andmachine parts into imaginative models. His artistic journey began in second grade when a dinosaur poster projectdemonstrated his advanced understanding of perspective, marking a turning point in his creative path. Though his familywas artistically inclined, Brett was one of the few to fully embrace this gift, excelling in abstract visualization and choosingto reject formal training, preferring to develop his skills through personal experience.Brett built a successful career as a graphic designer, always staying on the cutting edge of technology by embracing theshift from traditional methods to digital tools. His collaborations with his daughter reignited his passion for tactile art forms,leading him to combine digital and hands-on creation. Deeply influenced by surrealism and expressionism, Brett’s workincorporates techniques like automatic drawing, frottage, and collage, revealing the subconscious in visual form. Hebelieves that artists act as modern-day shamans, uncovering hidden truths about the human condition through theirexplorations.Active in both solo and group exhibitions, Brett participates in online and physical shows, expanding his reach andcontinuing to provoke thought and inspire others with his unique voice in contemporary art.

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INSTAGRAM @ALEX6D12HDOLEKSIICHYSTIAKOVNORRISTOWN, USA67BIOGRAPHYArt was always part of life for Oleksii Chystiakov. During school time he liked painting classes then the other classes.From the beginning of child time he was excited to watch cartoons from ninety's and eighties as Cartoon Network,Disney, Warner Brothers, New Lion Cinema and other ninety's animation all there art style formed a great impact in hisvisual expression, there impact showed everywhere during sketching, drawing and painting.Bad artist surrounding in the country and every time economic unstable situation in Ukraine, forcing him after receivingcollege diploma of tourism moved into the USA, in Pennsylvania State the city of the famous boxer movie Rocky, andwhere's good art surrounding for the future art career.He continues drawing digital, as he planned to become a comic artist and illustrator. Painting and drawing, save somemoney to art tools, he filled in many applications and sending his first comic examples to DC Comics. The lack ofexperience and language storytelling problems, he made a decision to entered into Hussain Art School inPennsylvania, as it was the best place and what he could afford.He tried himself in art Project "Smile", Metal Gear art Competition, posting his digital paintings in social media. Then hegot a chance to go into Concept Art courses in CGSpectrum.He comes back again made a decision to move in traditional media, during a month he's making series of watercolorsketches in his social media, and became creating a new portfolio. He was published in Artistcloseup magazine; LasLaguna Art Gallery’s LIMITLESS Open Theme 2024 show; Teraverna Art Competition #5 Water an honorablemansion; exhibition at Piuda ArtSpace in Seoul, South Korea 2024; The Holy Art - Future Stars Barcelona digital show,Spain 2024.

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CULTURALLYOur mission is for individuals to embrace their creativityand ignite their passion, shaping a global platformworking on tangible reform for accessibility andrepresentation in the arts.Our purpose is to advocate that art is for everyone andby everyone. We work to utilize the arts for social justiceefforts, for students to use their passions for globalchange. Our biggest advocacy effort is toward representation inthe arts; we have members, branches, and communitiesin 60 countries on 6 continents. Culturally advocates forthe inclusion of people from every background andcorner of the world, regardless of level of practice orsocioeconomic means. We aim to provide a platform for artists of all ages fromemerging students to established artists to develop theircraft through education. We strive to provide the utmostprofessional development through opportunities withan international impact! Our work is to eliminate and abolish the deeplyingrained elitist and exclusive stigmas around the arts,so we offer an artist directory, social media network,interviews, and more to increase opportunities foraspiring artists.69

Sept 2024 - Fall Issue

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