Agostino Iacurci (b.1986) is a contemporary visual artist working with painting, murals, sculpture, drawings, and then welcoming space through installations. Originally from Foggia (southern Italy), Agostino’s art practice began at the Academy of Fine Arts in Rome and then moved to various places, the last being Berlin for six years. Until 2022 he was in New York for a residency at ISCP (International Studio & Curatorial Program) in Brooklyn. 

Iacurci has worked extensively in the public art context making large murals, alternating them with more traditional studio practice, experimenting with various mediums, and collaborating with other professionals, artisans, and crafters.

Often driven by a site-specific attitude, Iacurci manages heterogeneous materials, constantly manipulating them. By doing this, he generates images in which he willingly recounts cultural history, emotional memories, literary references, and tales.

 

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Exhibitions, Works, and Awards

Iacurci has shown his work in solo and group exhibitions, including; Of my abstract Gardening, Ex Elettrofonica, Rome (2022); Hortus, IIC, Prague (2022); Premio Termoli LXII, MACTE, Termoli (2021); Tracing Vitruvio, Musei Civici, Pesaro (2019); Talent Prize 2019, Mattatoio, Rome (2019); Gypsoteca, M77 Gallery, Milan (2018); Trompe-l’oeil, Celaya Brothers Gallery, Mexico City (2017); Urban Art Biennale, Völkinger Hütte, European Centre for Art and Industrial Culture (2017); Cross the streets, MACRO Museum, Rome (2017); 16° Premio Cairo, Palazzo della Permanente, Milan (2015). But sure enough, the highlight to his career are the monumental wall paintings and installations for public and private institutions he creates since 2009. Recent commissions include Ludwigs-Hack-Museum, Ludwigshafen (2021); Life is Beautiful, Las Vegas (2021); Principal Place, London (2020); Yakutsk Biennale, Yakutsk (2017); Distrito Tec University, Monterrey (2016); Govind Puri Metro Station, New Delhi (2016); Istituto Mario Penna, Belo Horizonte, Brazil (2014); Fubon Art Foundation, Taipei (2012).

He also participated in residency programs such as ISCP (International Studio & Curatorial Program), New York (2020-2022), and Plop x Cob Residency, London (2021), and has ultimately received The New York Prize, promoted by Mibac, MAE and Italian Academy-Columbia University (2020), and Cantica21, Italian Contemporary Art Everywhere Prize (2021). 

Last but not least, throughout his career, Iacurci has collaborated with international brands and publishers, including Apple, Adidas, Hermès, Herman Miller, La Repubblica, Penguin Books, Starbucks, and The New Yorker.

Follow Agostno Iacurci on Instagram or learn more on his website >

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Contemporary Korean painting artist Juheon Cho (b.1987) grew up between Seoul (South Korea) and the UK.

She received a degree in Korean Painting and fine art, another in Printmaking from Ewha Woman’s University in Seoul, and accomplished her MFA at the Goldsmiths University in London.

Juheon then worked as an artist traveling back and forth between the UK and Korea and already had four solo exhibitions.

The first one was held in London in 2015 with ‘The Little boy and a toxic Land’. 

Juheon is an artist who always raises questions about the sensual experience starting from the boundary between reality and digital-based Korean Painting. After returning to Seoul from London, she taught contemporary art and Painting at Daegu University and Kyungpook University and currently lives and works as an artist in Berlin, Germany.

“From a young age, I have been moving frequently around with my family. As a consequence, I have left a lot of things behind, and the senses and memories I have are an irreversible experience that created a huge void filled with longing.” 

Hello Juheon, tell us something more about your creative practice.

When or how have you understood you wanted to become an artist?

When I was drawing coral reefs at my environment engineer father’s boring laboratory at 6 years old.

Can you briefly say something about your technique and tell us what drives you to make art?

My root is from traditional Korean Painting. I use traditional materials, but I make art for the future as I am a millennial.

My task is to understand how the mass media images stimulate and distract people from the actual content and makes it harder for them to sympathize with the pain of others while attempting to interpret how the public responds to them. I use my chosen medium to remove and hide harmful elements to expose the viewer to what is happening. My works of art reform the content from the natural cruelty of the media displayed. This paradoxically maximizes the media’s position for the public consuming the image.

My works explore the extremes that the current surge of media has as an effect on the audience. 

What main feature has changed in your works or practice throughout the years?

My most extensive interest was the experience with sensuality in Digital media, but during the Covid time, we have been forced to stay in digital a lot. So I moved on to the experience and sensuality in our complex and tangible reality.

Which artist primarily inspires your work? And is there something else, outside visual arts, that keeps you motivated?

Definitely, Aram Bartholl and Korean artist Osang Kwon. The multi-layers of experience, smell, sounds, and visuals from nature and its memories are my primary source of motivation.

How would you like people to engage with your work?

I hope that my work will motivate people to share their experiences about sensuality within the brutal digital reality.

Spread the word! Do you have anything exciting on the horizon?

I am currently hosting my 5th solo exhibition in Berlin. It is about the millennial’s memories and my Berlin home Obersee.

I would like to introduce this exhibition to many people.

To discover more about Juheon Cho’s work visit her website, or follow her on Instagram.

To

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Florentijn de Boer is a very young talented Dutch painter currently living and working in The Hague, where she gained her Fine Arts Painting diploma last year at the Royal Academy of Art. In 2016 she also pursued a Fine Arts Sculpture course at the Accademia di Belle Arti di Carrara in Italy. And this is just to mention some of her skills.

Painting Process

“My paintings reflect a strong drive to represent the world as seen through my eyes. In the process of painting, forms as we conventionally know them are transformed into a fluent movement. My intention is to interest viewers in the total body of the picture and to suggest the relation of the painted to reality.” , is what she answered when we asked Florentijn to briefly describe her work through her personal point of view. She focused on explaining the process of extrapolating a series of forms that will merge in the close connection between good and bad, to depict the restricted boundaries between these opposites.

“When painting, I try to overturn the law of gravity and exceed logical thought. The suggestion of depth in the paintings arises through the combination of geometric and organic elements. Constructing vertical lines and placing playful forms around them sets the picture in motion. Showing (e)motion is a major motive. I use oil stick on linen with the linen remaining visible so that it can act as a natural force.”, is how she explains her creative workflow.

Artist’s Exclusive For Hue&Eye

Florentijn has hungry eyes and feels the urge to translate everything she sees into a personal point of view which will find its voice through painting. Everything has a creative exit in her world.

For example, she sent Hue&Eye a beautiful sketch of a future work of hers, in which she deepens the complexity of her approach and technique, expressed through the relation of a selected story and the addressed canvas.

Swimming in the lake I had the idea
that the bird of prey gliding over our heads would hold us for fishes
It felt as if my arms were fishes too

Being in the water, I am always afraid
so I swam as fast as I could to the other shore Actually, I am no great swimmer

Danger, both winging over our heads and lurking below While in fact nothing was the matter

The underwater world
it is reflecting the sun
Or you can look straight through it infinity, properly halted

The exuberant life
Burgundian bathing in the sun, at the water line Ultimate pleasure at the lakeside
Yet a torment for me
stilled by apple cider under a tree
and the sleep that follows

Collecting images
combining them to create a personal picture It concerns intermediate relationships
They are essential
The relations between objects

To the other side of the lake  And back

De Boer’s Relationship With Art

She entirely devotes her time to painting. “I work long days. I can rest only once the work is completely finished. Before then, sleep is not important. Now that it is summer, I try to enjoy the fine weather and take as often as possible a brief swim in the sea”. 

Since she was a young child she never stopped painting, and although she is still very young, she is also fascinated by The Analysis of Beauty – the theory, of William Hogarth. “Every difficulty in understanding an object increases the pleasure of overcoming it – I depict this movement in my paintings”. In her works, Florentijn hopes to disappear, to let the public forget about how the piece was created, so to just get absorbed by the interplay of the forms in the picture itself.

Future Projects

Florentijn today dreams of a big mansion outside the city where she may paint in the garden: “… the Burgundian, romantic life.”, she explains. After all, this is what French painters used to do when they founded the term En Plein Air! Meantime stay tuned and updated on her upcoming shows and exhibitions here >

To visit her recent work and discover more about Floretijn De Boer, follow her on Instagram or visit her website >

Read similar articles on Hue&Eye >

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Anna Pajak (b. 1992 in Stockholm, Sweden) is a graduate with an MFA from The Royal Institute of Art, Stockholm, in 2020. Today she considers herself a painter and printmaker. She explores geometrical spaces and architectural elements such as surfaces, patterns, and depths in her works. Pajak merges color, symbols, and perspectives into visionary imagery where the abstract meets the figurative. Drawing from modernist female painters, spiritualism, and dreams, Pajak deconstructs and recombines symbols, images, shapes, and architectural fragments in ways that challenge traditional contexts and interpretations. Her large-scale paintings bring a sense of another dimension to life – a reality on the border of dream and fiction.

Her starting point is often a bodily sensation translated into the visual.

Anna Pajak is represented by Wetterling Gallery in Stockholm. She has also been exhibiting at Stene Projects, Stockholm, Kunstverket Galleri, QSPA Gallery, Oslo, and at The Royal Swedish Academy of Fine Arts, to name a few. Anna holds rewards with grants from the Queen Sonja Printmaking Award (2021) and the Royal Swedish Academy of Fine Arts (2019 and 2020).

In 2020 Hue&Eye hosted the first interview with Anna Pajak. Since her art practice has considerably evolved so far, we are glad to show updates and her latest works! 

Hello Anna, welcome back! For whom haven’t read about you before, let’s start from the basics. Where have you grown up, and how have you understood you wanted to become an artist?

My name is Anna Pajak, and I grew up in Stockholm, Sweden! I always knew it. I woke up like a painter

Can you briefly say something about your technique and tell us what drives you to make art?

I am a painter and printmaker. In my practice, I use both fluid acrylics and oil paint. The drive usually feels more like a need. My starting point is often a bodily sensation translated into the visual. I explore geometrical spaces and architectural elements such as surfaces, patterns, and depths. I merge color, symbols, and perspectives into visionary imagery where the abstract meets the figurative.

Drawing from modernist female painters, spiritualism, and dreams, I try to deconstruct and recombine symbols, images, shapes, and architectural fragments in ways that challenge traditional contexts and interpretations. I like my canvases large-scale, so the paintings can bring a sense of another dimension to life – a reality on the border to dream and fiction.

What main feature has changed in your works or practice throughout the years?

It evolves constantly. My paintings are a conversation between Anna and all women from different times. These women are found everywhere, in obvious places, and sometimes barely noticeable.

I paint as a way to think about this, inviting non-included voices into the patriarchal representation of languages, words, and themes.

Which artist primarily inspires your work? And is there something else, outside visual arts, that keeps you motivated?

” The Laugh of the Medusa” was the title of my last solo show at Wetterling Gallery in Stockholm. The tile comes from Hélène Cixous, a French feminist writer. Before I started working on this show, I came across her essay. I sensed a significant interest in how I could transfer her theory of female writing to my painting practice.

Her writing is cyclical and non-linear, like the female body. Just like painting, I thought. What distinguishes female writing, according to Cixous, is that it gives expression to the body. Also, the language captures what the body has experienced, just like painting, I thought.

A narrative emerges parallel with the paintings in my practice; the stories can be abstract and point to a state of mind. In the image, I get to know the characters/symbols, and in me, with them, a new story is woven. 

So for this show, I invited Medusa’s companionship to the studio, and together we have let her shields (my paintings) grow. The snakes standing from her hair are an interpretation of her different desires for the diversity of the woman being. There are no dichotomies in that show, as everything exists simultaneously. I saw the exhibition as her return. Violent and soft at the same time.

Spread the word! Do you have anything exciting on the horizon?

Yes, I do! This summer, I’m exhibiting in a group show, ” Dreams & Illusions,” at Alma Löv Museum of Unexpected Art. I’m pleased about this one, ever since I visited the museum a few years ago I have wanted to show my works there, it is a magical place!

Before that, I’m going to New York to work with the master printers at United Limited Art Editions, part of the Queen Sonja Printmaking Award I received in 2020.

Follow Anna Pajak on Instagram or visit her website!

Read similar interviews by Hue&Eye >

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About Tanya Bilous

Born and raised in Ivano-Frankivsk in 1987, a city on the western side of Ukraine, Tanya Bilous still lives and works there. 

Coming from a family of artistic souls, Tanya studies music and violin at high school. She also approaches fine arts, but at that time, she couldn’t find the right motivation to pursue a further interest. So, later on, Bilous applied for psychology studies, a discipline that well suited her ability to deepen human emotions and feel helpful. She indeed felt the urge to support people in need when in 2014, during the first Russian war endeavor towards Ukraine, she wished to help her country with the emergency.

After her psychology studies, Tanya also held a Master’s Degree in tourism at University. For this, she lived in Turkey for a while, working in the entertainment industry. Tanya loves people. Exploring different cultures is why she sees traveling as one of her most vital interests. Believing that life is short and one shall get the most out of it, Tanya started to feel the desire to exploit her feelings more significantly. That’s when art arrived as a rescue remedy to her needs. Life made her encounter a great art teacher, Liudomyr Khudiak, whom Tanya still considers accountable for encouraging her to commit to painting. He pushed her to believe in herself as an artist and was also an excellent psychologist to her. He saw in Tanya the energy she was waiting to share with the outside world.

Art & Psychology

Today Tanya shifts between her two favorite fields: art and psychology. By seeing art as a tool to elaborate emotions and heal human matters, Tanya wants to use her creative abilities to reinforce pain. Her paintings are abstracts depicting her inner flow. As she aims to be surprised by what comes out of her workflow, Tanya paints without breaks. She considers powerful the time and space she has for herself for the painting process as if it could heal wounds and all the scars in this world. Tanya finds great inspiration in the work of Picasso, Turner, Rothko, and Mykola Hlushchenko. 

Border, 2018

Every artist has a particular piece they feel most attached to, and for Tanya Bilous, ‘Border’ is the one. 

“There is something cathartic that happened with that piece of work. I made Border in 2018 without realizing the true meaning of why I wanted to accomplish it. It was only this year that I could put the dots together. ‘Border’ shows harm, blood, and a feeling of suffering and division, with small but significant hope. I indeed had this feeling inside me after 2014. But it’s only now, during this horrible war, that I could reveal what it was all about: pain, harm, and light at the end of the tunnel. Because this is how I feel. Although it begins with suffering, light is also there. And it will all shine one day.” 

Tanya wishes people to feel connected and loved when relating to her art. She is deeply attached to her suffering home country, and all she wants is to help her people let their light shine again as soon as possible. 

Tanya is part of VictoryArt a platform that sells and represents contemporary eastern European art based in Rotterdam. Go here to visit her page and buy an artwork. Click here to follow her on Instagram.

YOU CAN SUPPORT UKRAINIAN ARTISTS TOO

Ukraine needs our support and VictoryArt made the decision to dedicate 100% of the profit to Ukrainian Artists.

You can help them too by purchasing one of their artworks and supporting their passion. Go here to learn more >

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Jiayi Li is a Paris-based illustrator who grew up in China with her mother to support her creative capabilities as a child. She, therefore, studied fine art in China before pursuing further education studies in graphic design in Paris. Today, she is a renowned illustrator recognized for her “culturally relevant elements” that prompt sentimental memories. Jiayi Li aims at connecting with others, and she does so by illustrating peculiar daily elements in her work. 

Inspired by still life photography and airbrush paintings, looking through her portfolio, you’d be surprised to notice that Jiayi Li only started accomplishing work publicly around a few years ago.

Jiayi Li’s Approach to Illustration

Despite loving drawing since she was a child, Jiayi Li instead spent many years working in Paris as a graphic designer, convinced she wasn’t good as a freelance illustrator. When the pandemic began in 2020, she was in the countryside without a good wi-fi connection or other distractions. That’s when she started spending time drawing and making illustrations to then start posting them online. “I was happily surprised by the feedback, which boosted my confidence.”

Jiayi’s artworks have a consistent visual language where vivid colors fill everyday still-life objects. Without ever missing a few cats.

Aesthetic Influence

As mentioned, connecting with others is what Jiayi hopes to achieve with her illustrations. For this reason, she often draws elements that come from her daily routine or her childhood memories. 

Aesthetically, she’s inspired by bright still-life images. Interestingly, much of Jiayi’s aesthetic findings derive from a Playboy magazine she found at a young age – rare contraband in mainland China. Totally captivated by the beautiful nude photos, she didn’t really understand the sexual dimension initially. Still, applying hazy and glowing lights in the pictures left a deep impression on her memory. 

Workflow

She uses a similar method to lighting in her artworks. The reason why everything she soaks everything she depicts in striking or opaque light, is to turn everything into something alluring with the added glow providing a provoking twist.

Before sketching a new piece of work, Jiayi shares ideas with a few close friends to verify whether or not the concept is clear and relevant. 

This stage is the hardest for her and is when she mostly gives up. After completing a sketch, she spends a lot of time editing the colors, to notice how sometimes the result comes out completely different from her initial attempts. Jiayi does not tie to any color palette and is never afraid to go for bold, dark colors to evoke a feeling of viewing the world through lilac-tinted lenses under UV light. Li’s work, for this, reveals a magical galaxy where objects whiz and radiate with energy and conspiracy.

Jiayi Li’s profound message behind her art is straightforward. She hopes that her viewers will hold space for any possible interpretation to deliver people content that can boost their creativity. If her work can inspire others to chase a creative pursuit, that would be the greatest triumph. 

Future Projects

Jiayi looks to shift her hand to animation next, keeping it simple as adding a slight sound and movement to her illustrations. This would be to Jiayi Li an excellent opportunity to learn some new things and challenge her technical capacities. 

Go here to visit her website or here to follow her on Instagram. 

Go here to read similar Hue&Eye artists’ stories.

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Eline Martherus is a contemporary dutch painter, currently living in Amsterdam. She has been working as an artist for six years so far. Before, she worked as a designer with a background in textile production technology. Eline has exhibited her works nationally, as well as in Indonesia and the United Kingdom.

Eline Martherus is also part of the Amsterdam-based art platform and collective st-Art, where her works are available for purchase.

Her art has two opposite yet complementary elements. On the one hand, she utilizes a ‘sacred’ geometry, as she defines it, intending to build a Flower of Life, which is the basis of Hu.

‘Hu’ is a pseudonym in her art, which symbolizes the continuous reinterpretation of universal connotations, represented by placing seven circles in an overlapping symmetry. 

On the other hand, Eline utilizes organic and spontaneous painting techniques.

HU AND THE FLOWER OF LIFE

“By definition, the Flower of Life symbolizes creation and reminds us of the unity of everything: we are all built from the same blueprint.” She explains. It has a central role in her work and identity as it symbolizes the deep spiritual meaning and enlightenment of her artistic and personal journey. “As we are all built from the same blueprint, the color blue has naturally become the central color in Hu.”, she continues.

ELINE MARTHERUS’ TECHNIQUE

Eline mainly opts for sponges and brushes to add layers to her artworks. Acrylic paint and wax and oil paint are her primary mediums, although often enriched with hand-embroidery and tufting techniques using naturally dyed yarn. “The plates I use as stamps or as templates come out of huge geometrical wooden plates which I cut with a laser machine,” she adds.

INSPIRATION AND PRACTICE BEHIND ELINE MARTHERUS

Eline, what drove you to become an artist?

“The structured 40 hours weekly job got me questioning many things in life. So I’ve treated myself to a new language, an abstract expression rather than one based on social structures, where there was no longer a need to use wording as an expression. Replacing words with nothing but colors and shapes, where sometimes textures play a bigger role.

I do not feel the need to belong to an object-oriented world or a language-oriented culture. The only connotations I’m acknowledging, which gave and still give action in so many ways. I practiced my mind to move in many different directions, many states of mind, unlike one’s body. Up until now, regardless of the physical place where Hu has been expressing so far, it always creates a dialogue and a sense of recognition and awareness within the viewer. This type of dialogue is something I wanted to establish with my work.”

CURRENT WORKS

Eline also underlines how she feels established as a contemporary artist during this current pandemic, more and more aware of what she is searching through her work.

Eline strives for a hybrid between visual arts and textile disciplines as she witnessed the massive waste of pre and post-consumer in the fashion industry’s production chain. “The COVID 19 forced me to think about questions like how can we create new systems, less polluting, and less energy consumption.” She explains.

“I slowly came to realize that the fashion industry contributes to pollution with which I no longer identify myself. All in the name of the global economy, business, and the way we perceive society. So what is essential? What is not? In my opinion, this must be reinvented and repurposed.”

Consequently, Eline is working on residual materials for visual art by using pre-consumer waste from the world’s leading weaving mills. She uses various techniques, including tufting and embroidery, on painted canvas and is currently working with waste yarn programs to create a series of hand-tufted wall pieces. “Yarns come from pre-consumer residual material and are dyed by hand in my studio in Amsterdam using only natural dyeing methods such as indigo.“, she adds.

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Ewa Matyja grew up in a small town on the north side of Poland. Raised by her four older sisters, her house was continuously filled with energy indeed.

Ewa approached creativity at the age of six when she attended some art classes. Today she sees those times as if she was seeding and watering a plant that finally grew throughout the years.

Hello Ewa, can you briefly describe what you do and tell something about your technique?

 I am an abstract contemporary artist. I focus on large paintings, using mixed techniques. Mostly, each series is inspired by the place I currently live. I tend to work on a series of paintings, to explore different media on each piece, I mainly work with acrylic paint, charcoal, pastels, mixed with collages, using raw, unprimed canvases, and papers where their natural look can be a piece of art itself.

And what drives you to make art?

I worked at sales for a fashion retail company for most of my life and I knew I need to find a way to get out of my comfort zone and fully focus on painting. Once I managed to do it, I knew I would dedicate fully every day of my life to it. I’m extremely grateful for the ability to do what I love. Art gave me incredible possibilities to travel the world, meet amazing people, connect, and tell my story visually.

Having a chance to create something that was never seen before can be thrilling, exciting but mostly beautiful. I will never give up on it.

What is the main feature that has changed in your works throughout the years?

For me, painting is about exploring new techniques, mediums, and materials. Over a year ago I finally got good enough to allow myself to work with negative space to reveal raw canvas as a part of my paintings. To finally feel comfortable and strong enough to show what was usually covered through many layers of paint felt great. It gave me many new opportunities and new challenges to face. It is an exciting process to watch and experiment with.

How long have you been working in this field?

I am into art since my childhood but began painting full time only 4 years ago when I quitted my corporate job and lifestyle. Today I follow the journey of discovering, testing, failing, and learning, an ongoing process to create better art.

Which artists most affected your work?

I admire so many artists for their talent, skills, and imagination and feel inspired by looking at their work. The ones that mostly affect my work are those who show courage with their art practice. The ones who break the rules, or don’t follow the rules, who try and examine in their own way, no matter what an art world will think about it. Starting with iconic artists like Cy Twombly, Basquiat, Willem De Kooning, Helen Frankenthaler, and many others like them.

And what, outside visual arts, inspires your practice?

The current places I live in inspire me mainly, as well as the most unexpected little corners of the streets, architecture, culture, people, nature. We are surrounded by beauty at every single corner and it is up to us how we perceive the world around us. The shapes of the waves created by the ocean, the amazing light given by the morning mist, the cracks on old buildings’ walls, or the textures of stones and sand. It’s all like a melody to me, that I am trying to recreate in my paintings in my own way.

Ewa, is there a specific way in which you would like people to engage with your work?

I wish the viewer may feel the emotions that I fill the painting with. I hope they can discover new elements in each painting. There are many layers in each piece and each of them represents a current state of emotions and feelings, and I hope for those who see my work also to capture this.

Finally, do you have anything exciting on the horizon?

 There are many exciting projects planned for the near future, but because of the current pandemic situation, several exhibitions that were planned for the first months of 2020 were canceled or postponed. I prefer not to reveal too much and focus on creating new art. The best way to stay up to date with new exhibitions and plans is to follow me on Instagram, where I share all the news.

We will! But where do you see yourself in the future?

I would love to see my future self in a big bright studio, surrounded by art, artists, and friends. I wish the studio to be a place where we can gather, paint together, exchange ideas and thoughts.

To view more of Ewa Matyja’s work, visit her website.

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Brazilian-born (1973) artist Luciano Cian approached art at the age of 18. He initially began with oil painting to then found in 2008 the Collective Fuso Cian + Kjà, an interaction between platforms with different artistic languages.

Currently living in Rio de Janeiro, his production covers painting, drawing, printmaking, photography, video, and urban intervention. Greatly inspired by colors, music, and people, Luciano looks for references in architecture and visual arts in general. His technique is a result of deep research between geometry and balance, as he seeks peaceful places to find the patience to exploit his visual language. He considers paper to be his most important tool. The powerful and colorful result sees Luciano’s current works focusing on drawing with giclée prints, linocut, and acrylic on canvas or wood. 

CARRER

So far, one can find Cian’s work in private collections around the World (Brazil, USA, United Kingdom, Germany, France, Australia, New Zealand, Hong Kong, China, Singapore, Switzerland, among others).

He worked in exhibitions in Brazil and abroad: MuBE Museu Brasileiro da Escultura – SP, CCJF Centro Cultural Justiça Federal – RJ, Parque Lage – RJ, Espace L – Geneva – Switzerland, Galeria Colecionador Contemporâneo – RJ, IED Istituto Europeu di Design – SP, Galeria Pretos Novos de Arte Contemporânea – RJ, Museu de Imagens do Inconsciente – RJ, Museu Nacional dos Correios – Brasília, among others.

Go here to see more work by Luciano Cian.

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“I combine the subtle gradients of monoprinting with the gestural touch of painting”, Lederer says about her art flow. Karen usually begins her layouts out of a printed area which she will then define with paint. Her paintings portray a cryptic narrative that emerges through layers of patterns and objects, with hints of juxtaposed inspiration such as Matisse’s still-life paintings, Picasso’s ceramics together with Instagram aesthetic and contemporary print advertisements, to finally give a contradictory feeling of desire and discomfort. The anonymous body parts present in most of her visuals asserts the presence and perspective of the artist, and the close up of an Instagram image or commercial product depicts a connection with the contemporary daily routine in a contradictory combination with some other object that recalls a surreal approach.

Karen was recently a SIP Award recipient from the Robert Blackburn Printmaking Workshop Program at the Elizabeth Foundation for the Arts. Her work has then been featured in various American publications such as New American Paintings and Studio Visit Magazine and has also already participated in some important art shows in the US. Karen now works out of her studio in Crown Heights, Brooklyn.

To view more of his art practice, go here.

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