Tanmaya Bingham is a prominent visual artist and educator with over a decade of experience exhibiting her work nationally and internationally. She holds a Master of Fine Arts (MFA) and has undergone extensive fine art training.

Currently, she serves as the Gallery Director and Instructor at Indiana State University and is the owner and founder of Visual Artist Capital LLC, where she supports other artists. Bingham is also actively involved in helping artists overcome limiting beliefs related to their practice.

 

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Capturing Duality in Art: The Essence of Vitrification for Tanmaya Bingham

As we delve into the world of Tanmaya Bingham’s porcelain creations, we are reminded of the beauty that lies within our complexities.

In the contemporary art landscape, few mediums evoke the fragility and strength of the human experience quite like porcelain. Tanmaya Bingham’s latest series, “Porcelain 2024,” compellingly explores this duality through a unique blend of mixed media, paint, and colored pencil on panel. The artistry behind her works is not just in the stunning visual representations; it lies deeply rooted in the emotional narratives they convey.

At first glance, Bingham’s work presents a striking visual of vulnerability and resilience. The term *vitrification*—the process of converting a material into a glass or a glass-like substance—aptly describes how her subjects are portrayed amidst life’s myriad pressures. In “Porcelain,” each brushstroke and colored pencil line highlights the human condition’s precarious balance between presence and absence. Bingham immerses her viewers in a complex emotional landscape, offering a mirror into the psyche often obscured by societal expectations.

Unpacking the Human Experience

Bingham’s subjects possess a remarkable intensity that invites viewers to engage with their narratives. Their gazes—confrontational yet introspective—suggest a rawness that resonates with our shared human experiences. The juxtaposition between their bold expressions and their exposed, almost vulnerable forms fosters a dialogue on acceptance and the oft-hidden aspects of self-identity. In this way, Bingham challenges us to confront our competing emotions and societal pressures that shape our perceptions of beauty and self-worth.

Tanmaya Bingham’s Attention to Detail

What sets Bingham’s work apart is her meticulous attention to detail and hyper-realistic portrayal of human features. The intricacies of skin textures, nuanced expressions, and even perceived imperfections play a crucial role in her artistic dialogue. By amplifying socially constructed flaws, she skillfully opens up conversations about the nature of acceptance—both of ourselves and others.

Through this technique, Bingham’s art transcends mere visuals; it becomes a visceral experience that compels us to reflect on our narratives. Just as porcelain is revered for its beauty and fragility, so too are her subjects revered as embodiments of our vulnerabilities.

The Impact of Color and Background

The stark white backgrounds that accompany Bingham’s subjects serve multiple purposes. Primarily, they offer a sense of isolation, emphasizing the subjects, while allowing audiences to focus on their narratives without distractions. The use of color becomes a vital element in conveying emotion—a quieter yet powerful visual strategy that speaks volumes about the interplay between light and shadow in our lives.

The Symbolism of Porcelain

Porcelain is more than just a material; it symbolizes the transitory nature of human experience. Just as porcelain can be molded and shaped, so too can our identities be influenced, challenged, and transformed. Bingham skillfully intertwines this symbolism into her work, making each piece a reflection of individual journeys. The fragility of porcelain parallels the emotional fragility experienced in moments of upheaval, reinforcing the idea that beauty often emerges from vulnerability.

Confronting Rawness: Engaging with the Audience

In “Porcelain 2024,” Bingham extends an invitation for introspection and connection. Her artworks pose important questions about our societal roles and the burdens of expectation we carry. They demand that we face the parts of ourselves that we often hide from the world—the imperfections, the scars, and the truths we are hesitant to share.

This unfiltered representation encourages authenticity, inviting viewers to embrace their complexities. Bingham’s work is more than a visual representation; it’s a movement toward acknowledging and accepting the multifaceted nature of being human.

Reshaping Perspectives

As we journey into the future of art, Bingham’s “Porcelain 2024” series serves as a poignant reminder of the importance of vulnerability in creativity. Artists like Bingham not only reshape our perspectives on beauty and identity, but also pave the way for dialogue about acceptance and the human experience.

Bingham’s bold narratives encourage both artists and audiences to explore their truths—turning fragility into strength and vulnerability into empowerment.

Tanmaya Bingham’s “Porcelain” series is a brilliant exploration of human emotion that utilizes the delicate medium of porcelain as a powerful metaphor. Through her intricate details, confrontational gazes, and stark backgrounds, she invites viewers into a world where vulnerability and resilience coexist harmoniously.

By challenging societal perceptions of beauty and encouraging authenticity, Bingham’s work resonates deeply, ensuring that her exploration of the human condition will linger in the minds and hearts of her audience long after they leave the gallery.

Click here to go to her website >

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Olatunji Benjamin is a Nigerian contemporary painter and a mixed media Artist. He was trained as a painter at the School of Art at the Yaba College of Technology in Lagos before he started his explorative research. He earned the General Art’s national diploma and later specialized in painting which gained him a Higher National Diploma. While in school, he had the opportunity to meet great artists engaging in collaborative projects.

His work experience with other artists acquired him more exposure.

However, before 2010, when Olatunji discovered himself as an artist, he was an apprentice under different masters most of who were realists. He started as an impressionist, and realist, and now is an abstract expressionist.

He explores the pictorial potential of pure abstraction. He uses a visual language of shape, form, color, and line to create a composition that exists with a degree of independence from visual references in the world.

Hue&Eye interviewed him to discover more about what drove Olatunji to make art.

Let’s start from the basics. What’s your name and where have you grown up?

My name is Olatunji Benjamin, I grew up in Lagos, Nigeria, Africa.

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

I understood I would be an artist at the age of ten as I could draw on any surface with any material.

May you briefly describe your technique and tell us what drives you to make art?

My artwork’s technique is primarily underpainting. I allow the first layer of the background color to reflect in the final painting.

The drive for making art comes from the inner struggles of reality. Creating art is a spiritual enlightenment for me, it speaks about my subconsciousness which I believe can also liberate others who see my art.

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

The main feature that has changed in my works is moving from realism to abstract expressionism, figurative abstract, and now figurative surrealism.

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

I’m inspired by Kehinde Wiley, and above visual art, music keeps me motivated. I love playing the piano.

How would you like people to engage with your work?

I would like people to engage with my work by sharing via different platforms, or by having a sense of ownership.

To purchase Olatunji’s artwork, go here >>>

Or to follow him on Instagram, go here >>>

Read similar articles on Hue&Eye >>>

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Marco Castelli lives and works in Firenze, Italy. His personal and documentary research moves through a deep interest in the human environment and life, looking for different approaches to visual art and creative communication.

His works have been awarded, published, and displayed internationally.

Re/De-constructing SKG

Searching for a definition of urban memory, the challenge is to apply the concept of time to the spatial context. The idea of change, especially if operated through human intervention, is not always easy to position in the field of individual perception, giving the contemporary glance a sense of missing identity. However, the natural instinct of adaptation brings our mind to use a quite practical analytical tool, built on a process of deconstruction and reconstruction: it’s basically a synthesis filtered by experience, historical knowledge and personal observation. This way, public architectures and archaeological ruins become an open scheme for proactive discussions, based on the primordial willingness to look beyond pure bricks, in a constant implementation of framing new and enriched perspectives. Somehow, even the concept of beauty itself loses its meaning when compared to the deep significance of this practice itself.
Following Eadweard Muybridge and David Hockney’s works, the focus is now shifted on the interactive aspect of creative research: the invitation for the observers is to play with all the pieces and merge their own, distinctive views, in order to fully understand how the dynamics of a generative system can lead to growth and development in subjective awareness.

ShooTrain

ShooTrain analyzes the idea of journey in its most essential form: movement. Space distortion and time expansion are just the result of a traveling self-projection. Twilight is transformed by speed: color streaks and indistinct shapes overlap with passengers’ world, creating a deep bond with the individual spatial reality.

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It might be your first attempt as an artist, or you might feel quite fulfilled. In both cases, pricing your work can be highly problematic. We have gathered six quick tips for you to ease the process and stop feeling guilty or humble. After all, who sets the rules to define whether you’re worth 10 or 100? The market does. So grab a pen and follow a rational scheme to start selling your artwork reasonably. And feel free to adjust calculations during your journey!

1. Research how similar artists price their art

To reasonably price your art, and before making up your idea of how a market works, do your research. Trends change continuously, and one of the best ways to keep on track is to study what works for others. Be realistic by selecting a few artists you consider similar or relevant to your approach and value their accomplishments, experiences, geographic locations, and production rate. You might also think of directly get in touch with them to share opinions!

SPECIAL TIP: SEARCH FOR AN ADVISOR TO HELP YOU THROUGH THE PROCESS

Artists are used to feeling lonely not only in their creative process but also in learning how to expand their network and visibility and to value their artworks. There are platforms dedicated to assisting emerging artists especially. Our suggestion is st-Art, an Amsterdam based community of curators and contributors with the aim of nurturing artists worldwide by providing valid options for developing their skill to divulge their works and sell them to buyers.

Get in touch or register here.

 

2. Don’t vary the price for sales in studio or through a gallery

Use an actual or similar rate for selling both in your studio and a gallery. These last won’t appreciate your competition and will ultimately spread the word to other galleries about how you are trying to sell it at a better price by yourself. Its real galleries charge quite a lot, although they guarantee to deliver a professional job.

3. Balance Your Emotions

Being proud of your work, or underestimating your art, is part of being an artist. It’s easy to get attached, knowing the emotions and effort you usually spend on a piece. A buyer won’t have time to listen to your emotional stories; you should base pricing your work on physical attributes. If you feel close to a specific artwork and think its final price is unfair, consider keeping it off the market and in your private collection.

4. Stand by your final price

Once you and your advisors have set a final price, stand by it. When you take the time and effort to research and price your work realistically, you will feel confident to state your amount firmly. On their hand, buyers might try hard to negotiate it, but they will even start estimating you as an artist who knows its way. Confidence does wonders.

5. Remember these formulas:

# 1 – Value your work according to your reputation

The most common formula used by established contemporary artists is very transparent. Multiply the width of the work by the length. Next, multiply the result by a reasonable amount that makes sense for your reputation and credential, and round it to the nearest hundred. Finally, double the cost of your materials and add them to the square inch amount in money.

Do this if you account for the 50% commission rate galleries usually take to sell your work.

Emerging artists should start at affordable rates of 2,5-3,5 € /3-4 $, and higher as they become more established.

If the painting is small – which often means the effort was the same as for a bigger one – you may consider a slightly higher rate and the opposite with a large-scale work.

Example:

• 18 in x 24 in = 432 sq. Inches
• 432 x 3,5 € = 1.512 € / Rounded to 1.500 €
• 100 € (cost of materials) x 2 = 200 €
• 1.500 € x 200 € = 1.700 €

# 2: Value your work according to your time and effort

This formula covers the time you work and the cost of your materials. It is beneficial for artists that are starting out selling their work. When valuing an hourly rate, compare what similar artists charge for their art. If the result is too high compared to theirs, we suggest you lower it. Double the cost of your materials if you are selling through galleries.

Example:

• Hourly rate: 20 €
• Total hours: 15 hours
• Cost of materials: 100 €
• 20 € x15 hrs =300 €
• 300 € +(100 x 2) € = 500 €

6. Build Authority

Being represented by a gallery and feeling confident with your pricing rate doesn’t exclude the never-ending story of building credibility to grow trust in your buyers.

Indeed, you will have thought about building a clear and appealing online plus social image. Now practice answering some common questions when writing your artist statement.

We share with you some of the main questions we use as a guideline to interview artists at Hue&Eye, to help them build artist credibility and write an engaging story about them:

• Why Do You Make This Type of Art?
• What Does Your Artwork Represent?
• What Inspires You?
• How Do You Make It?
• What Does Your Art Mean to You?

We hope this article will be helpful to ease your career as an artist!

Start by submitting an interview request to us to begin divulging your art!

The post 6 Tips To Learn How to Price Your Art (and Start Selling Your Work)  appeared first on Hue & Eye.

Juan García Segura (Murcia, Spain- b. 1980) is a director and 3D motion graphic designer. He moved to Berlin in 2012 where he lives with his wife and children.

After receiving his degree in Audiovisual Communication in 2006, he spent a few years as a lead motion designer in a local tv station. He then moved to Munich in 2008 to work with several 3D motion design studios.

In 2012, he relocates to Berlin. There he works for animation and filmmaking production studios like Sehsucht, Storz & Escherisch, Optix Digital, and OM Studios. 

Juan focuses on translating design-driven photorealistic 3D animations into Commercials, Broadcast Design, Events Visuals, Product Visualization, and Titles Sequences.

As a matter of fact, Segura directed the on-air redesign of Spanish channels NEOX and Xplora. He also collaborated extensively in the broadcast design of german and international tv channels.

Current Projects

Juan currently works directly with clients of high caliber. Some of these include the mobile bank N26, the payment technology company Sumup, the curated network of professionals, and creators Factory Berlin.

He is available for commissions. To contact him, go here. 

NFT Project: States of Matter

“This is the first NFT minted from my ongoing series States of Matter.

You see a digital smoke simulation in a morphing glass cast generated through particles advection. This process takes several days of computer calculation: over a hundred hours and 12 million particles were necessary to create the 206 images that compose this animation.

Years of refining the technical part of this process allow me to pay special attention to shapes, color palettes, and illumination.”

NFTs at Foundation

NFTs at Makersplace

Go here to visit his website >

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Monique Belier (1971) is a Dutch visual artist currently studying at the Fotoacademie in Amsterdam. 

Since 2017, she has been a dance teacher and choreographer and has run her studio for 17 years. But after experiencing burnout, she shifted to writing and photography as a creative outlet. She always loved writing and frequently dabbled in photography before pursuing it more seriously.

In 2018, Monique began studying at the Fotoacademie and published her first short story in a collection of stories. That same year, she decided not to return to her dance studio and instead focused on becoming a professional photographer. Drawing on her experience as a choreographer and dancer, Monique approaches photography to tell stories through raw emotions. She is particularly drawn to natural light and strives to capture the same storytelling aspect in her photography, seeking a balance between truth and aesthetics.

We had an exclusive interview with her!

Hello Monique! Let’s start from the basics. Where have you grown up, and how have you understood you wanted to become an artist?

I grew up in The Netherlands and decided to become an artist very early.

Please briefly describe your technique and tell us what drives you to make art.

I use a digital camera. I make art to express, to show what I have no words for. That can be an emotion but also a theme or a story.

What is the main feature that has changed in your work or practice?

I found out about my individuality. Hence, I am no longer just busy making something others think is beautiful.

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

Many artists inspire me. It also changed over the years. But photographers like Sally Mann, Raymond Meeks, and Alec Soth always inspire me. Also, dancer and choreographer Pina Bausch. The diaries of Nijinsky, music from Olafur Arnalds, and many more.

How would you like people to engage with your work?

I am in love with books, especially photo art books. I would love to exhibit or publish work related to the books I wish to create.

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

On May 24th, I look forward to graduating from my study at the Fotoacademie in Amsterdam. I am also part of the graduation exhibition with 31 other students from the 25th to May 28th. My first art photo book, ‘Where the Spirit meets the Bone’, will also be on show.

Follow Monique on Instagram on go to her website here >>>

Read similar interview on Hue&Eye >>>

The post Monique Belier | Writing Stories Through Photography appeared first on Hue & Eye.

Pasadena, California. American Legacy Fine Arts present “Jove Wang: Spirit of the American West”, a solo exhibition of landscapes and figures, on view from October 18 to November 16, 2024. The display showcases more than 20 new works by Jove Wang.

Gallery Director Elaine Adams comments about the exhibition: Jove Wang’s ‘Spirit of the American West’ is more than an exhibition; it is a bridge between two worlds, illustrating how the artist’s early life experiences on the Mongolian steppes of Jilin, China, has shaped his perception and artistic interpretation of his current life in the American West. His paintings invite viewers to appreciate the beauty and majesty of these landscapes while reflecting on the shared human experiences that connect diverse cultures and geographies.

Through this exhibition, Wang not only honors his past but also enriches our understanding of the intricate ties between land, culture, and identity.

About Jove Wang

Jove Wang was born in China. As a youth, at age seven he apprenticed with the master painter Gang Gu, subsequently
studying at Jilin School of Art for three years and graduating in 1982. In 1984 he was accepted into the most prestigious
art institute of China, Zhejiang Academy of Fine Arts (now named the China Academy of Art) and graduated as an
honor student in 1988. He also received professional training from the Tokyo Academy of Fine Arts.

Wang’s childhood in the vast, open steppes of Inner Mongolia instilled in him a deep appreciation for expansive landscapes and the rugged beauty of untamed nature. These formative years in the rolling plains, grazing livestock, and the tribal nomadic lifestyle, profoundly influenced his artistic vision. The simplicity and grandeur of the Inner Mongolian environment, along with their renowned horse culture, also known as “Mongolian Cowboys,” is mirrored in Wang’s dynamic compositions of life in the American West.

Jove Wang’s subjects evoke a timeless spirit of the American West, which is further accentuated by his sweeping brushwork and vivid palette. Through his art, Wang conveys not only the physical attributes of the landscape but also the spirit of adventure, resilience, and freedom that defines the American West.”

About the American Legacy Fine Arts

Founded in 2003 by Elaine Adams, wife of renowned artist Peter Adams, American Legacy Fine Arts (ALFA) emerged as a sanctuary for traditional art forms in painting and sculpture. ALFA is driven by a commitment to feature quality contemporary-traditional and historic American art, including California Art; and to uphold the credentials of gallery artists as significant additions to any fine art collection. The gallery has become a haven for artists and art enthusiasts who share a profound appreciation for exceptional art.

The driving force behind ALFA is Elaine Adams, recognized as one of the nation’s most visible and influential proponents behind the growing interest and appreciation in traditional and classical fine arts.

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Abstract art painting means to depict a subject in a non-realistic way. When we describe something that we may not sense through touch, taste, sight, hearing, or smell, we use abstract adjectives.

As a definition, abstract art is the 20th-century movement characterized by the reduction of natural appearances into simplified forms; for example, constructing art based on geometric shapes or intuitive gestures. Abstract art does not depict a person, place, or thing in the natural world or does not make any visual references. What is very important to mention when defining abstract art is that abstract artists do not deal with figurative interpretation. Stylistically, abstract art included the movements of Surrealism, Dadaism, Cubism, and Fauvism.

Famous Abstract Artists

Famous artists belonging to these art movements are, to mention a few, Vasily Kandinsky (1866–1944), Piet Mondrian (1872–1944), and Kazimir Malevich (1878–1935), Mark Rothko (1903-1966) and Jackson Pollock (1912–1956).

The Basics of Abstract Art

Abstract art usually has its basics in something outside reality. It isn’t synonymous with chaotic design. One may confuse it with the therapeutical “mush some paint on the canvas and see what happens.” Instead, abstract art hides profound meanings and harmonic values. Try these tricks to ease your process to avoid messing around at the beginning.

Always start with a concept.

It will not only direct your work, but it will also help you out making the right harmonious decisions while working. Abstract art is indeed a lot about harmony.

Focus on composition.

As said above, never forget that your composition needs harmonious values. Whether splashing color or contouring a shape, the final piece will have straightforward storytelling with a structure in mind.

Try experimenting in the making.

As Jackson Pollock teaches, the creative process may also start without a precise idea. Indeed, being surprised may be the core of the process itself. With structure and concept in mind, free yourself to tools, techniques, and whatever support you find on your way. There are no hard or fast rules except the ones you make for yourself. The only limitation is consistency and courage. Experienced artists are confident and produce every mark with intention. Paint splatters may look random, but they’re put there for a reason.

If you like this article, find other similar and helpful creative tips!

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Reiner Heidorn is an autodidact painter living and working in Weilheim, Bavaria. His oversized canvases are mostly monochrome paintings depicting the relationship between man and nature, specifically the urge to connect with nature and to become one with it.

He developed a name for his unique painting technique: ‘Dissolutio’, which means disappearance. His paintings consist of microscopic elements, where shades of green and blue arrange themselves in delicate transitions on the canvas. They symbolize the indisputable worlds of forests, lakes, and plants. Therefore his artistic work stands in the contemporary lesson of social topics issues such as climate change or the alienation of man as opposed to his natural environment.

Reiner Heidorn’s works have been shown in exhibitions in Brazil, Dubai, the USA, and various German and European cities.

Hue&Eye had an interview with him, to better understand what drove him to make his art.

–

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

I understood I was becoming an artist in the 90s when I was 20

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

I´m a German painter and work on botanic in large-scale oil painting. I use microscope images of plants and freshwater and transfer them into expressionistic paintings. With my botanical works, I want to point out the co-existence between humans and the smallest critters in every environment.

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

I developed my style also by using the color Green to show large, expressionistic botanical works.

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

Microscope images from chlorophyll, fresh water, and our local landscape. I also admire Asian landscape painting. My work refers to Hans Hartung and Dieter Roth.

How would you like people to engage with your work?

My work is a clear statement against economic growth, against the exploitation of all resources available. People should find themselves in a memory of a dream, they should realize their smallness as a whole.

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

I am in an ongoing huge solo show in the Botanical Garden in Munich, which opened on the 16th of May, 2024 and will last until July the 7th. 

Follow Reiner on Instagram, on Youtube, or go to his website >

Read similar articles on Hue&Eye >>>

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Heliconia Projects, a new art platform founded by Nicole Bainov and Elsa Maldonaldo-Buitron, has started promoting artists and bridging the Dominican Republic to the world of collectors, curators, and galleries.

Nominally, Heliconia Projects is an art platform, which is a blanket term, but adequate for characterizing Maldonaldo-Buitron and Bainov’s practice. The key to their policy is to remove sterile aspects of the art exhibition, replacing a typical gallery program with a series of crafted pop-up shows that connect carefully curated art with unique, atypical venues and their communities. It gives even more relevance to the presented artworks. “With the new ways that the contemporary world offers in terms of art presentation and getting new audiences, we prefer to act quickly, without necessarily minimizing ourselves or collaborating artists to just one formula,” Elsa Maldonaldo-Buitron explains.

A signature of the Heliconia Project is the ability to act with respect for art legacies and existing institutions while proposing a new, mindfully disruptive approach.

They named their platform after the flower Heliconia, which today is a typical Caribbean plant. Seven thousand years ago, however, it was a Greek flower named after Mount Helicon, the home of Apollo and the muses. According to Maldonaldo-Buitron, “On some level, the Heliconia Project is simply an emotional, passionate answer to art we fell in love with. Nicole and I are Venezuelan, and we were both raised in admiration for art. My family is directly connected to art collecting and I was fortunate to grow up with incredible kinetic and geometric art around.” Bainov adds, “Some of the early art presence in my life was Christo, who was Bulgarian and one of my aunt’s best friends. The first piece of artwork I owned was a gift from him, a very small drawing of Christo’s. Later, it led to working at institutions such as Saatchi Gallery, galleries as Simon Lee and Nicoletti Gallery.”

What also distinguishes Heliconia Projects among new art endeavors is a combination of their physical and digital presence. Aside from their carefully curated pop-up shows, Maldonaldo-Buitron and Bainov provide a lens for looking at the art world through social media. They report Latin and American art fairs, feature gallery shows in the region, and introduce artists. Knowledge is open and needs to be widespread. This is just an extension of their “let’s give the spotlight to the underrepresented” policy.

Working also as art advisors, they are used to monitoring the markets efficiently, fishing out myriads of interesting voices. Their digital snapshots are agile and quick, grasping the changing pulse of what is best and relevant. “We do our thing, freshly. We don’t want to compete with the establishment, Dominican maestros, or Dominican galleries. We choose our paths,” says Bainov.

“Our main goal is to get Dominican artists out of the region and give them the International representation. Then, to expand the local art scene by showing artists from outside the country.”

Maldonaldo-Buitron and Bainov plan to bring a foreign voice to the island, circling the topics of underrepresentation and minorities. Furthermore, they plan to show the Dominican artists at one of the worldwide art events.

About ‘Scenes and Revelations’ by Brittany Fanning

The first show, Brittany Fanning’s Scenes and Revelations, was presented in January 2024 in Casa de Campo.

The darkish space of a luxurious, cabaña-vibe room is opposed only by a couple of lights. It feels eerie and theatrical here, in the Casa de Campo Country Club, which has been transformed into an art venue for one night. It’s a truly perfect setting for the art of Brittany Fanning, an LA artist who specializes in mixing depictions of leisure with danger, lurking somewhere in the back of the image. Fanning’s impasto oil-on-canvas paintings bring to life a full menagerie: alligators, ocelots, pumas, and human figures that appear to be studiously ignoring the coming catastrophe. All of this is set in a resort-like architectural background that seems generic yet oddly familiar.  This is “Scenes and Revelations,” the first show of Heliconia Projects, a nomadic gallery that was launched in January 2024 by Nicole Bainov and Elsa Maldonaldo-Buitron in the heart of the Caribbean, the Dominican Republic. Bringing a new approach to the formula of an art show, introducing new artists to the region, and making the local art scene vibrant, relevant, and present, in the world–from the outset, Heliconia Projects makes a strong statement.

Heliconia Projects’ co-founder, Maldonaldo-Buitron, says that the goal is to present art in a different, non-ordinary way: “We operate on a base of dialogue with communities and existing cultural frameworks–mindfully, respectfully, and supportive of the Dominican Republic, where we live, but always delivering something fresh that has never been seen around here.”

Nicole Bainov, the other founder of Heliconia Projects, explains that the art of Brittany Fanning, an American artist from Florida who now lives in California, felt familiar and relatable to the Dominican audience. Moreover, it was a unique, first-hand introduction to the oeuvre of a celebrated artist just a couple of months before her London presentation.

“We are happy that we could launch our project with this show.” Bainov continues, “I do not hesitate to say that we are a voice of the underrepresented: we fill a certain gap, make room for the art that hasn’t been shown in the context we propose.”

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