Shenrok’s art is variety of directions through a presentation of contemporary works in style of surrealism, classicism, realism, futurism, cubism and pop art His art balances texture, color and I ayering into appealing images. Currently, he divides his time between painting, installing, exhibits in museums and private galleries. He published the book “120 Days of Love” that wins high acclaimfrom art- critics for its unique graphic content.
Grigory Gurevich,, sculptor, painter, graphic artist, printmaker, and inventor has had more than 300 exhibitions in the United States and Europe and conducted hundreds of sculpture workshops in Italy, Denmark, Russia and U.S.
His paintings, drawings and sculptures have won numerous awards and are in public and private collections of famous personalities as Marcel Marceau in France, A. Raikin in Russia as well as in Denmark, Switzerland, Germany, Slovakia and The United States, His art was published in leading art magazines and Newspapers in those countries. He received a Masters Degree in Art from Academy of Fine and Industrial Arts in Leningrad (Sankt Petersburg), Russia and was a professor at St. Johns University, N.Y. and faculty member of Newark School of Fine and Industrial Arts. His bronze tableau of seven life–size figures entitled “The Commuters”, sculpted in 1985, is installed in Newark Penn Station. His book “Reflections” features 17 linocuts, etchings and mixed media prints has been included in the print collection of New York Public Library as well as the Rare Book collection of Newark Public Library, Library of Saint Bonaventure University, Library of Metropolitan Museum of Art on New York and Hermitage Museum in Leningrad, Russia. In April 1995 Mr. Gurevich was granted a patent on “Manifolding book”, one of which “Numbers 1-10, 10-1” is in the collection at the Brooklyn Museum and library at Columbia University of Chicago. In March m, 2016 his sculpture “CLOWN” was exhibited in Russian State Museum in St. Petersburg, Russia in a group show “CIRCUS”
Alex AG photography is an attempt to define the future of photo art. The current crisis of creative photography is a result of changes in photojournalism and visual arts in general. The need for overly realistic images is significantly diminished and transformed. As a result Alex felt a need to work on reforming the entirety of approach to visual presentation as well as redefining the goals of the genre.
Alex AG works are based on oversized photographic images and heavily edited after the image is taken and combined in one panorama. The worlds in Alex’s works are merely inspired by reality, but in no way aim to accurately depict it. They are closer to idea of the dream about the world and its alternative version.
When creating his images Alex works on the whole complex of the visual signals, ranging from carefully choosing the palette of the piece: sometimes opulently bright and colorful and sometimes nearly monotone, – then proceeding to reworking the composition of the work: in some cases just adding a small innuendo of a fiction to completely realistic scene, and often creating a scene completely impossible equally in real world and in classic photographic image.
Jenna Lash is a visual artist who is fascinated by currency. Her interest is in diverse cultures and how their identities are represented by their money. Through the prism of her work, Lash’s art reflects her impressions of countries’ symbolic representations of their financial systems.
Lash’s enlarged pointillist images also bring attention to money’s beauty and symbolism. Further clarification of the meaning of currency and culture is seen by viewing her paintings individually, or together during an exhibit. The accessibility of her work allows viewers to relate in an intimate way with the images on her large and small money paintings.
Lash’s unique contemporary pointillism is reminiscent of Seurat’s dots of color. She has been written up by Ralph Gardner of “The Wall Street Journal,” and “Bloomberg News” for her solo show in Switzerland. “The National Art Museum and Gallery Guide,” and “The Art Now/New York Gallery Guide,” have both displayed illustrations of her work in their magazines.
Professional woodcarver and wood turner with more than 30 years of experience from tribal and folk art world to works with well-known antique reproduction companies and period furniture shops. I take refuge in simple but unique items inspired by poetry and architecture, ancient, aboriginal and folk art from around the world. I treat these influences as a living tradition and infuse them with modern meaning and functionality.
Vaan Manoukian was born on 27th of December 1968, in Yerevan, Armenia USSR.
His resume includes 12 years apprenticeship under maestro Aram (Aramik) Garibian, 8 years of professional education in two Art Schools, 3 years of internship in the Museum of Folk Art, 7 personal and 12 group exhibitions in USA, Italy, Armenia, Russia and Estonia.
In December 1988, Vaan with the help of Armenian SSR Government presented his complete second personal exhibition (100 paintings) to the rescuers who came to Armenia after the earthquake.
Vaan Manoukian appealed with the same gratitude to Pope, John – Paul II, who has asked the competent Council to choose one of his paintings for a permanent installation in Vatican Modern Art Museum. The council has chosen the painting “The Nativity and the Adoration of the Magi”.
My fascination with the environment has spanned a 30 year career realizing projects that include oil soaked canvases made on site in Beauty Bay, Alaska during the 1989 Exxon Valdez oil spill, to viewer activated installations for galleries and museums including “The Romance of Fuel Injected Flesh” & “In the Silence of 16 Valves Running”. Other projects have utilized sculptural assemblages inspired by terrain parks built for extreme sports activities, becoming the performance stage for a summer snowboarding demonstration in NYC at Socrates Sculpture Park. The “Timberline Series” began in 1998 on the slopes of Mt. Hood, Oregon using a motion-based camera to capture the landscape as a discrete non-referential object, blurring the line between the familiar and the unrecognizable.
I’ve been in photography long enough to understand many technical and esthetic aspects yet short enough to remain excited when taking every picture.
I am trying to find the extraordinary features in everyday ordinary objects and happy to celebrate a really extraordinary object if I am lucky to see one.
I graduated in journalism at the State University of Saint Petersburg
I worked as a journalist in Russia before moving to France.
I have lived through some difficult situations in my life and I stopped writing for a while. . Nowadays I work as a Teacher (I teach French and Russian), I write articles and I paint when I have time. Painting is a sort of meditation for me.
Born in Kiev, Ukraine, Yelena never formally learned how to paint. Yelena Kimelblat
started to paint in 2008 and art became a means for Yelena to share with others her
vision of life. Yelena does not call herself an artist. She is “a woman, who paints”.
Yelena is avoiding any identification, any, even the most pretty labels. She was not
afraid to look inside herself – into the void, where you can perish or get everything.
Yelena got everything – she started to paint.
Yelena: “I never painted before in my life and couldn’t even imagine that I would start.
The root of my creativity stems from a desire to live a long life free from unhappiness,
awe before the awesome beauty of the natural world and the desire to include this
beauty within my own life and say to others “I see it this way!”