• Profile picture of Laura
    • Laura Celada
    • Barcelona, Spain
    • I work on the limits, the tensions and the fragilities of the contemporary society. It concerns me the point or the moment where elements, individuals or situations confront to each other and they have to deal what is the position to take to be in harmony, or emphasize the friction between them. It is in this point where fragility becomes a beautiful force to itself to create a new scope for the achievement. Inside these fissures I find the main ideas of my work. I take these frictions carefully and thought about them from distance, where the vulnerability is susceptible of being penetrated and transformed in powerful by the form of an artpiece. I concentrate on the material or the substance in its natural state; the reflex in the raw, still not treated or purified material, and I transmute it into a creative form. The main idea of my work is to show these concepts as strong qualities which transform the differences or resistances inside these relations into skills of growing in one and in the collective knowledge. For what I look essentially is to transform the invisible thing; the emotions, the thoughts, the feelings and the vibrations into symbols, objects, sounds and images or a composition of them. Laura Celada_illun 2012

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    • plamenart Yordanov
    • Chicago, USA
    • I share the idea of an art that creates new reality instead of offering its conventional model. I want to provoke the birth of view that goes beyond the boundary of reality itself. Viewpoints which stress an order that exists "a priory" in nature and can be developed again and again… Aspect that makes the work to exist as a signal, giving the onlooker a chance to go deep into his/her life experience and mind. Universal signals to which the individual responds in a unique manner and creates his/her own reality.

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    • Antonio Ortuño
    • New York, USA
    • I express myself through single-channel video, video installation, and video combined with art. These are empathetic tools that help me better reflect circumstances that are otherwise hard to assimilate or understand, sometimes due to our own ignorance about ourselves, given the little interest we have in introspection or, simply, due to the fear of knowing how we actually are in our most intimate beings. In my case my work has always centred on video, videointalations, photo, drawings, boxes and objects which for me reflect more easily those sensations or feelings which are dificult to assimilate or undenstand because of our own ignorance or lack of experience. My idea is to continue working on artistics projects with this philosophy in mind and make the public feel those rich, pure sensations and help them reflect on their own emotional situation. Love, but also fear, pleasure, anguish, happiness, anxiety and doubt, among other emotions, all make up part of my work. I hope in some way to de-dramatize the situations and eliminate their aggressive tone, so that the viewer doesn't feel them directly, but rather reflects and understands their meaning, the reason for their existence.

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    • mtrastoy Mónica Trastoy
    • Barcelona, Spain
    • I am interested in working with the structural elements of painting to create an image that extends beyond the limits of picture. I use the wall as a large canvas extending the limits of the painting outside the frame. The painting in this way makes the viewer see the wall as a part of it.

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    • slavnedev Nedev
    • Sofia, Bulgaria
    • I see a work of art as a kind of dream, a matter, which in its silent vagueness conveys what sometimes clear conceptual thinking cannot communicate and is otherwise inexpressible. Paradoxically the most important think in a visual work of art – its spirit – is actually invisible. I always need to get involved emotionally and mentally with a subject in order to start exploring it through the means of art. Usually such involvement results in a series of works that often evolve through the years. However the things I am interested in are the idea, the principle, the type, and the relationship between man and environment. In this sense, even when I paint concrete objects, I am an abstract artist, as far as “to abstract” means to remove or subsume concrete details with the purpose of reaching a more general idea.


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    • Khalil Charif
    • Rio de Janeiro, Brazil
    • All forms of artistic expression.

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    • Neno Belchev
    • Varna, Bulgaria
    • I am a multidisciplinary artist, who believes the most important thing being an artist is to have freedom of thinking. When I work, I try to understand the way, how we, the humans, perceive the world. How we interact with our surrounding environment. Based on this, my last works have been realized on way, representing the idea on many layers, arranged in multiple levels; from the shallow to the deepest, and which can be understood in many different ways.

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    • Juan José Acevedo
    • Berlin, Germany
    • My pictorial research consists basically in the development and construction of a non-representative objectivity of different materiality and scale, determined by the articulation of the compositional variables line, form and color.

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    • Kalliope Amorphous
    • New York, NY, USA
    • Rather than approaching self-portraiture from an autobiographical perspective, I push the boundaries of what I define as “self” and “other” by playing with ideas of identity, gender, archetype, emotion and the visual interpretations and possibilities that exist within them. I do not consider myself a photographer, but rather an artist and storyteller using the camera as a tool to create. I can more deeply explore my conceptual ideas by embracing the roles of both photographer and subject. I am continually drawn to concepts involving the subconscious, alienation, time, memory, transcendence and surrealism. Other sides of my work explore my love of paradox and the juxtaposition of light and dark, beauty and beast. Most of my photographs use experimental in-camera methods, mirror distortions, modified lenses and handmade attachments such as the stroboscope. I enjoy creating unique ways to express the intangible realms of emotions, thoughts, poetry, dreams and nightmares.

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    • sergito Bacao
    • Bratislava, Slovakia
    • During his studies at Sculpture studio of Jozef Jankovič, Sergio attended several sculpture exhibitions and symposiums. After completing his Masters in Oporto and returning to Slovakia, he switched to painting, drawing and collage. He combines disparate elements inserting objects into paintings (e.g. chips in 'Senhorita Batata Frita') or cut out pictures from the packaging and promotional items symbolizing the consumption. The chocolate boy has become a typical feature of Bacao. In several paintings resonate the topic of commercial culture and its criticism, as the author himself has said - we are surrounded by a commercial world which makes us very vulnerable (eg 'Vulnerability'). However, Sergio comments this world rather than directly criticizing it. His pictures are rather witty allusions to bind to the object of desire which can be a simple chocolate. The blond boy with a sweet smile in his face has become the logo of his works which he can cut out ten copies for one collage. Multiplication is the mean for propagation of commercial items and Sergio shows it now ironically. His smiles are a caricature of the 'american' smile and joy and parodies the material sufficiency. Irony does not abandon him even in other pictures when 'One for all and all for one' shows a whole family with the same face sitting in front of the TV that shows the one same face and on the right side a plant grows the one same face, or when a beauty of the Ads is shown as 'Meat'. Some works are much more personal and arose because of events that happened in Sergio's life. '3o tomate, 3.vajce, 3rd ball' is a game with different denominations of the male testes in various languages (Slovak, Portuguese and English) but it was painted due to an unpleasant disease personally experienced. 'Amor (Love)' – this painting might explain the cause of his staying in Slovakia: a slightly ironic diptych representing two deformed figures surrounded by a very hearted cardiac image. In the painting 'Seven years in Slovakia', the Slovak flag appears sewn to the Portuguese in which Sérgio's silhouette shines through. It is a symbolic image representing the two homes of Sergio. The sculptural objects are a return to the beginnings but dominant in the Sergio's production became the funny and ironic collage-comments to things around him and a collection of personal records. The exhibited is also a kind of playing with forms and experiments where the Sculptor is sometimes acting foolish but always through very refreshing creations.

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    • dcastell Castellanos Reyes
    • Bogotá, Colombia
    • Massive self & media created images make our bodies incorporate symbolic violence. These images are silent but saturate us through time. Nowadays, when the body and old institutions are falling apart; the age of accumulation is becoming omnipresent due to a virtual self-revolution by subjects and users of new technologies and media. The boundaries of the body are being pushed in a way that reality seems blurred and incomprehensible. Daniel Castellanos is a multimedia artist. He works with spirituality: reading and showing messages coming afloat; not in the media used but in the perversion of the matter. The way he does it is by intuition, humor and spiritual approach to everyday life. Some of the media he uses are Drawing, Photography, NEON signs Video and Video Installation (as a way to incorporate the human condition in to media) and others.

    • Profile picture of celine
    • celine Ali
    • Constanta, Romania
    • I'm 14 years girl of turkish nationality.I was born and I live in Romania. My only passion is painting,and I'm interested to participate at group ehibitions,and to receive news about plastic and fine arts.You can see part of my works and my contact details,on : www.celineartist.com,to mention that soon will appear several other works on my website.

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    • Greg Schenk
    • Los Angeles, USA
    • My work directly addresses the function of art in the emerging post petroleum era. Through persistent experimentation with material and process I explore the perceived boundaries of art making; and I have found that process equals politic. Each work is the sum of all interactions accrued in it’s formation, and thus a social and economic ritual as well as construction. My concepts are reified in graphics, paintings and sculpture. Graphics include all printed materials, web published images, rich media and text. The obvious subject is color; with hyper-saturated paintings I assail the fallacies of oil painting, primarily through process. These coexist in my oeuvre with interactive sculptures/games that are at once objects and social nexus; combining a tactile personal experience with shared communications in a larger community. Underlying all, I am interested in how change is effected through incremental advances, color, and methods of control..

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    • mino do
    • seoul, Republic of Korea
    • multimedia art

    • Profile picture of Francesca
    • Francesca Fini
    • Rome, Italy
    • I was taught that performance art is an experience and not a representation. In the performance, there is no interpretation, the performer does not "read". As said the italian actor Carmelo Bene, “I do not act, because acting is quoting someone else” (1994). There are no scripts and tests to do, to learn texts by heart, complex movements of the stage and steps to be stored. The performer himself is always here and now, has no excuse, he is not the healthy carrier of the thought of someone else (the author of the piece, the director, the character), but it is always 100% responsible for his actions on stage. The thought is his thought, and there are no scenes but "situations" that he created in order to live until the full consequences in the absolute unpredictability. Performance art is not a representation of reality, but then, again, a unique experience in itself. The risk (first of all the risk to fail) is always present. Performance art is therefore closest to shamanic ritual, not the theater of representation. That said, to understand my work I have to confess that I started out as a videoartist and the subject of my videos, even before doing live performances, was and still is the body in action. The body is always present, in its interaction with real or virtual objects and with other bodies. An art dealer asked me once to perform live one of my videos in an art gallery and I liked it so much that I started producing live performances along with videoart. For me, therefore, the videoperformance and the live performance have always been two distinct art forms, each characterized by its own language. And their meeting does not result in a simple mixture, but in the birth of new and different objects. It is only natural that the live performance and its video documentation are absolutely two different languages, because of the nature of the relationship of the viewer with these two products. This has led to mistrust and rejection by the purists of performance art to the video recording of a performance piece, because the core of this language should be its irreproducibility. The performance art makes sense in the form of a live experience that only happens in one place and for a time, only for those people present at the time. As we can sey, I was taught that performance art should never be “televized”. So how can I reconcile my love for pure performance art and my obsession for the video recording of the whole performing experience (and its subsequent circulation disconnected from time and space under which the experience happened), that for a videographer and doumentarist as I am is somehow crucial? We can say that my work stand out in this borderland between live performance and videoperformance as an independent art form, as I’m convinced that the recording of a performance can never give rise to a mere "documentation" that surrogates it devaluing its impact, but rather leads to a completely different object. In video recording we have a lot of limitations: the use of multiple cameras needs an editing and the editing manipulates the original timing and space of a performance art piece, the inability to return many elements such as the smell in the room, the energy and partecipation of the audience. On the other hand we have the possibility of intervene with visual effects, post-production, graphics and editing, adding multiple layers of meaning in a way that leads to the inevitable relocation of the performance art piece in the "augmented" space of the digital realm. My need is to tell a story that is the product of a personal, abrupt, incidental and unique irripetibile experience – the performance art - and “televize” it, making it freely available to everyone through the releasing of the creative video edition. Performance art, as well as my way to loose myself in a cathartic experience with unpredictable implications, allows me to express my loyalty to Life through genuineness. At the same time, the “digital box” in which the videoperformative version is immortalized, lets me be loyal to myself and to my unreserved love for sharing with the world.

    • Profile picture of espadaysantacruz studio
    • espadaysantacruz studio espadaysantacruz studio
    • Madrid, Spain
    • Espadaysantacruz Studio is a creation and management of interactive and visual projects collective based in Madrid since 2008. Our goal is the development of artistic practices associated with new technologies. We are focused on the research and application of new technologies for interactive software, multimedia installations, mapping projects, augmented reality and data visualization. We believe in new technologies as a means for the development of visual metaphors that give the public an experience based on utopia. The studio is composed by three professionals from the audiovisual creation, new media, photography and cultural management.

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    • J-F Vergel
    • New York, United States
    • Photographer, musician, writer, chef, son, brother, husband...

    • Profile picture of Andrea Ebro Barbarossa -
    • Andrea Ebro Barbarossa - www.andreaebrobarbarossa.net - info@andreaebrobarbarossa.net
    • Fabriano (An), Italy
    • Breve biografia di “Ebro” Andrea Barbarossa, in arte “Ebro”, nasce a Ginevra nel Luglio del 1967. Più tardi, con la famiglia, torna a Fabriano dove dal 1982 frequenta l’ Istituto Statale d’ Arte sezione della grafica e della fotografia. Irrequieto, prolifico e insoddisfatto del clima culturale che lo circonda, dopo gli obblighi di leva si trasferisce a Milano dove ben presto entra nel vivo del dibattito sociale e artistico. Nel 1991, incoraggiato dal Critico Nicola Tedesco e dall’ Architetto Claudio Clementi decide di “farsi avanti” alla grande critica presentando il proprio lavoro. Conosce così molti Maestri dell’ Arte Italiana con i quali stringe legami di amicizia e di collaborazione creativa. Nello stesso anno inizia ad approfondire la propria esperienza professionale collaborando con alcune agenzie di grafica pubblicitaria e con prestigiosi studi di designer e di architettura tra i quali lo Studio Architetti Associati Farnese di Milano. Alla fine del 1991 entra a far parte del V.I.E. (Venture Innocent Exil) Multiart dove sempre più profonda è la contaminazione con le realtà creative legate al mondo della comunicazione multimediale che lo proiettano verso opere sempre più legate all’ uso, spesso sperimentale, delle nuove tecnologie. Nel 1992 lavora alla realizzazione della rivista d’ Arte e Cultura “Il cappello sulla folla” di cui diventa responsabile artistico. Arricchito dalle grandi esperienze multimediali milanesi e romane, impegnato a collaborare con realtà sempre più vicine alla video arte, sposta la sua attenzione, per un periodo, verso altre esperienze creative e nel 1994 dopo una breve collaborazione con la Rassegna Nazionale Teatro della Scuola di Serra S. Quirico si avvicina alle realtà teatrali, molto distanti dalle esperienze maturate negli ambienti multimediali, Infatti il teatro, non lo allontana dalle produzioni video e nel 1996 per l’ Aquili Audiovisivi di Roma crea e dirige la realizzazione di spot televisivi indirizzati al mercato turistico russo e video-promo per il mercato nazionale. Innumerevoli le presenze di Ebro dal 1991 al 1999 nel panorama dell’ Arte con mostre di sculture ed istallazioni multimediali e performance: da “Il Campo dell’ Arte”- Festival dei due Mondi di Spoleto a “Urbano Effimero” - San Remo, da “L’ ira di Miriam”-Cetona a “Combines”- Milano. Alla fine del 1999 tornato a Fabriano decide di riprovare con il teatro e proprio sul palco del Teatro Gentile matura l’esperienza tecnica necessaria per tessere una rete di collaborazioni con le principali realtà nazionali legate al teatro e alla musica. Nel 2001 costituisce la Media & Media e nel 2005 l’ Area Service traghettando Ebro nel settore degli allestimenti audio, video e luci. Da allora ha partecipato alla realizzazione tecnica di molti allestimenti e tournèe, al fianco dei più grandi e rappresentativi artisti del panorama teatrale e musicale, per le maggiori produzioni tra le quali: Compagnia della Rancia, Ballandi Entertainment, Fox&Gold, Fidia Film e Il Sistina. Molte altre le collaborazioni tecniche che lo hanno visto sui palchi di diversi teatri italiani con i maggiori spettacoli prodotti e con i grandi del panorama illuminotecnico nazionale. Numerosi i contributi tecnici e creativi condivisi con alcuni Maestri contemporanei del calibro dei M° Mimmo e Armando Cattarinich e del M° Mario Sasso e altrettanto numerosi sono gli spettacoli e gli eventi le cui luci portano la firma di Andrea Barbarossa. Le esperienze maturate nei circuiti multimediali, prima, e negli ambiti legati all’ uso creativo della luce, poi, hanno sviluppato, nella ricerca artistica di Ebro, la creazione di opere dove la componente video è sempre più predominante tanto da produrre realizzazioni esclusivamente legate alla video arte. Considerato dalla Critica internazionale uno dei protagonisti emergenti dell’ Arte contemporanea, Ebro, con le sue Opere video, negli ultimi anni ha raggiunto traguardi prestigiosi tanto che i più importati eventi d’Arte e gallerie internazionali hanno ospitato le sue Opere con riconoscimenti e premi. Presenze recenti: - New York City - Producing Censoship Celeste Prize 2011 - Milano - Producing Censoship – Celeste Prize 2011 - Lecce - AMG Video Gallery 2011 – 2012 - Venezia (Nappe Arsenale)– 6th Arte Laguna Prize 2012 - ("Exil [o-nì-ri-co]"di Ebro, Opera finalista) - Roma (Filmstudio) – ViDay 2012 rassegna di Videoarte e del Cortometraggio - Roma (Galleria M4- Macro) – Inquinati 2012 - Roma (Spazio Casa d’ Aste Bloomsbury Auctions – Palazzo Odescalchi ) – 1 Art day 2012 - Venezia - Art Night Venezia 2012 Telecom Futur Centre - Arte Laguna Prize 2012 - Civitanova alta – Ebro for Giò Rondas Popsophia 2012 - New York City - Art Takes Times Square 2012 www.andreaebrobarbarossa.net www.areaservice.org

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    • Ander Azpiri
    • Mexico, Mexico
    • A research on organic growth and survival strategies taken as models, both for artworks and human behavior. Thinking about balance, works should coexist in a kind of habitat where they interact, like different species in a shared space.