• 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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    • 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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    • 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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    • cripave Pavesi
    • Milan, Italy
    • My procedure is somewhat philosophical, if this term can be used to mean the pursuit of knowledge, of getting to know oneself and the world. My videos refer to art history, to classic genres of landscape and still life, a sense of cyclical inevitability of life prevails. My videos since 2002 have consisted of short visual metaphors, brief reflections of thought which the image is the interpreter of. For some years the still life built in studio is linked to the ancient painting. This genre was used to better express the concept of Vanitas. So in my video still lifes the genre revive through the time factor and the movement which intensify this same concept expressing uncertainty, uneasiness due to precarity and continuing evolution of change conflicting the illusory aspiration to the status quo.


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    • Rosee Camafreita
    • Miami, Florida, United States
    • I believe that seeing comes before words, my purpose has always been to share the way I see. My main theme is in creating strong and dramatic abstract images that I call 'Menacing Abstractions" because of their dark and mysterious nature. I use a camera as an artistic medium and a tool for experimentation. Lately being inspired by my images, I began to paint in acrylics, which has led to a new way of experimentation with this medium. Rather than recreating my photographs on canvas, I aim to express their essence in order to capture their power. .

    • Profile picture of Juan Carlos
    • Juan Carlos Sánchez Duque
    • Ciudad Real, Spain
    • I am interested in the symbiosis between the organic thing and the technological thing as source of inspiration that it communicates with the spiritual of the human desires. The video is for me the most natural way of expression though I don't leave of side other artistic aspects.

    • Profile picture of Neno
    • 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.

    • Profile picture of Kalliope
    • 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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    • Dan Frank
    • St. Louis, United States
    • _____________ This section feels like an online dating profile.

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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.

    • Profile picture of esther
    • esther naor
    • savion, israel
    • Luce Irigaray based her feminist theory on the corporeal body and on its sexual specificity as consciousness and as an entity, both of which go beyond cultural discourse. Esther Naor relates to Irigaray's philosophy and at the same time expresses the manner in which she experiences her body as a woman and as an artist. Her work deals with the duality of control and the loss of it, with the beautiful and the abject, with the logo-centric white and the spreading passionate red, with the pure and the blemished and the inherent tensions between them. The duality presented by the work is both a trap and an introduction to another repressed and ambiguous world, centered around threat and fear, sexuality and eroticism. In Naor's work, expressiveness meets the limitations of clean aesthetics to create a space in which everything is turned from the inside to the outside. The resultant effect evokes an experience of the suppressed, of the “Other” - an “Other” in a continuous search for her own voice.

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    • russell chartier
    • west haven, usa
    • Russell J. Chartier attended the College of Santa Fe. Since that time he has spent many years working in Broadcast Television working for various networks including A&E, The History Channel, YES Network and several others. His work in the Video Art Medium explores multiple layers and focuses heavily on texture and color. Many of the images in his works are distorted and manipulated in various unorthodox in an attempt to create a visual depth where recognizable images will appear within the collage of manipulated images and textures. Paul J. Botelho The work of composer Paul J. Botelho focuses on the interaction between live and computer performance. His compositions include many varied works that utilize extended techniques, alternate tuning systems, as well as the interaction of new and old mediums. He performs as a vocalist, guitarist, and pianist, often in improvisatory situations. Botelho has composed and performed a series of one-act operas that incorporate live acoustic instruments and electronic components. These works encompass all of his varied disciplines and represent the breadth of his work. He received his Ph.D. in Music Composition from Princeton University, M.A. in Electro-Acoustic Music from Dartmouth College, and B.F.A in Contemporary Music Composition and Performance from the College of Santa Fe. He currently is Assistant Professor of Music Technology at Loyola University New Orleans.

    • Profile picture of Dawn
    • Dawn Westlake
    • Los Angeles, USA
    • filmmaking, dance, journalism, foreign languages, travel

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    • Mauricio Sanhueza
    • Lima, Peru
    • My special interest is to experiment with new ways of narrative in the field of video and experimetal short film. In the other hand i work with silk screen print to aproach new ways of comunicate with the masses.

    • Profile picture of Konstantin
    • Konstantin Kornakov
    • Moscow, Russia
    • Mission: Modern art proclaims the ideas of freedom and innovation. But in reality it is in captivity of the same subjective, moral and aesthetic dogma that influences a person many centuries. Initially the humanity chose a set of several aesthetic codes, took a step into the tunnel of a one-way movement, maneuvered there depending on circumstances, ruling opinion and necessity. The humanity created and developed its own aesthetic stamps based on religious, ethnic and social grounds. Within the bounds of those aesthetic codes the mankind developed self-perfection, immersion to details, craftsmen mastery. The artist sees his mission in returning the initial understanding of art and aesthetics as an absolute consent with impossibility of their absence in the world and in every human act. Every person has sense organs for a constant appreciation of beauty and harmony of our world and yourself inside it. And taking this assertion into consideration the author tries to research the aesthetic codes in things that historically nobody found aesthetic, tries to cast a look at this world as a wise, artistically experienced stranger who perceives this world with a new fresh sight. The objects of a research are things of natural origin that are already inseparably bound into one indivisible world. The author is interested in display of objects and events, in absence of early acquired aesthetic codes complex of human influence. In other words the artist explores things that initially were not influenced by a human or this influence was accidental and did not care the ancient aesthetic tradition. The author is interested not only the visual world but also in audible and tactile. He explores texture and rhythmical interaction of surfaces, accidental tectonic compositions, and interim changes of nature as a majority of insufficiently explored aesthetic codes. Such things undoubtedly fragmentally display in life and art but only as a trend not turned into a world outlook model or a logical concept (liking for uncontrolled textures in art and design, hidden camera video, video made by a subjective camera in filmmaking, experiments in music and architecture).

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    • 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.