Art from HEART proudly presents Mother Earth Exhibition in partnership with Garage Gallery. A multimedia group art exhibition celebrating the life-giving powers of Nature and Women! Mother Earth is a creator and sustainer of life and a woman of power. Also, it serves as an analogy to women as mothers, life-givers, bringers, nourishers, and protectors. Throughout history, women's power and energy have been associated with nature as symbols of strength, wisdom, and humanity.

The 15 participating artists address Mother Earth as a female personification of nature, emphasising her life-giving, nurturing, and protective aspects. Their works collectively represent growth, vitality, femininity, fertility, beauty, groundedness, strength, and divinity. As a collective human family, we all share Mother Earth and have a responsibility to protect our planet and our home.

Held as part of Artworks's The Joy of Nature 2023 events season, this exhibition is designed to create space for taking notice of the natural world around us, and considering our impact upon it.

We look upon nature in this familiar, comprehensive sense, as something of which we are part. However, all our knowledge of it is based on how it is encountered in perception, most notable vision (Eric Voegelin).

Walking through Nature, we found many forms, smells, textures and colours for our eyes to capture. Humans being seek ourselves in Nature, physical and mentally, to face to face with ourselves, to find balance in our mind and strength to endure the struggle of every day. We perceive the natural world as singular and special, which it is continuously changing unexpectedly depending of the time, weather or season. On Nature, we recall our childhood memories and breath once again freedom air.

The art of printing has a very long history. Some of its origins go back to the early stages of civilization and another to the Han dynasty in China. The art of printing is extremely beautiful and intricate. The broad objective of the exhibition is to present these wonderful experiments as well as new experiments and the diverse origins of print art and their practices to a wide range of contemporary art productions by a diverse group of multi-lingual artists and artists.

Buddhika Nakandala

Dwell time: The time a train spends at a scheduled stop without moving. Typically, this time is spent boarding or alighting passengers, but it may also be spent waiting for traffic ahead to clear, or idling time in order to get back on schedule.

In these unprecedented and worrying times, our mental wellbeing and creativity is paramount. Whilst we are confined with limited social interaction, we want to offer online space to explore our responses to the pandemic and social isolation. It’s OK to not be OK and anyone who has any reflections about this is welcome to send them for inclusion on our website.

Dwell Time is an award winning, not-for-profit arts publication reflecting on mental wellbeing. Produced and curated by Alice Bradshaw, Vanessa Haley & Lenny Szrama. Founded in 2018.

https://dwelltimepress.wordpress.com

"EXPERIENCE / DISCOVER / EXPLORE - ORIGINAL PRINTS - DEMONSTRATIONS - WORKSHOPS - ARTIST TOURS - ART BUYING ADVICE - INTERACTIVE DISPLAYS - The Uk's largest fair dedicated solely to contemporary printmaking."

Analog Forever Magazine is pleased to showcase 43 images in this month’s online exhibition, entitled “Where Do We Go From Here?,” curated by fine art photographer Vanessa Leroy!

Vanessa had this to say about this month’s exhibition:

"Where do we go from here? When I think about my own answer to this question, it’s something to the effect of: into the unknown. Continuing to go forward even if you can’t entirely see the path ahead is made difficult in a world that is often mired by injustice and inequity. Yet, moving forth with conviction and through faith, or hope, still seems to be our best bet even when the odds are against us. Whether it’s moving forth in the physical plane, or in the realm of ideas and dreams; the spark that causes that movement is where my answer, and the answers of all of these exhibiting artists, seems to rest.

An Archive Webster’s defines an “archive” as no more than “a repository or collection.” But living in an age when we have accumulated more information than any single person could comprehend, we suspect that archives can be (should be?) more than that. From Alexandria to archive.org, humans have tried to collect. And lost. What’s on scrolls in a jar not to be found, or lost in fire and ice, or on a cassette or floppy disk in an attic with no machine to read it? Artists like Kabakov, Warhol, and Phillips and writers like Borges, Sebald, and O’Brien have created, explored, and referenced various archives. Since there can be no single archive of all information, how do we parse what we have, knowing that it will always be incomplete? What are the systems that writers and artists have devised in their own work? We asked artists and writers to show us or tell us how they use “an archive” in their work. We received a wide variety of work from around the world devising, employing, and interpreting an “archive.” Some use data to create new and amazing visualizations of the data. Others have delved into the more personal archival information that we all amass over a lifetime: photographs, writing, notes, books, mantras, ideas, and memories that we pass down to our children or to others. All of those things that tell a story about us. Some have looked into their own memories as a kind of mental archive. All of these interpretations yielded a wide variety of exciting submissions. We wish to express our thanks to all who let us consider their work, and especially to those whose work we have included in these pages. We hope you enjoy this issue of Superpresent. -The Editors

The perception of reality began to change and the things that mattered were suddenly left outside the door of the house. The directive said that everything that found access inside should be disinfected and sanitized to enter a non-familiar environment. The only free and continuous access was the news. Numbers going up, percentages, hopes-parodies, orders about how many masks it is necessary to wear simultaneously and syringe sounds on mobile phones that informed about the reality happening outside, elsewhere. Features hid behind masks-shields and identity started to tear off. Nobody works, meets loved ones, enjoys art.

At the same time some windows are lit and Time plays with Creativity and exploration of the Ego. Artists from different parts of the world experienced similar emotions and are now communicating the Wonderful Days amidst the pandemic. With chaotic creations like Pacholec looking for solutions and Krishnan who with her collages allows us a look at her associative thought or an expression of their own ′′ Denial ′′ like Zoe, who has obviously studied and draws influences from Modernism artists, they find ways to chat.

Isolation, a double-sided coin, caused Lozano to face ′′ domestic violence ′′ that injured her and loneliness guided Leino on a journey that made the inside of the house and daily routine actions look strange and weird. In a proportional acrobation of reality and emotions, perhaps even impressions, the colors and abstract shapes of Skoulaxin form portraits with dynamic features, which in the ′′ outside ′′ life suffocate behind a mask with joyful designs.

Vivoda designated her mental space as her residence, who even moved away from the typical interior of her home. From there she managed to pull back fragments of memory by consolidating and redefining her refuge, just like Alonso, who, albeit ′′ trapped, creates airy but dynamic beings capable of taking care of the residence, however it is defined. Finally, Stavropoulos's colors escaped from his hands and acquired autonomous life, became prophetic and nature, more necessary than ever, is on fire, like (a) natural aftermath of the pandemic.

Artist s' wonderful days in the midst of the pandemic, were full of need that carried them from reality to material and emotions. An approach to exhibition is the infallible role of art. An outbreak or quarrel, provocative or sacred, with ambiguous notation or raw realism will always apply what Elytis wrote.

In Spring if you don't find it, you make it.

Yes, you make it.

With those colors that mean harmony.

And with those words that declare principle.

Voices of Earth: Land & People

The artistic responses in the Room 3 are all inspired by Earth’s eternal beauty and the symbiotic relationship of humans and nature. It takes the viewer on a journey through the land, flora and fauna, and the visible effects of human activity causing deforestation and pollution. It touches upon the importance of up cycling and listening to the voices of indigenous female activists to protect and preserve the land, traditions and culture for generations to come.

Analog Forever Magazine is pleased to showcase 81 images in this month’s online exhibition, entitled “A Certain Kind of Blue.” Curated by photographic artist and Assistant Professor in Photography at the University of Tampa, Jaime Aelavanthara, these cyanotype process photographs showcase the diverse range of expressive possibilities within this celebrated historic method. While the cyanotype process is hailed for its simplicity, it is also extraordinarily complex. The selected photographers collaged, toned, stitched, assembled with this process to create both two-dimensional and three-dimensional photographs that push creative boundaries to enhance the emotional quality of their art.

Pepney Gallery opened an online virtual exhibition titled ‘Identity’. The open call for artworks received a high volume of submissions reflecting the shared concept of Identity but also, the community of artists organically emerged an expression of Identity around the pandemic. 

One of our deepest needs is for a sense of identity, is belonging and human attachment.  Identity is the way we perceive and express ourselves. Factors and conditions that an individual is born with; such as ethnic heritage, sex, or one's body; often play a role in defining one's identity.  The artists in this exhibition use their work to express, explore, and question ideas about identity.  Therefore, it is not simply what we see, but a way of seeing. We see it with our eye but interpret it with our mind and ascribe values to Identity for intangible spiritual reasons. Identity is important in art for expressing a meaningful understanding of who we are. If you've not been honest with who you are, your work will not carry the impact that it needs to cause any level of response in your viewers.

This group of artists gathered to talk in one shared language -as well as many tongues, on the matter of Identity. Since the Identity changed in times for them, and as much as their eyes allowed, becoming their own. Many of them have come from other countries and cultures, adding to the personal voyage, the re- interpretation of Identity by different experiences and tongues.

 Exhibiting artists include: Ana Zoob, Angela McFall, Béatrice Béraud, Beverly Marshall, Brass Rabbit, Damian Nenadic, Darija Stipanić, David Mook, Duda, Eshaan Gupta, Evi Stamou, Gaia Adducchio, Helena Stiasny, Irfan Özince, Jonathan Napier, Judy Mazzucco, Kadiani Veligrantaki, Keith Buswell,Lelé Trabb, Majd Kara, Matthew Sproul, My Linh Mac, Nadia Adina Rose, Nuria Min, Oktawian Bohdziewicz, Olga Boldyreff, Olga Shapiro-Rubleva, Silvia Cristobal Alonso, Tacie Jones, Thomas Valianatos, Two Odd Knobs.