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The Danish concept of hygge, refers to finding comfort, pleasure, and warmth in simple, soothing things such as a cozy atmosphere.
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There is a sense of history in Shira's paintings. They are built up patiently like the hands of potters that their surfaces resemble, but left to be scratched and marked by some unknown force. Even the central objects are pressed into the thick layer of venetian plaster instead of sitting on top. In a world of polished surfaces, Shira's use of materials restores the power of time.
Rebecca has a MacGyver-like talent when it comes to painting, using a blend of different textures, patterns, colors, and handmade brushes to create her complex landscapes . Her work balances a hyper-intelligent sensitivity with a free flowing and spontaneous expression. If Rebecca’s paintings were school children, they’d be in the gifted and talented program (but then probably be kicked out a week later for using shortcuts to do long division).
Nature and geography have something in common: their boundaries are put in place by humans and are all but made up. Takashi Harada dissolves these natural and geographical boundaries in his artwork. For Takashi, all natural things have a common and equal value. When in nature, he believes, you connect back to it one atom at a time. Born in Japan, Takashi’s international existence made him face his Japanese identity as well his identity within the natural world. His art reflects that feeling, blurring natural light and color in ethereal paintings that merge harsh divisions and avoid representation in favor of capturing feeling.
Ayane Kurai paints from the soul, rendering her subjects into soft abstraction. Painting is the most accurate form of her self expression. Marrying physical and mental she is able to emote with the world through her art. Ayane uses all senses available to her when working, combining all aspects of her subject to create a work that most accurately embodies everything about it.
As a process-based artist inspired by Earths ever-changing surface tensions, Renee explores the manipulation of paint, and layering of color, to achieve sculptural like results that droop, ripple, crack and pool on the canvas. Further engaging the elements of heat, wind, water and gravity, she pushes paint to its limit, allowing each color to display its individual ‘signature effect’, which is studied, layered and re-worked to reveal highly tactile and seductive surfaces that characterize her contemporary color field paintings.
Expressive and vulnerable, Molly’s paintings read like an unpredictably eloquent dream journal. A cloudy haze of bright colors are expertly synthesized to evoke memories of a time and place which feel familiar, though ultimately unknown. As a skilled colorist, Molly creates abstract moments of nostalgia and sentimentality. Molly’s pieces are made up of experiences, both lived and imagined. She is able to capture small moments and transfer them onto canvas.
My work develops from the physical process of painting. Compositions are not planned or created, but found; they emerge somewhere along the way. To me ,what matters, is the act of painting itself. Having no concept in mind frees me from rules, elements of style and formal techniques. Usually I start a new canvas with gestural mark making or shapes. Using brushes, palette knifes and rags the oil paint is applied thickly, building layers. One mark here leads to another over there. I work on more than one piece and so a conversation between the them begins. What I do on one canvas has an influence on the other and vice versa. A unique aspect of my painting process is the fact that I have trained myself only to use my left hand although I’m right handed. I’m using the left side right brain connection which is all about imagination and not controlling anything. My artwork is a way to express what I cannot say with words.