You’ll love this idea!


 

 

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Hi everyone!

First, I want to let you know that I am getting ready to feature more awesome, creative fine artist painters in the very near future, but I have been recently sick. I think I’m finally getting better because today I had the strength to plant some herbs and flowers. A very God sign (I meant to type good, but God works just as well) ,  I think!

In the meanwhile, I wanted to share my new line of mix and match “Circus Buddies” items to delight your Inner Child! I am opening up a Shopify outlet on my Facebook page Kirsteinfineart in 5 days, but you can get your items at a discount early  click   here.

Browse the collection, and let me know if you have a favorite! If you choose to click the above link, it will take you directly to my manufacturing outlet Fineartamerica. Here is how it works. Click on an image you prefer in all Circus Buddies images. Then look to the right for a menu of all the various items. You will see many choices: pillows, duvet covers, shower curtains, prints, posters, cards, totes, beach towels, etc.

Have fun “shopping” with my Circus Buddies!

I hope to be back in gear in a few more days, so can get out some more artist features! Meanwhile, enjoy your summer!

 

Jan Kirstein

Click on these thumbnails to enlarge.

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Nancy Hirsch Lassen: Collectors’ Choice


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https://www.nancyhirschlassenartist.com

ABOUT NANCY HIRSCH LASSEN
Artist’s Statement

I adore color. . .that’s my passion and, I think, my special gift. I especially love the juxtaposition of color and the evolutionary interplay of color on canvas. Purely contemporary, non-representational paintings intrigue me most at present. I begin my process with lots of texture, line, brushstrokes and glazes, then follow the paint’s lead. The challenge is to keep the excitement of the process evident in the final product. . .fresh and exhilarating!

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The Artist

Nancy Hirsch Lassen is a native of Baton Rouge, Louisiana. She discovered her passion for art early on, and pursued a career in art and interior design. She received her BA degree from Newcomb College in 1975, where she spent her junior year attending the University of Madrid studying art history in the Prado. After Newcomb, Nancy remained in New Orleans where she started her own design firm, Interiors & Extras, now in it’s 30th year.

She is currently represented by Bev’s Fine Art in Raleigh, North Carolina, Bay Life in Bay St. Louis, Mississippi, and has produced numerous commissions in New York City. Recently, forty-eight original pieces were commissioned and installed in the new University Medical Center in New Orleans and she was one of twenty finalists in the Bombay Sapphire New Orleans show. She has commissioned works in the Federal Reserve Bank of New Orleans and her paintings have also been featured in movies and television shows filmed in the New Orleans area. Nancy always looks forward to and welcomes exciting and inspiring new projects and commissions.

 

Kenryo Hara: Performance by Calligraphy


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This performance piece by Japanese artist Kenryo Hara combines an ocean of kodai moji calligraphy with the acting out of a dramatic narrative. These photos show the unfolding drama that erupts  from the thrashing marks of an exuberant  calligraphy brush. Loaded with ink  and an emerging storyline, the brush of Kenryo becomes the instrument of magestic manifestation for the telling of an expressive and dramatic unfolding.

Jan Kirstein

Click to enlarge

 

 

Butoh Dance Music Music: 吉本大輔 Dai Sekiguchi engraved ink bok-Koku: Hara Hyun 翏 Kenryo Hara

On the stage, the chief priest of hongaku-Ji Temple, the chief priest of hongaku-Ji Temple, was given support for many people. Thanks from the heart,!☆☆☆
Mr. Kaoru Cecilia Saito ☆ Chako Sawada Hitomi Fukao ☆’s ☆ Mr. Rokka Ando ☆ Sakura Nakagawa Hiro Sugiyama ☆’s ☆ Midori Katoh ☆ Mr. Mr. Hiromi Yamazaki ☆ Tai Kaori-San ☆ Mr. Rie Miyagawa ☆ Masanao Showjiki Sugiyama’s ☆ Day Junko Kasahara ☆… amazing photos on them all!  Thank you so much!!!

 

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Encouraging the young

 

 

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KENRYO HARA : Biography

Born on August 15th 1955 in Mie- Prefecture located in Honshu a region in central Japan.
In September of 2000 Kenryo joined the Kikkou-kai.
The Kikkou-kai studies the art of Kodaimoji under Koho Kato master who is one of the most respected and revered calligraphy artist of this form of Kodaimoji.
Kodaimoji- (Kodai: meaning “ancient” and Moji: meaning “character”) is the most ancient form of calligraphy known in China.
Kikkou-kai has adapted this ancient tradition of Kodaimoji into a new form of art and performance.
Every January The Ueno Royal Museum in Ueno hosts the Kikkouten exhibit. From 2001 Kenryo has continuously shown his work with this annual event.

 


ANCIENT JAPANESE SCRIPT AND CALLIGRAPHY

Kodai moji 古代文字 literally translates to “ancient characters”. Under the apprenticeship of renowned ancient character calligrapher Koho Kato since 2000, Japanese script and calligrapher Ten-You puts an artistic spin on traditional characters, transforming them into art that expounds the beauty and meaning of nature and life. She held her first overseas exhibition in New Zealand and became independent in 2007 while founding the Kodai Moji Artist Group, Ten-You Gumi. Since then, she has expanded her work and events internationally at New York, San Francisco, Paris and Barcelona, which also include awareness efforts for the 2011 Tohoku earthquake.
The contemporary Japanese language uses 3 scripts: Kanji, Hiragana and Katakana. Hiragana and Katakana, collectively known as Kana, are syllabic scripts derived from through man’yogana 万葉仮名, or phonetic sounds of kanji 漢字. The latter is commonly used as transliterations for gairaigo 外来語, or loans words from other languages in a modern Japanese context. Kanji is a logographic script and the oldest of the three, originating from ancient Chinese characters. Kanji was first introduced to Japan in the 1st century. Prior to that, there was no written form of the Japanese language. Literacy only began to gain traction in the 5th century, where texts were comprised solely of Chinese characters.

Ancient Chinese characters or hanzi 漢字 are known to have been first recorded around 1000 to 1500 BC, inscribed on tortoise plastrons and ox scapulae for divination uses through heating and interpreting the crack patterns. These oracle bones documented the communications between the heavens and the king of the Shang dynasty in China. The characters are a mix of hieroglyphic elements of nature and the cycle of life as well as abstract symbols. The approximated 85000 and 50000 characters recognized in Chinese and Japanese dictionaries respectively are derived from the incompletely identified set of 4000 hanzi. This information comes from the website: http://rgnn.org/2015/12/27/ancient-japanese-script-and-calligraphy-with-kodai-moji-artist-ten-you/

 

 

Lee Brewster: To Capture a Moment in Time


 

 

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If an artist can capture a moment in a lightening strike of eloquently drawn lines and painted strokes of pigment, then why do so many artists feel it is necessary to overlabor over creating ? Is a rendition of the moment with dutiful work ethic, and a heavy sense of responsibility always more valuable than a direct moment of complete insight?

By viewing paintings by  Lee Brewster, one can see that it is entirely possible for  an artist to perfectly align with the universe in a delightful harmony, and capture this moment of spontaneous truth. When this happens, you have a major miracle.

This is the work of painter Lee Brewster, who’s baby steps capture the larger heart and soul of reality in a most certain, profound and complete way.

Jan Kirstein

 

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“today in the studio I had one of those sacred moments. it brought me back to why I love art-making & came when I added a thin layer of white to parts of this little paper piece. I can’t say that it’s done, but it is much improved by what was added today. this piece has been sitting in my studio…waiting. i never gave up on it when it was ugly & awkward, because I saw something worth saving in it compositionally. i love the messiness (or mistakes, if you choose to call them that) from the past & that you can still see shadows of them. mostly I love what I learned about life: that for all those times when I didn’t look like much, someone saw something in me worth keeping around & investing in. someone had a vision for what I would become. so…this little piece of paper with black & white marks on it was my teacher today. she’s is imperfectly beautiful & wise & worthy and I’m calling her “grace”

Lee Brewster

Artist

Franklin, TN.

 

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Krista Harris: Emerse Yourself


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Looking at paintings by Krista Harris is like stepping out into a cool Spring shower at dusk.  Light flickers off forms and shapes to reveal layers of textured surfaces permeated  with ethereal incandescence.

Jan Kirstein

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Words from Krista Harris:

“My work is driven by an intense curiosity about places and the ways in which they connect, divide or define us. How do we fit in, what’s our place in the world? Is it where we grow up or some adopted location that we connect with on a deeper level?”

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“The individual and unique parts of a place…it’s culture and traditions, the languages, ethnic and architectural components, the quality of light, the color of the wind, the food, climate and terrain are all visual pieces of the puzzle.”

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“A lifelong case of wanderlust has left me with a visual scrapbook of sights and sounds, even smells and bits of dialogue which seem to sneak into my work. I don’t intentionally set out to recreate a scene and I’m often surprised to see them. It’s rarely even a single location but bits and pieces jumbled together. They become blurry postcards and reconstructed maps that help me make sense of the world.”

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“Painting is a very physical process for me, beginning days or weeks before I ever begin. Each step is as integral to the process as the application of paint and mark, including reading and researching, stretching canvases, mixing new colors, searching for new tools and experimenting with methods of working.”

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“Risk and uncertainty are an artist’s friend, and I try to keep the painting open to all possibilities, deviations and directions – where it’s outcome is not yet known and anything can happen. Taking a wrong turn or unexpected direction is often more productive than getting things right, and getting lost can have surprising outcomes. Working back and forth between organic and architectural elements, patterns and textures, colors, tangles of marks is the process that keeps me engaged and the sense of mystery alive and well.”

http://kristaharris.com

Krista Harris currently lives and works in Southwest Colorado.

Collector’s Choice: Laura Iniesta


 

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The Spanish painter, Laura Iniesta, was born in Barcelona in 1955 and her first exhibitions were in this city.

 

She has exhibited and lived in America for a long period following her life in Barcelona, during which she  was impacted with its exuberant tropics.  This experience reflects positively on her work enhancing her propensity for abundant and verdant expression through paint.

 

 

Her Mediterranean heart brought her to a return to Barcelona, where her studio was installed. From there, her works for many exhibitions and projects at national and international levels were profusely created.

 

 

Her work expands with grand gestural movements and markings of paint and drawing materials, directly establishing a visual impact of balance and enormous aesthetic strength. In the presence of Laura’s paintings, the viewer becomes greatly moved by the monumental movements of painterly gesture, making it impossible to remain indifferent to the painting’s presence.

 

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Collages by Lee McKenna


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The collages by Lee McKenna are imbedded with a sense of the passage of time and the compression of memories as if from a dream. From the field of torn shapes emerges  the hopes and memories of a love drifting through time.

Jan Kirstein

 

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“Mystical Poems of Rumi 1”, A.J. Arberry
The University of Chicago Press, 1968

This is love: to fly to heaven, every moment to rend a hundred veils;
At first instance, to break away from breath — first step, to renounce feet;
To disregard this world, to see only that which you yourself have seen6 .
I said, “Heart, congratulations on entering the circle of lovers,
“On gazing beyond the range of the eye, on running into the alley of the breasts.”
Whence came this breath, O heart? Whence came this throbbing, O heart?
Bird, speak the tongue of birds: I can heed your cipher!
The heart said, “I was in the factory whilst the home of water and clay was abaking.
“I was flying from the workshop whilst the workshop was being created.
“When I could no more resist, they dragged me; how shall I
tell the manner of that dragging?”

 

 

 

The work of Australian artist Lee McKenna can be found here:     http://leeamckenna.bigcartel.com

Christine Verhaert: Painter of Converging Forces


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Paintings  by Christina Verhaert sing with a depth of emotion and a height of lucidity. Line moves gracefully through the white space of the paper’s surface,  ingiting a feeling of peaceful freedom. In contrast, layers of dense pigment churn with storms of passion and layered complexities, all to create a capture of the tenuous balance of life’s many converging forces.

Jan Kirstein

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Click thumbnails to enlarge

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Verhaert’ paintings call to mind a poem by Percey Bysshe Shelley

Ode To The West Wind – Poem by Percy Bysshe Shelley

I

O  West Wind, thou breath of Autumn’s being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,

Yellow, and black, and pale, and hectic red,
Pestilence-stricken multitudes: O thou,
Who chariotest to their dark wintry bed

The winged seeds, where they lie cold and low,
Each like a corpse within its grave, until
Thine azure sister of the Spring shall blow

Her clarion o’er the dreaming earth, and fill
(Driving sweet buds like flocks to feed in air)
With living hues and odors plain and hill:

Wild Spirit, which art moving everywhere;
Destroyer and preserver; hear, oh, hear!

II

Thou on whose stream, ‘mid the steep sky’s commotion,
Loose clouds like earth’s decaying leaves are shed,
Shook from the tangled boughs of Heaven and Ocean,

Angels of rain and lightning: there are spread
On the blue surface of thine aery surge,
Like the bright hair uplifted from the head

Of some fierce Maenad, even from the dim verge
Of the horizon to the zenith’s height,
The locks of the approaching storm. Thou dirge

Of the dying year, to which this closing night
Will be the dome of a vast sepulchre,
Vaulted with all thy congregated might

Of vapors, from whose solid atmosphere
Black rain, and fire, and hail will burst: oh, hear!

III

Thou who didst waken from his summer dreams
The blue Mediterranean, where he lay,
Lulled by the coil of his crystalline streams,

Beside a pumice isle in Baiae’s bay,
And saw in sleep old palaces and towers
Quivering within the wave’s intenser day,

All overgrown with azure moss and flowers
So sweet, the sense faints picturing them! Thou
For whose path the Atlantic’s level powers

Cleave themselves into chasms, while far below
The sea-blooms and the oozy woods which wear
The sapless foliage of the ocean, know

Thy voice, and suddenly grow gray with fear,
And tremble and despoil themselves: oh, hear!

IV

If I were a dead leaf thou mightest bear;
If I were a swift cloud to fly with thee;
A wave to pant beneath thy power, and share

The impulse of thy strength, only less free
Than thou, O uncontrollable! If even
I were as in my boyhood, and could be

The comrade of thy wanderings over Heaven,
As then, when to outstrip thy skiey speed
Scarce seemed a vision; I would ne’er have striven

As thus with thee in prayer in my sore need.
Oh, lift me as a wave, a leaf, a cloud!
I fall upon the thorns of life! I bleed!

A heavy weight of hours has chained and bowed
One too like thee: tameless, and swift, and proud.

V

Make me thy lyre, even as the forest is:
What if my leaves are falling like its own!
The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,
Sweet though in sadness. Be thou, Spirit fierce,
My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe
Like withered leaves to quicken a new birth!
And, by the incantation of this verse,

Scatter, as from an unextinguished hearth
Ashes and sparks, my words among mankind!
Be through my lips to unawakened earth

The trumpet of a prophecy! O Wind,
If Winter comes, can Spring be far behind?
Percy Bysshe Shelley

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Christina Verhaert is a painter living in Brecht, Belgium.

Nava Waxman as Shape Shifter


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Nava Waxman gracefully dances the fine interstitial line between becoming and being. She captures the manifestation of painting as a performance of the human spirit made manifest in paint.

Jan Kirstein

 

Written by Nikos Kount Littérateur

Untitled Wall is Nava Waxman’s interdisciplinary work, featuring a series of studio performances, from her extensive archive material spanning over the past three years to the more recent pieces.
It is an organic and visceral practice, as she is dealing with the concepts of metaphors and allegories which construct her performances and her ongoing research on how to portray situations that are comprised of various elements such as painting, objects, space and her body gestures.

 

 

 

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Her work does not acquiesce in an obvious self- representation and beyond her perspective as the creator with the physical presence in the process, she does not consider her oeuvre as completely autobiographical.
Waxman’s aesthetics are referential and by the use of classic art media in combination with New ones, she transform her ideas into a ritualistic Theatre. She conserves in her editing process a continuation of things past gone and of things yet to come. The essence of these junctions and additions influences how each of her artistic materials and techniques relates to each other. Thinking within the framework of object-making, her dilemma and principal focus is how to form an Image both expressively and critically charged while engaging with concepts around experience and representation.

 

 

Nava Waxman addresses and questions the traditional method of painting and whilst she deconstructs it, at the same time raises the task of painting to a coalescence of references; from the research and study of Art History to the factual and mythological and other fields such as Literature and Music.
The core of her practice and performances resides in the task of painting on her studio wall. The Wall has been painted over and over again with ephemeral paintings that resonate with the fluid time and space. Traces of paint, lines and faded images are there so as to be merged into something new. Her methods of painting transform the Wall into a Live Ephemeral Palimpsest that constantly changes. The narration of this exhibition is multileveled and concentric.

 

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The context of examining the relationship between performance and visual art lies in the origin of the vast documentations material, since from the very beginning she used photography in order to capture the creation of the artwork as an Art as well. It is a celebratory continuous discovery and illumination of the action after its genesis. The combination of Technics and Time or as Roland Barthes wrote: A sort of umbilical cord links the body of the photographed thing to my gaze: “light though impalpable, is here a carnal medium, a skin I share with anyone who has been photographed.”
The transitory nature and duration of the imagery coincides with her evolution as a painter. She is aware of the fact that the produced work will only last for a limited period of time. Capturing the random, the magical, the thoughts and the feelings made this wholeness tangible. In a way it is a struggle; Painting versus Painted.
These works assemble and at the same time epitomize this ever changing act of looking and most importantly her Solitary monologues, which have only ever taken place in the privacy and isolation of her studio. This exhibition marks the public nature and premiere of these series.

 

 

According to Nava, Life is an accumulative formation and this resonates with her painted wall or the covered up paintings. The Untitled Wall stands as a monument of Now, where time, space and feelings are interconnected and the way we perceive the momentum or the future is eminently affixed to our retention of the past.
The photographic sequences are offering an access to the artist’s inspirations and how they are transformed into a perpetual reminiscence of the collective memory. The associations and the situations established through her performances allow an open and unconditional platform for the beholder to experience.

 

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“In this modern era when everything has existed in the past, images are disposable and the meanings misinterpreted, Nava Waxman’s endeavor is to question these circumstances and reconstruct the [ definition of ] Vision.”

Written by Nikos Kount Littérateur

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Nava Waxman is a Toronto-based artist whose work ranges from drawing, painting, and objects to performance and photography.
Born in Israel (1974), she studied painting and drawing at the Toronto School Of Art and received her BA in social science and communications from Open University in Tel-Aviv.
Nava has exhibited in national and international shows and her work has been featured in numerous publications and is held in public and private collections.
She has been the recipient of the Canada Council of the art Travel grant as well as the Exhibition Assistance Grant from the Ontario Art Council. She lives and works in Toronto.

 

LINGMU MEIZHI: In Touch with the Inner Child


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Here you see the mystery artist of the day that I have found. Does ANYONE know anything about her? I believe her name is LINGMU MEIZHI and that she is Japanese.

 

I found her work on a website called imgrum.org.

She paints and draws with complete necessity.  No mark is out of place. Every scrape, dot and brush stroke is immediate, spontaneous, yet absolutely necessary to the whole image.

Every part of the image is in complete harmony and balance with all other marks in the work.   Yet within each image is such a wide range of diversity, from light to heavy, from bold to delicate, from rough to smooth, from transparent to thickly opaque.

What a lesson in coexistence and diversity these paintings bring. And each image looks as though it leaped directly from the artist’s soul straight onto the paper!

What do you think? Let me know!

Jan Kirstein

 

 

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