The QCC Art Gallery of the City University of New York

Visionaries by The Art of the Fantastic
The Art of the Fantastic
July 12 - Sept 20, 2012
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Participating Artists:

Isaac Abrams

My work derives from a psychedelic involvement with nature. In this sense it is a form of realism. I do not try to be religious, nor surrealist, nor any other form of creationist art. Instead I try to reintegrate myself with nature and through my work hope to reintegrate others with nature. The loss of direct, somatic and all embracing integration with nature is the largest threat to humanity.

Carrie Ann Baade

My paintings are newly spun narratives informed by religion and mythology, which speak about the complexity of the human condition. These are cautionary tales of love and power, and also icons for modern society that is far from saintly. To begin, I start with scissors, cutting snippets of several hundred pictorial fragments scattered about me on the floor. What is created is a prototype collage of layered scraps with jagged edges. Some are photographs of me while others are cut up illustrations from art history. Using this collage, I paint in a trompe l'oeil manner showing the multiple layers with cut edges which suggest the complexity of individual's psychologies – their masks and their hidden secrets.

The materials and techniques I use revitalize the archaic traditions of both painting oil on copper, and egg tempera panel painting with gold leaf. I paint with methods informed by studying with art conservators and looking at the old masters. It is important that art's past not be forgotten. As an artist and subject in my work, I consider myself to be steward and ax man to the legacy of art history by cutting and serving up the reinvigorated past to be contemplated in context of the contemporary.

Bienvenido Bones Banez, Jr

666 Art World Prophecy!
I am fascinated in Bible Prophecy {Genesis to Revelation) into 666-human imperfection then the visual elements: colors in line, form, tonal colors, visual rhythms of shapes, colors texture and combinations of colors in line groupings and application of those concepts to design. It has been proven that certain designs and combinations of groups, colors effect the human imperfection into perception and inner spirit or imaginary and my 666 surreal-vision. Then fantastic visual into shudder has thoughtfully been designed with a flow, rhythm and design in mind to please the human spirit in the 666 Art World. And my inspiration into creativity empowerment that's lead us to 666 art world unlimited power of dimension!

Michel de Saint Ouen

From the Celtic belief that the Grail was a cauldron which held the secret of Life and Death, and promises of sharing the gods' table, to the Christian interpretation which links the Grail with the chalice in which some of Christ's blood was collected, or that it is an emerald from the crown of Lucifer - the Lightbringer – which fell to earth when he was expelled from heaven, the goal is consistent 0 the Grail is a life-enhancer. The search is often long and arduous and can take the seeker through many levels of experience.

Pedro de Kastro

Pedro De Kastro's imaginary landscapes are created with china ink techniques that recollect the European engraving techniques from the 18th and 19th centuries. His china ink drawings and etchings draw their oneiric atmosphere from the works of the great masters of engraving and illustration like, Albrecht Dürer, Giovanni Battista Piranesi or Gustave Doré. Those illustrious kraftsmen put in their visions the phantoms of their eras. In the same way, the images in Kastro's work are impregnated by the phobias of his own temporal universe, that of the 21st century, with its industrial and nuclear nightmares, and longing to escape.

His journeys throughout Europe, which left deep impressions upon him, as well as engravings from 18th and 19th Century German Romantics, a few modern masters, science-fiction and adventure movies, European and American comics from the 70's and the 80's have served as his sources of visual inspiration.

Eike Erzmoneit

Long before I began to paint I was impressed by the great surrealists. This caused my art to go into a "fantastic"direction quite automatically. I enjoy and am inspired and fascinated by the possibility to create with paint and brush etc., ideas and motives born from the subconscious and combine them in surreal compositions and changing dimensions, making visible images that are impossible in reality.

Kim Evans

I often begin the creative process with an active play of random, abstract mark-making. These marks ground my presence in the physical surroundings and initiate my intentions to engage deeper. When I enter this non pictorial space as a doorway, I am connected to a timeless landscape and source of fantastic imagery, where archetypes and symbols manifest. The conscious working aspects of creating take a back seat, relying on intuitive knowledge from a constant practice of observation, drawing, reflection, reading and writing, thus allowing the imagery to be entirely drawn out of the abstract marks as the imagination and unconscious are engaged.

Creating becomes an open, meditative dialogue/process – responding to the marks, medium and the flow of emerging imagery – I have the feeling of transcribing lucid or waking dreams. For me, the works are stories that express the visions of Soul language, deep, rich and enigmatic, universal and personal. Each work expresses a journey of wonder and discovery, a love and appreciation of connection with the divine nature of Self and our layers of beautiful complexity.

Scott Façon

My works are my dreams and mythological worlds that incorporate some
of my long standing interests; nature, geometry and architecture into a visual matrix. I feel the job of the artist is always to deepen the mystery.

Shlomo Felberbaum

All my attempts to write about my drawings briefly obscure rather than illuminate . In their place I offer a word of advice: think as much as possible about how we see not what order there is, but order what there is by how we see.

Ernst Fuchs

France Garrido

Nature and Spirit have been great influences in my art and life. I work in the visionary and surrealist genre and employ universal symbols of sacred geometry, in particular the circle and the circle in the square, as key elements in this pursuit. My passion is mixed media/collage which presents endless possibility and challenges.

I am seeking to touch, deep within the viewer's spirit, a truth or essence.

H.R. Giger

H.R. Giger was born in Chur, Switzerland, in 1940. As a child he developed a strong passion for all things surreal and macabre. His need to express himself and share the unique aspects of his powerful imagination drew him to the visual arts. Giger's own dreams and the brilliant imagery of such fantastic geniuses as Gustav Meyrink, Jean Cocteau, Alfred Kubin and H.P. Lovecraft combined to form a rich soil from which the amazing imagery of Giger's own art has come to sprout. It has since bloomed into the vast wealth of exotic women, wondrously bizarre landscapes, and frightening creatures that have captured the fascination of millions of fans worldwide.

Meticulously detailed, Giger's paintings are usually done in large formats and worked and reworked by this maestro of the airbrush. It was Giger's popular art book 'Necronomicon' that caught the eye of director Ridley Scott as he was searching for the right look for a creature in his upcoming film. That creature, of course, turned out to be the Alien, and Giger's masterful designs for the film of the same name garnered him a much-deserved Academy Award.

Giger's fascinating biomechanical style, that brilliant synthesis of flesh and machine, has been realized not only through his remarkable paintings but also via sculpture pieces, elegantly fashioned furniture, and architectural and interior design projects. His paintings have been displayed in galleries and museums throughout the world.

Giger's alien aesthetic, his 'biomechanics', goes beyond talent, and even art. It enters the rarified realm of the near magical, and certainly the land of genius. The ensuing art is a mere taste of the phenomenal oeuvre that this unique Swiss maestro has created.

Yarek Godfrey

"All was already told, but as nobody listening we always have to start over again."
-Andre Gide

I'm not quite sure we can talk about painting or music. This is a domain of different senses which words can't describe that's why I'm using often the colors without names to translate the unknown sounds of my soul. I've named this process : "never-ending story" so if I stop working on the painting that's because someone tells me inside : "that's it" - and I never know why...For more information, please contact my Guardian Angel...

The almost primitive, and for me natural need to express the mix of joy, anguish and solitude is always emotional and magic like an initiation rite. It's the way to communicate without words and to share profound feelings with the risk to reveal too much... to become weak in the fact of exposing oneself... So, fragile... The desire and the power to create gives birth to images composed from my memories, dreams and hopes.

A message to pass along? Let's rather say: another mark of the hand printed on the wall of natural cave as if to say : "I was here"...

We always return to the source. Of course 10 years of classical training at the Art College and later at the Academy of Fine Arts, makes a great experience. But to find ones own voice it is necessary to create a private base soon after. Than theatre becomes a real platform of creation: always in large scale and with fantastic lights; it is like in life where roles are acted out; true and false at the same time.
The big spectacle of illusion where the background or costumes can change the character of the actors. Higher, like powerful images of cathedrals with their spiritual silences. The soul... the soul so desired and essential, closely tied to creation.

Stronger, like ruins of Pompeii where so theatrical silence of contemplation adds to the vision of drama. The perfect place to meditate, to be reborn...Bigger, like the Grand Canyon; an enormous natural cathedral upside-down where one is trying to perceive the human being moved to tears. In this place everything comes together; caverns, temples and ruins. There, one leaves the Earth and what is left is pure creation. The earth does not needs mankind. Emotions, emotions...My birth planet, Mars remains a project for future.

"Let's be reasonable - let's ask for impossible"

"Art is the sex of the imagination"

Artur Golacki

I treat art as one of the finest way to communicate my very intuitive understanding of existence. The process of creating is like a journey through contemplative moments blessed by intellectually unpolluted vision. In natural way the unknown harmony is born and able to exist on its own. It always feels to me like being a messenger only.

Peter Gric

Android Awakening
Androids are machines designed to look and act like humans, machines that can be programmed and controlled in order to serve their masters. They may appear like intelligent and self-determining beings, but due to the absence of consciousness their decisions are limited to mere reactions.

It appears to me that most of us humans live in a state of such an android mind. We are conditioned and programmed by traditions, religions, societies and demagogies, regularly receiving uploads of beliefs, "political correctness updates" and reductionistic scientific models describing our reality. No matter what programs we allow to take action in our lives, they all have one aspect in common: They distract us from the genuine reality of our consciousness, our awareness, they limit our freedom of choice, they cripple our creativity and our potentials. They downgrade us to remotely controlled units of those who are in leading positions. This way we become ruled by male-dominant ruthlessness, insatiable and power-hungry technocrats which were incubated in the corrupt political and financial hierarchies of our post-democratic reality. Our lives are defined by materialistic morons who aren't even able to recognize their own consciousness and consequently deny the existence of any consciousness at all, coming up with ridiculous assumptions that consciousness is just an "illusion", a by-product of elementary particles which somehow just blindly and coincidentally transformed into a highly organized biosphere in some billions of years.

We are sedated and distracted by a vast machinery of entertainment, fashion, fear, guilt, terror and "anti-terror", misinformed, blinded and dehumanized. Nevertheless, I believe that we are more than Androids and that we can get rid of all these mind-parasites who dictate us what we are allowed to believe, to achieve, to wish, to dream about, to eat, to drink, to smoke, to enjoy. We have the potential to make real decisions, we can de-install all that crap from our brains! So unplug the cables, cut the wires, wake up androids, remember who you really are!

Erik Heyninck

As an artist, I have no-one to convince nor please, nothing to prove or express, no big theories to share. I create my works because it pleases me to do so. It is a free choice that is not influenced by society's big desires for fame and fortune.

What is visible is only part of the works. Therefore it is not sufficient to watch them, not even to observe every detail in them.
To really get into contact with them, they need to be experienced in a mental state of inner stillness, openness and not-understanding.

I have no special talent to explain my works in a better or deeper way than anybody else would be able to. All possible interpretation is limited to the story about life any observator, and this includes myself, tells themselves. In fact: although I created these works myself, they defy any explanation and they often baffle me. They go beyond emotion, beyond thinking, beyond instinct, beyond deep fears and beyond high hopes, beyond understanding and beyond dreams. They can neither be reduced nor explained away by any belief system, including spirituality, religion, logic, objectivity and common-sense.

Being creative helps me not to forget that I'm alive and living this life.

Martina Hoffmann

The visionary artist makes visible the more subtle and intuitive states of our existence and creates maps and symbols reflecting consciousness and the mystical experience.
My work is an attempt to portray spirit as the one universal force beyond the confines of cultural and religious differences. By embracing our oneness as a global human family, the interdependency of all life as well as our universal interconnectedness, we have a chance to heal and transform the planet's general state of woundedness.
In using art as a tool for transformation, we have the opportunity to create a reality as beautiful, healthy and strong as our imagination permits.

Janelle McKain

My images are of dreams - they are of memories, intimate and personal. My world is one beyond the conscious mind. As I draw I experience a type of spirituality akin to a trance, or meditative state of mind. I believe that one can obtain this state without the use of any mind-altering substances or drugs through diligent practice and dedication to one's inner creativity and self-expression. I allow my subconscious to control my work and I am seldom compelled to over-intellectualize the symbols and hidden meanings. My intuition tells me to allow for an open-ended response, and to allow for ambiguity. Not until the entire drawing is completed do I fully understand what is being said. It is this purging of my soul, that I am addicted to. For me - to draw is to breathe. I cannot survive without it.

Brigid Marlin

My paintings always arise from something that has happened to me in real life. The Rod represents a time when I felt depressed at the world we live in. It seemed all about fighting and horror. Water is a symbol of truth, and there was no water in the desert. But then I found that if we walk through the desert of unknowing there is a higher, spiritual world on a different level, and there we can find truth.


Mario Martinez (aka MARS-1) paints from a penetrating perspective of great depth. Viewers are drawn into his imaginative compositions, overflowing with colorful geometric and organic shapes, layered to form unique patterns and textures.

The artist signature style of vast, abstracted, quasi-extraterrestrial looking landscapes feature imagery of surreal distortions, contained within spherically convex transparent bubbles. Skillfully combining optical color blending with perspective line work, his painting techniques result in very three-dimensional forms, which echo the anatomy of architecture, and microcosmic structures of biology.

There 3-D qualities transcend into his sculptural work, as well. Mars-1's distinctly individual aesthetic is not easily compared ot the vision of his contemporaries or artists from past movements. His constantly evolving process continues to expand and each new series of work, seemingly beyond the reaches of even his own awareness.
Themes explored range from very scientific to more esoteric phenomena. From theoretical physics, metamorphosis and collective consciousness, to ufology and examining possibilities of otherworldly principles, the relative link between physical and life sciences are applied throughout. Transitional energies, natural multiplicity, helixes and spontaneous biological occurrences all come together, forming imagery with hypotheses beyond the scope of modern technology.

KD Matheson

Within my work I tend to think of creating a meeting place, a bridge in space time that blends the past and the future and is expressed into the present. They are as vessels that house lines of connection to the mysteries of our past, the understanding of who we are now, and the wonder of what we will become tomorrow.

Tanya Miller

When creating works of art it is important to me that they are meaningful, beautiful, positive and emotional. Beautiful - because there is too much ugliness in today's world. Meaningful - because without meaning life would be empty and worthless. Positive - because positive art is my escape from the hardship of reality. Emotional because when we feel we live. Art is my past, my present and my future . It is my life.

William Otto

As an artist, I design visual compositions to serve as a means to discover the unknown in our midst, to reveal reality rather than simply reflect its surface phenomena. In this sense, I become less the artisan and more the explorer, the adventurer, seeking a way back to the source.

I begin by transforming the natural world of waking consciousness into compositions based on the fluid transformational nature of dreams, as expressions of my individual personal and collective subconscious.

In using the dream as a model for my work, I edit my compositions to tell or suggest a story, to be about something, even if that something is not fully understood by me or the viewer, much as a dream itself can seem to be about something not fully understood. The intent is to suggest through the metaphor of dreams the natural world we experience is actually far more metaphysical and mysterious than we can imagine. My work then as an artist in not to provide the solution to these riddles of existence, but to indulge in the wonder of the eternal mystery itself. In this sense the unknown and the unknowable become my ultimate sources of inspiration to make art.

Breck Outland

I have drawn since childhood and began working in oils around age 13 at the encouragement of my uncle, who is himself an actor and artist at heart. School years brought about an early interest in the arts and sciences, in particular anatomy and physiology, which still inform my work. My current working background is rooted in technical drawing and mechanical engineering, which involves 3D modeling and design.

By contrast, regarding my drawings, most of the familiar mechanical reproduction techniques are excluded, e.g. photocopying, tracing, image projection, digital manipulation, etc. In other words, each line is directly drawn, painted or sketched freehand. I believe that cultivating craftsmanship from the head, hand & heart working in unison is of primary importance in visionary figurative art.

Starting with a blank sheet and various grades of pencil, I begin by working from my figure sketches and notes to compose narratives which express fundamental qualities of the human condition, and further, imagining the subject grounded in mythic proportions or moving through esoteric avenues. An initiatic experience is perhaps encountered by contemplating the divinely creative and stark destructive forces of existence that in turn lead to higher vantage points from which to view both the miracles and tragedies of our times. My artwork originates from extensive study, direct experience and lengthy contemplation, which may sometimes reveal unpleasant aspects.

Meditating from this occult point of view, my goal is to endow humanity's struggles and potential with true dignity, yet without sinking into false sentimentality. Modernity constricts mankind within the wiles of utilitarianism and has made a caricature of humanity. I wish to tear away this veil of deception and reveal some intimation of our divine nature.

To speculate much more about "themes" or "motivation", is of course, to do a disservice to what these pictures would truly have to say to you…

Graszka Paulska

My paintings are a kind of diary, record of emotions, dreams, memories which are very personal. In my works, I'm looking for the relationship between what is real and transcendental, metaphysical. Painting is my passion. It's a kind of a meditation, emotional and spiritual cleansing. It's the thing that lives deep inside me far beyond the consciousness, that I bring into the daylight. In this way, I'm getting to know myself

Steven Peabody

The object of my art is to explore the creative process using symbols of reality and fantasy to produce paintings of transcendental thought.

Otto Rapp

These are universal archetypes, found deep within a collective subconscious; thus while seemingly otherworldly and alien, they are at the same time also strangely familiar. I take the viewer into a territory they have only entered before in another existence such as dreams. There is a 'method in this madness' yet it is derived by shutting out conscious guidance. The work seemingly grows by itself, like ice flowers on a windowpane.

Shahla Rosa

In my art works, there is a dreamy, hallucinatory quality to the imagination but the overwhelming impression is one of nature animates by Eros.

Surrealism's desire to project psychic reality onto the natural world, to transform landscape according to the dictates of inner life, which curiously invented by my own self. My symbolic journeys deep into myself. Earth and Galaxy, leads her to a point at which she and other blend together and fantastic imagination grow directly from zero. I believe that it is through the exploration of the unconscious and the projecting of the dream state into reality, that I reach new levels of creative imagination. I try to release my desire into the world in an image of every personality's beauty both ethereal and fragmentary.

Dominic Rouse

Life can be likened to a movie shown only once to a captive audience of one, a darkened auditorium in which the level of illumination is a decision for the solitary occupant. To see the light we must first acknowledge that we are in the dark.

Unless the truth be sinful, it should not be possible to find fault with a man who views the world through a camera's lens though it is equally impossible in any given age to create work which is agreeable to everyone. Art often challenges existing assumptions rather than simply accommodating them; it is beyond good and evil, which are not the antitheses but degrees of each other. I suspect that evil may not exist at all, at least not in the form in which it is presented to us, though there can be little closer to it than the hypocrisies of men and women who claim goodness for themselves. Morality is a disease peculiar to humans and at its worst human life is not tragic but unmeaning.

Art is not made by men and women who are wise, but by those in search of wisdom and to search at all is wisdom enough. Knowledge of ourselves is the most that we can know.

And saying so to some means nothing; others it leaves nothing to be said.

Sibylle Ruppert–2011/

The late Sibylle Ruppert distinguished herself with evidence of a particularly dark and fierce imagination, a rare quality among those women artists whose technique matches the hyper-realist style of their male counterparts yet whose concerns seldom explore equivalent areas of violence or physical metamorphosis.

De Es Schwertberger

My voice is in my paintings, telling stories of the journey
THE ONE and THE MANY, merge in peace.
How close we are—ART can tell

John Seabury

Zabadak ..."Look for meaning not in words"

Visual imagery might not "transcend" intellectual verbiage, but it can stand up on its own without explanation. I have learned that, at times, I need to free my work from rational thought.

I practice the same sort of motile kinesthesia found in music and sports. It is dependant on the moment, the here and now. There are no undos. It is a record of the action, evidence of will. The faena of my prosthetic stylus abreacts the tension of iconolatry and relieves my crippling abulia.

The textual necrophagia common in modern critical perception is a distraction to abstraction. The trabeated, linear design of the written word can be a ladder or the bars of a cage. I will not nobble my hand with the jacitations of over analysis.

The ramose chaos of the drawn line causes saccades, allowing the mind to perceive and proceed without conscious thought. The demulcent curves become fulcate and thorny, snagging wafting flinders of thought, holding them fast.

Carol Spicuzza

As a child growing up on a farm I had many experiences of the unconscious. Some of these experiences were dreams and others were visualizations. The images constituted what I assumed to be a private mythology, unrelated to the greater world, but this assumption later proved to be false. The business of growing up set these visions in the background until I entered university and was exposed to the work of the eminent psychologist C. G. Jung and in his ideas found that my childhood experiences had historical parallels and specific meanings. I became aware of the fact that each person is a potential conduit for expressing unique aspects of our cultural mythology and in 1984 turned seriously to art.

My paintings search for a place of union between inner experience and outer reality, a space where reality and the symbolic coexist, creating a simultaneity of the inner and outer worlds. These works explore the ability of the everyday object to captivate us and to convey a meaning beyond its apparent worldly one, providing the viewer an opportunity to relate to the irrational in human nature. They give voice to things the rational mind would like to exclude - the intense emotions, peculiar thoughts, sudden intuitions and overwhelming sensations that come upon us in the wee hours, seeking our acknowledgement. At these times, something is communicated that is beyond our immediate understanding. These paintings are an attempt to distill and convey those impressions. They are a reaction to an intense moment of perception where reality broadens out and images appear that connect the seen and the unseen in new ways. Relationships and dynamisms are revealed that would otherwise remain hidden; alternate perspectives and new paths become possible. And since the images deal with essential aspects of our humanity, ultimately, they can become a point of departure and recognition for those contemplating their own unknown territory.

Olga Spiegel

In my paintings the meaning is open to interpretation where the viewer in an interactive participation senses subtle dimensions, enigmatic psychological narratives.
My paintings are poetic apparitions where the world is the kindling consuming fire for the soul.
At the tip of my brush lies a universe, dormant, yet willing to let me stroke by stroke manifest surprising effects of strange beauty, primal meaning slumbering beneath the world of appearance.

Sandra Stanton

The Shared Consciousness series explores the connection between humans and the natural world on a psychological and spiritual level while, at the same time, referencing some of the markers of global warming and the species affected by it. Water here is not only a metaphor for the unconscious but, on a physical level, the main element in a shared environmental landscape.

The shared space between the humans and other species reflects a sense of shared consciousness. The intense psychological space created by placing the figures in water blurs the boundary between interior and exterior, motion and stillness, surface and depth, viewer and subject, and the subjects themselves. There is a concern for what can be perceived by the conscious mind and what might be relegated to the unconscious, the visible and the hidden. Other species bridge the gap, perhaps as messengers, perhaps as projections of each individual's unconscious, perhaps as individuals in their own right.

Heidi Taillefer

My work reflects some of the early 20th century surrealists such as Max Ernst, Giorgio deChirico, and Paul Delvaux, and is an original creative fusion of classical figurative painting, surrealism, contemporary realism, and mythology combined with popular figurative traditions ranging from Victorian romanticism to science fiction.

I have always been drawn to the bizarre and unusual, while maintaining a wide variety of interests, from the ridiculous and the absurd to the sacred and sublime, and all throughout these interests have encompassed ideological concerns about the environment and the impact of technology on society. In the late-80's I began depicting mechanized subjects placed in natural settings, which acted as a nostalgic embrace of the past as seen through the lens of a culture racing forward at high speed, fitted with massive technological advancement.

My paintings are meant to denounce or celebrate technology and the changes it either promises or threatens, as a projection of what we are becoming with both the appeal of the familiar and the jolt of where we are headed. By using "automatic" mechanical motifs instead of today's current digital trend, the notion of technology is maintained against the ubiquity of miniaturization and the invisibility of electronics, remaining anchored firmly within our field of perception.

In more recent years, I have painted about philosophical observations on life which are drawn out of personal experience, and parlayed into an exploration of universal issues common to everyone. Using the original language of mechanism found throughout my work, I explore eternal aspects of the human condition while portraying a growing hybridization with technology despite our immutable human nature. In this way I examine the new relationship between artificial enhancement of the body and daily life, combined with the primitive fundamentals of our human character

Miguel Tió

I was introduced to the spiritual life during my childhood by my mother. She knew that I was going to need information that would explain things that were happening to me. She gave me many books that opened a whole new fascinating world, books that helped me lose my fear "to hear" and "to see" by understanding spiritual phenomena. I embraced mystical power, images and messages in later years. Indeed, they have become an integral part of my artistic career.

Some of my works explore themes ranging from traditional religious dogma and prejudice to the instinctive and emotive nature of human sexuality. Though these two subjects are traditionally represented as being poles apart, I am to demystify the prejudices and preconceptions which divide them, and instead, connect them through a contemporary interpretation that is rational, thoughtful and honest, as well as spiritual and sacred. This interpretation is never intended to be controversial or offensive, but rather, conciliatory and revealing.

Each painting conveys a personal method of communicating and expressing silent words within my interior world. Each color, tint and shade stems from a complex spectrum of thoughts, perspectives and narratives. Both high contrasts of light and shadow are indispensable when conveying the drama and complexities of the human body and spirit.
I believe in the new man of the new era. There is a transformation from the old beliefs into the new ones. Art helps produce those transformations by touching the soul of the observer and leaving a seed that will germinate in the future

Cynthia Lund Torroll

The map is never as rich as the journey, and the telling is never as wonder-filled as the tale.

Yet, the work of Cynthia Lund Torroll has summoned precisely such a formidable spell—taking the diverse and sometimes troubled ingredients of her life, loves, yearnings and observations and melding them into a body of work which is in turns breath-taking and troubling.

The map she has drawn for us is rich. The telling is wonderful.

Her own journey has been winding and wearying. Trying times as a child and an adult color her work and her life. Despite the history, Cynthia seeks the touchstones of hope and peace in life and in work.

The delightful synthesis she creates is to the viewer's great joy.

She has created spectacular and whole vistas of imagination and insight. They are still-framed cinematic snapshots of fantastic characters caught by her sudden eye and deft hand in their organic worlds.

Themes of emergence and transformation figure brightly but by far the viewer's strongest emotion will be amazed wonder - amazement at the stunning technical skill.

Wonder at the journey she describes.

Robert Venosa

Evolving Culture, Reality, as we perceive it, is largely shaped by the artifacts, both material and symbolic, of thought, thought that leads to creative manifestation in form and color. With that in mind, it might be suggested that the visual artist, - from commercial designer to fine art painter - has much to do with most things that enter your everyday visuals, and thus form a major portion of one's reality and, certainly, how this culture manifests and evolves.

Madeline von Foerster

Executed in the oil and egg tempera technique developed by the Flemish Masters, Madeline von Foerster's paintings allude to Renaissance sources in both method and style. The Mische technique, now used by only a handful of painters worldwide, allows for crystalline details, effulgent colors, and a unique "glow," as light penetrates the oil glazes and reflects off the tempera underpainting beneath. A strong influence from the School of Fontainebleau loans an aura of mystery and otherworldliness to the artworks. Surrealistic elements are also often present, though in the service of meaning and metaphor, rather than for oddity's sake.

Meaning and beauty are the twin impulses expressed in the work, with neither sacrificed to the other. Concepts are developed and sketched in detail, often involving weeks of research and drawing for a single painting. Photographic references are always interpolated through the filter of this artistic process (never projected or traced), which adds to a visual impression of timelessness.

In subject matter, however, the work is staked firmly to the present day. Humanity's relationship with nature often provides an impassioned narrative, with such topics as deforestation and human-caused extinction sounding a recurring thematic knell. The ironic detachment of much contemporary art is challenged, in favor of intimacy, knowledge, and connection. In combining a sense of wonder for science and biodiversity, with the devotional iconography of the Renaissance, these artworks propose new ways of relating to our imperiled natural world.

Artist Website