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Lucrezia Abatzoglu

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My practice is stimulated by the beauty of lost souls (identities). Different mediums allow me to interpreter them through different ideas as literature, art history, folklore, nature and life experiences. The wonderings are on the definition of the human identity. Ancient Greeks theories of the body, as representation and idea , are concepts running through in my thoughts and work. My focuses are incorporated by sculpture, film, fashion and photography. The view of the human body is not only the relationship between the individual and society, but also the relationship between humanity and the world. My compositions are on the female body as a reflection and a deeper expression of our pride. I am interested to expose and explore the blind spot of the naked female figure. Through my work I seek to challenge these conceptions of the self and the body. I wish to present it as an organ of physical and psychical interchange between bodies- a kind of inter-subjectivity that produces identity. I’m interested in the synthesis of a variety of apparently contradictory thematics : mind and body, nature and culture, inside and outside, fiction and reality.

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Xanthe Russell

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After finding out that Viking women were given cats as bridal gifts, I decided to paint my own version of a Viking woman with her trusty Norwegian Forest Cat. This painting is focused on the textural quality of different materials (such as fur, fabric, wood, gold, etc). This piece is also my attempt to create a realistic depiction of a character, using a variety of references to make her as 'authentic' to what I believe a Viking woman would look like. 

Casey Mark Schultz

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I am an artist working with ideas of visual perception, exploring the break, boundary, and otherwise coexistence between imagery and the abstract in art, the reality of conscious beings, and the universe at large. I'm also interested in self-created manifestations of personal montage. My studio practice making two and three dimensional works employs a lot of assemblage and collage, building the literal objects and the conceptual theories for each piece. There is much emphasis on recycling material and using found materials, playing promiscuous artist in relation to medium and the fluidity from one to another. In the end, the works aim to be rich in their visual detail and their complexity of ideas, while still appealing to a whimsical nature, and remaining attentive to both the macro and the micro. https://www.caseymark.com/

Meraki By Hamer

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"Look Out" is about my experience in the current COVID-19 pandemic situation.

Looking out the window can be both a hopeful and terrifying view. What we can see with our eyes is paradoxical. A dangerous virus surrounds us and we can't see it. What a crazy concept to grasp, but living through this pandemic has been eye-opening. We may see outside all these yellow and black tapes, blocking and closing many of life's joys. This can be very disheartening. On a positive note, this worldwide halt has been an unknown gift. We have all been forced to step back from our busy schedules and connect with ourselves and our loved ones. May we all learn from this and become a better society.

Georgia theologou

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Georgia Theologou (born 1992) is a Greek artist based in Athens. She is studying Fine Arts at the Athens School of Fine Arts in Greece.Her paintings are created with acrylics and oils on canvas or on paper mounted on wood. Her work deals with human alienation that results from the introjection of modern day-to-day life. The human beings appear through a colour and form change , expressing themselves from the inside out. The enviroment in which the human being is placed is also expressed as a projection of the human being itself. The technique achieved by combining pastel colours that display expressionistic qualities with realistic illustrations. She participated in various group exhibitions in Athens.

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Katelyn Grant

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"My artwork entails transforming parts of vehicles that are consigned to a scrap heap into eye-catching and often garish re-workings of their primary purposes. This is done in the form of painting, using “craft” materials such as neon vinyl, glitter and other boldly coloured symbolism, showcasing both the necessity for glamour in vehicle representation, but also a distracting and brazen disrespectfulness to quietly dying objects. By removing them from this de-commissioned context, they almost find themselves to be in another life just through the movement of dying itself.

 It also aims to critique personalisation of our transport and questions the value of everyday machines when facing the end of a functional life, as this melancholic iconicism and characterisation acts as a diary affixed to the surface of the vehicle, honing in on this shrine of selective beauty; one that sees past a car’s designated commission. They start to explore time, entropy, ceremony, popular culture and a poetic outlook on obsolescence in everyday life."

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