Congratulations to the artists who have been selected for publication in FreshPaintMagazine International Issue 14, August 2016! … Keep Reading
Kate Shaw was born in Sydney and currently lives/works between Melbourne and New York.
In 2014, Shaw has had a successful showing at ART 14, London and solo exhibitions at The Cat Street Gallery, Hong Kong and Fehily Contemporary, Melbourne. Currently her work is touring to museums throughout Asia as part the Asialink curated exhibition Vertigo including MOCA Taipei and POSCO Seoul. She was awarded a residency in New York supported by the Australia Council for the Arts at Point B Worklodge. She will be featured in the ABCTV documentary ‘Conquest of Space’ and ‘Spectrum’ Index Book, Barcelona. Her work was also included in ‘Landscape and its Psyche’ published by University of NSW. A series of prints of her work has been launched with Urban Outfitters. Urban Art Projects has commissioned her for large-scale murals at the Macquarie Centre, Sydney, also launching this year.
FP: What inspired you to become an artist? What was your first early creative experience that made you pursue this path.
KS: I was very lucky to have parents that encouraged creativity. My brother and I would spend hours drawing and making things, rather than sitting in front of a TV. We also spent a lot time in nature, walking and on adventures. These early experiences informed my engagement and love of nature. When I finished high school I started a degree in psychology, as I was interested in human perception. In the end art spoke to me more about this kind of enquiry as it embraced the mysterious and un-measurable.
FP: Your landscapes feature beautiful, yet unnatural color. What is your work about and what do you hope the viewer takes away from it?
KS: Often the colour in my work is derived from an experience in a landscape, where the light is at its highest contrast. An amped up magic hour. Other times I am interested in conveying a screen based, unnatural palette to consider the tension between our connection and disconnection to the natural world. I also consider imaginary worlds and places – Mars with a breathable atmosphere inhabited by humans, the time and place of nuclear test sites and the moment of the blast. I am aiming to capture moments of molecular and energetic change.
My new body of work particularly considers the Anthropocene – defined as a geological age where human activity is the dominant influence on the climate and the environment. My work imagines this new epoch, conjuring imagery that conflates the artificial and the natural, the sublime and the toxic, the creative and destructive. I both draw upon imagery of places I have visited that show the evidence of past and present climatic change, such as Iceland, Central Australia and the South West of the US. As well new forms of geology created by human activity – such as plastiglomerate (rock and plastic conglomerates formed from burned garbage) and Fordite (a ‘rock’ made entirely of layers of automotive paint).
FP: How do you come up with the color palettes in your paintings?
KS: I work very intuitively with colour. I am sure my knowledge of Colour Theory is coming out in the work, but I very much work in the moment with colour. I also like experimenting with different iridescent and interference paints, pigments and glitters – anything that transforms the perception of light. I also love seeing what has occurred spontaneously within the pours – there is a lovely macro/micro relationship happening as different mediums react and create fractal patterns that also occur in nature, as small as a web of capillaries or a view of a river system from space.
FP: How do you prepare for each work? Where do you get your references and inspiration?
KS: Most of the time my inspiration comes from actually visiting a landscape and connecting to the forms, colours and energies of the land. Other works are from our contemporary interaction with the natural world, whether it be solving climate change or seeking to inhabit new planets. I take these as reference points but I always go back too what I see in the paint itself, what forms are appearing to me.
FP: What artists or movements are you currently interested in?
KS: I am a fan of individual artists more that a movement as such. I love Lynda Benglis, Julie Mehetru, Katharina Grosse, Fiona Hall, Tracey Moffat, Lee Krasner and Georgia O Keefe
FP: Share a brief piece of advice that helped you in your art career.
KS: Make work that you love and don’t try to prove anything to anyone else. Find your instincts and trust them.
FP: What do you enjoy doing when you are not in the studio?
KS: I enjoy dinners with friends, openings, yoga, bike riding and walking in parks and the wilderness.
Nalini ‘Deedee’ Cheriel is a visual artist who started out creating record covers and T-shirts for the Oregon music scene in the early ‘90s. Born in the hippie town of Eugene, Oregon, she began her own band and record label at the age of 19. Influenced by the popular DIY culture of that time, she played in several all-girl bands (Juned, Adickdid, The Teenangels, The Hindi Guns) and co-created the semi-autobiographical film Down and Out with the Dolls. This artist has lived and studied abroad: Honduras, Chile, England, Portugal, Spain and her native India.
Now residing in Los Angeles, Cheriel’s work explores narratives that recognize the urgency and conflict in our continuing attempts to connect to the world. With influences derived from such opposites as East Indian temple imagery, punk rock, and her Pacific Northwest natural environment, her images are indications of how we try to connect ourselves to others and how these satirical and heroic efforts are episodes of compassion and discomfort. Bold elements drawn from landscapes -both urban and natural- and pop culture suggest the ability to find commonalities and relationships between ourselves and our surroundings that inevitably confirm our greater humanity and quest towards love.
FP: We are very much inspired by your background and how you made your way into the art world. Could you tell us more about how your music and film experiences affected your life and your paintings?
DC: When I was in my first all girl band I silk screened all of our shirts that we sold on tour. I got really into the bold and simple imagery that you could make with a silkscreen. I loved playing in bands but it was difficult to maintain a project with so many conflicting ideas and personalities. I ended up writing a semi -autobiographical movie called Down and Out with the Dolls about my time in girl rock bands. After it was made, I played in one more band called The Hindi Guns before I threw in the towel. I love music, it still inspires my work, but now it is a much more chilled out life to paint and not have to hustle in the band life.
FP: You now live in Los Angeles, a vast urban metropolis, somewhere perhaps very different from your previous experiences of living in places such as Honduras or even the Pacific North West. Was it easy for you to adjust to the new cultures and countries when moving around, and how did they influence your work as an artist?
DC: I love traveling and living in new places; I find it to be the most inspiring thing for my work. Most recently I have been spending loads of time in Southern India where my father is from and where I have family. I am incredibly inspired by the temple imagery and the iconography used to tell stories.
FP: What is your creative process like and how has it developed as you’ve matured as a person and as an artist?
DC: I usually do drawings and come up with ideas that I try to figure out on paper and then use the drawings to come up with new paintings for different shows, Painting has become more like a discipline; when I can walk down to my studio and spend time in it every day I get more quality work done. My new studio is quite Zen and I love spending time in it. I think my work has become more refined as I have grown.
FP: Are the scenes in your paintings derived from your own mind’s eye or do you use photographs and any other sources of inspiration?
DC: The scenes in my paintings are derived from narratives that I come up with and do drawings of to try to communicate a story; if I can successfully do a drawing of it, the chances of it succeeding while I paint it are much higher.
FP: What are your biggest challenges in creating art and how do you deal with them?
DC: My biggest challenge now is how to peel myself away from my son in order to make work. I love being a mother and find my son to be an infinite source of new ideas and he has a magnificent sense of humor. It is hard to want to be alone in my studio making work!
FP: How do you hope viewers respond to your work and what is the most important thing they should take away?
DC: I want viewers to have their own experience with my work. What people see and relate to in my work is always super fun to hear about. I would rather hear someone else’s interpretation of my work than feel I need to convey something to them about my work.
FP: Is there any advice or inspiration based on your travels or other experiences which you could share?
DC: I would just like to say to young women painting not to ever give up or doubt yourself, and when you hear criticism about your work, let it motivate and inspire you to do your best work ever.
Kayla Plosz Antiel was born in Saskatchewan, Canada but has lived in the United States for the past 18 years. She graduated in 2012 from the Minneapolis College of Art and Design with an MFA in visual studies. She currently lives and works in Northern Virginia. Antiel has exhibited her work in Virginia, Washington, D.C., Maryland, Minnesota, and Indiana.
I make paintings because of my acute obsession with the stuffness of paint—its color, mutability, sensuality, and more. Color is weird. Individual colors evoke highly particular emotional responses, but color is rarely hermetic: the interaction between traffic cone orange and over-cooked pea green, for instance, engenders something neither color can achieve in isolation. Motivated by the inexhaustible potentiality of color, I seek to explore and manipulate color relationships within the constructs of an impure abstraction. Impure as my paintings are pulled toward representational ideas and forms–they flirt with representation but are non-committal. My process involves a psychosomatic dialectic: I vacillate between a sort of intuitive bodily sensuality and more logically driven formal decisions. As such each work evolves through the free-play of color and form.
My work is unique in its materiality, process and conceptual basis. As an artist with a background in psychology, it’s no wonder my work is psychological at the core.
Like a well worn, well loved security blanket, my work centers on Donald Winnicott’s historical notion of transitional objects and their universal use throughout life…how in the face of contemporary stress our profound, intimate, seemingly irrational attachment to objects helps nurture security, mitigate distress and form our authentic selves, as individuals in general, and women in particular.
Likewise, I’m influenced by Korean Bojagi wrapping cloths, painstakingly hand crafted by “unknown women” and used for centuries to wrap objects, elevating the role of women and objects to high art, in ways similar to Judy Chicago, the women of Gees Bend, and Rosemarie Trockel, among others.
The antique linen I use is integral both to the conceptual basis and visual aesthetics of my work. Hand woven by women in the 1800’s, it was originally used as bed sheets and duvet covers, security blankets in their own right. The coarse threads, hand stitched seams, and occasional repairs highlight the vestiges of the female hand and engender a sense of strength, authenticity and beauty in that which is genuine and imperfect.
My handling of materials is intimate and engaging as I fold, crease and paint, creating structural dimensionality and imbuing my work with a veritable soul. Collectively termed Self-Help, my titles serve as wry provocations to cope with contemporary life and get comfortable in our own skin.
Whatever you spend a lot of time thinking about becomes important. Paying intense attention to overlooked details of the natural world elevates mundane things like the patterns of weeds and reflections of different conditions of water to a place that demands notice. Enlarging these often-ignored instances of intricate beauty and isolating them from the distractions of their normal surroundings draws attention to them.
There is so much to see that it is overwhelming trying to notice all of the little things that make a scene uniquely beautiful, even if it is just a pile of dead weeds. It is a matter of seeing, of noticing the relationships of color, light, and pattern that unlock the image. Part of it is a willingness to slow down.
Many of the paintings in this body of work contain conspicuously empty areas surrounded by areas of careful pattern and detail. The absences underscore the importance of what remains and vice versa. Traditional landscape paintings, which function as artificial windows into nature, are actually man-made interventions housed in constructed environments. The walls on which they hang might be in neighborhoods where weeds are the only plant life or there is no body of water for miles. It is therefore all the more necessary to appreciate the beauty of what vestiges of the natural world remain.
The appearance of water changes according to your vantage point. When you’re looking right down at it, you see the bottom, and the farther out, the more the water reflects everything else: the water quality itself, the color of the water, the turbulence, and everything all at the same time, and it all comes together in this pattern. Wherever you go in the world, water behaves in a reliable manner in terms of its patterns of movement and reflection.
Regardless of whether I’m painting plants or water, I’m always searching for relationships within the image that I might not have noticed. It is sort of a compulsion to make sense of something that seems impossibly complex and chaotic. If you stare at something long enough, the hope is that it will begin to make sense. Sometimes it happens during the making. I start to notice elements that line up in a certain way, and those things intersect with another line of logic such as a change in scale or a shift in color. Once I see the patterns, everything makes sense.
Artist-run Pop-up Gallery Event With Live Music, Artist Talks & Performance
Meet The Artists hosts its second pop-up exhibition on Thursday 4th August, 6pm-9pm at the Hoxton Arches Gallery, to showcase emerging artists and provide an opportunity to the public to purchase original works for affordable prices.
Meet The Artists is a project created by Athena Anastasiou, who is an artist and photographer passionate about supporting the emerging artist community. As a London-based creative, she saw that opportunities to exhibit and sell artwork were becoming increasingly limited, high commission prices at galleries meant that a lot of artists were struggling to make a living through their art alone, and the general public often felt disenfranchised and intimidated by “the art world”.
Deciding to rectify the situation, Athena conceptualized Meet The Artists pop-up gallery that would not take commission on sales, transform the exhibition space to be inviting and welcoming for the general public and give a voice to the artists themselves by hosting short 1min artist talks.
The first pop-up exhibition was held in February, and brought together 12 exhibiting artists, 2 musicians who performed live and over 150 attendees. Following the success of her inaugural event, Athena decided to let the project be directed by a different artist for each show.
The second Meet The Artists pop-up exhibition is project managed by Yulia.i, a fellow London-based creative. The event is being held at the Hoxton Arches Gallery on Thursday, 4th August, 6pm-9pm. The evening, which falls on the First Thursday, will bring together 30 exhibiting artists, working in a range of mediums from photography and oil painting, to digital art and performance.
Complete with live music and complimentary drinks, it is set to be a must-attend event for anyone who is interested in emerging London art scene. All the works are priced under £1000, making it one of the most affordable gallery events in the city.
Meet The Artists is an artist-run pop-up gallery, selling original artwork at affordable prices.
Date of show: Thursday 4th August, 2016
Time: 6:00 – 9:00pm
Location: Hoxton Arches Gallery, Arch 402 Cremer Street, London E2 8HD
Image courtesy of Ruby Djordjevic
Image courtesy of Michelle Loa Kum Cheung
Image courtesy of Yuliya Martynova
Image courtesy of Mandy Lane
Oriele’s work is about being human, and our special ability to feel love, pain, anxiety and suffering. She believes art should come forth from within the artist, rather than primarily from a depiction of the external visual world. Previously, she had been concerned with turning away from a primary interest with optical reality, as the impressionists had conceived of it. Now, however, she has taken inspiration from the still-life of the Impressionists, to create a series of narrative paintings and drawings.
The drawings capture a moment with the image, where she transposes her imagination, eye and memory on to a piece of paper, they’re are the beginnings of new ideas that extend beyond the paper and on to a new mode of working- Oil paint on canvas.
The paintings are intended to convey mixed cultural identity, conflicting religious ideas, as well as the distinct and age-old uncertainty regarding the futility of life. She has balanced her past, present and future, picking images to clearly describe the rich history of life and death and ongoing hope.
The subject of identity has specific significance within my work which I consider autobiographical. Pre-Hispanic, African and Catholic cultural-religious influences have shaped my aesthetic combined with the tropical nature of the region where I grew up. I define my art as the interaction between the supernatural, nature and the divine.
As a young child and adult, I visited the Amazon. The experiences from that time still inform my work. I paint from my dreams and memories where a rich surrealist atmosphere intertwines with the complex mythological jungle cultures that exist in a living primordial world.
I was born in Naples and now I live and work in Milan.
I have a Master’s degree in Biomedical Engineering.
On the canvas I investigate space and time, searching for a temporary escape from the common sense of reality. This is an arbitrary creation of human mind, it’s the reification of the mass of sensory experiences with whom we explore it.
I portray house interiors, people are caught while busy in searching for themselves. Space, like consciousness does, conceals gloomy areas.
We live so fleeting in places, leaving traces of life in Time’s flow, and this way we look for ourselves running behind us in the flowing of events. My painting is an attempt to stop time and during suspension, calling our knowledge into question, to give us the opportunity to investigate metaphorically new places of our existence, re-interpreting, analyzing and getting deeper knowledge of the space and time we’re living in.
“In the spring of 2015, I was assaulted by a stranger on my walk home from the gym. I was left unconscious on the street with a severe concussion, broken jaw and sinus, and shattered tooth. The assailant was never brought to justice.
“When A Man Decides to Hurt You” is not only an attempt for me to process the event, but it is also an examination of the profound physical and emotional impact of violence in America, particularly against women.
I juxtaposed watercolors with explosive fabric patterns; a pairing that is meant to both agitate the eye and champion more “feminine” media. They are framed in traditional Americana patterns, a reminder that mine is an unexceptional American story. We live in a society where physical, sexual, and emotional violence against women is commonplace, and violence stemming from poverty, racial injustice, and lack of support for those struggling with their mental health is part of our everyday landscape.
These paintings document one story in a sea of stories. I hope it leads us to a confrontational conversation: what is happening here in America? What role are we all playing in the systemic nature of violence? And what are we actively doing to stop it? “
July 22, 2016 – August 20, 2016 at Paradigm Gallery
There is a stillness as a front gathers at the northern end of the lake – a calm. The clouds gather. The light becomes brilliant then dark. The wind curls itself into a directed force. The rain comes.
There is a reckless beauty in the garden as a tulip stretches to obscene heights to capture the sun, lolling its petals as wide open as possible on their loosening connections to the burdened stem.
There is a captivating mystery in the photographs of our ancestors, smiling out of family portraits, smiling out and through our own DNA.
These are my moments of captivation. These are the kinds of experiences in my world that engage my attention and allow me to experience most fully my inner and outer self.
So then, these are the sources for my paintings. These are among the things that prompt in me honest self reflection – honest connection to what it feels to be most fully present wherever I am at the time.
I paint because I want to see this experience of connection to self in plastic form. I paint because I enjoy the manipulation of paint and how that process in itself contributes to the life and form of the final image.
If I can then allow the viewer the same experience of a moment – whether it is an affinity with my experience or one wholly their own – then I have succeeded.
Whether my image is an abstraction or a landscape, the intention remains the same. Can I manipulate the shapes, space, surface, and color to recreate a “landscape” that can find a shared sense of the beauty and poignancy of memories – of states of mind- of connections between us all?
Cara Guri holds a Bachelor of Fine Arts from Emily Carr University and has completed a residency in painting at Columbia University. She has received numerous awards and scholarships for her work, including the Takao Tanabe Scholarship, the Brissenden Award, and the Bishop’s Prize in Fine Arts. Her work has been exhibited in Canada and New York, NY. She lives and works in Vancouver, BC.
What inspired your latest body of work?
I draw inspiration from closely observing and reimagining the familiar. I am fascinated by how painting enables me to visually engage with and memorize the small intricacies of people and objects from my daily experience while creating a new narrative. My interest in the familiar also extends to the canonical works from Western Art History and the ambivalent position I occupy in relation to them. In many senses I see my current body of work as chronicling both the adoration and the criticality I feel towards the symbolism and conventions of these paintings. I take a traditional symbol, icon or specific historical work and reinvent it with objects and people from my daily surroundings in a manner that deliberately also alters its original meaning. I’ve always been interested in how the message of ideas and images changes with time and interpretation. The idea of translation – from historical symbolism to subjective iconography – is of great interest to me. Translation has a transformative power: meaning shifts, distorts and grows into something new.
Describe your creative process. Where do the images that you are manipulating come from and how are they transformed?
My creative process varies depending on the type of piece I am making. Sometimes, I want my paintings to reference a very specific historical artwork. Alternately, I think more generally about the aims of historical portraiture and play with methods to disrupt its typical intention. I find most of the images I manipulate in books of Western historical painting or by searching museum collections.
At times, I paint directly from a still life created by crumpling up or altering a printed image of a historical artwork. I generally select several historical paintings that touch on ideas or concepts that I want to manipulate. I will then create cutouts of the figures from a printed copy and experiment. Typically, I print several versions of the same image and subsequently explore different methods of altering it, such as crumpling, folding, tearing, cutting, etc. When I find a 3D visual arrangement I like, I create some sketches to work out my composition before proceeding with the painting. I have also used this process on found and family photographs that are subsequently folded and painted as a still life arrangement.
Alternatively, I think about the conventions, iconography and symbolism in a particular historical piece or group of pieces and consider how these subjects or objects can be replaced or ‘translated’ into my reality with alternate or contrasting stand-ins. These new objects may roughly correlate to the devices used in the historical work or may stand in direct opposition to them. For example, I have recently been working on a painting of my mother with various drinking glasses stacked in front of her. The idea for this work came from a desire to translate the conventions behind Velázquez’s “The Rokeby Venus” into a reality that I found more relatable while also inevitably communicating something new. I chose to substitute an iconic goddess for the very familiar figure of my mother. Instead of reclining she is seated upright. I traded mirror glass for drinking glasses that in part distort and obscure rather that foreground the subject. She is clothed rather than nude. The distortions visible in my painting are quite literally the distortions I observed reflecting in the glass itself, and are not to idealize the figure or to make the mirror reflection more visible as in “The Rokeby Venus”.
On occasion, I choose not to reference specific work, but instead play with the aims and conventions of many traditional portraits and figurative works. Most often, historical portraits were made to glorify an important subject or to portray idealized classical or religious figures according to particular stylistic conventions. I will instead select ordinary and familiar subjects from my immediate environment, the most mundane of which being myself. I like to play with the conventions of posing, ornamentation and the staged nature of portraiture. I am interested in creating carefully rendered portraits of subjects who in some capacity are both concealing something from the viewer while highlighting something else. I like to call attention to features less frequently focused on in great detail such as ears, hands and feet. In many historical paintings, faces were highly rendered and hands were left looser and less detailed. I like to contradict this hierarchy by giving everything in my paintings an equal level of attention and by foregrounding features that are typically less noticed. Even for myself I find it fascinating how few details I had really internalized about the people and objects I grew up around until I had painted them. I now feel better acquainted with the scratches on my childhood drinking glasses and the subtle contours of my mother’s nose.
I prefer to complete my paintings with as much direct observation from life as possible. In terms of technical process, I always start with a series of small thumbnail sketches to determine my composition. I build my paintings slowly up over many layers to allow myself adequate time to feel as though I have internalized the subject.
Describe a perfect day in the studio.
My favorite days in the studio are long days with no interruptions. I love getting started early and having a full day ahead of me. I tend to have the most creative energy when I am either starting something new or in the very final stages of a painting.
What artists are you inspired by?
I am inspired by many contemporary and historical painters such as, Vija Celmins, Ellen Altfest, Michaël Borremans, Philip Akkerman, Mark Tansey, Vermeer, Hans Holbein, Jan Van Eyck, Vilhelm Hammershøi.
You mention you derive images from Western art history. Who are a few of your favorite masters and works of art?
I have so many favorites it is difficult to make a concise list. To name a few, I love Jan Van Eyck, Hans Holbein, Rembrandt and Vermeer. I’m captivated by Dutch Golden Age painting, in particular the still life works. I’ve also always been drawn to Van Eyck’s Arnolfini Portrait, Holbein’s The Ambassadors and Velázquez’s Las Meninas. However, I find that the works I typically end up painting are not necessarily my favorites, but rather works that I am drawn to but also experience a disconnect from.
What do you hope the viewer takes away from your work?
I try not to be very attached to having the viewer derive a particular reading from my work, but rather hope that they have their own subjective encounter with it. While I do have specific intentions behind my paintings, because my practice is largely about exploring how meaning shifts with interpretation, I enjoy the idea of the viewer deriving their own meaning from the works and continuing that translation – like the children’s game of telephone.
What are you favorite activities when you are not in the studio.
I devote most of my time to my art practice, but when I am not in the studio I spend a fair bit of time reading and researching. I also study opera and have recently taken up swing dancing.
I am originally from London however I have recently graduating from Brighton University with a First Class Bachelor of the Arts (Honours) in Fine Art Painting. I have also been included in the Woon Foundation Prize at the BALTIC 39 in Newcastle where I was awarded the judge discretionary prize.
I see my works as fictitious predictions of an aftermath or dystopian realities. I am heavily inspired by the notion that nothing is truly natural anymore, particularly focusing on the idealised concept of a jungle paradise that is close to becoming an extinct mythology. I include hints of contemporary such as sports gear pointing to the man made helping ground the dream like scenes in reality.
Phyllis Gorsen received her Masters of Fine Art from the Pennsylvania Academy of Fine Arts in 2014. She has shown her paintings extensively throughout the Philadelphia region and has received several honors for her work. Many of her paintings in are in collections including the Camden County Historical Commission. She currently works out of her studio located in Philadelphia.
I have painted in several styles and mediums over the years, primarily in figurative, collage and abstract work.
In my recent paintings, I focus on how the commonality of shared patterns connects people together.
I explore this through a duality of abstraction and representation. The abstraction comes in the form of vibrant and dynamic geometric compositions that upon further exploration reveals elements of the familiar and commonplace. I consider these representational components; some are recognizable and others that are symbolic interpretations of various facets of the human experience such as language, technology, spirituality, environment, culture, etc. These components are surrounded and injected with the strong lines on the canvas which bridge and connect them together, illustrating how these elements form a shared, communal bond.
Each acrylic painting starts with an underpainting of various hues. I carefully plan and create passages with lines and space to achieve a sense of swirling connectivity. I then incorporate either symbolic patterns or representational images of the chosen elements. These multi-canvas geometric designs are intended to move the eye using energetic patterns, movement and vibrancy. My titles also play an important role in telling the story of each piece. My hope is that viewer is captivated by the visual allure of the surface to allow for a slow unveiling of the meaning of the work.
Estabrak is an Iraqi blooded former child refugee, Iran born, London raised Visual Artist and Filmmaker currently based between Muscat, Oman & London, UK.
With an arts background in Central Saint Martins and a Masters in film & media
production, she is both by nature & nurture; a storyteller.
Often lead by emotions, particular interest lies in honest approaches to silenced socio-political realities usually explored through progressive, multidisciplinary ways of storytelling.
Previous works have found themselves showcased on an international basis in such places as New York, Dubai and Berlin, along the way exhibiting at Royal Academy of Arts, & TATE Britain, London, UK.
She has been a part of some pioneering projects such as ‘Imagine Art After’ and has had her work presented to the UN as well as having been commissioned and supported by numerous organisations including ‘The Helen Tetlow Memorial Fund’, ‘Red Bull Oman’ and ‘The Alserkal Cultural Foundation’.
2015 saw Estabrak present her first multidisciplinary solo show entitled ‘Consciousness’ which, selected works, went on to be exhibited in Dubai, Muscat, Sharjah, Saudi Arabia and London, UK. Currently her award winning (Art Jameel Photography Award 2015, 2nd place) , limited edition, photographic series ‘Omanis Under Water‘ (OUW) has been selected for the up coming Royal Academy of Arts Summer Exhibition 2016 in London. This too a part of ‘Consciousness’. She is hoping to continue creating her global underwater series over the next coming years.
Recently she was supported by ‘Mawa3eed Travel Grant’ to partake with a project in Morocco with her unique style of storytelling; LPP (Live.Projection.Painting) where she uses her multidisciplinary techniques to paint films to life, live. She presented ‘Tales of the Mother tongue’ at her first Biennale; The 6th Marrakesh Biennale 2016 (MB6), which has recently gone on to tour in Venice/Italy and Brighton/UK.
She helped create this process (LPP) back in 2012 along with her all female London collaborative; Thre3 Strokes. Since 2014 she has been developing & working on her solo collection of LPPs internationally, bringing this unique art form to the Middle East, Africa and Europe.
Omanis Under Water. Limited edition photographic seriesOmanis Under Water. Limited edition photographic seriesOmanis Under Water. Limited edition photographic seriesOmanis Under Water. Limited edition photographic seriesOmanis Under Water. Limited edition photographic series‘IQRA’ , Watercolour on Watercolour paper‘Pretense’ , Mixed Media on Canvas
‘Transcend’ , Mixed Media on Canvas‘Enigma’, Oil on Canvas‘Conciousness’, Oil on Linen