“From a very young age I have been interested in printmaking, although I didn’t always know that’s what it was called. The first time I picked up a book illustrated by British artist John Tenniel, I was hooked. Maybe you know it? Alice’s Adventures in Wonderland is a magical book, not only for the story, but for those wonderful wood engraving illustrations.
While my art journey has been long and winding – exploring many mediums including drawing, painting, watercolor, collage and wood carving – when I picked up my carving tools and applied them to carving my first relief print, I somehow knew I was home.
Although printmaking is a broad field – from etching, wood engraving, monoprinting, and more – my art practice primarily uses relief printmaking. It’s a process that still seems magical to me. ” via Linda’s homepage.
Nicola Verlato is an Italian-American visual artist based in Los Angeles, California. Nicola was born in Verona. He studied architecture at University IUAV in Venice from 1984 to 1990, though he never completed his degree. In 1996, Verlato moved to Milan where he created his well grounded notoriety in Italy. In the same year, he exhibited his work at XII Quadrinnale at Palazzo delle Esposizioni in Rome.In 2004, Verlato relocated from Milan to New York City. While living in New York, he was a professor teaching composition and painting courses at New York Academy of Art. He has shown his paintings, drawings, and sculptures in the United States and internationally, including the White Columns in New York, Museum of Moder Art in Arnhem, Prague Biennale, and an installation exhibited at the 2009 Venice Biennale in the Italian Pavilion. His works are in the permanent collection at MART in Trentino, MUSAC in León, and MUDIMA Foundation in Milano.
Smell The Magic series by Kris Knight. “Gentle, almost delicate portraits of young men are a parade of characters that Knight continuously inhabits in metaphor; physical manifestations of the full array of the artist’s internal psychological tones. They are secretive, veiled faces that do not directly address the viewer; rather, they are in quiet repose filled with restlessness. Knight draws both technical and contextual elements from the Late Baroque and Rococo movements embodied by artists such as Poussin, Fragonard, and especially portraitists such as Reynolds, Gainsborough, and Vigée-Le Brun. His portraits of fragile youths are charged with sexual tension, completely self-aware, but fiercely guarded.” — Spinello Projects
Kris Knight is a Canadian painter whose work examines performance in relation to the construction, portrayal and boundaries of sexual and asexual identities. Drawing from personal histories of rural escapism through imagination, Knight paints disenchanted characters that are lost between youth and adulthood; they hide their secrets, but desperately long to let them go. His mythical and ambiguous portraits are a synthesis of fantasy and real-world memory; they tiptoe between the dichotomies of pretty and menace, hunter and hunted, innocence and the erotic. Throughout Knight’s professional practice, he has created thematic bodies of work that reference historical notions of regality, mysticism, romanticism and symbolism. He often skews these concepts with contemporary interests in androgyny, psychotropic alterations and the post-modern gaze. Knight’s lustrous classical cum illustrative figurative paintings, stride between a contradicting palette of sensual primaries and ghostly pastels, reflecting his adoration for 18th Century French portraiture and polaroid photography.