COVID MASTERPIECES 2
PAULA QUINTELA, CHILE
completed her Bachelor of Fine Arts (Painting) from Universidad de Chile. Having studied professional photography at Fotoforum Institute in Chile, ceramics at Fanshaw College in London (Canada) and printmaking with Canadian artist Jean Pierre Sauvé in Montreal. Exhibiting in both solo and group exhibitions in Chile and abroad, including France, Argentina, New York, Hong Kong and Australia.
Her current work explores the cultural experiences and connections between time, migration and memory.
‘In my journey as an artist, I have always been fascinated by Nature. As a result of living in strikingly different regions of the world, I have expressed this fascination in various ways. Three elements recur clearly and vigorously throughout my work: the Water, the Air and the Earth, with, usually, one element overtaking the others, in accordance with the characteristics of the location in which I am living at that moment. From the strong and dark oceans of South America to the textures of the Canadian forest; from the starry sky of the Atacama Desert to the mountainous Santiago city and recently to the tropical forests of Australia, I draw my imagery’.
(That night in the forest): The Storm explores an ongoing interest into cultural experiences
and connections between time, migration and memory. From a
young age, living in Chile I recognised and identified with the plight
and journey of the traditional landowners. The visual cues of body
painting, imagery within the ceremonial photographs of rituals,
ceremony and dance. These investigations and research into the
stories behind the people and places have allowed me to identify
an important part of my own personal journey in life, one
impassioned from the heart with the memories of my ancestors.
RADOSLAVA HRABROVSKA, SLOVAKIA
Radoslava Hrabovská is Slovak artist.
She specializes in graphics, drawing, but also ceramics, felting,
paperwork, illustration and painting. She creates everything she finds
and what she has.
She grew up at a time when women were assigned a place, especially in
the household. When she was not accepted to art school, the professor
told her that a woman should have a place in the family. When a woman
becomes a mother, she stops creating, and this is a lost energy for
teachers. That's why they prefer boys to girls to study.
She graduated from the Faculty of Education - teaching professional
subjects, specializing in Art Education, where she got the basics of
photography, drawing, graphics, illustration, textile creation,
ceramics.She became a mother. Mother 4 sons. And it is constantly
being formed and created. Motherhood is a great gift and a cross. This
enriched her in life and work, creation.
Era COVID's time also marked her life, family and work. Paradoxically,
time stopped and she suddenly had time for herself. The paintings are
shifted in color to unreality. Exactly as you unrealistically create
Such an illusion is her journey to work, which she paints only in
pink. She recorded the everyday moments of the days, which for some
time became a memory and hope. Raindrops appear on some of the
paintings ... but it's just sadness ...
She exhibits in Europe, Asia, America, Africa. Her artwork is diverse
and made of different materials - as is her life. After many years,
she found strength and began to talk. She talks about everything she
feels and thinks about. The place for her confession, the testimony is
in the creation, the art ..
Art and creation is also a place for therapy. Her son, with whom she
went through drug hell as a whole family, is also the source and
subject of her artwork. He now struggles with the consequences and
develops in him a disease of schizophrenia. His intertwining worlds
she captured in black and white graphics. Well, it's not the sadness
that's in the picture. There is no time for grief.
IWA KRUCZKOWSKA-KROL, POLAND
Born in Zabrze, the southern part of Poland.
She has got her university diploma with first-class honors from the painting studio of Professor Jacek Waltoś, with the annex from artistic tapestry under the supervision of Professor Lilla Kulka. She earned her specialty stage design diploma in 2004 under the supervision of Professor Krystyna Zachwatowicz-Wajda. 2011- 2012 postgraduate studies at the Faculty of interior design and design of the Silesian University of Technology in Gliwice. PhD -2017 at the Academy of Fine Arts in Cracow under the supervision of Professor Zbigniew Bajek; dissertation’s title: The significance of the apparently insignificant matters. She participated in many personal (over 20) and collective (over 200) exhibitions (many times as a curator of the exhibitions also) in Poland, USA, Ireland, England Germany, France, Hungary, Czech Republic, Bulgaria, Lithuania, Italy, Japan, Russia, Ukraine, the Netherlands, Slovakia, Belgium, and India (works: painting, tapestry, set design and stage design).
Awarded many times in painting competitions and honored with creative scholarships from the City of Krakow and the Marshal of the Silesian Voivodeship. She participated in many residencies and plein-airs (in Japan, USA, France, Germany, Ireland, Great Britain, Italy, Russia, Ukraine, Bulgaria, Lithuania, Czech Republic, Slovakia, Hungary, the Netherlands, Belgium, India).
She deals in painting, scenography, unique fabric and artistic education.
Works in many state and private collections in the country and abroad.
LOUISE BYRNE, IRELAND/DENMARK
Is an Irish visual artist living and working out of Copenhagen, Denmark. Focusing mainly on the moving body in relation to space, the idea of movement as a form of communicative language interests her practice. She uses the play between digitally recorded and live movement in an expanded drawing practice to make often, video based works.
Movement in her practice is a way of being, and reacts to the surroundings in a particular space through the transition of states of shapes. Something that motivates the use of line within her practice is the relationship the body has with the space which connects with the relationship the line can have on its surface. She is interested in digital capture of line intertwined with movement so, that momentary element can communicate the drawing in space and the play occurs between digital and live to sculpturally realize movement as a form of language.
This piece, Perturbation, is a series of two performative video pieces based on the spaces in which she has made a series of movement phrases in. She considers her body to be drawing in space the shapes which make up these phrases. The movement phrases and dialogue are a response to the space, coming from her as a human, in the combination of the physical and emotional response; within the timeframe which she made the work, while in isolation. The title reflects a certain feeling of restlessness and comfort at the same time.