51Top: Lady in Red by the Tree Bottom: Lady in Red, Ghostdigital art from photography photography2016 2016 Easter 2017 Hidden Treasure Art eMagazine
52MARTA WAPIENNIKwww.martawapiennik.comModel I Model IIIdigital photo and collage digital photo and collage50cm x 70cm2016 50cm x 70cm 2016Marta Wapiennik - multidisciplinary artist born in1988 in Cracow (Poland), where she current-ly lives and works. Graduated from Jan MatejkoAcademy of Fine Arts in Cracow, Graphic Depart-ment (2013). She has a diploma in screenprinting.She takes photos, paint and is a graphic designer.Exhibited in Europe (Italy, France, Finland, Lith-uania, Bulgaria, Poland), USA, China, Argentina,Venezuela, Bolivia.Hidden Treasure Art eMagazine Easter 2017
53 Model II digital photo and collage 50cm x 70cm 2016 Easter 2017 Hidden Treasure Art eMagazine
FU WENJUN 54www.fuwenjun.com NepotismHidden Treasure Art eMagazine Easter 2017 conceptual photography 140cm x 175cm 2015 Fu Wenjun, Chinese important conceptual photography art- ist, talks about history of art; it’s not a means, but the main goal. He therefore analyses some aspects which are meant to express a timeless concept. In this way, the expression of every artwork becomes a thesis with no possibility of anti-the- sis, full of proofs which we find again many times in history, western and oriental, to re- member that history is repeat- ing itself and that the mankind as a whole has similarities be- yond geo-cultural position. Life is Simple conceptual photography 140cm x 175cm 2015
55 350 B.C. conceptual photography 140cm x 175cm 2015 Drift Away conceptual photography 140cm x 175cm 2015 Easter 2017 Hidden Treasure Art eMagazine
You Become 56Better with Age clude Wayne Thiebaud (92) at Acqua-At what age do people hit their stride pro- vella, Robert Irwin (84) at Pace, Anthonyfessionally? Categorically speaking, ath- Caro (89) at the Yale Center for Britishletes, engineers, politicians, television Art, Malcolm Morley (81) at the Parrishwriters, salesmen, and actresses all have Art Museum, Yayoi Kusama (84) at thevarying norms and shelf lives, sometimes Whitney Museum, Alex Katz (85) at theaffected by physical attributes or societal Yale School of Art, John Baldessari (81)expectations. Seemingly immune to age- at Marian Goodman, and Philip Pearlsteinist perceptions and traditional notions of (turning 89 in May) at Betty Cuningham.retirement are artists. A historical look re- Thornton Dial (85) had a retrospectiveveals that a striking number have been that traveled to several American muse-highly productive and turned out some of ums, the San Francisco Museum of Mod-their best work late into old age, including ern Art mounted a survey of Jasper JohnsBellini (who died at 86), Michelangelo (d. (who turns 83 on May 15), Betye Saar89), Titian (d. between 86 and 103, de- (86) filled a room of the National Acade-pending on your source), Ingres (d. 86), my Museum with her birdcage sculptures,Monet (d. 86), Matisse (d. 84), Picasso and an exhibition of Claes Oldenburg’s(d. 91), O’Keeffe (d. 98) and Bourgeois (84) work is currently on view at the Mu-(d. 98). seum of Modern Art in New York.“All the case histories point in one di- “Being an artist is a way of life”rection - the extraordinary floweringof artistic genius in old age” says 82-year-old Faith Ringgold, who has a solo show opening in June at theThomas Dormandy wrote in his book Old National Museum of Women in the Arts inMasters: Great Artists in Old Age. While Washington, D.C. and just closed one atDormandy rejected the attractive idea ACA Galleries. “It’s not about ‘I’m goingof creativity as an antidote to physical or to major in this and get my degree, andmental decline - “it is contradicted by the then I’ll go to work, and then I’ll retire.’ Itfacts” - he explored the powerful inner is something one has a passion for, does,shifts in old age that propelled many artists and then becomes - and can do it liter-to new heights, whether it’s Monet painting ally until they pass away. It’s an old-agehis “Water Lilies” when he was almost blind thing. You become better with age.” Ring-after cataract surgery, or Matisse inventing gold is currently creating an online muse-his paper cutouts in his last years when um of her work since 1948 that will pro-confined to his bed and a wheelchair. vide games for people to create their ownThe numerous recent exhibitions of ac- art - an entirely new venture for her.tively working artists age 80 and up wouldbear out this anecdotal correlation between “I do think some young people havelongevity and creative production. New the mistaken notion, especially to-“Old Masters” who have enjoyed gallery day, that they’re supposed to beand museum shows over the last year in- successful right away”Hidden Treasure Art eMagazine Easter 2017
57says Ringgold, adding that many women that you didn’t have in your earlier years,”artists don’t receive acclaim before 60, Stuart says. “You’ve made more things,especially women of color. “There’s a great you’ve honed your craft, you’ve experi-deal of racism and sexism in the art world. enced more books, you’ve experiencedIf you’re going to drop out early, you’re go- more criticism or praise. You don’t needing to miss the whole thing.” Cuban-born to worry about what people think. There’spainter Carmen Herrera, for instance, that kind of freedom.”spent decades working unwaveringly onher hard-edge abstractions before selling Joan Semmel, 80, feels relief in not havingher first canvas in 2004, at age 89, to the to hustle and put herself out there in thecollector Ella Fontanals-Cisneros. Since same way she did when she was younger.then, Herrera, who turns 98 this month, “In the work itself, you know who you arehas experienced a flurry of interest in her as an artist,” she says. She’s gratified bywork and shows at Lisson Gallery. the current interest in her work, with an exhibition of her self-portraits from the last“I admire long-term careers” decade up through June 9 at the Bronx Museum of the Arts and a show of hersays Duane Michals, 81, who just had a most recent nudes juxtaposed with veryshow at DC Moore Gallery of 19th-cen- early figurative paintings up through Maytury tintypes that he playfully embellished 25 at Alexander Gray in New York. “You’rewith various styles of modernist painting. not struggling with finding your voice andHe had painted on photographs during the doubting everything you do in quite the1980s but cycled back to it a couple years same way as when you’re younger. It’s allago in an entirely new way. “Anyone can part of self-acceptance.”be the flavor of the month or the year,” hesays. “I really admire people who evolve. “Working becomes your own littleWhat I’m doing now I wouldn’t have im- Eden”agined five years ago. I’d like to think thatfive years from now I might be doing some- Thiebaud says, while acknowledging thething I can’t imagine now.” challenge of overcoming the traps of what others think and say. “You make this little“If you’ve lasted this long in the game, spot for yourself. You don’t have to suc-you probably are making a living” ceed. You don’t have to be famous. You don’t have to be obligated to anything ex-says Michelle Stuart, who recently turned cept that development of the self.”80 and now proudly admits her age (sheused to lie about it). In July, Stuart has a Risk taking seems to be a common traitsurvey of paintings, sculpture, and photo- among these artists, not just in old agegraphic works from 1968 to the present but throughout their lives. “Artists are likegoing on view at the Parrish Art Museum gamblers,” says Stuart. “Who else wouldin Water Mill, New York. She agrees with walk into life without a job, no credit?Ringgold that experience counts. “Experi- You’ve got to have that little extra frissonence certainly gives you insights into things of adventure.” Easter 2017 Hidden Treasure Art eMagazine
58Morley has always eschewed working in subject in the work itself. Since the 1970s,any one predictable style. Being an artist she has painted pictures of her own na-is “a perpetual renewal, it’s always for the ked body. “Early on, I was interested in afirst time,” says the artist, widely credited non-idealization of the body, the body aswith jump-starting bothphotorealism and one really experiences it,” she says. “Age,Neo-Expressionism. “It’s rather like my then, was a natural part of the way I wasdog. When you throw the ball, she runs for working. I felt it was important to focus onit as if she’s never run for it before, and it the changes in the way we look as a natu-must be the millionth time.” Over the last ral formation rather than something unde-decade, Morley has faced several health sirable.”crises but has rallied and come back, tak-ing new directions in his painting. “I seem Semmel’s recent paintings, with layers ofto be a cat with nine lives,” he says, add- shifting views of her face and body, areing that it’s impossible to know whether much more psychologically complex thanhis development would have been similar if her earlier hard-edge canvases, whichnone of his mishaps had happened. cropped out her face.For Ellsworth Kelly, who turns 90 this “These new paintings are reallymonth, the connection between phys- concerned with the understand-ical and mental health has only become ing of the self in one’s total hu-stronger with age. “Recently, I have had manity rather than in one’s sensu-some physical challenges related to aging, ality”though I accept it, and it has given me anadded surge for continuing to create new she says.work,” he says. Kelly has two new sculp-tures in his current exhibition at the Barnes Other painters find the motivation to workFoundation in Philadelphia. every day in the legacy of painting itself. “I have to up the ante continuously,” says“Making art has always been a Morley. “I have a big ambition to sit in thenecessity” pantheon of the greats. Whether or not it occurs, of course, other people will have“I don’t know if being an artist is making to decide.” Thiebaud feels sustained byme live longer,” says Semmel. “But cer- his ongoing dialogue with the history of thetainly in terms of keeping me vital and in- medium. “It’s great to have the communi-terested and alive in the sense of how I ty of that long tradition of painting, which,live my life, being an artist is undoubtedly however small a part you have in it, is aa very important part of that - even when comforting kind of life,” he says. Current-I’m not well. Normally, I work standing. If ly, he’s working on paintings of mountains,I can’t stand, I sit - but I still work. That synthesizing memories and characteristicsengagement is very important.” of various types of mountain formations ex- perienced in his youth. “I must say, I don’tFor Semmel, aging has become a central feel very successful,” he says.Hidden Treasure Art eMagazine Easter 2017
59“I’m still trying to figure the damn things where the parameters and limitations areout. This probably helps me to keep go- as important as the spontaneity and free-ing - new problems, new sensibilities, new dom of the body.”challenges.” The shift in one’s sense of time that comes“Whatever you feel is undone, with aging also impacts the studio routine.you should do” “When you’re 28, you feel likesays Stuart, a piece of advice she gives you’ve got infinite time in front ofto artists and nonartists alike. For her, it you, which you just don’t havemeant creating an entirely photographic when you’re my age”body of work, a medium she had previous-ly only used for documentation. Her recent says Stuart. “You become more circum-large-scale grids of images, surreal and spect about how you spend it.” Semmelcinematic ruminations on natural phenom- agrees that time is an important factor inena and human frailty, were shown last fall why and how she works today. “You knowat Leslie Tonkonow in New York. “It’s that that your time is limited, so you don’t wantbook I always wanted to write, the story- to waste your time doing work you don’ttelling aspect of my psyche that needed to feel is important.” That means she givescome out,” she adds. All of these artists herself permission to take occasional dayshave maintained consistent, disciplined off if she doesn’t have something she reallystudio schedules. wants to do.“You’ve got to do just like the mu- “When I was younger, I had tosicians do, you’ve got to practice work every day because I mightevery day” not be an artist if I didn’t. - she says. - Now I’m pretty sure.”Ringgold says. “I plan to do that for therest of my life, practice every day.” The Article by: Hilarie M. Sheetsluck of the gene pool as well as stayingfit support the stamina and coordinationrequired to remain at the top of one’sgame. Morley says he treats himself likean athlete in terms of the seriousness withwhich he approaches his physical therapy.Thiebaud plays tennis three to four timesa week, which he finds akin to the athleti-cism of painting. “This mind-body constructis a very important thing to recognize,” hesays. “The plumb line in the body gives usa sense of things like grace or awkward-ness or tension. In tennis, after all, you’replaying on a kind of surface like Mondrian Easter 2017 Hidden Treasure Art eMagazine
PAUL-JÜRGEN WEBER 60www.pjweber.de SpouterWeber lives and works in Cologne, IS43Germany. Art works since 1968, atfirst painting and assemblages, since fineart pintthe 1980ies primarily photography. 36cm x 47cmHe feels particular reference to AnselAdams, Bernd Becher and Sebastiao 2015Salgado. His works are preferential- Glacier Texturely focussed on landscapes in a broadsense, meaning “natural finished” and IS46“man-made” settings. Source to his fineart printworks is the world’s visible reality as it 36cm x 47cmis. It actually provides an endless do-main of endemic art basics. 2015The particular feature is to discover, se-lect and process the intrinsic essencefrom the huge diversity and variety offorms, substances and situations witha discrete power of attraction to be cre-atively converted into artworks. Sir KarlPopper very rightly accentuated theabundant beauty of our planet Earth.With his photographs Weber quests tocontribute to it’s visualization. WilfriedWiegand calls this the ‘detected beau-ty’, which has been already existingbut has to be bared and recollected. Itis no matter of words and reasons toget access to this kind of artwork. Thekey is to realize it subjectively as indi-vidual beholder in his respective per-ception. In this sense Weber’s artworkwants to touch people and at the bestto fascinate and to inspire.Hidden Treasure Art eMagazine Easter 2017
61Glacier Texture IS53 Glacier Texture IS89fineart print fineart print36cm x 47 cm2015 36cm x 47cm 2013 Easter 2017 Hidden Treasure Art eMagazine
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DANIELA AMENT 64www.ament-daniela.com Daniela Ament Daniela Ament is a autodidact artist Born in Israel and resides there She always created something ever since her childhood At the age of 50 she started to sculpt with clay Her sculptures are full of emotions and expresses a unique inner world. Most of her images consist with children and women and their world. Danie- la has a unique languish and a very expressive way of talking through her sculptures. At 2004 she started to make some of her works in bronze and had her first solo gallery exhibition.The Senior Partnerbronze, edition of 72004 Pregnancy bronze edition of 7 45 cm 2004Hidden Treasure Art eMagazine Easter 2017
65Birth / bronze edition of 9 / 45 cm / 2016Daniela exhibited in about 50 exhibitions solo and in group in Israel Paris France Florence Ferrara It-aly Vancouver Canada and Miami & NYC USA Daniela stayed on a scholarship for a month in ArtcroftKY as a resident on 2009 Features in books: Le Livre Des ARTISTS ISRAELIENS- published by LaGazette Des Artes in Paris France CONTEMPORARY ARTISTS OF THE WORLD- 2008-2009 pub-lished by Museum Of The Americas” - Florida USA “CREATIVE ARTISTS”-100 years to Tel-Aviv—Jaf-fa Israel “THE BERLINER 17” published: Art Management Berlin. Easter 2017 Hidden Treasure Art eMagazine
66ELHAM HAMRAZwww.instagram.com/hamraz_elham Human, this roomer of eterni- ty, in the turbulent journey of life faces questions that shake its pillars of existence. Seeking for answer to these questions I spend several years of my life studying physics, philoso- phy and art. I try to experience every field I love even if I am uneducated in that, because I believe it makes me improve my creativity. I have expe- riences in painting,calligra- phy,sculpture and installation. Human Rights wood and paper 18cm x 11,6cm 2016 We Are One mirror and string 65,6cm x 10cm 2015Hidden Treasure Art eMagazine Easter 2017
67 Study Yourself mirror and paper 45,3 x 18cm 2016 Human Is wood and paper 18cm x 11,6cm 2016 Easter 2017 Hidden Treasure Art eMagazine
68SHENPING WANGwww.spwang.org Struggle Power Bronze 24in x 12in x 4in 2015 Liberation Wing mixed media 24in x 20in x 20in 2012Hidden Treasure Art eMagazine Easter 2017
69Shenping Wang was born in Beijing, Chinain 1980. He earned a Bachelor of Indus-trial Design from Beijing Technology andBusiness University in 2003. Interesting-ly, when he graduated he had nothing todo with the work of art for some reason.It took another seven years he has a newopportunity to learn the arts again. In early2011, he enrolled at the Academy of ArtUniversity in San Francisco in order to pur-sue a MFA degree. The main concept forhis current series “Limitation” came fromhis childhood and adolescence experienc-es of the artist. As he grew up, Wang al-ways lived in what he calls “a small space”.The life experience of living in such a smallspace became the main driving force forthis young artists work. His work focuses onpeople’s expressions of emotion that occurwhen they are in such small limited places. Limitation mixed media 29in x 11in x 11in 2012 Easter 2017 Hidden Treasure Art eMagazine
70MARIAN SAVAwww.mariansava.com Amapola black belgian marble 56cm x 17cm x 18cm 2009 “Marian Sava” makes the stone sing” He received his artistic education at the Royal Academy of Fine Arts of Bruxelles. When look- ing at his works, one word comes to mind ‘Emo- tion’, because one experiences a great pleas- ure, produced by the creative impulses of the artist, which are marked by the seal of extreme sensitivity. Marian Sava approaches the abstract art in his very nuanced manner, without ever falling on the side of pure and hard abstraction. He passes smoothly, from the strict image of a subject to the creation of new unexpected forms (...) Collette Bertot, Art Critic, Brussels 23 02 2008 Messenger white marble 72cm x 37cm x 8cm 2013Hidden Treasure Art eMagazine Easter 2017
71 Burning Bush white marble Flight of Day black belgian marble 63cm x 47cm x 7cm 73cm x 27cm x 6cm 2002 2008 Easter 2017 Hidden Treasure Art eMagazineAmapolaFor the eye’s delight, in the summer,colored parasols invade fields and theroadsides … these are the poppies!Light of Day“Vibrations of the wings of insects, theday and the night”. A true rehersal inminiature, with an end unpredictablewhen you look carefully the vibrationof insects’s wingsBurning Bush“Myth and reality in the history of hu-manity”. The burning Bush is, in thebiblical tradition, the revelation of theAngel of the God inside a Bush thatburned without ever burn on MountSinai. Here, God sends Moses deliv-er his people from slavery and giveshim the tablets of the law with the tencommandments, carved in stone bythe fire.MessengerBirds were always used to carry mes-sages. Benefiting from their aerody-namic shape in their flight, one watch-es them, high above, in an imaginaryform.
72LEO DEVILLEwww.leodeville.co.uk Spirit ‘G’ ceramic and mixed media 16cm x 33cm x 7cm 2013Birdeyesceramic and mixed media32cm x 17cm x 6cm2013 Leo creates ceramic faces, figures, sculptures and jewellery that sometimes include coloured wires, textiles, beads and paint. When she has a black biro in her hand she produces surreal black & white illustrations and also paints in oils & acrylics. She started working spontaneously with the black biro drawings, which took her on subconscious journeys to a world far more inter- esting than the physical normality. She now lets her ceramics evolve and loves this process as she’s constantly intrigued to view where her mind has taken her. Leo’s eyes, ears and mind are forever open to new ideas and in- fluences.Hidden Treasure Art eMagazine Easter 2017
73 Fuzzy Dreads ceramic and mixed media 23cm x 24cm x 8cm 2012 Ishka’s Moment ceramic and mixed media 26cm x 19cm x 12cm 2014 Easter 2017 Hidden Treasure Art eMagazine
74PADMINIwww.andreapengprops.tumblr.com Unknown sculpture size year London based Andrea Peng was born in 1983 in Argentina to Taiwanese parents. Her work has been influenced by the search for her identity and explores mixed cultural associations and the nature of human ex- istence. She has always been fascinated by unseen details, looking at things from the inside out in order to discover a sense in between. Unknown sculpture size yearHidden Treasure Art eMagazine Easter 2017
75 Unknown sculpture size yearShe is a versatile prop mak-er with a distinctive approachwho is fully comfortable com-bining conceptual and practi-cal realization. Andrea has akeen interest, and active in-volvement, in organizing var-ious alternative art, music,and social projects. Cultural-ly and politically aware theseactivities feed her practice.Currently in her final year atRCSSD, Andrea works asa freelance prop maker onvarious projects including forPinewood Creative, Kimati-ca Studios, Mantaray Props,and artist Tom Price.Unknownsculpturesizeyear Easter 2017 Hidden Treasure Art eMagazine
76GIUSEPPE DIGIACOMOwww.artigianatoartistico.weebly.comIcaro Giuseppe Digiacomo was born in Manduria on January 23, 1990.installation Since childhood he was fascinated by the art of shaping wood and130x45 cm by attending the workshop of an artisan, he acquired the rudiments2015 that allowed him to learn how to assemble and transform materials readily available. At 9 years old, he moved to Rome, where he still lives and works. The eternal city stimulates and intrigue him, with its many shops and works of art in every alley. So, he get close on tiptoe to the art world that, in a short time, involves him completely. In January 2015, he made his first work, “Spazio Vitale”, in which he focuses the man with his own emotions. Emotions that are also his and that, since then, take shape in his works. In a short time, he experimented new materials and perfected his technique. The Maestro Alberto Vespaziani, President of “100 Pittori di via Margutta” Association, is the first who to take an interest in its work and, judging them as innovative, he agree, in 26.03.2015, to expose him with artists of the Association. Since then he has partic- ipated in several collective exhibition and in various artistic contest.Hidden Treasure Art eMagazine Easter 2017
77Ricordi Alla ricerca di…installation installation50 x 50 cm2015 70 x 92 x 40 cm 2015 Easter 2017 Hidden Treasure Art eMagazine
78GEORGIA SZOLLOSIwww.georgiaszollosi.comGeorgia Szollosi is an airbrush artist and designer, based in London,UK. Since she established her Airbrush Studio, G-Design in Budapest,2007, her work has been featured in leading art and custom painterpublications, as well as shown in many exhibitions around Europe.“Ever since my earliest days growing up in Hungary I have enjoyedpainting and I love to express my emotions through my art. I have beena fine artist for the last eight years and have exhibited in both solo andgroup shows across Europe. I have sold several pieces which includepaintings, drawings and sculptures, some of these have been commis-sions from clients within the UK and Europe. Recently I have developed my technique using the air- brush. I am a multi skilled artist who is not tied to one media. I choose materials based on their relationship with my concept and what can be interpreted from such means.” Teach me to Ride acrylic on canvas 50cm x 75cm 2012Hidden Treasure Art eMagazine Easter 2017
79 The Clown acrylic on canvas 65cm x 50cm 2012 Spirit of Ecstasy acrylic on canvas 55cm x 45cm 2009 Easter 2017 Hidden Treasure Art eMagazine
hiddentreasure Art eMagazine / Easter 2017 on the back: Capt. Stjepko MamicThe Net, Cannes / mixed media on canvas / 100cm x 80cm / 2017Hidden Treasure Art eMagazine Easter 2017
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