www.fuwenjun.comcontact: Fu WenjunChina 350 B.C. conceptual photography 140 x 175 cm 2015 Drift Away conceptual photography 140 x 175 cm 2015 HIDDEN TREASURE ART eMAGAZINE / Summer 2015 I 51
Paul-Jürgen WeberWeber lives and works in SpouterCologne, Germany. Art IS43works since 1968, at firstpainting and assemblag- fineart pintes, since the 1980ies pri- 36 x 47 cmmarily photography. Hefeels particular reference 2015to Ansel Adams, BerndBecher and Sebastiao www.pjweber.deSalgado. His works are contact: Paul-Jürgen Weberpreferentially focussed [email protected] landscapes in a broad Germanysense, meaning “natu-ral finished” and “man-made” settings. Sourceto his works is the world’svisible reality as it is. It ac-tually provides an endlessdomain of endemic artbasics. Glacier Texture IS46 fineart print 36 x 47 cm 201552 I HIDDEN TREASURE ART eMAGAZINE / Sumer 2015
Glacier Texture IS89 fineart print 36 x 47 cm 2013 The particular feature is to discover, select and process the intrinsic essence from the huge diversity and variety of forms, substances and situations with a discrete power of attraction to be creatively converted into artworks. Sir Karl Popper very rightly ac- centuated the abundant beauty of our planet Earth. With his photographs Weber quests to contribute to it’s visualization. Wilfried Wiegand calls this the ‘detected beauty’, which has been already existing but has to be bared and recollected. It is no matter of words and reasons to get access to this kind of artwork. The key is to realize it subjectively as individual beholder in his respective perception. In this sense Weber’s artwork wants to touch people and at the best to fascinate and to inspire. Glacier Texture IS53 fineart print 36 x 47 cm 2015 HIDDEN TREASURE ART eMAGAZINE / Summer 2015 I 53
Approaching GalleriesIt’s one thing being an established and Restaurants might be a good place tofamous artist, where all you have to do start, it works for both the restaurant inis paint the pictures and hand them terms of attracting customers, and theover to an agent, then show up for the artist. It is also a good place to get overpreview evening. It’s another to be at your ‘art exhibition anxiety’ in a far lessthe beginning of your career as an art- intimidating atmosphere than a publicist. gallery. They charge no commission, but you have to do the work yourself…Most of us have to plan our own shows, from the hanging to the promotionas I have done over the last few years, and subsequent sales. So, it is from thisand there is a lot of work involved if perspective that I write.you want to get the most out of yourart exhibition. I was fortunate in that I In the Beginning: Your First Art Exhibitionworked as a gallery assistant for artist First of all, you must secure your ‘gal-Nerys Johnson when I was at Durham lery space’. I had my first solo art exhi-University, and assisted her with pre- bition at Pizza Express in Darlington, UK.paring for her shows. Even though she As a corporation, they have a hugewas an established artist, there was still commitment to the arts, in particulara lot to be done. local artists. Their restaurants are often designed as galleries themselves, andAfter you have planned an exhibition they know that their customers reallyof your work, you will see that the com- appreciate the ever-changing workmission galleries request is well worth on their walls. To be continued...the effort they put in!54 I HIDDEN TREASURE ART eMAGAZINE / Summer 2015
SCULPTURESINSTALLATIONS HIDDEN TREASURE ART eMAGAZINE / Summer 2015 I 55
Elana Schwartzwww.ElanaSchwartz.comcontact: Elana R. [email protected] States Sanasthros linden wood 28 x 8 x 7 in 2012Judgement Day linden wood, pine, cedar, mahogany 14 x 6 x 8 feet 201356 I HIDDEN TREASURE ART eMAGAZINE / Summer 2015
Aphia linden wood mahagony 4 feet 2 in x 2 feet 5 in x 1 foot 2 in 2012 Erodon linden wood mahagony 5 feet 7 in x 1 foot 10 in x 2 feet 2013Elana Schwartz is a wood sculptorfrom New Mexico. She has beendrawn to the use of statuary as aconduit between the physical andmetaphysical; concrete objectstranscend the inherent limitations ofthe physical and provide a channelthrough which hidden meaning isunlocked. Wood is the perfect me-dium to explore concepts of thecyclical nature of life, containingwithin each piece a living historyand future all its own. The recrea-tion of wood into sculpture capturesthe transformative spirit of our ownlife cycles, and has the capacity tomake any space sacred. HIDDEN TREASURE ART eMAGAZINE / Summer 2015 I 57
ELANA SCHWARTZ “Kalsang” Good Fortune lindenwood, pine, moss, mixed media I 4’2” x 3’9” x 2’3” I 201358 I HIDDEN TREASURE ART eMAGAZINE / Summer 2015
Why Artists Should Be Paid for Their Artwork?“Artists shouldn’t be paid for their art. Getting paid prevents them fromcreating really good stuff.” - I read somewhere online.I want to make three points about Art, Contribution and Money with thisarticle:Your art is a contribution to society. It brings joy, it solves problems, andit makes this world a better place.Being paid allows you to make that contribution to society.Your contribution expands in relation to the amount of time you putinto it. More hours means expanded contribution to this world with yourGod-given talent.“Artists are better off working a job they hate and then painting in theirspare time.”This is the problem I have with that:No one should work a job they hate. You were put on this earth withtalents and you are meant to do that which you are good at and whatyou love! The world is missing out on your contribution. The less an artistcreates, the less they grow. It requires hours upon hours to hone yourcraft.Charging for your artwork enables you to make a contribution to theworld with your art. It allows you to develop your style and to get betterand better at what you do.As long as we are stuck in a money based system, I find it an outright in-sult to all hardworking artists to say they shouldn’t be paid for what theydo. It’s just a crazy notion that this one, single profession should work forfree! (While everyone else gets paid.) HIDDEN TREASURE ART eMAGAZINE / Summer 2015 I 59
Giuseppe Digiacomo www.artigianatoartistico.weebly.com contact: Giuseppe Digiacomo [email protected] Italy Giuseppe Digiacomo was born in Manduria on January 23, 1990. Since childhood he was fascinated by the art of shaping wood and by attending the workshop of an artisan, he acquired the rudiments 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. Icaro installation 130x45 cm 2015 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 partici- pated in several collective exhibition and in various artistic contest.60 I HIDDEN TREASURE ART eMAGAZINE / Summer 2015
Ricordi Alla ricerca di…installation installation50 x 50 cm 70 x 92 x 40 cm2015 2015 HIDDEN TREASURE ART eMAGAZINE / Summer 2015 I 61
Marian Sava Amapola black belgian marble 56 x 17 x 18 cm 2009 www.mariansava.com contact: Marian Sava [email protected] Belgium “Marian Sava” makes the stone sing” He received his artistic education at the Royal Academy of Fine Arts of Bruxelles. When looking at his works, one word comes to mind ‘Emotion’, because one experienc- es a great pleasure, produced by the crea- tive 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 72 x 37 x 8 cm 201362 I HIDDEN TREASURE ART eMAGAZINE / Summer 2015
Flight of Day black belgian marble 73 x 27 x 6 cm 2008AmapolaFor the eye’s delight, in thesummer, colored parasols in-vade fields and the roadsides… these are the poppies! Light of Day Burning Bush“Vibrations of the wings of in-sects, the day and the night”. white marbleA true rehersal in miniature, with 63 x 47 x 7 cman end unpredictable whenyou look carefully the vibration 2002of insects’s wings Burning Bush“Myth and reality in the historyof humanity”. The burning Bushis, in the biblical tradition, therevelation of the Angel of theGod inside a Bush that burnedwithout ever burn on Mount Si-nai. Here, God sends Moses de-liver his people from slavery andgives him the tablets of the lawwith the ten commandments,carved in stone by the fire.MessengerBirds were always used to carrymessages. Benefiting from theiraerodynamic shape in theirflight, one watches them, highabove, in an imaginary form. HIDDEN TREASURE ART eMAGAZINE / Summer 2015 I 63
If you wish to participate in Hidden Treasure Art Magazine Yearbook 2016the same rules apply as for the Yearbook2015 one. You can chose, whether youlike to be part of our eMagazine (with twopages for 55.00 GBP) and later, if you de-cide to participate in the Yearbook 2016,you can be included without having to beselected and you pay less, since the par-ticipation fee for the eMagazine is part ofthe yearbook fees (2 books with 1 page +post&packaging, handling fee and bank-ing transaction fees). details: www.ht-artmagazine.com “Creativity is intelligence having fun.” Albert Einstein
hiddentreasureArt eMagazine / Summer 2015 Guillermo Grebe El rescate de las Sabinas (serie DIOSAS PUTAS) oil on canvas I 120 x 100 cm I 2014 Guillermo Grebe studied Visual Arts at the University of Chile between 1983 and 87 and design in 2010 to12. He has been studied from the masters as Gonzalo Diaz and Adolfo Couve. Since 1989 he dedicated himself to working in advertising as an artistic creative director. www.guillermogrebe.cl
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