Nature is always my place to begin. I am drawn to how forms respond to the stresses they withstand and the obstacles they confront. Starting with observations of specific phenomena, I abstract the parallels I find in processes as diverse as the surge of lava, the creep of a glacier, the flow of water, or the growth of a tree.

My goal as an artist is to utilize all that is abstract in the painting process to create a presence. I want my work to deliver something that is visceral. When I look at my painting (Figures 1-4), whether it is a commissioned portrait, a figure from imagination or a flower from my garden, I want to feel the presence of my subject.

I have always found an interesting correlation between working in fibers and the microscopic world. When working with fibers, much of the same terminology is used as with the body, such as capillaries and veins.

As a sculptor I aim to three-dimensionally illustrate the theories behind how billions of independent nerve cells create something that is greater than the sum of their parts. The brain is perhaps the most complex puzzle in the universe.

Emblem of Death is large-scale wall installation, which consists of numerous medical images of the artist’s father’s illness.

I reveal the seams of each section as a nuance of strength and allow the strategy of light movement through the many surface perforations, to evolve a perceived fragility.

Pablo Picasso stated, “art does not call for explanations”. He should know having created so many incredible pieces. Why then do so many people seek explanations regarding the what, the where, and the when a piece evolved.

Are people really seeking to understand the artist himself - the who, the how, and the why? Do they want to connect with the way an artist perceives and interprets reality and thus creates a new reality. What if their questioning is not as much with regard to the result but the reason of creation?

I have no intention giving any explanations to specific pieces of mine but feel that it might be noteworthy to explain the way I call them to life.

At the art academy of Trier, a college lecturer almost disbelieved my facing an empty canvas and not having a vision of what I intend to paint, until he saw and encouraged my working process. What he did want me to do though is work in series for the benefice of evolution.

Since 1995 I have been living and working on World Heritage Listed Fraser Island as a guide and photographer. Frazer Island is located of the east coast of Australia and, with an area of 184,000 hectares, it is the largest sand island in the world. (https://www.derm.qld.gov.au/parks/fraser/index.html) It is also the only sand island in the world that has rainforest growing on it, has the oldest sand dunes in the world, the purest strain of dingoes left in the world and over half of the world’s perched dune freshwater lakes.

With my sculptures and installations identified as WALLS, COATS, MANTLES, VESSELS or SHELTERS, I constantly explore ideas of how human beings live in spheres, both physical and imagined. Single segments of painted cardboard which create safe, warm realms and remind us of our nature - pliable, easily formed, and changeable, thus simultaneously inclusive, exclusive and interactive.

Iñigo Manglano-Ovalle (b. 1961 – Madrid, Spain) Iñigo Manglano-Ovalle investigates diverse subjects such as technology, climate, immigration and the global impact of social, political, environmental, and scientific systems. He has worked in a wide range of media-activist-inspired public art, sculpture, film, sound, and photography. The artist embraces the interdisciplinary; working in collaboration with geneticists, biotech researchers, legal consultants, medical ethicists, architects, composers, writers, historians, and others, Manglano-Ovalle forges a creative enterprise unrivaled among his peers in its scope and complexity.

The annual Harbin International Ice and Snow Sculpture Festival (Chinese: 哈尔滨国际冰雪节) has been held with interruption since 1963. 

Harbin, the capital of Heilongjiang province in Northeast China, is under the direct influence of the cold winter wind from Siberia. The average temperature during the winter is -16.8 degrees Celsius, and it can be as cold as -38.1 degrees Celsius.

Plastic shades and subjective relief, Francis Mbella is from Cameroon. Born December 18, 1961 in Douala, sculptor-father and mother a seamstress, fashion designer, graduate of the Ecole Nationale Superieure des Beaux-Arts in Paris, he devoted himself to painting from its beginnings in search of new forms of expression and rose to prominence in 1987 as a painter of relief, through his technical Tapioca (cassava flour).

Sarah Morris (b. 1967 –London). Morris has been internationally recognized for her complex paintedabstractions and films, which are derived from the close observation of thearchitecture and psychology of urban environments. In her paintings she uses colorsand geometries that she associates with a city’s unique aesthetic vocabularyand palette, as well as its character and energy. Her main interest has beenreserved for major cities and the industries, activities and behavior therein.As a result of their particular cultural, commercial, and political conditions,the cities’ appearances differ markedly, and she treats each as aself-referential system. The artist creates a montage of scenes from everydaylife, distinctive architectural features and media images that reflect theofficial image of each city, and arranges them in a rhythmically editedsequence.

Jaume Plensa (b. 1955- Barcelona, Spain) Catalán sculptor and installation artist Jaume Plensa seeks to illuminate relationships between ideas and physical forms. For Plensa, language becomes a primary sculptural element. Fascinated with books since childhood, the artist recalls, “I always dreamed about transforming letters into something physical.”