This sculpture fused two cultural elements which have been lost in history.
First, the Shir Sangi is a lion that stood guard over our graves for many thousands of years. Second, the pattern on the plate (Red Rose Pattern) was very popular in the past, but has been forgotten in recent times. On the body of the lion is written “I am not here”. This is a physical manifestation of our nostalgia, our longing for all those parts of our collective past which we have lost and which we miss. 



Shir Sangi

This is the first AR sculpture in the world related to Calligraphy. During the opening of the Exhibition at the Aisha Alabbar Art Gallery in Dubai Vera DG presented her innovative project «AR Sculpture – Born of Calligraphy»

AR artwork inspired by Arabic Calligraphy and represent the phrase "Love is eternal". The author wanted to show how Calligraphy is born from a lump of metal. Born with love what creativity is.

Augmented reality (AR) is an interactive experience of a real-world environment where the objects that reside in the real world are enhanced by computer-generated perceptual information. It is a combination of real and virtual worlds, real-time interaction.

To see that sculpture in real life we need to use our phones connected to the internet and be logged into the Instagram account. Using QR scanner on your mobile, scan QR code you will see the sculpture just next to you in real life.

Born Calligraphy Vo1, 2019, AR sculpture, QR code

2020 - Coloured pencil on paper

The red-hued figures featuring in my work present more as alien characters, rather than everyday humans you’d meet on the street – slightly too perfect, almost artificial, strangely unfamiliar. While some are loosely based on real-life people, most are formed using a blend of features from different faces and bodies to create new, fictional personas. They are pictured on their own, perhaps partly nude and often within a cropped, closed-in space. These elements that repeat across my work place isolation and vulnerability at its core. By giving my characters real-life names, I create a sense of intimacy between the character and the viewer – it’s an invitation to connect to the human inside the image and what their story could be, whilst questioning whether one is seeing something that truly exists or works of fiction.

Rosa

acrylic, gesso, cement, plaster, GoogleEarth transfer print on textiles and canvas, graphite, recycled fabrics and threads.
155 x 125 cm
2019-2020



This painting is another from my ongoing series working with GoogleEarth Screenshots to make 2D patchwork tapestries and paintings. The screenshot is from a Desert in Egypt where a glitch in the satellite image depicts multiple times of day and year overlapped in one topography. I am interested in the mechanical error in relation to the dependence humans have on such technology. Questioning the reliability and accuracy of this digital representation of a desert landscape, I paint a layer in addiction to the glitch of what could hypothetically be found between the digital layers of error.

SiO2 + CaO

Feed your demons, 2020, oil on canvas, 140 x 110 cm

Feed your demons

Four Little Swans Study, 2020, single-channel video, 2 minutes. 
Camera: SJ Lee 
Performers: joshua Mccorrmick, Cherrie Yu, Giannella Yt, Jesse Meredith


A section of the ballet Swan Lake reperformed on four pairs of corndogs. 

Four Little Swans Study

Digital drawing, created from an initial pencil sketch, using procreate

Morning light

XX 57 - Paul and Anton play chess

Acrylic on cotton
June - July 2017
90 x 125 cm


Painting XX 57 - Paul and Anton play chess

In his engraving work, Jean-Baptiste Monnin highlights architectural details. Each image is the result of an extensive field research. 

He takes pictures of the depicted subjects using unexpected viewpoints such as a low angle shot. Before using the selected picture he reframes, reverses or rotates it if needed in order to create an abstract urban landscape. He wants to give the feeling to the viewer that he can go inside the picture and walk on this landscape.

The image is then used as reference for the elaboration of the engravings.

This technique brings a new aspect to his work. Etching and aquatint are processes that open a path to the unforeseen. It allows him to render the textures of the architecture and give it a living appearance.

Monnin seeks to create futuristic landscapes devoid of recognizable objects in which the boundary between abstraction and the figurative fades away.


Printmaking

Kim’s works recount memories of everyday encounters such as sceneries, movies, and books. With ordinary scenes and popular images as his source, the artist constructs a subjective archive.

Work, the result of a 2 year-long project, is the artist’s record of contemporary culture. Each work is an interpretation of a popular image, such as the famous dancing scene in the Academy- winning film La La Land, the scene in Haruki Murakami’s novel 1Q84 in which the protagonist looks up at the moon, and the lamppost in the C. S. Lewis series The Chronicles of Narnia.

Kim's works show simplicity, sincerity, and authenticity like Milton Avery and Philip Guston. The materials he uses; oil pastels and oil sticks give viewers intimate feelings. This work shows how contemporary film and literature with distinct characteristics are reduced down to uniform colors when processed through a consumer.



Untitled

Work, the social space where people operate producing goods or services, for a social or cultural benefit, creating ties, and establishing behaviors. lt is al the same time, a place where individuality is deconfigured, transforming them into one more piece of the intricate gear system that makes up the current labor pawning their own creative powers. A place of annulments. 

Annulments

Paint on copper
5 @ 40 x 50 cm
Installation view of exhibition at HilbertRaum, Berlin
2018

Copper is the metal of our telecommunication infrastructure, of our speed. It is also a “native metal,” one that can be pulled directly from the earth with no further transformation. It both possesses a metallic stolidity and is so soft that it can take on organic forms. In this series, the white grid drawn on the surfaces of the copper sheets tightens from field to field. A transformation is underway, from an almost pure copper landscape to a surface more resembling wrinkled paper. Like a map, at first the territory of the copper is marked out and readied for measurement, but as the resolution increases from piece to piece, the dense map lines overtake and obscure the very surface they aim to quantify.

Copper Fields

2020
Oil, Mylar Paper, Cold Wax on Canvas
18" x 22" x .5"

Export

33480. 

But, if we imagine a world like this - one that's endlessly full of magic - then at least it can exist in our minds, right? 

33480

Medium.   Acrylic, Gold and Copperleaf.
Dim:-        70x90cms
Statement:- A volunteer fireman entering a bushfire looking for survivors.This painting is for all the men and women who risk their lives for us.

" Embers "

Princesa
livro Aída Colorida
acrílico e spray em papel
110 x 77 cm
2020

Princesa

Wall sculpture: recycled aluminum (coffee capsules), copper wire
36x20x3 in
2020


Sharp garments for desperate shamans: wearable cocar

A self portrait reflecting the moral responsibility being pushed onto women.

Self portrait, untitled 

In the GOLDEN series painting on gold functions as a metaphoric performance of value and trust. 
For an exhibition at De Nederlandsche Bank in 2016, together with Marcel Broodthaers and James Lee Byars, Daniela became interested in working with gold as material. 
Daniela considers painting as a depiction of what we think about as true, how we arrive at images and the memory of historical narrative and value.


GOLDEN SERIES

From "The Realm of Possibilities" series.

In this series of collages I explore the limitless imagination of children. Before we started adopting social rules, doctrines and other people’s beliefs, we all first opened fresh innocent eyes into a world of infinite possibilities. We allowed ourselves to imagine, to trust, to act with no fear in a land with no barriers. 

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