Can you briefly tell us about your interest in color?

My practice explores ‘colour’ as a subject matter in order to bridge a connection between her western influence and Indian heritage.  ‘Colour’ is commonly perceived merely as a picture-making tool whilst the significance of its pre-existing ideologies are overlooked. As a result, my work is concerned with how the pigments we painters use today are contemporary re-enactments of their historic selves by manifesting an essence of a cultural past that is embedded within their materiality.  Based on this, I often create my own pigments from clay, rocks, and charcoal in order to retrace fragments of a material history from a contemporary position. 

What inspires you on a day to day basis?

1. Long walks in  nature 
2. Sketching outdoors
3. Visits to museums/ galleries 
4. Creative debates/ discussions centered around the contemporary art world
5. Blogging

My practice is heavily driven by Art History, hence, I thoroughly enjoy reading and writing about various historic collections and exhibitions found in museums and galleries. 

What inspired you to create your own pigments for your work and why do you like working with your own medium?

There is something fascinating about going back in time through the physicality of the earth’s materials. I have always been drawn to the imperfections of various objects  (e.g. the cracks in clay and the eroded surfaces of rocks) as I feel that anything old and destructed encapsulates the richest form of cultural history that is unhinged by modernization. By extracting my own colours from the earth, not only do I feel deeply connected to my ancestral roots, but I am able to paint with pigments in their purest and earliest form. Of course, no colour is ‘pure’ in a literal sense, however,  it can be deemed pure enough for its current time. The foundation of my practical and contextual research stems from the prehistoric era, hence, I enjoy working with my own medium as this allows me to situate myself back in history and re-enact the earliest ways of ‘making art’. 

You do curatorial work as well. Are you working on any projects at the moment?

I am currently working on three curatorial projects simultaneously: 

1. I am collaborating with an Art Historian and Advisor to organize monthly artist interviews and am responsible for researching and writing about the various artists hailing from both local and international backgrounds. 
2. I am also involved as a curator for an upcoming art event affiliated with my studio collective ‘Flick The Switch’. 
3. I am currently co-curating an online show with a  fellow curator based in India. The focus of the show is to recognize, support, and foster networks between both emerging and established artists from around the globe.

What is the art community like in Toronto, where you are based? 

The art community in Toronto is thriving and as someone who just migrated here, it has been an insightful experience so far. Many art organizations, especially the non-profit ones are driven solely by community spirit which makes the art scene in Toronto quite welcoming and approachable in comparison to the other cities. Accessibility is another important factor that persists within the art sector here in Toronto as this can really aid the development of one’s network, especially if they are unfamiliar with the particular art scene. It has been a positive experience so far!

Why start “The Artist’s Cove” on Clubhouse?

The goal was to create a space where artists, curators, gallerists, etc. can come together and conduct informative and educational conversations/ debates about the art world. There are not many art rooms on Clubhouse, therefore, ‘The Artis’s Cove’ aims to foster networks between creatives from around the globe and offers a safe space for people to express various viewpoints and opinions. 

What is the art community like on Clubhouse?

Clubhouse is like any other social media app where you can grow your creative network. However, the creative community on Clubhouse is very accessible due to the nature of the app. Briefly, the app is based on a voice conference where people from around the world can start topics/ rooms that spark informative discussions and debates centered around the art world. There are indeed not a lot of art clubs on Clubhouse just yet since this is a newly developed app. However, the clubs that I have become associated with have really aided my professional development as an artist and curator. Clubhouse has a supportive and encouraging community of creatives hailing from different levels and backgrounds where we all are able to learn from each other and share our creative skills and experiences. 

Do you think more artists can benefit from being on Clubhouse? How do you suggest they get involved?

Absolutely. I would definitely recommend that both emerging and established artists get involved as the app will really provide a strong platform for expanding themselves as creatives. I myself have been a member of some art clubs that have proven to be highly beneficial. I would recommend that if artists are interested in joining Clubhouse, they should get involved with the following clubs. 

1. Global Art Exhibition 
2. The Art Club (Highly recommend)

Of course, my club ‘The Artist’s Cove’ is an option as well if any creative wants a safe space to start growing their network. I am happy to connect with fellow artists and help expand their community!

Which artists (emerging or well known) are currently inspiring you?

I have always admired the works of J.M.W Turner, Yves Klein, and Mark Rothko. Klein and Rothko both addressed the notion of colour as the sole subject within their artistic practice. Rothko’s colour-field paintings reflected on the use of colour from a psychological perspective. Klein created his own version of a rich blue colour, ‘Ultramarine’ in order to challenge the ‘traditional’ notions of painting by addressing the concept of spirituality through the depth of flat colour on a canvas. 

Do you see any trends emerging in the art world at the moment?

I most certainly do. Given the overall social and political issues that have been occurring on a global scale for a while now, museums, galleries and various art organizations around the world have started to quote on quote ‘mend their ways’ in what kind of art they research and display. Some places more than others are now gradually starting to address prevailing issues around equality and diversity within the art world. For example, since the BLM movement, various art organizations within the art industry have started to support the works of black artists. Some opportunities out there are now also specifically geared towards supporting such underrepresented communities. 

What is your favorite museum or gallery to visit?

Back when I was in London (UK), I really enjoyed visiting the Natural History Museum and the Horniman Museum, especially the center for their archival collection. In Toronto, I like the Thompson Landry Gallery and the AGO, where the ongoing Andy Warhol exhibition is my ultimate favorite! 

What books or movies on art do you recommend?

Some movies I recommend:

1. Velvet Buzzsaw 
2. Midnight in Paris 
3. Loving Vincent 

Books: 

1. Chromophobia by David Batchelor 
2. Chromaphilia by Stella Paul
3. What Painting Is by James Elkins 

Why is art important to society?

We live in a world where everything we experience is a form of art. From the adverts on TV to the music on your headphones or even the websites we browse, art is everywhere. Art is important to society because it allows us to educate ourselves about the modern-day from a different perspective. It provides us with a foundation to express ourselves in a language that words can’t do justice to. The best thing about art is that you don’t need to be an artist to understand it. It is a language that is accessible and relatable to each individual in society regardless of the conceptual aspects. 

Art is a crucial part of society’s evolvement as it brings together a diverse range of voices that speak of their time and culture. In contemporary society, we are fascinated by those who have come before in art history, from Vincent Van Gogh to Claude Monet, etc. I believe this is because a piece of these artists is embedded within their art and that authenticity still attracts us to their work today. Through their work, we are able to understand and educate ourselves about the artist and the time that they were living in. Art is an integral part of society because it fuels our development for generations to come. 

The post Interview with Sunaina Buckshey, Artist, Curator, & Founder of “The Artist’s Cove” Clubhouse appeared first on Landing Contemporary Art.

Where are you from and where do you live now?

I grew up in Huron County, Ontario, Canada. Right now, I’m living in Detroit. 

Tell us a bit about your creative journey and how you got to where you are today.

My work is greatly informed by the environment I grew up in. Surrounded by agriculture and livestock, I still feel deeply connected to that environment even though I have lived in cities since I was 17. I also grew up watching my mother put so much labor, care, and love into her gardens, just as her mother and father had. Her actions, paired with my dad’s interest in botany, planted seeds that have developed in my creative practice. 

How long have you been pressing flowers (starting as a hobby)?

The first flower I pressed was in the 7th grade. Someone who knew I loved lilacs left some in the spot I usually put my backpack. I felt inclined to keep it as a reminder of this person and their sweet actions. In some ways, I think pressing plants is like taking an image with a camera – they invoke the same sense of memory and recall to events. 

Why did you select the particular images you did from The Louvre (2000) book? In the beginning, was it pure accident or did you select the women specifically?

During my final year of undergrad, I knew that I had something good in all the books that I had pressed plants in over the years. My problem was: I didn’t know how to share or communicate these pressings to others. I brought all of my notebooks and books from over the years to a professor’s office. It was when I opened The Louvré that she and I were able to brainstorm and find a way to share what I, and the flowers, had made. I copied the pages of the books verbatim–where the flowers had molded directly over and through the illustrations. For the first three images I made, I did not intervene at all (Eve/Pandora, Elisabeth of Austria, and Madeleine). After I made these images, I was offered a solo show at the Gladstone Hotel in Toronto, Ontario. I used this concept I had previously discovered and intentionally placed plants for the remainder of the series–though I had no control over how much or how little the plants would mold to the pages or spread out. It was more of a collaborative project with the plants. 

 Just this past year, I had a dear friend of mine commission a print for a project they were curating. As I knew them well, I used a page within The Louvré to press her favorite flower, an orchid. I think that this project will continue to evolve in a more intentional way from here on out. I hope to continue to make images with others in mind–furthering the collaborative element of this process. 

 Can you share some of the stories of where you got the flowers that you used in the Perennials series?

 The first three images that I created, Eve/Pandora, Elisabeth of Austria, and Madeleine, include peonies. I had hoped that they would press nicely so that I would be able to preserve the bouquet that I had received from my partner. As the project evolved, I was able to choose the pairings of flowers and images. Magdalene is covered in rose petals, Pointy Shoes nearly holds a few snapdragons from my brother’s wedding day, and Maria Rita Barrenechea is covered in a bougainvillea I gathered in Mexico. 

What do you do when you’re not creating art?

I recently began a company with a friend called Dirt Road. We are working to make art more accessible for everyone while alleviating the labor of self-promotion that artists often struggle with. 

Name a book you would recommend to artists.

Hold Still by Sally Mann. 

What artists inspire you?

I’m a big fan of Anna Atkins and Emily Dickinson – I think that they have greatly informed my practice from the beginning. More modern artists that inspire me include Jen Bervin, Anna Torma, and Sara Angelucci. 

What career would you do if you weren’t an artist?

I would absolutely be a gardener. 

View Works by Ailene deVries

The post Meet the Artist: Ailene deVries appeared first on Landing Contemporary Art.

Tell us a bit about your creative journey and how you got to where you are today.

I grew up in a small town in New York, about an hour and a half north of the city. I was a quiet artistic kid and because it was a struggle getting me to go to activities like dance, my mom enrolled me in drawing classes taught by a local artist when I was about 8 years old. I stuck with it until I was 18 and ready to go off to art school. Luckily, my parents were encouraging in my creative pursuits and our public school system actually had a great art program with some wonderful teachers. 

I went to college at the School of Visual Arts in New York City, where I had wanted to live since I was a little kid. At SVA my whole world was expanded in such a positive way. My mixed media and collage sensibilities started to form around this time and I fell in love with bookbinding and printmaking.  

After a four year break, which included a stint working in the legendary New York Central Art Supply Paper Department as well as trying my hand at being a real estate agent, I decided to go to grad school for printmaking and was accepted to the Savannah College of Art and Design with a Dean’s fellowship, which is a full scholarship.

In addition to learning and honing my skills in a wide array of printmaking techniques, I became fully immersed in making my work of my own, developing my artistic practice and my creative voice. I began learning about feminist theory and applying that to my work, delving into where some of this stuff was coming from within me and I continued exploring materiality and technique as well. I also spent a summer at the SCAD campus in Lacoste, France, a small medieval village in Provence. 

I was pregnant towards the end of grad school and after I finished, I immediately moved back to NY and had my daughter. This was a difficult time in which I struggled to make art and figure out my place in the world. It was difficult balancing motherhood with my own needs and others’ expectations.  

In 2015, I got a teaching job at a community college and then I was accepted to a residency program at the Center for Book Arts, a community book arts organization in NYC where I had been renting studio time to work on some letterpress and artist book projects. The residency was an amazing boost to my creative practice and connected me more deeply with the book arts community. I also started working in the printshop at Robert Blackburn Printmaking Workshop. Being connected to these two spaces has been incredibly positive, both because of the access to space and equipment and because of the amazing communities and friends I have made. 

The residency program at CBA gave me the time and space to create new artist book works and solidify my bookbinding skills. It also launched me more into teaching, as I began teaching at CBA as well as at Parsons soon after my residency ended. 

The work I made at CBA was very nature-focused, more so than previous work I had made. The books were about my own relationship with nature and specifically trees. After this residency, I had a short summer residency at Printmakers Open Forum where I made a series of etchings in the ecofeminist vein. I continued working on these afterward and segued this idea into a portfolio I organized for SGCI 2020 called Earth/ Mother, for which 24 printmakers created prints that considered the intersection of women’s and environmental issues.

Then the pandemic hit and I was stuck at home, which ended up being kind of a blessing because I was able to fully pour myself into making work and it gave me lots of time to just start experimenting with pattern, layering, and materials. This felt like a recommitment to my studio practice after several years of having to juggle art-making with regular jobs. It was during this time that I developed the work that is included in the Secret Garden exhibition. These started out as experiments with pattern and layering and pushing boundaries between figure and environment. I started working with specific plants as well as more stylized plant patterns. The themes that began coming up were interconnectedness, care, self-care, healing, the connection of the higher self to nature, and the divine feminine. These were very much about my own inner journey and working out some issues that had been present with me for a long time that I was only just beginning to recognize. 

All this time I was still working from a tiny room in my house, mostly on a small desk and spreading out to the living room and kitchen table as needed. In June, I finally signed a lease on my very own studio space, my first real studio since I finished school in 2013.

Can you describe the process of creating your work?

My work is process-driven and reactive, I hardly ever begin with a fully formed idea, just with the seed of an idea, and then go from there, slowly building on that initial spark. Sometimes the work comes out very differently than I thought it would. I commune with the work through the meditative process of creating repetitive hand-drawn and collaged patterns, layering drawing, hand-pulled prints, watercolor washes, and collage as I strive to intertwine figures and environment.

The seed could be a pattern, a color, a feeling, a scene from a movie, the way someone crosses their arms, or a delicate curl of hair. Many of my works have feminine figures in them. Sometimes I work with straightforward poses and other times I manipulate the figures by removing areas or contort them by reassembling pieces to convey the awkwardness of having a body. I made a series of collages like this last year that was really cathartic. 

I’ll often start with watercolor washes and then begin building texture with all-over patterns that might end up getting covered later. Then I’ll sketch in the figure and draw any elements that interact with the figure such as plants and flowers. I paint in these elements and layer in collage, stamping or screenprint. I like concealing areas. In my current body of work I’m working towards dissolving the figure into the environment but maintaining the presence of the figure. I use many different media: watercolor, ink, colored pencil, gouache, collage, silkscreen, lithography, rubber stamping, thread, whatever seems right for the piece. All of the different materials that go into the piece contribute to the unique visual language of my work and I enjoy expanding and transforming on these processes and materials.

Do you have a central philosophy in your work that guides you?

Play and experimentation are very important to my practice. In a way, everything I make is an experiment, or that’s how I like to approach it. It’s important to me to remain open to possibilities. I am constantly brought back to this idea that work comes from work. The more work I make the more I learn, the more ideas I get and the more I feel driven to keep going. It’s a very generative way of working.

What inspires you on a day to day basis?

I am inspired by patterns and textures, especially patterns in nature that are mirrored in the body, and the translation of forms from nature into decoration. I love flowers, but even more so leaves and branches. I am inspired by rituals of care, the movement and shape of the body, and the unruliness of long hair. I am a collector and this has always been important to my practice, even before I knew it was part of it. I collect bits of paper to use in collages, interesting stones I find, pretty books, random objects that speak to me, and old photographs of family and strangers. Some of these things are physically used in my work, but many of them serve as a source of inspiration or comfort.

Briefly describe the role of text in your drawings.

I love using text to create texture and patterns. Sometimes I think of it as words unspoken or the whispers of the wind. Occasionally I’ll find a book that feels significant to me because of the subject matter and I’ll use a few strategically placed words in a piece but most of the time this text can come from any type of found book, always books that are falling apart and would be trashed anyway. 

Many of your works have strong links between nature and femininity. Can you explain why this is a recurring theme in your works and what it means to you?

In my current body of work, I am working with the idea of the divine feminine, an inner power of creativity and sexuality independent from the desire of others with a strong connection to nature, that I seek to recognize within myself while reconciling it with the pressure put on me as a woman and a mother living within a patriarchal society. 

Nature motifs have been running through my work probably for as long as I’ve been making art, as have themes of femininity, and those two things have become closer and closer as I continue. I consider the connections of feminine sensuality to nature both in a classical sense, such as in Greek mythology, and how this manifests in our contemporary culture. We have seen the degradation of the environment being bound up with the exploitation, oppression, and violence against women for centuries. This ranges from the violence inflicted by colonialism to women water protectors and land defenders trying to protect their homelands from the interests of resource extraction to the limitation of women’s access to reproductive healthcare and so much more.

Culturally we often think about femininity as soft but there is also a fierceness there that I think comes from women often having to push back against patriarchy and be the caregivers and protectors of both people and land. Women are often the leaders of movements for social and environmental justice. 

Humans are part of nature and when we harm nature we do so much harm to ourselves. I am often thinking about what it feels like to be in a female body, what is my body, what are the boundaries of my body, and at what point does my body end and my surroundings begin? Are there ways that I can connect with nature no matter where I happen to be?

During 2020, themes of interconnectedness began manifesting in my work and I began to think about the ways we are held together when we can’t be physically together. How can one subvert cultural limitations and center love, care, and sustainability, rather than hierarchies of dominance, as a way to care for self, others, and the earth? How can we tap into holistic ways of healing from the harms of an extractive society?

What do you think of the media’s role in society?

I think at its most basic, media often reflects ourselves back to us. Much of the media is trying to sell us something. Something mildly popular will be latched onto, turned into a trend and pushed back at us until we are sick of it and lose interest and the cycle starts again. Even so much of what we might call journalism has unfortunately devolved into entertainment disguised as news. If you are looking for facts or even just something true and genuine you really do need to do quite a bit of research to find those sources.

At the same time, the media connects us to things happening outside of our bubbles and allows us to share the enjoyment of films, books, and art that may come from countries and cultures far away from our own homes. So even as frustrating as the media can be at times, I think it also makes for a richer, more informed, and more enjoyable shared human existence.

Is there a work you’ve created that you are particularly attached to? If so, why?

I’m often attached to whatever happens to be my most recent work,  right now it’s my painting, “The First Step” and a tiny artist’s book called “Putting My Face On.” Once it’s time though, I am always happy to see my work end up in someone else’s space where they will enjoy it every day.

Do you ever collaborate with other artists?

I haven’t really collaborated with other artists to create individual works of art together. However, earlier this year I had the opportunity to collaborate on a small project through an online program with Proyecto ‘Ace based in Argentina. Luis Sahagun, Susanna Crum, and I created an ephemeral video and sound work that exploited some of the video and audio idiosyncrasies of Zoom to do a live performance during one of the sessions. I use ephemeral as a nice way to say we, unfortunately, did not get a good recording of the performance. The collaboration was a great experience. We each pulled from our skill sets and studio practices to create something really unique together that I don’t think any of us would have made on our own.

Name some artists who inspire you.

Louise Bourgeois, Agnes Martin, Swoon, Nancy Spero, Frida Kahlo, Yayoi Kusama, Fierli Baez, Saya Woolfalk, Lina Puerta and many more.

What are some books you return to?

My recent literary obsessions:

bell hooks All About Love

Audre Lorde Uses of the Erotic/ Sister Outsider

Jeff Vandermeer Southern Reach Trilogy

Robin Wall Kimmerer Braiding Sweetgrass

Peter Wohlebean The Hidden Life of Trees

The Heart podcast

View Works by Elizabeth Castaldo

The post Meet the Artist: Elizabeth Castaldo appeared first on Landing Contemporary Art.

Schoeniger has lived in Vienna, traveled the world, and landed back in Germany in the south of Munich, where she currently resides with her husband and two sons. She spends the majority of her time now creating artwork related to nature. At the moment, she is arranging a compilation of individual collections for a limited edition of fine art prints where a percentage of the proceeds will be donated to causes supporting biodiversity and environmental protection.

We were excited to speak with Schoeniger about her artistic practice.

Please provide a bit of background of how you first started as an artist and how you got to where you are now.

I grew up in Bavaria, Germany, a beautiful area in the heart of nature, surrounded by mountains, lakes, rivers, meadows, and woods. In school, I studied art history, architecture, and product design. I graduated with a degree in Media Design with honors in Munich in 1999. From there, I went on to work as an art and creative director.

It seems to me as if I have been an artist my whole life; only my experiences, circumstances, self-awareness, and focus have changed. Essentially: my vision fell into place. Ever since I can remember, I have been coming up with ideas. Anything I did not understand, I would make a note of it and then do some research during my weekly trips to the public library. For example, I wanted to find out more about calligraphy or sumi- e, so I looked that up. I like following my thought trains and seeing where they led me. I have so many notes written down that I could be occupied with research for the rest of my life!

The biggest shift in my life was deciding to follow my passion as a full-time artist. All of my experiences lead me to the place I am now.

Can you describe your home or studio?

My home is my studio, and vice versa, my studio is my home.

I’ve tried to bring elements of my travels home with me so that each room holds many memories. Our living and dining room look like a wild jungle with pictures of Thailand, our favorite beach in Greece, and plants everywhere – huge ones like strelitzia and monstera. Outside the window, there is a bamboo grove. I love watching the light playing on the leaves in a different way each season. And on the terrace, we have so many different species of plants, mainly local perennials. I think of it as my “Kew Gardens approach,“ which is a place of inspiration for me.

I photograph, do cyanotypes, do studies through drawing, scanning, casting, printing etc. with my plants. I work everywhere — outside, inside on the floor, on the dining table, in my kitchen. Sometimes I use my couch as a background for shootings. I also create on a table in my studio where I store all my pressed plants, artist materials, paints, papers, and prints. I also have a workroom with a really big, old cinema HD display where I create mixed media artworks, and do all the digital work.

What is the art community like where you live?

My art community isn’t within the community where I live, but around the world. I have a wonderful exchange with fellow artists on instagram. We share thoughts and tips often via audio messages. I love that I gain a lot of insight into my fellow artists’ work, culture, and daily life. I am also part of an international women’s book club of mostly artists, which has been and is still so enriching – especially during lockdown!
We started with “All We Can Save,“ which I can really recommend. It inspired me deeply and reconnected me with poetry. That’s how I came back to Chief Seattle’s letter that is linked with my poppies collection.

Germany is known for its contemporary art. Why do you think that is?

Good question. Maybe the German art system still is profiting from its ancestral artists and historically established cultural system: Bauhaus, the Blue Rider movement, the Expressionists, Bechers and Beuys, and many more. We also have stunning museums, academies, and galleries.

Just recently I discussed with my fellow bookclub artists that I was drawn to some english speaking galleries because in a lot of German galleries, there seems to be a lack of my type of aesthetic. And one theory has been, that there is art created from the mind and art created from the heart…

Is there an artist(s) who inspires you?

Lots! I am deeply influenced by Hokusai and Hiroshige and many more Ukiyo-e (Japanese block printing) artists. As a teenager, I used to be very interested in Impressionism, which led to my studies in Munich later on.

Funny thing I realized much later only: the Impressionists were also deeply inspired by Ukiyo-e. The purpose of Ukiyo-e is “joie de vivre,“ which is my subject matter as well.

Other influences, to name just a few:
I love the way of looking at works by Blossfeldt, Walker Evans, Delaunay, Hopper, Twombly. I adore the versatile genius of Gerhard Richter.
I admire Marianne North and Georgia O’Keefe as great artists and inspiring women role models. And I was deeply touched by Pippilotti Rist in one of her early video installations at Villa Stuck/Munich in the late 90ies. I love my books on surf movie posters and underwater photography.

Finally, I love to discover online old botanical illustrations at the Lloyd Library and other great art at the Art Institute of Chicago, especially their Asian art collection.

Do you follow any routines as you work?

It’s all about the mood (and being undisturbed).
For example, I love to do yoga or meditate before I work. I often start to work by doing a playful task like taking pictures with no special result in my mind, just finding the flow and following my intuition and my ideas. After that, all tasks requiring concentration can follow. In the evenings, I enjoy reviewing and sorting my photos on my iPad while laying on the couch and listening to old records.

Do you collect the work of other artists? If so, who?

Yes, I do! I would love to collect more, but I’m out of wall space!

Last week I framed and hang up a woodblock print by Jo de Pear, an English printmaker. We know each other through Instagram as she also creates fantastic cyanotypes. This artwork is a unique AP of a sea fan in lush turquoise green on ochre, which is a beautiful daily reminder of the ocean.

Discuss your commitment to your medium?

I use various mediums and techniques in my practice, but at the moment I am focusing on photography.

With every medium that I use, I strive to “make it mine,” where I can use it intuitively, without thinking of how something might function and how I could achieve this or that.

And talking also about “the result,“ I am totally in love with thick Hahnemühle paper. I love its quality and structure as well as how the pigments of a fine art print create such depth and details. I am always full of excitement while unpacking my ordered prints.
I also use this paper for a lot of other purposes like drawing, painting, and cyanotyping.

How would you define your personal aesthetic?

First of all, its an emotional thing, I want to be moved. I take into account the interplay of proportion, balance, and nuances. There must also be a little magic spark.
I am well trained in recognizing these elements after years of experience as an art director, so I consider them to be a kind of unconscious automatism that runs all the time, to which I can consciously connect anytime.
I am a big fan of Fibonacci and have a crush on the number 7 whenever I need to use numbers for proportions.

What is your favorite art museum or gallery?

This is a hard choice, but I would say the Neue Pinakothek, Munich with all the masters of art from the early 20th century that influenced my personal artistic journey so deeply from the beginning.
I spent many marvelous hours there during my studies. There is also this little coffee place hidden inside the museum’s patio with a fountain, which completes one’s visit in a wonderful way.
This museum is part of the Bavarian State Painting Collections, which has various other museums with permanent and changing exhibitions. Each of them worth a visit.

What’s your favorite place in the world? (Could be your own home, somewhere you’ve traveled, etc.)

Thailand, the southern part. Everything is perfect there for me: the weather, the mood, the food, the sea, nature…
It has been and is still my paradise on earth. My source of wonderful memories.

And living in Europe, the Greek Peloponnese is my second choice, where I spend time quite regularly. When I’m viewing olive trees and the sea, I feel like I’m at home.

What keeps you going as an artist?

My intrinsic motivation to learn, explore and discover, to create and try out something new. I desire to share my vision of beauty with the world. I love to inspire and bring joy and I do hope to make the world a better place.

What sentiment would you like viewers to take away from looking at your work?

Awe and wonder. Aesthetic arrest.

With my art, I try to catch a glimpse of the essence of eternity.
I want to create moments of nowness & oneness. Where a feeling of connection and sublimity appears. I want to nourish that spiritual place in the heart of the beholder. Like John O’Donohue says, “Beauty is not a luxury, but it ennobles the heart and reminds us of the infinity that is within us.“
Joseph Campbell used the term “aesthetic arrest“ to describe the state we enter when we encounter what we perceive to be profound beauty.

What is your favorite flower?

Oh, this is difficult. But I would say, Astrantia (great masterwort).
I grow this perennial in my terrace and watch it blossoming every mealtime during the summer season. Also, I did one of my favorite cyanotypes of them, which is displayed on our staircase. I admire its unique combination of petals and umbels.

Why do you think art is important to society?

As W.S.Merwin said: “I think there’s a kind of desperate hope built into poetry now that one really wants, hopelessly, to save the world.“
That resonates deeply with my understanding of the social role of an artist as well as with the statement of my favorite author Joseph Campbell who envisions that artists are the shamans of modern times and are supposed to create new myths of one world without horizons.
In an interconnected world, everything you do creates ripples. So I want my art to radiate positive ripples of beauty and inspiration into the world. I want to preserve what I love. I want to evoke and ignite that deep wish to protect and preserve nature for future generations. That is the intrinsic message of my art.

Shop Melanie Schoeniger’s Works

The post Meet the Artist: Melanie Schoeniger appeared first on Landing Contemporary Art.

What inspires you on a day to day basis?

Everyday life. I try to let each day bring what it will and to let things come to me in an organic way. I’m constantly seeking new realities and learning from others, which can only be done with an open mind. This includes the acceptance of sad feelings and hard times as much as the good times. In everything I create, I try to find the balance within myself and to translate that onto a canvas.

Can you describe the process of creating your work?

I start with an idea of a pose, and/or the background colors. I rarely prepare an organized sketch before painting as I prefer to work intuitively. With a loose idea in mind, I sketch the pose and then prepare the base color for the background. Faces are always the last detail I complete, though I do continue to tweak the color palette until I get the feeling that all the elements of the work are in harmony. I listen to music as I work as it helps me to not overthink during the process.

How do you think your background in fashion informs your artwork?

I love fashion and have always enjoyed watching people on the street to see how they dress, how they style their hair, and how their personality comes through with what they are wearing. In fashion school, I had to do a lot of model sketches, which eventually led me on the path to my art career. In both art and fashion, the harmony of colors, lines, and textures is incredibly important. My drawings of women became more abstracted over time, with elongated bodies and disparate elements.

Are the figures in your work inspired by other people, or by yourself?

I have tried working from photographs I took of real people, but I ultimately felt like something was missing. Ironically, my paintings feel more authentic when I work from my imagination. However, sometimes I do take a photo of myself in a specific pose to take inspiration from.

What do you do when you’re not creating art?

Before the pandemic, I was working full-time, balancing the travel that was required of my job as well as creating art. However, with offices closed, I have had more time in the past year to develop ideas and focus on my artwork. I am also reading a lot about psychology and medicine at the moment as well as practicing yoga, going on walks and enjoying spending time in nature. There is so much to do, I am never bored.  

Name some artists who inspire you.

My favorite artist at the moment is Alina Zamanova. Also Jenny Savillle, Austyn Weiner, and I like the works of Simon Buret.

If you could have dinner with one thinker, alive or dead, who would it be?

I would say the Buddha. Even though I don’t consider myself to be Buddhist or even religious, the philosophy behind Buddhism resonates with me. I strive to live by similar principles.

Main image courtesy of the artist, taken by Egle Eglaite

The post Meet the Artist: Borbala Eszteri appeared first on Landing Contemporary Art.

Art and nature have been linked for thousands of years. In modern society, the environment continues to inspire artists the world over. While some artists, like Olafur Eliasson, clearly use their work for climate activism, every artist who depicts nature alludes to how truly precious it is.

In honor of this special day, here are 5 works by LCA artists that portray the beauty and power of Mother Nature.

Olivia D’Orazi
Dayglow, 2021

This image of a wildflower field in California, taken by mixed-media photographer Olivia D’Orazi appears as if from a dream. Her works are known for brushing with surreality and this work is no exception. To create the psychedelic effect seen here, the artist layers her photography with specially formulated paints and inks, resulting in works that provide a heightened experience with the place she has visited. Through the capture and manipulation of already beautiful scenes, D’Orazi collaborates with the land to create a truly compelling visual.

Cathleen Ficht
Fishing on the Captain Gillen, 2019

If Cathleen Ficht’s works were a movie, they would be “Inception.” Each carefully drawn image, like “Fishing on the Captain Gillen” contains images within images within…well, you get the point. Ficht begins each work by taking a photograph of the sea, a source of constant inspiration for her. From there, she spends upwards of 80 hours meticulously drawing each detail. Working with light and shadow, she creates a 3D sense of movement so that you not only see the wave but can sense its full force. While the work is incredibly detailed on a microscopic level, it dabbles in abstraction as a macroscopic whole, allowing for a participatory experience. What do you see in this work besides the water?

Jenifer Kent
Crown, 2021

It’s truly mind-blowing what artist Jenifer Kent can do with a line. Inspired by organic forms found in nature, she creates freehand marks that grow outwards to construct a whole image. Flora or fossil, fusion, or foundation; her works like this new one, “Crown,” are alive with energy. With a circular exterior edge, “Crown” seems to have the capacity of both spinning and vibrating at the same time. Like the seasons, time, and life on our sacred Earth, there is a cyclic nature to all circles, including this one. “Crown” exists in liminality outside of time and space, yet it reminds us of our very delicate and balanced existence.

Zane Osler
Starchives 006, 2020

“For my part, I know nothing with any certainty, but the sight of the stars makes me dream.“ Vincent Van Gogh

What do you think about when you gaze at the stars? While it’s probably not something you do very often, my experience is to entirely forget myself and get lost in the beauty of the unknown. The majority of us (astronauts being the exception) are tethered to this Earth, but above our heads at all times is this infinite space that inspires us all. This image, one in a collection known as the “The Starchive Series” by photographer Zane Osler was taken in the artist’s home state of Michigan, at the Nordhouse Dunes National Lakeshore in the Manistee National Forest, a place known for exceptional stargazing. The perspective of the image places the primary emphasis on the sky rather than the figure in the foreground, helping us as the viewer standing at a distance experience the vastness of the sky in relation to the smallness of the person. As we gaze at the Milky Way, which seems to open up and send light towards the figure specifically, it is impossible not to feel moved.

Maggie Roof
Golden Hour, 2020

If you’ve ever looked at a sunset and thought that someone should paint it, Maggie Roof has done it for you. This painting of a sunset at golden hour — that time right before the sun dips below the horizon — highlights the exquisite beauty of the light as it casts a glow over a river. From the trees dripping with Spanish moss to the long grasses blowing in the wind, this quintessential Lowcountry landscape brings joy to a Southerner’s heart. It is one of two works from the artist’s most recent show, “Ripple Effect” in which she has used a palette knife. Working in this way allows for thick brushstrokes with a lot of paint left behind to create a 3D mark. Like frosting on a cake, the delicious colors of the paint have created a feast for the eyes.

The post Art for Earth Day appeared first on Landing Contemporary Art.

Niki de Saint Phalle: Structures for Life
MoMA PS1, New York
March 11 – September 6, 2021

Showcasing over 200 works created over the course of her art career, this retrospective at PS1 is a fantastic tribute to the late great feminist artist Niki de Saint Phalle. Regrettably, it is only the first major exhibition for the artist in the United States, who was a pioneer in terms of artistic mediums, branching out from painting and sculpture to such interdisciplinary mediums as jewelry, books, films, and even perfume. She is perhaps most known for her whimsical ‘Nanas’ sculptures, her “Tarot Garden” outside Rome, and performance works like “Shooting Picture” (1961), in which she shot paint cans lodged in a canvas. In “Structures for Life,” you’ll discover some of her earlier works that address social and political issues as well as many of her later endeavors.

Yayoi Kusama: A Retrospective
Gropius Bau, Berlin
March 19 – August 1, 2021

With an art career spanning 70 years, any retrospective for Yayoi Kusama is not to be missed, this one included. This exhibition in Berlin will be a whopper, bringing together eight of Kusama’s past exhibitions in a space that is over 3000 m². The show will also feature some of the lesser-known works that she created in Germany and Europe. Perhaps most thrilling of all is that a brand-new Infinity Mirror Room created for the exhibition will be unveiled. Get ready to wait in line for this one! And if you can’t catch it in Berlin, it will be traveling to Tel Aviv in the fall.

Julie Mehretu
Whitney Museum of American Art, New York
March 25 – August 8, 2021

This mid-career survey for artist Julie Mehretu at The Whitney brings together around 25 years of her practice with around 30 experiential paintings, including a brand new one and 40 works on paper. Mehretu’s works are primarily abstractions with roots in representation. She uses the obfuscation of architecture, landscape, and recently, figuration to address themes of history, colonialism, immigration, white supremacy, and so much more. This show is an absolute don’t-miss.

Félix González-Torres: The Politics of Relation
MACBA, Barcelona
March 26 – September 12, 2021

The four rooms devoted to this exhibition of the late Cuban-American artist Felix Gonzalez-Torres are organized by theme, including politics, love, existential questions, and patriotism linked with homoerotism. Gonzalez-Torres’ works often have a participatory element, like taking a piece of candy from a large pile. This exhibition specifically addresses the artist’s work as it relates to Spanish, Latin American, and Caribbean cultures.

Dawoud Bey: An American Project
Whitney Museum of American Art, New York
April 21 – October 3, 2021

Representation is one of the most pressing issues museums face today, and it is exhibitions like Dawoud Bey: An American Project at The Whitney that are making a difference. This survey brings together photographs from Dawoud Bey’s 45-year career, from his landscapes to more critically, his portraits of Black communities in America. His subjects are not objectified, rather Bey sees his work as a collaboration with the people in his photos. His works provide visibility for the largely underseen people of color in art.

Tracey Emin/ Edvard Munch: The Loneliness of the Soul
Royal Academy of Arts, London
May 18 – August 1, 2021

Last on our list of don’t miss art exhibitions in summer 2021 is this deeply introspective show, which brings together works of raw emotion and longing by contemporary artist Tracey Emin, and Norwegian Expressionist artist, Edvard Munch — most known for “The Scream.” A longtime fan of Munch’s work, Emin finally has the chance to showcase her works together with that of her greatest inspiration. 25 of her paintings will co-exist with 18 oils and watercolors by Munch at the RA in London. By viewing them side-by-side, Munch’s influence on Emin is clearly evidenced.

Featured Image: Julie Mehretu, Stadia II, 2004. Ink and acrylic on canvas, 107 3/8 × 140 1/8 in. (272.73 × 355.92 cm). Carnegie Museum of Art, Pittsburg; gift of Jeanne Greenberg Rohatyn and Nicolas Rohatyn and A.W. Mellon Acquisition Endowment Fund 2004.50. Photograph courtesy the Carnegie Museum. © Julie Mehretu

The post Don’t Miss These Art Exhibitions in Summer 2021 appeared first on Landing Contemporary Art.

Summer is just around the corner and we’re dreaming of days by the pool…but not just any pool! When art and design collide in the form of eye-catching art pools, you get a refreshing dip in culture without having to visit a museum. From James Turrell to David Hockney, there are some truly fab art pools ’round the world worth a splash. Whether you consider them sculptures or bathing experiences, grab a towel because we’re diving into the hottest pools designed by artists.

Sylvie Fleury

Villa Emslieb, near Salzburg, 2009

If you need a bit of motivation for your morning swim, look no further than this serene granite pool by Swiss artist Sylvie Fleury, which features confidence-boosting sayings. Installed outside Salzburg, Austria for gallerist Thaddaeus Ropac, the art pool has made a splash ever since its unveiling. A white rabbit by Tom Sachs keeps watch to provide a bit of whimsy to the beautiful setting.

Picasso

Pool at Villa El Martinete, 1961

When you’re friends with Picasso, you might have the privilege of having him sign your pool, as is seen here. The late great modern painter left his mark on the pool at the Marbella villa of renowned flamenco dancer Antonio Ruiz Soler in 1961 and the rest is history. While the villa has since changed hands, the pool remains a jewel of the estate that is no doubt still very much enjoyed.

Peter Kogler

Le Muy Sculpture Park, Provence, France, 2014

While this optical illusion-filled pool designed by artist Peter Kogler might prove dizzying if you’re doing laps, it’s certainly a marvel from an artistic and architectural perspective. Built by mosaic company Ezzari, you’ll find this gem in the contemporary sculpture park Le Muy, owned by art collector Jean-Gabriel Mitterand.

David Hockney

Tropicana Swimming Pool, Hollywood Roosevelt, LA, 1988

When we think of art pools, Hockney is surely the first person to come to mind. While his painting “A Bigger Splash,” 1967 is in a league of its own, we love that he painted a literal pool as well at the Hollywood Roosevelt hotel in LA in 1988. The semi-circle lines almost seem to vibrate, as if there are waves wiggling and jiggling at the bottom of the pool. We’re obsessed.

Pipilotti Rist

Hirschengraben Indoor Swimming Pool, Bern, 2018

Ok, so this was a temporary art installation, not a design feature, but we still wanted to share Swiss artist Pipilotti Rist’s light display on this pool in Bern, Switzerland. While beautiful, this particular work in collaboration with the World Wide Fund for Nature had a higher purpose than mere visual splendor. The bold colors served to call out the degradation of coral reefs due to climate change and the acidification of the ocean.

Ed Ruscha

Studio City, LA, 1989

Iconic pop artist Ed Ruscha designed this quirky pool at the home of his younger brother, Paul in 1989. The artist cleverly created swimming lanes at the request of his brother by using the lines where one would write their personal information.

Adaline Kent

Donnell Pool, Sonoma County, California, 1948

Overlooking the beautiful San Francisco Bay, the Donnell Pool was designed in 1948 by Thomas Church and Lawrence Halprin, with a sculpture by artist Adaline Kent. It was the first kidney-shaped swimming pool and has since become an icon for mid-century design and lifestyle. The biomorphic sculpture by Kent beautifully complements the curvatures of the pool’s edges, don’t you think?

Alexander Calder

Colombe D’Or, Saint-Paul de Vence, France, 1930s

It was 1920 when a quaint cafe-bar christened ‘La Colombe d’Or’ opened its doors in the tiny village of Saint-Paul-de-Vence. A decade later, it would become a haven for many of the most famous artists and writers of the era, thus cementing its place in history forever. Today, you can not only stay at this legendary auberge featuring works by Picasso, Matisse, and Braque, but also swim beneath this glorious Alexander Calder mobile.

James Turrell

Baker Pool, Connecticut, 2008

Artist James Turrell has designed numerous luxury art pools around the world, but this one is perhaps our favorite. The Baker Pool was a private commission that was installed in the basement of a Connecticut estate barn. Can you imagine! The pool is given its otherworldly glow by LED perimeter lighting, which Turrell is well known for using in his large-scale light installations.

Lawrence Weiner

Los Angeles, 2007

This hilarious pool by conceptual artist Lawrence Weiner belongs to art collector Rosette Delug, who invited the artist to create the design to coincide with the opening of his exhibition at Regen Projects, LA. Apparently, after the pool was cleaned, the colors changed unexpectedly. Weiner was unphased, saying “I’m happy with it that way.” While the exhibition ended, the art pool remains.

Jorge Macchi

Piscina, Inhotim Institute, Brazil, 2009

Address books may be falling out of favor in present-day society, but this serene pool by Jorge Macchi resembling one certainly isn’t. The acclaimed Argentinian artist created this minimalist swimming pool featuring descending steps painted with the letters of the alphabet in 2009. Set in the landscape of one of the largest outdoor art centers in Latin America, the pool is right at home among contemporary sculpture and a vast botanical garden.

Top photo: James Turrell, Stone Sky (2005). Photo courtesy of the artist.

The post Dive Into Art: 11 Pools Designed by Artists appeared first on Landing Contemporary Art.

“I start from something considered dead and arrive at a world. And when I put a title on it, it becomes even more alive.”

No matter what the medium, style, or subject matter, the one thing that all artworks have in common is that they all have a title. An artist might name their artwork titles after a feeling, a place, or an inspiration, but they may also resort to the most commonly seen title of all, “Untitled.” What makes artwork titles important, why are they necessary, and how can an artist create one that stands out? We’re taking a close look at artwork titles to better understand why they’re important.

Organization

Let’s start with the obvious and most mundane reason why it’s beneficial to have a title for each artwork: organization. Simply put, from a gallery, museum, or collector’s viewpoint, titles make categorizing works easier. Can you imagine what a museum’s database of works would look like if instead of titles, there were descriptions of every work in their inventory? As the descriptions of artwork are almost entirely subjective, it would be really hard to have any sort of organization without assigning each work a number. It would also be really difficult to go about marketing art without titles because you have to call them something to differentiate between works.

Contextualize the Work

When a viewer sees a work for the first time, they will inherently draw conclusions about it by pulling from their own personal experiences. It might make them feel happy, sad, excited, confused, or any number of other emotional responses. The artwork might bring back old memories or pose a question for the viewer to ponder. To help the viewer decipher what the work is about, the artist often leaves a clue in the title. 

A title is like a frame to set the context of the work, giving viewers a bit of information that might not be immediately clear from looking at the work. Of course, the title can also throw the viewer off — they might be thinking one thing and then realize by the title that their interpretation is completely different from the artist’s. An artwork title can 100% change the way you experience the work, which is why it’s important that artists give some thought to naming their works.

Show the Personality of the Artist

Part of the joy of buying a work of art is supporting the artist, a real person with a talent you believe in. By titling a work or a collection of works, the artist can show a bit of themselves and their personality. The collector is buying into not just the artwork, but the artist, who is also their own brand in the context of art sales. Take the photo above for example, which shows Joan Mitchell’s work, “Wood, Wind, No Tuba.” The lighthearted title pairs perfectly with the work and in my mind, makes it even more appealing as you get that punch of humor (she’s referring to the inspiration of nature, but uses a pun with instruments) along with the beauty of the work. This title not only gives you a bit of context, letting you know that the abstraction is based on the outdoors, but the witticism humanizes the work and makes it even more fun.

In Defense of “Untitled”

“As before, the pictures are to be without titles of any kind. I want no allusions to interfere with or assist the spectator.”

Clyfford Still

Artists who name their works “Untitled” often choose this route because they want their work to speak for itself and not have a title muddy the meaning. If the artist feels like the title is interfering with their intent, they might make the choice of using “Untitled” so that the viewer can make their own assessment of the work without that extra bit of information. As the role of abstract art is often to evoke a feeling or see what the viewer can interpret from the colors or shapes, an artist might feel that a title takes away from that personal experience. It’s difficult to create a title that doesn’t at least suggest a narrative.

Popular Methods of Creating Titles

• Name a work after a poem, song, or song lyric, as LCA artist Joan Aglaia does with her works.
• Name a work after what it represents (a scarf, an apple, a person’s name, etc.)
• Add a bit of humor
• Use an evocative verb like burn, bury, expand, flinch, immerse, unravel
• Grab a thesaurus and search exciting synonyms for common words
• Ask a friend what they see in the work
• Name it after an idiom like “blessing in disguise,” “bite the bullet,” “benefit of the doubt”

Artwork titles are never the be-all and end-all of an artwork’s meaning. While they may suggest one way of viewing a work, by seeing that as the only way, you are limiting your view. A title can be a helpful tool, but don’t let it keep you from thinking critically. It’s always a good idea to view the work first before looking at the title, just as we suggest viewing a work before reading an informational wall plaque at a museum.

What do you think of titles? Leave a comment below letting us know how you create titles if you’re an artist or what types of titles you’re attracted to as a viewer/collector.

The post The Value of Artwork Titles appeared first on Landing Contemporary Art.

Finding art that resonates with you is about more than what you think will look best in your home. There’s something to be said for feeling a deeper connection based on what speaks to you on a personal level. If you haven’t thought about how your zodiac sign might inform your art and design choices now is a perfect time — it’s almost the beginning of a new astrological year. Consult the stars below and discover a work of art for your zodiac sign.

Aries

March 21 – April 19
Fire

As the first sign of the zodiac, Aries is active, passionate, and confident. This fiery sign is known for telling it like it is and taking risks — in life and when it comes to collecting art. Aries lean towards bright patterns and metallic accents; artworks that make a bold statement!

Taurus

April 20 – May 20
Earth

Taureans are reliable, responsible, and grounded, yet, like the bull, they can also have a stubborn streak! Their ruler is Venus, goddess of love, so this sign is romantic and inclined to lifestyle choices that celebrate beauty and aesthetics. When considering art for your zodiac sign, figurative paintings and lush landscapes are sure to please.

Gemini

May 21 – June 21
Air

Gemini, “the twins,” is a gentle and affectionate sign with the ability to learn quickly and express themselves. They represent two different sides, but their changeable nature means they have an open mind and the flexibility to experience many things, including different styles of art. Let’s put it this way: a Gemini’s world is never dull and neither is their art collection.

Cancer

June 22 – July 22
Water

Strongly guided by their emotions, Cancer is highly empathetic and loyal to others. Feeling everything, this intelligent sign carries the weight of the world of their shoulders. When it comes to contemporary art, it makes sense that Cancer would choose soothing works that help them achieve a bit of zen. More muted tones and classic lines will help balance this brave crab at home. 

Leo

July 23 – August 22
Fire

We all know that Leo, the lion is the boldest sign of all. Strong-willed, warm-hearted, and confident, Leo’s are natural-born leaders who love being the center of attention — in a good way! Ruled by the Sun, these trendsetters will leave their mark on everything. You’ll find a Leo’s home to be highly personalized with bright colors and all the things they adore in the world.

Virgo

August 23 – September 22
Earth

With a strong attention to detail, discerning Virgo is the most analytical of the signs. Ruled by Mercury, they thrive at communication and organization and are incredibly hardworking and practical. They choose reason over emotion, so when it comes to collecting contemporary art, a Virgo will take care to make highly considered choices. 

Libra

September 23 – October 23
Air

Balanced Libras are known for their welcoming attitude and appreciation of fairness. Like Taurus, they are ruled by Venus and as such, are drawn to aesthetics and beauty. This gracious sign likes to entertain and will likely choose art that makes themselves and others happy.

Scorpio

October 24 – November 21
Water

Intense, sensual Scorpio is the sign most devoted to exploring life’s mysteries. They love opulence but are not distracted by trends, preferring styles that have stood the test of time. In regards to contemporary art, a Scorpio embraces an all-or-nothing approach that resonates with them on a deep, often spiritual level.

Sagittarius

November 22 – December 21
Fire

Outgoing Sagittarius loves to travel and won’t shy away from changes, which means their art collection is often eclectic and fun, like them. Ruled by the vast planet, Jupiter, a Sag likes art that seems limitless — large-scale works of contemporary art that reach for the sublime will align with their adventurous spirit. 

Capricorn

December 22 – January 19
Earth

Capricorns are organized, practical, and responsible, making them excellent leaders. Their taste is typically more conservative as they value mathematics, music, and tradition. 

Aquarius

January 20 – February 18
Air

Highly original and freethinking, Aquarians aren’t afraid to break the rules in life and with their artistic choices. They have a creative mind that helps them lead independent lives without regard to labels or societal pressures.

Pisces

February 19 – March 20
Water

The last of all the zodiac signs, Pisceans have been through it all and as a result, are highly intuitive and non-judgmental. With a free-spirited nature, this sign loves travel and art, which help fulfill their dreamy ideals. They are inherently spiritual and treat their environment with great care to create a beautiful sanctuary that will suit their chill mood. 

The post Art For Your Zodiac Sign appeared first on Landing Contemporary Art.