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Sonya Veronica

Spela Cvetko

The abstract and the symbolic collide with great effect in the mixed media works of Slovenian artist Spela Cvetko. Classically trained in Slovenian schools, Cvetko frequently addresses the subject of inspiration and attempts to divine the source of an artist's creativity in her "Returning Journey" series. Each of these works features a shimmering, radiating core juxtaposed against a chaotic background. Within each core, we see two abstract shapes— derived from spearheads—which appear to be rips in the canvas

G aining much of her inspiration from music, the work of Sonya Veronica is correspondingly lyrical in form and content. Seeking immediacy free from representational content, Veronica's work speaks volumes through her inspired abstract harmonies. Her unique language is conveyed through her choice of color, texture, and the gesture of her style, which she alters to suit each particular subject. Stylistically, Veronica's works range from

being painterly, feathery and light, to employing bold washes of color seemingly poured down the canvas in a brilliant waterfall. A bold streak of yellow courses down the middle of "C'est La Vie," surrounded by reds, deep and cool on the right, warm and vibrant to the left. As in classical music, Veronica's work suggests an emotional response without words or representational content; the art speaks directly to the spirit without an intermediary vernacular. For the audience each work is a transcendental experience. Veronica, in the spirit of Mark Rothko, evokes an emotional content through color and a tangential affiliation with form.

Veronica's primary choice of medium is painting, though she works with photography and digital media as well maintaining her distinctive style throughout. Veronica has exhibited widely in Melbourne, Victoria, and has recently gained international interest in her art, exhibiting in California and acquiring representation in New York. Veronica lives and works in Melbourne.

through which one can glimpse another world. "They are the passage," Cvetko explains; "The door between the worlds. [They] are expressing the message that nobody is alone." The violence of these abstract works is striking: color and form clash throughout the canvas, and meaning rises from the conflict.

Cvetko's personal symbolism gives rise to the dualism of artistic intent and individual interpretation. A viewer divines much from the statements in the works imbued by the artist, but then adds his or her own critical viewpoint to the reading of the painting. Through this ambiguity, Cvetko forces us to confront the source of our own inspiration; we are inspired by her own investigation into the workings of her thought process, and are invited to investigate our personal methods. In this way, Spela Cvetko allows her work to become our own. http://www.vivalaspella.com

Patricia Brintle

Zeiko Basheleishvili

T he soul of Georgian painter Zeiko Basheleishvili cries out to her audience through her magnificent, musical compositions of lyrical color. Like the Fauvists, or early Cubists, the artist uses color to communicate meaning. Her masterful manipulation of light and dark and the fluidity of forms seem like a pictorial portrayal of an opus by Stravinsky. She depicts her dreams and imagination in a symphony of blues and browns, purples and pastels that burst out of the canvas with the emotional force of the Russian spring.

With all the drama of an early 20th Century opera, Zeiko reduces forms down to their basic core. She

I n the paintings of Patricia Brintle, one would expect to see a reflection of the turbulent world events she has experienced. Emigrating from Haiti in 1964, Brintle arrived to the United States in the midst of one of the nation's greatest periods of turmoil. But like Henri Matisse, the great French master whose work her art

evokes, Brintle expresses in her paintings the serene, utopic ideal that can exist only in the creativity of an artist. She celebrates the beauty of the natural world by portraying subjects such as flora and the human form, while consistently illuminating these tableaux with natural sunlight at its most dramatic moments.

Brintle's figures have an iconic nature to them, which allow them to stand for something greater than a single body. In "The Dance of Life," the rhythm of these idealized forms cause them to represent, as the title implies, the complex andjoyous dance of human experience. The work then takes on a new dimension, standing as a statement of graceful optimism regarding the world about us.

"I never know what will inspire me," Brintle admits. "Even a dream may trigger an emotion that results in a painting." These paintings, based in emotion, resist the strain of a traumatic world and provide a counterpoint to pessimistic realities. They are a note of hopeful optimism, and a shimmering display of beauty.

depicts semi-figurative human shapes in sensuous, flesh-toned circles of sienna and umber. Her imagery is as mysterious and ephemeral as a dream. She blends dimensional planes in dramatic, sweeping movements, avoiding mundane detail and giving the neo-classical works a surreal quality. As the plot unfolds, the veneer is stripped away and the fundamental, basic truth is revealed to the viewer in a crescendo of free-flowing abstract color.

Zeiko Basheleishvili was born and raised in Tbilisi, Georgia. Her works have been featured in exhibitions across Russia and Eastern Europe.


	Sonya Veronica Spela Cvetko The abstract and the symbolic collide with great effect in the mixed media works of Slovenian artist Spela Cvetko. Classically trained in Slovenian schools, Cvetko frequently addresses the subject of inspiration and attempts to divine the source of an artist's creativity in her "Returning Journey" series. Each of these works features a shimmering, radiating core juxtaposed against a chaotic background. Within each core, we see two abstract shapes— derived from spearheads—which appear to be rips in the canvas G aining much of her inspiration from music, the work of Sonya Veronica is correspondingly lyrical in form and content. Seeking immediacy free from representational content, Veronica's work speaks volumes through her inspired abstract harmonies. Her unique language is conveyed through her choice of color, texture, and the gesture of her style, which she alters to suit each particular subject. Stylistically, Veronica's works range from being painterly, feathery and light, to employing bold washes of color seemingly poured down the canvas in a brilliant waterfall. A bold streak of yellow courses down the middle of "C'est La Vie," surrounded by reds, deep and cool on the right, warm and vibrant to the left. As in classical music, Veronica's work suggests an emotional response without words or representational content; the art speaks directly to the spirit without an intermediary vernacular. For the audience each work is a transcendental experience. Veronica, in the spirit of Mark Rothko, evokes an emotional content through color and a tangential affiliation with form. Veronica's primary choice of medium is painting, though she works with photography and digital media as well maintaining her distinctive style throughout. Veronica has exhibited widely in Melbourne, Victoria, and has recently gained international interest in her art, exhibiting in California and acquiring representation in New York. Veronica lives and works in Melbourne. through which one can glimpse another world. "They are the passage," Cvetko explains; "The door between the worlds. [They] are expressing the message that nobody is alone." The violence of these abstract works is striking: color and form clash throughout the canvas, and meaning rises from the conflict. Cvetko's personal symbolism gives rise to the dualism of artistic intent and individual interpretation. A viewer divines much from the statements in the works imbued by the artist, but then adds his or her own critical viewpoint to the reading of the painting. Through this ambiguity, Cvetko forces us to confront the source of our own inspiration; we are inspired by her own investigation into the workings of her thought process, and are invited to investigate our personal methods. In this way, Spela Cvetko allows her work to become our own. http://www.vivalaspella.com Patricia Brintle Zeiko Basheleishvili T he soul of Georgian painter Zeiko Basheleishvili cries out to her audience through her magnificent, musical compositions of lyrical color. Like the Fauvists, or early Cubists, the artist uses color to communicate meaning. Her masterful manipulation of light and dark and the fluidity of forms seem like a pictorial portrayal of an opus by Stravinsky. She depicts her dreams and imagination in a symphony of blues and browns, purples and pastels that burst out of the canvas with the emotional force of the Russian spring. With all the drama of an early 20th Century opera, Zeiko reduces forms down to their basic core. She I n the paintings of Patricia Brintle, one would expect to see a reflection of the turbulent world events she has experienced. Emigrating from Haiti in 1964, Brintle arrived to the United States in the midst of one of the nation's greatest periods of turmoil. But like Henri Matisse, the great French master whose work her art evokes, Brintle expresses in her paintings the serene, utopic ideal that can exist only in the creativity of an artist. She celebrates the beauty of the natural world by portraying subjects such as flora and the human form, while consistently illuminating these tableaux with natural sunlight at its most dramatic moments. Brintle's figures have an iconic nature to them, which allow them to stand for something greater than a single body. In "The Dance of Life," the rhythm of these idealized forms cause them to represent, as the title implies, the complex andjoyous dance of human experience. The work then takes on a new dimension, standing as a statement of graceful optimism regarding the world about us. "I never know what will inspire me," Brintle admits. "Even a dream may trigger an emotion that results in a painting." These paintings, based in emotion, resist the strain of a traumatic world and provide a counterpoint to pessimistic realities. They are a note of hopeful optimism, and a shimmering display of beauty. depicts semi-figurative human shapes in sensuous, flesh-toned circles of sienna and umber. Her imagery is as mysterious and ephemeral as a dream. She blends dimensional planes in dramatic, sweeping movements, avoiding mundane detail and giving the neo-classical works a surreal quality. As the plot unfolds, the veneer is stripped away and the fundamental, basic truth is revealed to the viewer in a crescendo of free-flowing abstract color. Zeiko Basheleishvili was born and raised in Tbilisi, Georgia. Her works have been featured in exhibitions across Russia and Eastern Europe.