no barking aRt 2

issue 2 sheautumn 2014

contributors A-Z

Laura ColantonioAna CvejicImogen EvesonCarla Mylius FleckMikala GranteLulu HoarGeorgina HowardYuni KoAlice MarcelinoOlga MikhasevaBetty RitschelSande RobertVeronica ShimanovskayaEbru Varol

City Women

In a New York State of Mind

Feature: Emma McGuire

A sentimental Journey

The Hierarchy of the Cat Installation or Sculpture?

Women artists around the world

editorShizico Yino barking TeamCamilla Barrett Aster Reem DavidNaomi J DavisSharon SondhdesignerShizico Yi

editor’s noteOnce we decided to make a women artists issue, people started to ask, “are you a feminist?” no barking aRt if was anything, feminist would be one of the last things. Why? Because we believe feminism is dead, so are religions and politics too. We believe in art and we believe in truth.

Females and males can only be equal when we stop to see ourselves as a man or a woman. This is a special issue for women artists because women deserve to be celebrated. You have been here with men over 1000s years in civilizations, you have been not yet treated equal in the history of art. You have been taken away of your freedom in making, and you have been told because you are a woman so do this and don’t do that.

This 2nd issue brings in outstanding women artists from around the world wishing to portray a view of this beautiful landscape of contemporary women artists through their practices. Each one of them contributes an unique tone and melody to this women symphony.

The truth doesn’t need to be told in order to be true, it exists as the way it is. The 2nd issue “she” is just a book about this truth, the truth of contemporary women artists seen through their practices in all sorts of mediums. It is our duty to bring them to this platform, because they are simply here, beautifully exist with all these richness in their works.Poet and artist Sande Robert’s poem sums up the desire within all the wom-en, “ To herTo her childrenNow they will never settle for less”

No matter you are a man or a woman, we are all the children of THE woman. Let there be many more women artists special editions, if not next one, may it be every 2 years.

shizico yi

Feature: Emma McGuire

A sentimental Journey

Installation or Sculpture?

ciTy women

imogen eveson

ciTy women

Learning a new city is like learning a new language. I became fluent in London over the eight years I lived there and didn’t find its rhythm and punctuation too hard to grasp.

Sydney belongs to the same language family as London. It deviates in some ways, inevitably, but I am getting there. I am learning new buildings and streets and ways of doing healthcare. I’m learning new bus routes and numbers and ways to say aubergine. I’m learn-ing that winter is not winter as I know it and that August is inside out. (The word that forever has been a warm, hot, amber, orange, ember in my mind is now cold and would-be-bare, were it not for the deciduous trees here in the southern hemisphere.)

I’m learning how exciting it is to be in a new land, but how comforting to be under the same sky.

[ I’m learning how exciting

it is to be in a new land,

but how comforting to be

under the same sky.]

Imogen Eveson

NEW YORK is as much about the inanimate as it is about the living. Ebru Varol’s photography explores the soul of the city as witnessed by the object. In her images, light and the absence of light are harmonious, never antagonistic. Working together, they push the lifeless to the very edge of life. The experience of witnessing this expectant threshold challenges the viewer to speculate, and even predict, the stories of the metropolis these silent sentinels would tell, if only their balance tipped towards life. Her still images freeze this hopeful longing that is vividly experienced in perfect ambiguity as to which, the viewer or the object, is projecting their consciousness onto the other.New York, in Ebru Varol’s photography, is ec-stasy reached through delightful confusion and uncertain-ty. Here, lifelessness is in fact the life in essential form: on the brink.

NEW YORK is as much about the inanimate as it is about the living. Ebru Varol’s photography explores the soul of the city as witnessed by the object. In her images, light and the absence of light are harmonious, never antagonistic. Working together, they push the lifeless to the very edge of life. The experience of witnessing this expectant threshold challenges the viewer to speculate, and even predict, the stories of the metropolis these silent sentinels would tell, if only their balance tipped towards life. Her still images freeze this hopeful longing that is vividly experienced in perfect ambiguity as to which, the viewer or the object, is projecting their consciousness onto the other.New York, in Ebru Varol’s photography, is ec-stasy reached through delightful confusion and uncertain-ty. Here, lifelessness is in fact the life in essential form: on the brink.

Ebru articles

[Here, lifelessness is in fact the life in essential form...] -Ebru Varol

_ebRu varol

georgina howard‘The Hierarchy of the Cat’

photograper : Geogina Howar

a beautiful essay on the out-dated idea of women’s ‘traditional’ role of ‘bringing up baby’

georgina howard‘The Hierarchy of the Cat’

As a young female of the 21st Century I have observed a shift and generational change in the female role as a mother. Growing up I experienced what society would consid-er a ‘traditional’ role of ‘bringing up baby’; my mother was ever present and all – giv-ing, until we eventually flew the nest. Now to fill the void of the departed children, she has the cat to nurture and mother once again.My work is very much self-reflective, in the sense that I can connect with the subject yet see myself so far removed from the situation. Seeing myself as a mother in the future, I would love to have the tender time to raise my children as my mother did; yet in my generation this out-dated ideal is less likely so, when factoring in the rising cost of living and the modern em-phasis of the female conquering her career first.

Early this year, an exhibition at The Photog-rapher’s Gallery, Home Truths: Photogra-phy, Motherhood and Identity, was an exhibi-tion exploring representations of motherhood through the works of eight contemporary art-ists. The Curator Susan Bright explains; ‘Like photography itself, the expectations and de-mands of motherhood are in flux; both sub-ject and medium grapple for new meaning in a changing world.’ (2013, “Home Truths”) Even though my work reflects the absence of mother and child, it still refers to the changing effects of how a woman is perceived to be a mother.In particular I can draw comparisons of Eli-nor Carucci’s (b. 1971, Israel) series Mother (2004,2013), to my own work. Inbal Miz-rahi, Press Officer at The Photographer’s gallery describes ‘Through her photographs

Elinor Carucci, “Mother” Series, 2004

Carucci expresses her fears of motherhood – that it would result in the loss of her creativity and sense of iden-tity’. (2013, “Home Truths”) This appears as a common theme amongst female artists, such as that expressed by Tracey Emin and her critique toward motherhood. In a recent article in ‘You’ Magazine, Emin stated: ‘The mother who’s in the studio painting will re-sent going home to her children.’When people have children,

they have a sense of purpose.When you don’t have children you have to define and make your own purpose, and make your own reason for being here.’ (2013, “Tracey Emin: I never had children because I’d re-sent leaving my studio for them”)Like the purpose of ‘the cat’ in my image, my mother’s sense of pur-pose is lost with her children gone. Through photography I react to what I have observed and in doing so voice my opinion on what I see

B i b l i o g r a p h y :

http://thephotographers-gallery.org.uk/photography-motherhood-and-identity Home Truths: Photog-raphy, Motherhood and Identity’, July 2013.

h t t p : / / w w w . d a i l y -m a i l . c o . u k / f e m a i l /a r t i c l e - 2 3 1 2 3 5 5 /Tracey-Emin-I-children-Id-resent-leaving-studio them.html#ixzz38qZlVdrB , ‘Tracey Emin: I never had children because I’d resent leaving my stu-dio for them’ , April 2013.

[Like photography itself, the expectations and demands

of motherhood are in flux; both subject and medium grapple for new meaning

in a changing world.] Susan Bright

2013, on Home Truths

as changing normali-ties from one gen-eration to the next. I create a tension between the staged and the candid im-age, to replicate reality and gener-ate an interest in a way that the viewer can engage and re-late to the subject.

written by Georgina Howard

photos by photographerGeorgina Howard

_

by Mikala Grante

feature

Emma McGuire

photographer: Aster Reem David

interview+research :Camilla Barrett

_

Emma

Just when the BBC may en-courage you to believe that only a hipsterish mishmash of barbers, mechanics, restaurant owners and bodyguards live in East London, one meets an honestly authentic resident by the name of Emma McGuire.Growing up in Nottingham, the daughter of Susie Daniel and Peter McGuire (authors of The Paint House: Words from an East End Gang, one of the most influential books on Skinhead subculture to date) McGuire graduated from the Royal College of Art in 2005. Now, living and work-ing in East London, a fertile ground for many revolutionary subcultures, McGuire’s work has been influenced by a mul-titude of counterculture move-ments and artists, including Nan Goldin, Francesca Wood-man and Robert Mapplethorpe. 2014 has been a busy year for McGuire, following her hugely successful solo exhibi-tions “XXXX” (solo exhibitions

2013-2014 at Chatsworth House, Galerie Sardac, France and Giorgio Brato Studio, Mi-lan) and “Warriors”, a collabo-ration with artist Echo Morgan, in 2012. This coming Novem-ber, McGuire will open a new solo show in New York City, marking her second collabora-tion with the Duke of Devon-shire. Highly anticipated, the exhibition continues to explore the themes of self/identity, so-cial and philosophical systems of male and female bodies, and visceral repetition which are al-ways present in McGuire’s work. McGuire’s research-based ap-proach to her work reflects her unique and insightful creative process. In order to present an earnestly direct compre-hension of her models, she immerses herself in the expe-riences of her subjects. For ex-ample, in both her work at the Repton Boxing Club (Bethnal Green, London) and more re-cently with the famous Renzo Gracie Club in New York City,

_ McGuireshe spent hours observing and photographing the training, get-ting to know the fighters, and understanding the intricacies of the sport; whilst making herself an invisible observer, enabling the camera to become the un-noticed recorder. All of the fi-nal images were shot ringside at tournaments. The images bridge the gap between the camera and the living, breath-ing subjects in front of our eyes; she insists on shooting with film in order to capture the fragility of moments and allow crackling noises in the images. The re-sults are serious, earnest mo-ments which she then painstak-ingly develops with a complex lithographic process to redefine the viewer’s comprehension of her imagery. Furthermore, by her constant participation in the frontlines of the scenes she depicts, this allows her space to reveal the layers and dimen-sions hidden in the forms of the body. McGuire’s other se-ries of work reflect her explo-rations of body, identity, myth

and anonymity; always searching for a balance between unveiling and ex-posing dark and underground worlds, and generating a place for the hid-den, unknown and fragile self to ex-ist – works including The Emperors New Clothes, Degrade and Angel/Angela (see her website at: www.emma-mcguire.com). McGuire is currently working on an exciting new series of prints, “Rorschach” (reflect-ing the inkblot test to assess person-ality via ambiguous designs). This exploration pushes the boundaries of the viewers’ perception and interpre-tation of the body and our psyche.In writing about McGuire’s work, one is confronted with an inadequacy that can only be addressed by physi-cally existing in the space with her oeuvres. We encourage you to en-gage with this formidable artist by experiencing the work first-hand. Emma McGuire currently lives and works between London and New York.She is also a Senior Lecturer in Fine Art (specializing in Print-making and Photography), Uni-versity of East London, UK.

Mikala Grante

_

Emma in her studio:on the floor are an exciting new series of prints, “Ror-schach” (reflecting the ink-blot test to assess personal-ity via ambiguous designs)

left top:xxxx 3

below:xxxx 1

Artist Studio :McGuire is currently working on an exciting new series of prints, “Rorschach” (reflect-ing the inkblot test to assess personality via ambiguous designs).

_

_McGuire is currently working on an ex-citing new series of prints, “Rorschach” (reflecting the inkblot test to assess personality via ambiguous designs). This exploration pushes the boundar-ies of the viewers’ perception and inter-pretation of the body and our psyche.In writing about McGuire’s work, one is confronted with an inadequacy that can only be addressed by physically existing in the space with her oeuvres.

We encourage you to engage with this formidable artist by ex-periencing the work first-hand.

Emma McGuire currently lives and works between London and New York.She is also a Senior Lecturer in Fine Art (specializing in Printmaking and Photog-raphy), University of East London, UK.

written by Mikala Grante

photographer- Aster Reem David

interviewer and researcher -Camilla Barrett

_

Emma McGuire

Degrade

Angel Angela series

a sentimental

journey by betty ritschel

death, life, mother-hood and womanhood, Betty Ritschel, the runner up of no barking aRt Prize 2014 short list talks about these fundamental subjects through her creative process

Dead or Alive II Betty Ritschel

Last weekoil on canvas

Actually, I do not find it stimulating to write an article about be-ing a female artist.I find it uninspiring that in 2014 we still spend time on a subject that we should have moved far beyond. My generation is definitely much more ahead than just years ago where our colleagues really had to fight for the right to be in this field. But that is only here things are like this, you just need to fly a few hours and girls still have to fight for the right just to go to school. So seen from the perspective of the women in that part of the world, we just have a luxury problem.

If I as an artist start spending time and an-ger on these kinds of thoughts I get lost in a negative circle and can-not work freely. So while working I have to fake that the problem does not exist, otherwise it is just getting too hard with which to cope.

In the way I have been raised I have always found that we as girls and boys were given the same equivalent oppor-tunity both at home and in the school system and therefore I have never given the subject much attention. My belief is that you make of your life and your career ex-actly what you intend and work towards. Of course you run into barriers, but we all do even males.

What especially disturbs me is when a piece of work is labelled femi-nine, based on female sentimentality. That can really upset me, as things are not as clear-cut…. An artist like Cat-alan can at first view be shocking and give a very hard impression, but go-ing underneath you find that his work is based on fragility and senti-ments and therefore also have feminine aspects.

I have to admit that what I am doing and the way I am working is def-inite going to be la-belled feminine. I am very much using what I have around me as inspi-ration – things I see in my everyday life. In the beginning I almost apol-ogized for being banal, but I think it’s actu-ally here that things are happening for me.

I try to work with the daily hurdles that I as mother, wife and artist am going through. There are lots of things to take care of and they suck out my creative en-ergy. It is an on going fight and I only manage if I am stubborn and really want to stay in front of your canvas. Otherwise “they will eat you”. I love my frustra-tions and they con-tinually give me some-thing on which to work.

My main inspiration is the human body and working with the “space” between people, both physically and psychologically. I am looking for sentiments to build up my canvas.

The human body has always fascinated me but it took me quite a long time to figure out how to use it and to find my way around. In the be-ginning I used so much time on developing and changing my characters/figures trying not to use them more than once. It took so long and used all my energy so the ex-perimental part, that I find so interesting, decreased. Therefor I began to reuse the figures and I got very familiar with them, to the point that I now somehow see them as my little family.

My research often starts in-side myself and I’m a very much drawn by my emotions.To give an example I will use my “funeral project”, which was made right after losing a loved one, and got start-ed because I felt unconfi-dent about the fact that one day I was also going to die.I often work with con-trasts and in this case I chose “life” in contrast to the figure of death. I mainly work in layers, and often very different layers, all made on the same sub-ject and united by colours.

“Actually, “I do not find

it stimulating to write an

article about being a female artist.I find

it uninspiring that in 2014

we still spend time on a

subject that we should

have moved far beyond.”

-Betty

Ritschel

Seven days around

The Funeral The three layers each rep-resent a moment in life.1st layer: When a child is born we say, ”he was brought into the world last night” and later “he left the world this morning”.The light blue map is symbolic of the place where we spend our time during life.

2nd layer: Mourning figures

3rd layer: Is a red trace. An electrocar-diogram, that in a very exact way shows whether there is life or not.

Dead or alive IThe painting rep-resents “death”.The red line in the bottom fades out and the person is dead.The figures are express-ing their trapped pain.I have used very few co-lours, because there is almost no hope left.

Dead or alive IIThe painting rep-resents “life”.The red trace is start-ed and life begins.The figures in the back-ground are still in a process of mourning.The figures in front are through that pro-cess and ready to “face the world again”.I have mainly used a green colour to symbolize “hope”.

That is very much the way I work - collecting hap-penings or memories, join they on my canvas and united them through colours.

Right now I am work-ing on a project, which is a kind of diary.A work in progress that follows my daily life situation, working upon the daily hurdles that I am going through. I take episodes and am in-spired by my daily life and the things that sur-rounds me– my children, my to-do-list or other things that I’m in touch with.

Dead or Alive I

ritschel

“Last week” is the first picture in that series and I did it when my children started school again after three months summer holi-day. Usually I’m very well pre-pared with lots of sketches, but here I had very few sketches just a very strong feeling about what I wanted to come up with. I wanted to try and express the feelings that I had collected during these three months where I was more or less prevented from working. For me it was a feeling of being total-ly “full”. The memories and hap-penings that I had collected are all joint on the canvas, in no par-ticular order, just on top of each other. In the end I try to unite the layers through colours and decide what to give importance.

What I like about working in lay-ers is the dept that is built into the painting and “themes” that are not revealed at first glance.

“After the gym” is the relief you achieve after having fulfilled something almost impossible. Vic-tories during the day that gives you joy and hope, and which en-courage you to face another day.

“Seven days around” here I am playing with the athlet-ic skills I need to make use of, in order to get through my day. The feeling that I have to run, jump and spin around the whole day just to get through.

That is the way I work and how I build up my canvas. I am very often pushed by my curiosity, and I love when I am able to come out with something that I did not expect. When I am able to reach the point where I work almost unconscious. Here it gets very physical and I just work almost without thinking, just using my intuition. That is the part I love the most - the joy I feel and the satisfac-tion can keep me busy for days.So in order to keep the satis-faction going I fake that we as women are affected by any form of sexism. It is not that I do not want to face the prob-lem but personally I have never suffered from any kind of dis-crimination. Seeing other peo-ple being more successful than me - male or female, stimulate me and make me work even harder.

After the gym

betty ritschel

_installation or sculpture?

by Veronica Shimanovskaya

Although sometimes per-ceived as installation, some artists’ works pertain more to the field of sculpture – mixed media sculpture perhaps, but sculpture nevertheless. Some good representations of this kind of sculpture was a part of 2014 No Barking aRt Bi-ennale in Shoreditch: Ve-ronica Shimanovskaya’s Far Afield and Perepeteia, and Jane’s Wollatt’s The Lottery.Jane’s composition The Lot-tery consists of a family of tightly bound balls, whose threads are made of torn strips of fabric. They are placed into something reminiscent of a half-open apron or a home-made bag attached to wooden planks. The sculpture makes an odd and eerie impression, as all the tactile and visual ref-erences are seemingly skewed. The questions ‘why?’ ‘who?’ and ‘what happened?’ come to mind while looking at Jane’s

work. This piece is based on lottery balls from the Foundling Hospital, now in the Foundling Museum, which were used to manage the numbers of chil-dren accepted into care by the hospital. If a white ball was se-lected the child was taken in; if it was red, the child was put on a waiting list; and if it was black, the child was rejected. There were more black balls and only a small number of white ones.Jane engages the viewer into a voyeuristic experience the nature of which is not easy to pin down. Whether it is cold and forensic or heart-tearingly emotional, one can only decide for him/herself. Jane’s prac-tice deals with personal and domestic violence, mental dis-turbance and obsession. Being a psychiatric nurse she expe-riences her patients’ behavior patterns and they often inform her art. Jane is interested in the internal life of the human

psyche and the tensions it lives through in the external. Staying minimal in her choice of materials, Veronica creates environments out of thin air, which, she insists, is the most important part of her work. The objects simply create a density in the installation space. Far Afield, for exam-ple, is a repetition of the same element made of plywood, a 120 mm long nail and a piece of paper, arranged in a random pattern. The piece is reminiscent of a flower, a bayonet, and an old cash register. There are a hundred of them on the floor of the gallery, and even in the busy environment of the show, they create an ambience of a curious and menacing field of… What may it be? The piece is dedicated to Veronica’s grandmother who grew up in Cen-tral Asia. Her story about enjoying walks in the steppe amongst blooming poppies ¬¬reading Nietzsche, during the time of the 1917 Rus-sian revolution, and while the industrial revo-lution was in full swing, inspired the work.

_installation or sculpture?

by Veronica Shimanovskayapsyche and the tensions it lives through in the external. Staying minimal in her choice of materials, Veronica creates environments out of thin air, which, she insists, is the most important part of her work. The objects simply create a density in the installation space. Far Afield, for exam-ple, is a repetition of the same element made of plywood, a 120 mm long nail and a piece of paper, arranged in a random pattern. The piece is reminiscent of a flower, a bayonet, and an old cash register. There are a hundred of them on the floor of the gallery, and even in the busy environment of the show, they create an ambience of a curious and menacing field of… What may it be? The piece is dedicated to Veronica’s grandmother who grew up in Cen-tral Asia. Her story about enjoying walks in the steppe amongst blooming poppies ¬¬reading Nietzsche, during the time of the 1917 Rus-sian revolution, and while the industrial revo-lution was in full swing, inspired the work.

_

Jane Woollatt2014 new work

_ Veronica’s other piece Perepeteia could have been considered a lumino-instal-lation, had it not included an elaborate cluster of metal spirals onto which a dig-ital animation of swirling light was pro-jected together with the looping musical phrase of Claude Debussy’s ‘Jeux’. En-closed in the dark room of the gallery, the piece is inspired by Greek tragedy and transformation in human life. Veronica’s practice is concerned with the world of fiction and its power of creating reality.

Perepeteia, installation 2014 Veronica Shimanovskaya

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top: new work by Jane Woollatt

left: The Lottery, Jane Woollatt

next page:new works by Jane Woollatt 2014

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a b o u t j a n e

Artist Jane Woollatt explores themes of memory, identity and abjection. She selects materials and objects that show signs of age-ing, history and decay. She is interested in the nature of materials and attempts to identify the character of an object or material and express that in the art piece.

women aRtists around the world

women aRtists around the world

Artists are teachers. To educate is to lead [as in Latin root: educare]; to lead people out of confusion and to lead our life toward enlighten-ment through art. In this series, we talk to three women artists who are also art teachers; through their works and words, we can fairly say, our future in art is in good hands.

canada france russia

Artists are teachers. To educate is to lead [as in Latin root: educare]; to lead people out of confusion and to lead our life toward enlighten-ment through art. In this series, we talk to three women artists who are also art teachers; through their works and words, we can fairly say, our future in art is in good hands.

canada france russia

olga mikhAseva“...problems of the contemporary world require the participation of spiritually strong people, who feel the suffering of others...” Olga Mikhaseva on being a teacher and a woman artist.

olga mikhAseva“...problems of the contemporary world require the participation of spiritually strong people, who feel the suffering of others...” Olga Mikhaseva on being a teacher and a woman artist.

russia

Education that gets artists is a com-plex and purposeful process of train-ing that expresses their interests and the interests of the whole society.The set of acquired competencies and experience of the activity is nec-essary for the realization of their pro-fessional and creative potential. But contemporary education is one-sid-ed because it considers only the de-velopment of mental abilities and ig-nores the matter of educating a heart warmth, compassion, generosity, patience and sense of responsibility.Since I work as a teacher of art dis-cipline at the Art College, I encoun-tered this problem face to face. In the process of learning, we make for young artists all necessary condi-tions for their disclosure of creativ-ity, the mastery of academic draw-ing, painting, composition thinking and art materials. But I realized that, to access full functionality for-mation of the personality, we also need opportunities for the realiza-tion of spiritual and moral potential, activity aimed at the development of socialization and ethical values.

Our students express their attitude towards reality via artworks.But since young artists are busy with profes-sional tasks they do not pay atten-tion to disclosure of their moral po-tential. That is why, ‘we should make every effort to help them to devel-op a heart warmth and kindness’.I think that a woman teacher can play a major role in the solution of this problem because women are more inclined to show mercy, com-passion and they are able to teach it to others. They have this potential because a woman is the source of love, kindness, charity and mercy. Having a subtle emotional organiza-tion, own unique view on contem-porary issues and rich inner world, women artists and teachers can take care not only about their families but also whole society and via society the entire planet. I think the women should take most active part in the promotion of best human qualities.But without work the words be-come dead. I would like to share with you about my experience of charitable lessons for children

whose families are in a hard finan-cial situation and children who have physical or mental disabilities.Мy charity project had a dual focus. Pri-marily, it was aimed to the helping children who need special support. On the other side, the project was aimed to the realization of spiritual and moral potential of young artists at the age of 20 years who need to practice not only for professional skills but also practice of generosity, char-ity, compassion, patience and love.We had done great preparatory work before our project started. So I mo-tivated my young artists on a small feat. First, we have called the rep-resentatives of social protection of our city and found out that there are some offices in each area of the city which is attended by children aged 6 to 11 years. Then, under my leadership the students had devel-oped programs of creative lessons that called “We do origami with own hands”and “The magic of illusions”. For the first program we had chosen the technique of modular origami.

Model in red bordeaux Acrylic , gouachel,Olga Mikhaseva

Also, for our project joined students’ parents and they helped us to make more 5000 colored mod-ules for children’s creativity. For the second pro-gram we had decided to tell about optical Illusions and performed an artwork in the technique of monotype. These techniques surprised students, children and the parents too. All lessons we had done as the series of master-classes where we combined the creation of children’s artworks, fun games, competitions and learning a new useful material, presentation of prizes and gifts.As a re-sult, each child received a soft toy, sweets, own crafts, positive emotions and their parents had tears of joy and smiles on the success of their children. So, the idea of helping children, whose families are in a hard financial situation and chil-dren with physical or mental disabilities, were ac-cepted by my students with gratitude and love.Dear women artists and teachers!Myriad prob-lems of the contemporary world require the par-ticipation of spiritually strong people, who feel the suffering of others deeply and devote them-selves to make something for needy people.In-deed our society needs such a strong spirit and generous heart people and we are able to edu-cate them. Please, go ahead, create and give love & care for those for whom it is utmost important.by Olga Mikhaseva, painter , art teacher of Kazan Art College

Still-Life Series Acrylic Olga Mikhaseva

yuNi ko

yuNi ko “The gift of life is to

recognize that life itself, flows” -- Yuno Ko

“The gift of life is to recognize that life itself, flows” -- Yuno Ko

canada

In Korean, Yuni (=YunМ) means circular, round, and unity. I abso-lutely love my name and the sig-nificance that it holds for me as a woman and an artist. Since I was a little girl, I’ve collected anything with a circular shape; round edg-es always comfort me. The shape of the circle connects to my heart. My passion for art started in my early teens, and was further de-veloped when my family moved from Korea to Canada. My par-ents are adventurous travelers and they gave me opportunities to see the world and experience different cultures, societies, and art. I studied art in France and Canada and my work evolved into my own vision. Growing up in West Vancouver, surrounded by trees, mountains and ocean, I was profoundly influenced by the environment and its abundant beauty. I explored and painted the Canadian landscape and other subjects in a realistic style.

My current artwork is focused in-ward, on my feelings rather than on my studies of nature and other outward subjects. When I paint, I feel more in touch with my emo-tions. This led to my series called “The Flow”, which represents the transitional movement of feelings and experiences throughout my life: joy, love, sorrow, courage, fear, pain, accidents, diseases, death, friendships, family, faith and hope. Life is always in a state of flux. I have learned to take each day as it flows. We cannot stop or control this movement; we recognize and adapt as we live it. All of us face challenges with weakness of our mind, body and spirit. If we are fortunate, new opportunities arise to liberate us. We begin again. This is the gift of life - to recognize that it flows. During my recent travels, the or-ganic rounded shapes of old Euro-pean roads, buildings, walls, and bridges ignited my artistic soul.

My spirit of gratitude emerg-es through harmonious circular strokes. Bright continuous lines represent heartfelt connections and balance. Peace in my rela-tionships is very important to my spirit. I find it intriguing that an artist’s emotions can be com-municated to the heart of a viewer, and that is my intention.

Inspiration came flooding over me and I saw myself, Yuni, con-nected to the circles: the an-cient stones, sun, earth, and moon. My female identity, per-sonal history and world history felt united in a flash of recogni-tion and deep insight that led to my “Memories of Circle” series. Metallic colours are significant because they infuse me with strength and represent my iden-tity. My father spent over 30 years in the metal business. His research lab inspired me to use metallic colors, and they sym-bolize a positive creative power that flows through me. Texture is very important in my work, the layers of bright colours are my happy memories shining through. Each stone represents a con-nection I feel to the people who have helped me through difficult times. These memories bring a peaceful energy, and give me strength to overcome hardship.

yuNi ko

lulu hOar[I know I am asking a lot ...to communicate such a huge amount of things with so little imageries...]

france

detail of “ Mosquito”, cast coloured resin by Lulu Hoar

lulu hOar[I know I am asking a lot ...to communicate such a huge amount of things with so little imageries...]

When one is asked to write about oneself as a ‘Female Artist’ does one write about being a ‘woman’an ‘Artist’, or a ‘female Artist’. What does being a ‘female artist’ mean exactly, are we different tomen? Do we think differently? I do not really the know the answer to these questions, however I doknow that ‘female artists’ have struggled through-out our time in gaining respect and recognitionand that now, very few success-ful (well known) female artists have children. I can in fact only thinkof one example and that is Paula-Rego. When I gave birth to our son, I was determined my life would not change, I would continue in thesame professional manner as I had always done as an Artist and Lecturer. On the face of it, andcertainly to the outsider, it did not. What changed however was my emotions. The world-wideconflicts that we are constantly sur-rounded by suddenly became more real, I wanted them to stop, tobring harmony and peace, to find a solution through communication.

It took some time to realise that I was/am unable to change the world, but I can as an artist and alecturer relay an awareness of how lucky we are to be living in a time of peace, as minuscule as thatmight be in the grand scheme of things, I hope to make a small difference. I am not a landscape painter per-Se but one who uses the land-scape as an inspiration for my work. Iam fascinated with our connec-tion to the landscape and how we use it as a source for our needs. I am currently working on the pro-gression and development of the LGV (ligne grande vitesse) thenew railway line at the back of my home in south-west France that will eventually go fromBourdeaux -Tours -Paris. From the very first ‘scrape’ into the land-scape resembling a giant artistmaking his first mark, to the now lu-nar landscape, of a line snak-ing its way across the countrysidewithout yet it’s rails, evolving from its once agricultural land, I have been documenting visually its

progression. The most excit-ing event during this ongoing proj-ect being a ‘gyro-copter’ flight, a birdseye view of a landscape, that I have been working from, since it’s conception. When working on site my mind is filled with emotion, I see the first paintings of a landscapedepicting ‘War’ that first intro-duced me to contemporary landscape works of art, ‘Paul Nash’, ‘DavidBomberg’ and ‘Otto-Dix’ to name a few. (all men)! How talented these artist are to communicate thedesolation and destruction of ‘War’, depicting a landscape de-void of human presence, but who haveobviously created the scene.I am of course, now working from a similar landscape but in peace-time. It is not so long ago thatEurope was at war, in the 1st world war France became a battle-field and in the second it was underoccupied territory and all Euro-pean countries were experienc-ing the same of level of death anddestruction on a day to day ba-sis as is , Syria, Egypt, Irak, Iran, Palestine, Israel etc....of today.

topPatterns in

the landscape

belowMapping out

Artist Lulu Hoar

Salinas en sal Study SeriesNo 2, 3, 7 ( clockwise from top to left )Artist Lulu Hoar

Conflicts of War. Fighting over land, resources that are not ours to fight over. We are the guardiansof our generation, looking af-ter the land for the next, whether you believe the world was made bygod or science, I do be-lieve it is not ours to give away. I like to think that my emo-tions are portrayed into my paint-ings, making others think differentlyperhaps on; contemporary land-scape art, our wealth, our richness and our ability to communicate inso many different ways that should be used in a positive and not a negative form. I am I know asking a lot of my work to communicate such a huge amount, with so little imagery inits content, but for me when I view my work I am transported back to a time and place, an emotion.I have, within the works, I hope, a sense of being, a sense of place, a sense of peace and for thoseviewing it a sense of joy and pleasure.

by Lulu Hoar

alice maRcelinoAlice Marcelino is one of the new generation of photographers in London. She practices across various professions; advocates for fashion designers, caress-es with vibrant street life through her lenses and pitch-perfects in her melodic video art.Alice has a keen eye for right moments and sharp ears for music which put her photographs and videos in a league of their own.

alice maRcelinoAlice Marcelino is one of the new generation of photographers in London. She practices across various professions; advocates for fashion designers, caress-es with vibrant street life through her lenses and pitch-perfects in her melodic video art.Alice has a keen eye for right moments and sharp ears for music which put her photographs and videos in a league of their own.

uk

in her own words

Thinking of myself within a style I see me as a ‘visual story-teller’. I am a bit stiff with words but I love the fact that you can do poetry with images where the words you can’t see on pictures are the lives of peo-ple. The way we live, the way we behave, our traditions and costumes are all part of an evidence of our current civilizations.

I find inspiration in many situations and particularly around my neigh-bourhood. I live in Brixton, which buzzes and pulses with a vibrancy unique only to itself. Brixton in its own right, is like a mini United Nations; the people, with their mixed ethnicity, the ever changing streets and with a vibrancy unique only to itself. Brixton in its own right, is like a mini United Na-tions; the people, with their mixed ethnicity, the ever changing streets and markets places, the corners and squares offering eclectic goods, and the background noise of traffic con-versation and music, all create an environment to feed a creative soul and for me living in Brixton is like being fed.

I was born in Angola, a young country which was independent from Portugal in 1975; it under-gone a massive civil war which involved several opposing pow-ers such as Cuba, Soviet Union, South Africa and the United States. Shortly after I was born, I moved to Portugal where I grew up and adopted the Portu-guese culture instead.

Photography happened on my late 20’s on a time I was a bit lost disappointed by the lack of passion and purpose of my day to day job.Luckily I started working as an assistant for an English pho-tographer in Lisbon that gave me the bases of the craft. From there I started to practice and soonrealised how engaged I became with it and decided to take it more ‘serious’ by enroll-ing for a degree on Photography in London.

This background also drove my attention to African culture posing questions about its identity and how it is perceived in the 21st century.

On 2012 I started a project titled Kimdumba that talks about Afri-can hair culture and it’s impor-tance on the expression of black identity. The works of photogra-phers like JD ‘Okhai Ojeikere and Eileen Perrier largely influenced this project where I wanted to portrait the individuality of their hair style choices reflecting their cultural background and beliefs.

This year I’ve done several col-laborations within the performing arts, fashion industry and the most meaningful job being the collaboration with the documen-tary photographer Lindsay Maggs currently showcasing her exhi-bition about Sierra Leona foot-ballers amputees.

alice marcelino

[I love the fact that you

can do poetry with images]

lauRa colantonio[ My grandpa’s warning words “There’s no rest for the wicked!”]

detail of “ Louis” Laura Colantonio

italy

lauRa colantonio[ My grandpa’s warning words “There’s no rest for the wicked!”]

My grandfather’s warning words “There’s no rest for the wicked!” are still resounding in my ears and now more than ever I see how true they were.

The pace of everyday life is so pressing that often we are left dishevelled. We run, but where to? Yet we have no choice but to keep the pace and learn the steps, trying to turn them in to a dance routine – the only way to avoid being swept away.

With this artwork I reproduce a personal and intimate vision of this fast and pressured living, where thoughts too must keep steady to avoid the tempting and exciting driving force that would drift them elsewhere. I imagine those thoughts like dynamic, alive lines chasing each other along ever-changing paths, passing by, running, creeping in and changing direction, only to leave seemingly different trails behind.

In the same way as one thought can cross the mind of different people, I likewise multiply the lines and arrange them into dif-ferent intersections, surfaces and volumes as much as the physical boundaries of my can-vas allow me to. It’s my own governance over the surround-ings, my last chance to exercise some control on life around me.

Then I give my artwork the sta-bility and reassurance of a name – ‘Louis’ – to counter-balance its inner movement.

With ‘Louis’ I ponder upon this dynamism of forms and lines; I use the compactness of colours to represent my creed in the true energy of the human being and the feasibility of human ideals. ‘Lou-is’ is strong and well compound-ed, the black ink runs smooth and quick amongst the colours – it’s hard, intense yet sinuous.

detail of “ Louis” by Laura Colantonio

In this work some spaces are meant for dreaming, others let the viewers be totally free to see their inner selves, in that precise mo-ment. It speaks boldly and equal-ly listens to the mood of the view-er, in a sort of osmotic exchange.

by Laura Colantonio

“ Louis” by Laura Colantonio

cArla m.fleckWhen asked about who touches her the most as a woman artist , photographer Carla Mylius Fleck could’t help to tell the world her passion about Cecilia Lawrence, a famous woman artist in her motherland Brazil.

cArla m.fleck

brazil

I first heard of Cordel Art and Cecilia Lawrence (1922- 2008) through her great-granddaughter Mayra. CORDEL ART started in the late 18th century in the North-east of Brazil, it is handmade booklets sold in street markets hanging from a string hold by pegs. It consists of illustrations and writings reflecting the art-ists personal view of events, be-lieves, legends, gossips, religion, politics, romance, adventure, rhymes, poetry, lyrics... fiction or facts often with a touch of humour.It is a true form of popular expres-sion. Lawrence is one of the artists contribute to this art movement. Her story touches me deeply. In a country were machismo prevail particularly at that time, Cecilia Lawrence took her daughter and left her abusive husband , she ventured herself into a different city and started a new life rely-ing only on selling her art works.

Lawrence has an eccentric char-acter; one of them was her obses-sion to religion. She would attend all churches in town, believed in spirits and claimed seen them walking around her house in the late night and she would pray to keep everyone’s safety. Lawrence made beautiful portraits from ob-serving street life in the city. In-spired by her and other aspects of Brazilian culture I did some experimental projects with my colleagues, one of them is Wom-en Cordel (reference: https://v i m e o . c o m / 2 1 5 7 9 8 0 4 ) Throughout the history, there were countless women artists to survive, report, protest, con-test, question, transform, edu-cate and liberate through making art. I am Carla, I take snapshots, one of my favorite subject are people who made the streets their home, no doubt Cecilia Lawrence is one of my heroines

Street photos, a black and white film series by Carla Mylius Fleck

Street photos, a black and white film series by Carla Mylius Fleck

sande ROBert

[ A woman who only appears because of the desire to reflect]from Thunder moon, Sande Robert

Sande Robert lives on Nantucket island off of Cape Cod where the surrounding sea,

flora and fauna inspire her paintings and writing. This poem is fresh off the writing pad,

and is about many reflections of the female in nature, in the world, taking place under Thunder Moon:

the full moon in July.

sande ROBert

usa

Thunder Moon

Thunder moon was riding the sky around five o’clock this morningLarge and transparentA white disk rising ever so slowlyin her corner of the dawnA cameo wafer etched into high milky pointsand shallow clefts where Wedgewood-blue shone throughDirectly across, in the East, a ghostly new sun,shrouded in rags afraid to show himself in the presence ofsuch a womanA woman who only appears because of thedesire to reflectAnd in this instance able to reflect so much morethan is offered Radiance from the inside outManasa lives in the leafmold aside the back stoopShe slithers up bushes, defying gravity,and slides sidewaysAway from her sunbath on the deckwhen my shadow falls across her shiny scalesI see no miceAnd the traps are clean,

so accomplished is she in her stealthIn her search and destroy missions-no trace of tail or ears left behindHer meaning is prosperityI came across a tarantula motherShe was dragging her children behind her in a silk sack- I don’t know if she was running away from somethingOr, running towards somethingBut on the early morning football-field-size space of grasses,it looked like a long, quite determined journeyAnd whether the movementbegan after a long term of enduranceand considerationOr whether it was one laser-light momentof clarity and knowingOr bothShe was on the moveHer whole existence on the moveDo or dieI admire her: she is not playing a roleNor settling for lessNo lobster-in-the-pot anesthesia for her-

just the rich and real edge of her life being what mattersTo herTo her childrenNow they will never settle for less

poem and pictures by poet and photographerSande Robert

so accomplished is she in her stealthIn her search and destroy missions-no trace of tail or ears left behindHer meaning is prosperityI came across a tarantula motherShe was dragging her children behind her in a silk sack- I don’t know if she was running away from somethingOr, running towards somethingBut on the early morning football-field-size space of grasses,it looked like a long, quite determined journeyAnd whether the movementbegan after a long term of enduranceand considerationOr whether it was one laser-light momentof clarity and knowingOr bothShe was on the moveHer whole existence on the moveDo or dieI admire her: she is not playing a roleNor settling for lessNo lobster-in-the-pot anesthesia for her-

As a woman artist, Ana is a story teller. “Resident Evil” , a new series of work by Ana Cvejic

ana cvejić

ana cvejićserbia

“Resident Evil”

This is a true story about the man; he was emotional with a pronounced sensuality.

his only flaw was being a vulnerable man then he transformed into a beast.

he was a creature who wanted love,love was a stranger to his childhood

when all he knew was suffering and pain, the pain was continued.

mischief and misdemeanors led him to the same road,

the same path to a suffering love. woman was a subject for him, he could love but he won’t ,

in most cases when he was disappointed in love, he left and left, again and again

in came his evil who haunted him like a shadow. His mind was in a state of insanity,

in conflicts, in storms he is a creature whose nature is not to be hurt ,

a guy who needs love I pray that his soul will find the peace,

the evil will not return.would my wish become true? Maybe, or maybe not.

-paintings and poem by Ana Cvejic-

“Resident Evil”

ana cvejić

“Resident Evil”

iSSUE 2 pROJECT

photo in this page : Ebru Varol

pORTRAITS OF WOMEn ARTISTS

no barking art invited 18 women art-ists to share the secrets in artists’ bags.Through these intimate images, they take us on a private journey into their “bag of secrets”

These women artists (23~65 year-old) are com-ing from UK, Europe, US, Australia to Asia and their disciplines widely spread over photography, paint-ing, conceptual art, music, textile design, digital vi-sual art, architecture, illustration to make-up art .

no barking aRt/nəʊ bɑːk-ɪŋ ɑːt/a not-for-profit organization for independent artists around the world

www.nobarkingart.comnobarkingart@gmail.com

no barking aRt

2 SHE