There is a particular kind of beauty that belongs to speed. The blur of a racing car at Silverstone. A woman in silk at the rail of a Riva on the Riviera. The curve of a vintage Porsche against a wall of Mediterranean blue. These are the images that populate Alan Walsh’s paintings, and they carry within them an entire visual autobiography, one that began not in a studio, but on the side of a racing circuit.

Walsh, a British artist based in Monaco, has built one of the most distinctive bodies of work in contemporary European painting. His acrylic and oil compositions, rendered in bold, clean strokes with a palette as saturated as a summer afternoon on the Côte d’Azur, occupy a genuinely singular space: immediately recognizable, joyful without frivolity, luxurious without pretension. He calls it “art with playful elegance.” Sorrel Sky Gallery, which represents Walsh across its Durango, Santa Fe, SoHo, and East Hampton locations, recognized in that phrase exactly the kind of artist its collectors have been waiting for.

Raised at the Circuit

 

To understand Walsh’s work, you must understand where he spent his childhood. His father worked in motorsport, which meant weekends at Silverstone, Monaco, Monza, and Paul Ricard rather than the parks and back gardens of his native North Yorkshire. On the long drives to and from circuits, young Walsh entertained himself with a pad of paper and a collection of pens, sketching racing cars from his father’s copies of Autosport and fashion figures from his mother’s issues of Vogue. Those two visual vocabularies, the aerodynamic precision of a racing machine and the graceful poise of high fashion, never left him. They remain the twin poles of his work today.

He raced competitively himself as a teenager, joining the elite Zip Young Guns karting team, the same program that developed Formula One World Champion Lewis Hamilton. The experience deepened his instinctive feel for speed as a visual concept, and it gave him entree into a world of drivers, team owners, and collectors who would later become among his most loyal patrons. Past and present racing legends count themselves among his regular clients.

From Advertising to the Atelier

Walsh left secondary school early, by mutual agreement, he notes, having attended only his art lessons, then spent a period at art college before pivoting into advertising. The career that followed was genuinely impressive. His illustrations appeared on billboards for Aston Martin, Porsche, Mercedes-Benz, Grey Goose Vodka, and Coca-Cola. He co-founded the award-winning Artisan Drinks Company, bringing his characters to life across bottle labels and global advertising campaigns. The discipline of commercial work gave his line its characteristic confidence: clean, deliberate, with nothing extraneous.

A formative moment arrived early in his advertising career, when a creative director at a London agency observed a teenage Walsh still laboring over the facial features of a storyboard character an hour into an assignment. The instruction he received that day shaped everything that followed: don’t worry about faces, express emotion and movement through body language instead. Walsh has not drawn a face since. The result is one of the most recognizable signatures in contemporary painting. His figures convey feeling entirely through posture, gesture, and the tilt of a head, leaving space for the viewer’s imagination to complete the picture.

In 2012, Walsh decided to leave the agency world entirely and commit fully to painting. Solo exhibitions followed in Los Angeles, San Francisco, Cannes, and beyond. By 2016, he owned two galleries in Australia, one in Sydney and one in the regional town of Bowral. In 2020, he opened Walsh Gallery Monaco, positioning himself at the epicenter of the luxury art market he had spent a decade capturing on canvas.

Monaco, the Martinez, and an A-List Clientele

Walsh’s base in Monaco is not incidental to his work — it is its natural habitat. The gallery, located in La Condamine, the district where the Grand Prix circuit runs through the streets, sits precisely at the intersection of motorsport, fashion, and Mediterranean glamour that defines its aesthetic. His works hang in the homes of royalty, Hollywood stars, chart-topping musicians, and global sports stars. He served as resident artist at the legendary Hôtel Martinez in Cannes, sharing its lobby with fellow British artist Damien Hirst.

The subjects that populate his canvases read like a love letter to an idealized version of the French Riviera: vintage racing cars, impossibly poised women in chic French fashion, champagne-drenched afternoons on Riva boats, the bold geometric branding of luxury sponsors. His color work is a particular achievement — saturated but never garish, inspired by the vivid palette of vintage motorsport advertising from the 1970s and 80s.

A Cultural Bridge

When Sorrel Sky Gallery founder Shanan Campbell first encountered Walsh’s work, she identified something that transcended geography. “Alan Walsh paints the feeling of speed and sophistication,” Campbell says. “His work speaks to collectors who appreciate both the elegance of the Riviera and the adventurous spirit of the West.”

The observation is astute. Walsh’s paintings share with the best Western art a certain quality of light: luminous, expansive, unambiguous. The wide-open feeling of his compositions, with their clean backgrounds and breathing room around each subject, translates naturally to a collecting audience accustomed to the particular clarity of light found in Colorado and New Mexico. The Côte d’Azur and the American Southwest are separated by an ocean and a continent, but both traditions prize immediacy of vision and confidence of execution.

His arrival at Sorrel Sky represents a carefully considered expansion of the gallery’s contemporary offerings, extending its reach from the American West to include one of Europe’s most compelling voices in figurative painting. For collectors who move fluidly between Manhattan, the Mediterranean, and the mountain West, Walsh offers a point of connection across all three.

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For much of my career, creativity existed through the structure of the fashion industry. For over two decades, I worked within a world built around movement, collaboration, deadlines, textiles, color stories, fittings, production teams, and the challenge of transforming an idea into something physical that people could live in. Fashion became part of how I observed the world—how color affects emotion, how texture changes perception, and how a garment can alter the confidence and experience of the person wearing it.

Then, a few years ago, after a move to the desert near Joshua Tree, my creative life began to shift.

The quiet and expansive landscape gave me the space to reconnect with creativity in a completely different way. The stillness of the desert, the changing atmosphere, and the muted yet powerful color shifts across the sky and land inspired me to begin creating work rooted in observation, emotion, and texture. There was something about the openness of the landscape that encouraged reflection and experimentation. The desert became more than a location; it became part of the creative process itself.

At the time, I didn’t know exactly where that path would lead or whether it would permanently replace fashion in my life. I wondered if focusing on painting and textile artwork meant leaving one creative identity behind for another. I questioned whether trying to do both would divide my focus too much, causing one side to suffer.

Instead, something unexpected happened.

Artwork creation, although often more solitary, contains a similar unpredictability. While the work is primarily in my own hands, the surface itself begins to participate in the process. Paint reacts unexpectedly. Layers shift the atmosphere of a piece. Texture changes the emotion of color. One brushstroke suddenly redirects the entire composition. Sometimes the work begins to reveal something I did not originally intend to create.

Again, you cannot always see the ending. You respond to what is happening in front of you. That reaction—that openness to process—is something fashion and fine art deeply share.

For me, creativity has become less about controlling every outcome and more about learning how to observe, react, and evolve with the work itself. Both disciplines continuously remind me that uncertainty can be one of the most valuable parts of the creative process.

I have also become increasingly fascinated by the way both fashion and art affect people emotionally and psychologically.

With art, I’ve had conversations with collectors and viewers who describe seeing something deeply personal inside a painting or textile work. Sometimes a piece reminds them of a landscape they once experienced. Other times it evokes a memory, a feeling, or even a place they long to return to emotionally. Watching someone connect to a work on that level is incredibly meaningful.

There is a quiet moment that happens when a viewer stops in front of a piece and becomes fully present with it. You can often see the emotional shift happen across their face before they even speak. As an artist, those moments are priceless because they remind you that art exists beyond decoration. It becomes part of the human experience.

Art gives people a place to pause, to reflect, and to feel something.

Fashion creates emotional experiences differently, but with equal impact. Seeing someone wearing something you helped create out in the world carries its own kind of energy. In activewear especially, clothing often becomes connected to movement, motivation, and self-transformation. A garment may encourage someone to go outside, exercise, join a community, improve their health, or simply feel more confident in themselves.

That confidence affects how they move through the world. It changes interactions, posture, and presence. Something as simple as color, fit, texture, or silhouette can influence the emotional experience of the person wearing it—and even affect the people around them.

Fashion and fine art may appear very different externally, but both ultimately influence human experience. Both shape atmosphere, emotion, perception, memory, and identity in subtle ways. The blending of those ideas has become central to my own creative practice.

Now my art practice rotates between playful desert scenes, atmospheric seascapes, and layered forest landscapes—all deeply impacted by the outdoor spaces where I spend time hiking and exploring. Each landscape carries a different emotional energy, and I often bring those observations back into both my paintings and textile works. The outdoors has become an essential part of my creative rhythm, influencing not only the visual direction of the work but also the sense of movement, stillness, and reflection within it.

My artwork often begins with observing landscapes, texture, atmosphere, and light in the natural world. I spend a great deal of time paying attention to subtle color shifts, movement across the sky, weathered surfaces, and the emotional feeling a place carries. Those observations eventually move into painting, textile processes, and layered surfaces.

At the same time, fashion continues to influence how I think about proportion, movement, material, and the physical relationship between the body and design. My years in apparel taught me to think about construction, tactile experience, and functionality alongside beauty.

Now those influences constantly move back and forth between each other. A painting may inspire a textile direction; a fabric texture may influence a painting surface. An atmospheric landscape may evolve into a color palette for apparel, while a garment silhouette may inspire compositional balance inside an artwork. The boundaries between disciplines have become increasingly fluid.

That fluidity has allowed me to embrace creativity in a much broader way than I once imagined possible. For a long time, I thought creative careers required choosing a single direction. But I no longer believe creativity works that way. Some creative lives are built through specialization, while others are built through exploration and blending multiple forms of expression together over time.

There is beauty in allowing your creative identity to evolve, in not always knowing exactly where the process will lead, and in realizing that different disciplines can strengthen each other rather than compete.

I feel incredibly fortunate to experience both worlds. Fashion continues to inspire me through collaboration, craftsmanship, and movement, while fine art inspires me through

observation, emotion, and storytelling. Both encourage me to remain curious and to bring all my experiences back into the creative process.

At this point in my life, I no longer see fashion and art as separate identities. Instead, they have become part of one blended creative life—constantly evolving and pushing me toward new ways of seeing and building. I may not always know exactly where the path is leading, but I’ve learned to trust the process of discovery. Sometimes the most meaningful creative work happens while navigating the unknown and weaving it into daily existence.

 

Author Bio

After immersing herself in the action sports design world for several years, Sherri took the opportunity to explore her artistic side in painting and illustration.  Driven by a deep passion for the arts, she enjoys experimenting with various traditional and contemporary media in her paintings.  Inspired by her exploration of the outdoors, she finds inspiration in both the picturesque landscapes and captivating elements of land and sea.  A versatile artist and designer, with a strong background in designing for brands including her own successful apparel line, she brings a unique perspective to her designs.  Her technical design skills and creative vision blend seamlessly to create her work.  Today her deep appreciation shines through in her artwork, she continues to push boundaries and explore new artistic horizons.

For more information, visit www.sherriscottstudios.com

Instagram:

https://www.instagram.com/sherriscottdesigns?igsh=NTc4MTIwNjQ2YQ%3D%3D&utm_source=qr

Facebook:

https://www.facebook.com/sherri.ds3?mibextid=wwXIfr&mibextid=wwXIfr

All images courtesy of Sherri Scott.

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That sense of refuge permeates the book. From a sunrise spilling over Yosemite Valley to the haunting stillness of the Everglades, the photographs seem to whisper that beauty, even in turbulent times, remains constant.

Throughout A Walk in the Park, light plays as much a role as the landscapes themselves. For Katz, light has always been the truest subject of his work. In Yellowstone, early morning mist becomes an ethereal veil. In Arches, the last rays of daylight ignite sandstone into a glowing monument.

“Light is nature’s paintbrush,” Katz reflects. “The parks gave me an endless palette. Every moment was fleeting, and that’s what made it extraordinary.”

This devotion to capturing the perfect balance of light and shadow recalls Ansel Adams, yet Katz’s work feels more intimate, more personal—less about monumentality and more about connection.

Beyond its visual power, A Walk in the Park carries a mission. A percentage of book sales benefits America’s National Parks, directly supporting preservation efforts. Katz sees this not as charity, but as reciprocity.

“These landscapes have given me so much,” he says. “It’s only right that the work gives back.”

In this way, the book serves as both inspiration and call to action. It reminds readers that the parks are not static museums but living ecosystems—fragile, threatened, and worth protecting.

 

The result is A Walk in the Park, a new book that is both a stunning visual chronicle and a profoundly personal narrative. Featuring images from 65 national parks, the collection is more than a coffee-table book: it is a testament to resilience, wonder, and the healing power of nature. This book feels less like an assignment and more like a calling. “I wanted to create something that wasn’t a guidebook, but a love letter,” Katz explains. “A reminder of what we have—and what we need to protect.”

The project took Katz from Acadia’s granite cliffs to the volcanic wilderness of Hawai‘i Volcanoes, from the crimson canyons of Zion to the glacial majesty of Denali. Each image is composed with Katz’s signature mastery of light, a luminous quality that transforms a familiar landscape into something timeless and transcendent.

As Will Shafroth, President and CEO of the National Park Foundation, writes in the book’s foreword:

“Andy Katz’s photography captures the light and beauty of America’s national parks, inspiring wonder through images that are singularly powerful and personal, yet always within reach of our understanding, always inspiring us to connect and to search. Begin your national park exploration here.”

The timing of the project gave it a weight beyond aesthetics. In 2020, the pandemic forced many of us to reconsider our relationship with the natural world. For Katz, the national parks became both sanctuary and stage. “They reminded me of what’s essential,” he says. “In a time of fear and uncertainty, the parks offered peace, perspective, and resilience. I wanted to translate that into images that others could hold onto.”

What sets A Walk in the Park apart is its intimacy. Rather than presenting the parks as distant marvels, Katz invites viewers to walk alongside him. His photographs feel accessible, moments anyone might stumble upon, if only they had Katz’s eye for light and patience for timing.

There are no people in the frames, yet the images are profoundly human. They reflect solitude, reverence, and awe—emotions that readers inevitably carry back into their own lives.

In an age of rapid consumption and fleeting digital imagery, A Walk in the Park asks us to slow down. To linger on a page. To notice the way a shadow bends across a canyon wall or the way sunlight pools on a forest floor.

The book reminds us that photography, at its best, is not about freezing time but about deepening it. Each image is an invitation to pause, breathe, and reconnect with a world larger than ourselves.

For Katz, this project also feels like a culmination. After decades of assignments around the world, he has distilled his artistry into something deeply personal. “These parks belong to all of us,” he says. “But they also became a part of me. This book is my way of giving that back.”

In many ways, A Walk in the Park is not just about America’s landscapes—it is about the American spirit itself. It celebrates resilience, unity, and beauty that transcends division. It is a reminder that while our lives may feel fragile, nature endures, and in its endurance, we find our own strength.

Ultimately, A Walk in the Park is more than a collection of photographs. It is a journey through wonder, a meditation on beauty, and a plea for preservation. It is art that asks us not only to look, but to see. As readers turn its pages, they are not simply observers of landscapes; they become participants in a shared inheritance. And in a time when so much feels uncertain, Andy Katz’s images offer something rare and enduring: hope, illuminated by light.

 

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We first met artist Rebecca Fairfax at Art Santa Fe in 2024 and were intrigued with her expressive use of oil and cold wax to create each of her works of art. We wanted to know more about this artist and how this interesting medium became her choice. Let’s see what she has to say.

ABN: Introduce yourself — who you are and what is your vision as an artist is?

RF: I am an intuitive, abstract, realist and expressionist artist. A bit of a mouthful, I know, but each one describes my particular mix of abstract techniques with recognizable forms and my focus on expressing some small yet universal aspect of our complex human experience.

Only with oil and cold wax medium can I create so many multiple layers of contrasting thicknesses and colors – cool and warm, dark and light, opaque and transparent – that express energy, thought, mood and emotion. I seek to explore the interplay between the physical and metaphysical, where figures emerge and recede from and into the background and foreground, often as in a dream. I invite the viewer to enjoy the subtle yet often playful, quirky and whimsical narratives as well as the deeper meanings in each painting.

ABN: What is your background?

RF: I grew up in suburban Boston surrounded by the bold colors and textures of my mother’s finely crafted quilts and hooked rugs – she often exhibited them in local shows and even museums.

Still, my first career was as a public radio reporter and TV scriptwriter, magazine and newspaper journalist and children’s book author, all while supporting my daughter as a single mother. Working mostly freelance, I was able to live, work and extensively travel abroad — from Europe to Asia and South America. I also speak fluent French, good Spanish and some German and Russian. During those fascinating years, I wrote on pretty much everything — from Art to the Zuni.

In time, though, with a desire to express myself through the visual arts, I traded in my keyboard for a palette and canvas, experimenting with acrylic and oil until I discovered the challenges, delights and power of oil and cold wax.

ABN: What is your work philosophy and how does that impact your work?

RF: As with my writing career, I’m a bit of a workaholic – the creative process is so rich and exciting that it rarely sleeps, and I try to keep up with it. Time in my home studio opens new worlds every day – I can hardly wait to see what awaits. Paintings call from every easel and on my worktable, letting me know what they want to become. It’s a collaboration – I listen to the paint and cold wax, and we work together to bring images, ideas, and stories to life.

Each piece takes weeks or longer to complete – from the initial layers of gesso through the drying or semi-drying of each layer to the drawing of each image and excavating into the paint to the final application of stain on the sanded canvas cradles. There is always so much to do in preparing my work for shows and collectors.

ABN: What artist(s) inspire you?

RF: So many inspire me – from the early cave people to the latest wave of creatives seeking new modes of visual expression with digital art. That said, I have been most influenced by Renaissance figure drawings, and the colors, textures and creative courage of Manet, Van Gogh, Sargent, Turner, Toulouse-Lautrec, Whistler and so many others – I’m both a traditionalist and modernist in this 21^st century.

Outside of the visual arts, my great inspirations have been the mother of modern dance, Isadora Duncan, the avant-garde filmmaker, Maya Deren, the inimitable Bob Dylan and so many of the great early rock ‘n roll songwriters/poets. I often find ways to incorporate their images and vision into my work.

ABN: What is the best advice you’ve received?

RF: Stay true to your vision. This can be so challenging for so many artists as they work to find and maintain their unique style and voice. There are many ups and downs that come with following one’s own creative journey, and while we should always be open to new ideas and influences, we must primarily remain true to our creative self.

ABN: When you are not working, where can we find you?

RF: Taking a daily morning walk with my husband in our rural Santa Fe neighborhood; enjoying time with friends and other artists; attending concerts, gallery and museum openings; and traveling to the ocean, the only thing missing in our beautiful New Mexico landscape. Having spent my summers on Cape Cod, I always long for the sound of waves while walking on a beach.

ABN: Any plans for 2025? Where will your creativity take you? I

RF: This year, after a long, wonderful winter of hibernating and painting in my studio, I will be unveiling and exhibiting a new series, “Emerging and Receding,” at both the Santa Fe Studio Tour during the last two weekends of June, and Art Santa Fe in mid-July.

This is a huge and exciting step forward in my artistic evolution; I’ll have up to 25 paintings that bring together all that I have been working toward since embarking on my artistic journey. While I will be showing all of those works during the Studio Tour, a small selection will be available during Art Santa Fe. And my next step is gallery representation – stay tuned!

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Learn more about Rebecca at https://rebeccafairfax.com

And see her at Art Santa Fe, July 11-13, in Booth 300.

The post Meet the Artist: Rebecca Fairfax appeared first on Art Business News.

THE RISE OF NEW GLOBAL COLLECTORS 

A fresh wave of collectors is reshaping the art world. Many are millennials and Gen Z buyers with a strong global presence. Unlike traditional collectors, they focus on accessibility, diversity, and personal connection rather than prestige or investment. 

Social media plays a huge role in their discovery process. Platforms like Instagram and TikTok act as virtual galleries, allowing direct engagement with artists. Viral trends can turn unknown creators into sensations overnight. 

These collectors also seek art that reflects social issues and cultural identity. This shift is pushing galleries and auction houses to rethink their approach, prioritizing digital engagement and inclusivity. 

DIGITAL AND ONLINE PLATFORMS: A GAME CHANGER 

Online platforms are transforming the way art is bought and sold. Digital auctions, virtual galleries, and social media have made collecting more accessible. Buyers no longer need to attend in-person events to discover or purchase art. 

Major auction houses, including Sotheby’s and Christie’s, now host online sales that attract bidders worldwide. Platforms like Artsy and Artnet allow collectors to browse and buy from galleries with a few clicks. Even Instagram has become a marketplace where artists sell directly to buyers. 

For galleries and dealers, adapting to this shift means improving their online presence. High-quality images, virtual showrooms, and seamless purchasing options are now essential for attracting today’s digital-savvy collectors. 

THE IMPACT OF NFTS ON TRADITIONAL ART 

NFTs have shaken up traditional art collecting by proving that valuable works don’t need to be physical. These blockchain-based assets provide clear ownership records, making digital art a viable market. Some collectors see them as the future, while others remain unconvinced. Still, major sales like Beeple’s $69 million auction at Christie’s have forced the art world to notice. 

Galleries and auction houses are split on NFTs. Some have embraced them, hosting digital sales alongside paintings and sculptures. Others hesitate due to market volatility and concerns about long-term value. Whether they are a passing trend or a lasting shift, NFTs have already changed how people collect art. 

SHIFTING PREFERENCES: FROM CLASSIC TO CONTEMPORARY 

Collectors’ tastes are changing, shifting focus from classic masterpieces to contemporary and emerging artists. Street art, abstract works, and mixed-media pieces are gaining popularity, while traditional portraiture and landscapes see less demand. Younger buyers want art that is relevant to their lives, often choosing pieces that reflect social movements, cultural identity, or personal expression. 

This shift is reshaping how the art market is adapting to meet demand. Galleries are showcasing more contemporary artists, auction houses are spotlighting living creators, and museums are rethinking their collections. With fresh perspectives driving interest, the art world is evolving to reflect today’s diverse and dynamic collectors. 

THE ART MARKET ADAPTS TO CULTURAL SHIFTS AND CHANGING VALUES 

The art market has shifted toward contemporary works that challenge traditional norms in recent years. Buyers are increasingly drawn to new perspectives through modern styles or thought-provoking themes. However, the market for classic works by well-established artists remains strong, with major auction houses continuing to see high demand for names like Picasso and Monet. 

While contemporary art, especially experimental pieces, is gaining traction, many high-end collectors still prefer the security and legacy of proven artists. The most significant sales often come from recognized names or works with established value. Newer artists must build a reputation before commanding similar prices, with high-value purchases still focusing on artworks with proven track records. 

CHALLENGES FOR THE ART INDUSTRY 

The art industry faces several challenges as it adapts to these changes. One major issue is the growing reliance on digital platforms. While they offer more accessibility, they also raise concerns about authenticity and fraud. Galleries and auction houses must invest in technology to maintain trust with buyers. 

The unpredictable nature of emerging trends, like NFTs, is another challenge. While they’ve gained attention, the volatility of NFT prices can deter serious collectors. Galleries and artists must keep up with shifting tastes, ensuring they don’t alienate long-time buyers. 

As demand for contemporary and experimental art grows, the market risks becoming saturated. With so many artists vying for attention, standing out is harder, making it more difficult for new talent to break through. These challenges push the art industry to evolve while maintaining its traditions quickly. 

THE FUTURE OF THE ART MARKET 

Technology and evolving buying behaviors will shape the art market’s future. Digital platforms and online auctions will continue expanding, offering global art access. Virtual galleries and NFTs will further decentralize the market, while traditional methods like in-person auctions will remain important. As new collectors join, the demand for diverse and contemporary art will grow, with a focus on works that reflect social issues and personal expression. 

While trends drive growth, the art market will still value authenticity, quality, and legacy. Provenance will remain crucial, ensuring that both contemporary and classic works maintain their place in the market. The future will blend technological advances with the enduring importance of cultural significance, making art more accessible while preserving its value. 

A NEW ERA FOR ART COLLECTING 

The art market is entering a new era, driven by technology, shifting values, and global connections. As it evolves, how the art market is adapting is creating a future that is more accessible, diverse, and dynamic. Though challenges remain, the opportunities for artists, collectors, and galleries are vast. The rise of online platforms, digital art, and the growing demand for contemporary works reflect a broader transformation, making art collecting more inclusive and global. As trends evolve, the market continues to reshape itself, with a new generation of collectors leading the charge. The future of art is full of potential, and those who embrace these changes will be part of a revolution in how we experience and appreciate art. 

_________________________ 

Author Bio:  

Sophie Kim is a packaging consultant at GI Movers UAE, a trusted relocation company specializing in seamless moving solutions for individuals and businesses. With expertise in packing delicate and high-value items, she helps clients ensure their belongings are transported safely and efficiently. Passionate about logistics and the evolving global market, Sophie explores how shifting trends—whether in relocation or the art world—are reshaping industries and consumer behavior. 

The post A New Wave of Global Collectors Impacts the Art Market appeared first on Art Business News.

ABN: Who are you and what is your vision as an artist? 

Semadar: I am Semadar, an artist and founder of the Neo-Pointillism Movement, which connects ancient art with contemporary realism. Understanding antiquity equips artists to create the future. I feel privileged to recognize the importance of the arts and their philosophical mission in human existence. 

ABN: What is your background? 

Semadar: Since a very young age, I cannot recall a day when I did not draw, paint, or study art. While my studies in journalism have proven to be a valuable apparatus in the articulation of essays and published works, it was never my focus. It is the rigorous and proficient teachings I received at the Académie Arts et Beaux 20 years ago that play a crucial role in shaping the artist that I am today. 

ABN: What is your work philosophy and how does it impact your work? 

Semadar: Art is not just a profession; it is a way of life and a lens through which I perceive and interact with the world. The great master Nicolas Poussin, back in the 16th century, said, “I believe that what is worth doing is worth doing well.” The teachings that I received at the academy were very rigorous and demanding. I impose the same intellectual challenge in the creation of each artwork and its philosophical message. 

ABN: What Artist(s) inspire you? 

Semadar: The inspiration for my creations materializes while studying literary works and essays of great philosophers such as Gaston Bachelard, Jean-Paul Sartre, Joseph Proudhon, and many other great immortals. I have studied the techniques and methods of the Impressionist and Pointillist masters such as Seurat, Signac, Monet, Van Gogh, Pissarro, and their contemporaries, who serve as a continuous source of inspiration. 

ABN: What is the best advice you received? 

Semadar: To create art for the sake of art, not for fame or financial gains, but instead to ensure the authenticity of my voice amidst the cacophony of external influences and trends. 

ABN: When you are not working, where can we find you? 

Semadar: I find solace in the early morning in my garden, where the world is an inspiration ready to be painted. I carry these moments into my studio where the fusion of philosophy, literature, and visual arts emerge on canvas. 

ABN: What have you done recently that enhanced you as an artist? 

Semadar: The interest in art rhetoric, manifested by the 300,000 plus followers on Facebook and by art students, was profound. This inspired the creation of the Semadar Masterclass, where I simplified the complex and eloquent vocabulary of art rhetoric, with the objective that aspiring artists could enter a pictorial universe of the immeasurable secrets of the art world. I simplify simplistically the rhetoric of different movements, from classical art composition to Impressionism, chromatics hierarchy, and the Polychromy of Synthesis, with emphasis on Post Impressionism, and a gaze at the tendencies of the isms.”  

https://www.semadarmasterclass.com/pages/art-masterclass-by-santina-semadar-panetta 

ABN: Any plans for 2025? Where will your creativity take you? 

Semadar: Scheduled for the 2nd of April at the  Carlton Fine Art Gallery in New York, I will be exhibiting eight historical paintings, and on the 3rd of April at Art Expo New York, I will be showcasing two paintings. 

Currently, inspired by global events and philosophical reference material, my artistic focus is on the development of two interconnected collections.

The post Meet the Artist: Semadar appeared first on Art Business News.

Vivienne J Riggio’s artistic journey is a testament to a life steeped in observation and the transformation of the mundane into the extraordinary. Her studio has been described as a crucible where she takes shapes and textures and creates mystical sculptures of wonder. Her trust is built around her deep intuitive character and wildly active imagination. This trust has guided her well before identifying as an artist. She’s been a creative since birth.  

ABN: What is your background?

Born in the coal mining region of Murphysboro, Illinois, and now permanently residing in Santa Fe, New Mexico, Vivienne’s path to becoming an artist was as intuitive as it was inevitable. From her earliest memories, she was captivated by the world’s shapes, images, and designs, finding solace and expression in the arts as a young girl. Her childhood, characterized by quiet introspection and a deep internalization of her surroundings, laid the foundation for her unique artistic language, which she began expressing through three-dimensional art as early as five years old. 

This fascination with shapes led her to the world of design at the Fashion Institute of Design. However, after a summer employed at the Santa Fe Opera costume shop, her vision and a new north star beckoned. That was when three-dimensional life-size sculpture took hold and hasn’t let go since.  

As a career, Vivienne took a dramatic shift towards defending the rights and conditions of factory workers throughout most of the world. This profound pool of collective imagery, culture, language, and empathy has deeply inspired her work. When she wasn’t traveling, she decomposed herself in her art, sculpting, making mosaics, and hiking. 

ABN: What is your work philosophy and how does that impact your work?

As a multi-media artist Vivienne’s superpowers stretch from many regions of her vast imagination. Sculpture, mosaic, metalwork, fiber arts, block printing. “My truth allows me to shift boundaries as the inspiration and images appear.” Her sources of inspiration include other artists, both contemporary and historic, the wilderness, the sky, the sunlight and rain. The seasons of spring, Indian summer, and autumn also deeply influence her work. All these elements are rooted in her subconscious as she is out and about interacting with the world around her. Once she steps in her studio, however, the magic unfolds. 

ABN: What artist(s) inspire you?

I’m inspired by Alexander Calder for his unabashed creativity, Magdalena Abakanowicz for her ingenuity to repurpose and courage to go big, Bette Saar to bring renewed life to the discarded, Graciela Iturbide for her stunning black and white photographs of rural Mexican women, and Rose Simpson for her courage.

ABN: What is the best advice you’ve received? 

“You’re different than the others, consider that a gift.” My dad told me this when I was about 5 years old. 

ABN :When you are not working, where can we find you?

I enjoy being outdoors, at the movies, golfing, socializing with others, going on road trips, exploring wherever I live, and going to museums, galleries, and art events. 

ABN: What have you done recently that enhanced you as an artist?

People ask and wonder where the idea for the Sheep Collection, or the Herd, came from. Why has she been compelled to create mythical creatures that take us to another realm? The sheep, the bulls, and the bison. So she began researching the prominence these animals have shared with various deities. Her research and curiosity took her to Mesopotamia. In doing so, it was discovered that many deities from this region, where the origin of life had beginnings, are where goddesses and gods had bulls, cows, and rams as their companions. This information inspired Vivienne to create a new cohesive body of work—three mythical heads, the guardians of the cosmos. Stay tuned! 

ABN: Any plans for 2025? Where will your creativity take you?

Vivienne has a well-thought-out plan for 2025. It includes exhibiting strategies, the intention to go deeper into her imagination with no boundaries set, no expectations, to explore ideas and play with concepts unabashedly. To continue to explore where ideas come from. To continue to play and have confidence in the outcome.  

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Every great story begins with an intriguing narrative, and the story of “Once Upon a Frame” is no exception. Founded by the dynamic duo Yael and Jimmy, this remarkable business is dedicated to the fine art of framing, establishing a unique niche in a landscape where custom frame shops are becoming increasingly rare. “Once Upon a Frame” sets itself apart by offering an impressive selection of framing materials, including antique reclaimed metal, 24-karat gold leaf, intricately carved wood, and distinctive frosted thick acrylic. They excel at revitalizing antique frames, giving them a modern twist that beautifully complements contemporary artworks. Their designs extend beyond conventional framing, creating a truly immersive experience. 

With a team well-versed in the realms of art, framing, and preservation, clients can expect expert guidance that marries artistic vision with years of global inspiration. This results in stunning frames that both delight and satisfy. The knowledgeable staff are adept at helping clients make informed decisions rooted in high artistic standards, drawing on their diverse influences to create profound frames and happier clients. 

SOLANA BEACH DESIGN DISTRICT: 132 N. Cedros, Solana Beach, CA 

Situated at the northern edge of the celebrated Cedros Design District in Solana Beach, California, Once Upon a Frame (OUAF) thrives within its vibrant surroundings. The Cedros Design District has transformed since the 1990s from a tranquil coastal area into a bustling hub of creativity and commerce. Known for its independent boutiques, art galleries, and design studios, the district attracts both locals and visitors. It serves not only as a shopping destination but also as a community gathering place, hosting events such as the Cedros Avenue Farmers Market, where local vendors showcase fresh produce and artisanal goods. 

 PERSONALIZED EXPERIENCE  

Upon stepping into the OUAF studio, customers are greeted by a dedicated team passionate about the art of framing. Yael, one of the co-owners, personally engages with each visitor, carefully examining their artwork. With her discerning artist’s eye, she guides clients in narrating their artwork’s story through an interplay of color, texture, and composition. This personalized approach ensures every customer receives thoughtful insights on how to best highlight their treasured pieces. 

 Visiting Once Upon a Frame is more than just a transaction; clients often leave with a richer understanding of framing history and techniques, inspired by the creative energy that permeates the space. Whether framing personal art or exploring local talent, customers are bound to be enriched by the narratives and creativity on display. 

 In a market flooded with mass-produced items, Once Upon a Frame champions the uniqueness of individual expression—both in artwork and the frames that showcase it. If there were a reality show centered on framing, this shop would undoubtedly be a standout, brimming with endless stories and a vibrant culture worth discovering. 

 Custom framing demands a blend of expertise, creativity, and sensitivity to client needs. The essence lies in achieving perfect proportions while remaining flexible enough to innovate and refine designs into truly spectacular results. 

THE IMPORTANCE OF FRAMING  

Artwork frames are much more than borders for paintings and photographs; they play a                significant role in appreciation, preservation, and interpretation of art.  The following are some reasons why artwork frames are “critical for humanity”. 

Protection and Preservation: Frames provide physical protection for artwork from environmental factors such as dust, moisture, and light.  This is crucial for preserving the integrity of the piece over time, allowing future generations to appreciate it. 

Context and Presentation: A well-chosen frame complements the artwork, enhancing its aesthetic appeal and guiding the viewer’s focus.  

Cultural Significance: The style of framing can denote cultural traditions and historic periods, contributing to our understanding of different artistic movements. 

Value and Market Consideration: Frames can affect the perceived value of a piece.  An inappropriate or damaged frame may detract from the artwork’s worth, while a high-quality, well-matched frame may enhance its value. 

OUAF SUPPORTING LOCAL ARTISTS  

Beyond serving individual clients, Yael and Jimmy are dedicated to nurturing the local arts community. They have recently transformed part of their shop into a dedicated gallery space, offering local artists a platform to display their work and host receptions. This initiative has successfully attracted a diverse array of talents, with several artists already scheduled to exhibit through the end of the year. 

Once Upon a Frame is more than just a framing shop; it’s a thriving community hub that celebrates artistry, individuality, and local talent. 

PAST EXHIBITIONS FOR ARTISTS IN RESIDENCE: 

 The gallery has showcased numerous artists in the past, including: 

“Through Shadows” by Todd Carpenter 

“She Portal” by Julia C R Gray and Sienna Browne

“The Secret Language of Flowers” by Anne Phillips 

“Interpretations of Things” by Corbin Braciszewski 

“The Human Experience” by Francois Michel Beausoleil 

Including other artists:  Rin Colabucci, Dagmar Galleithner-Steiner, Lisa Miller, Brady Willmott, and Kate Joiner

For more information about Once Upon A Frame: www.onceuponaframe.com 

IG: Once Upon A Frame 

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Author’s Bio: 

After receiving a degree in design, Sherri worked for brands in apparel and consumer goods for several years. She enjoyed this profession and was fortunate enough to sell her own brand to major stores. She cherished the experience of meeting various artisans around the world as she traveled for work to produce products. A year ago, she made a career pivot and embarked on an exciting artistic adventure.  This adventure has led her to create artwork for several gallery exhibits, permanent public art installations, graphics for a music festival, and a special art project for a new fire station. She feels very fortunate to be in the arts and is working on giving back. She has written grants that have funded art festivals, serves as gallery board member, and writes articles to support the arts. 

Please visit her website and Instagram to view artwork at www.sherriscottstudios.com   

IG: Sherri Scott Studios 

All images courtesy of Once Upon A Frame. 

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He then moved to Tampa Bay to teach at St. Petersburg College teaching full-time as an Associate Professor of Art.

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Raised amidst the vibrant chaos of Brooklyn and the serene expanses of upstate New York, Hinsdale has always been drawn to the tension between these contrasting worlds. Early in his career, his fascination with building and the physicality of space led him to explore wood and bronze sculpture. However, it was through experimenting with printmaking techniques like lithography and woodcut that his interest in the interplay of line and texture truly took shape. These experiments allowed him to reimagine his sculptural work in two dimensions, blending abstraction with the raw, expressive language of graffiti and laying the foundation for his distinctive artistic language. Much like the allover paintings of the abstract expressionist movement, Hinsdale’s work continuously engages the viewer’s eye with layered compositions where intention and spontaneity intersect. 

Pulling from the history of the city walls and the earthy tones of the rural landscape, The Evolution of Mark Making reflects the dynamic interplay between the urban and natural worlds. It investigates the moments where chaos and control intersect, and the journey through emotional release. Working with a wide array of materials, including pastels, spray paint, acrylic, ink, wax, house paint, and charcoal, Hinsdale honors the energy contained in each media. He acts as a conductor, guiding the materials through layered movements of harmony and dissonance. Every mark—whether chaotic or serene, deliberate or spontaneous—finds its place in the intricate tapestry of his work. 

INTERVIEW BETWEEN MICHELLE SILVER (GALLERY DIRECTOR, DISTORTION SOCIETY) AND KIPTON HINSDALE 

 MS: We’re excited to present The Evolution of Mark Making this February. You’ve said that this exhibition serves as a visual timeline that traces your evolution as an artist through the environments that shaped you: specifically, Brooklyn and Chatham, NY. Can you provide some insight into what it was like growing up in these two disparate environments? Did you favor one place over another at different times in your life? 

KH: Chatham has always been a special place for me and my family, a kind of getaway. My uncles, Tom Gilling and Michael Vanhorn, who are also my art mentors, live there. When I was younger, I spent countless weekends in Chatham studying drawing under their guidance. 

Brooklyn, on the other hand, has been a constant source of inspiration. My first studio was actually in my parents’ basement, in my father’s workshop. It was a space where I could throw around ink and paint to my heart’s content. Complete freedom to express myself. Living in Brooklyn also meant easy access to the art world – I could hop on a train and be at the museums and galleries in no time. That exposure was invaluable. 

I started studying art in Manhattan, at LaGuardia High School, which is where I was introduced to graffiti. It transformed the city for me, turning the streets and subway system into a public and private gallery of sorts. It was this explosion of creativity that was impossible to avoid, even if I’d wanted to.   

 During my junior year at SUNY Purchase, my dad bought property in Chatham and started building a house there. My family lived on that property for years, maintaining it until we eventually sold it. 

 Both places are integral to who I am. Each call to me when I’m away for too long, and I couldn’t imagine life without either one. So no, I can’t choose between them, I love them both equally. 

MS:  Can you describe a defining moment in your artistic development? 

KH: My off time from work/college was spent going up to Chatham to help my dad with the construction of the house. On the property, deep in the forest and away from the house, there was an old farm shed that I turned into my studio. That completely changed the game for me. Being surrounded by nature had a profound impact on me and I became immersed in it. My sharp, industrial, abstract street style started unconsciously adapting to the fluid and lush natural elements around me. That’s where I feel my style was truly born. It all clicked together in my mind. 

MS: As a painter myself, I’ve often thought about what my retrospective would one day look like, and how there would be certain pieces that really stood out to me as the work that pushed me to the next phase. And it got me thinking about how creative evolution is not always linear, but rather it’s oftentimes cyclical. I realize this isn’t a retrospective by any means, but I love that you’re creating new work that deals with these different points in your life, in addition to reworking drawings from years ago and even including a couple of older pieces. Can you talk a little about your thought process in developing the idea for this show? 

KH: Since your gallery is in Beacon, so close to both Chatham and Brooklyn, I felt it was the perfect time to share the origins of my style and where it all began. The idea of revisiting those roots felt natural, almost inevitable. At first, I thought, ‘Oh, I need to make all these frames,’ but then it struck me how symbolic that was. I started making my own frames in Chatham with my father.  A great bonding experience in which we still do to this day. Each time we frame we learn something new and are able to improve the style and strength of the frame. 

As I worked on this show, everything started speaking to me about the beginning. Those formative experiences that shaped my process and vision. It was like the work itself was pulling me back to the core of my practice. This show isn’t just about the pieces, it’s about tracing the creative threads that connect my industrial, street-inspired style to the natural and personal elements that emerged when I built my first studio in the woods. It’s about showing how those worlds collided and how that collision became my artistic voice. 

MS: Have there been any big surprises along the way? Any discoveries? 

KH: While working in my Brooklyn studio, I was surprised by how vividly the memories of creating in the woods kept surfacing. It wasn’t just nostalgia; it was a reminder of how deeply that environment shaped my process. In Brooklyn, my work tends to reflect the energy of the city, but as I created for this show, I noticed natural, fluid elements sneaking back in, almost as if my time in the woods was guiding me. 

I realized that even though I visit upstate often, I miss the act of creating in that environment. There’s a balance between the two spaces, city and nature, that I hadn’t fully appreciated before. It’s made me think differently about how the places I create in, impact the work itself. 

MS: What do you hope viewers take away from the exhibition?  

KH: I want viewers to find something in each piece that resonates with them personally. I get so excited when they see something I didn’t intend, when they add their own interpretation to the subject matter I’ve provided. It’s like looking at clouds and abstracting them with your mind.  How they’re always shifting, and you use your imagination to create objects or places out of them. 

The dialogue that comes from describing what I see and hearing what the viewer sees is incredible to me. It creates a shared experience that evolves with each interaction. 

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The Evolution of Mark Making will be on view at the combined contemporary art gallery and tattoo studio Distortion Society, 155 Main Street, Beacon, NY. The gallery is in the front and is free and open to the public. The exhibition will run through April 5, 2025.  

www.distortionsociety.com | www.instagram.com/distortion_society 

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Author’s Bio: 

Michelle Silver is the Co-Founder and Gallery Director of a combined art gallery and tattoo studio in Beacon, NY called Distortion Society. She is also a freelance branding and web designer and studio artist focusing on oil paintings that blend abstraction, figurative elements, and emotional landscapes. 

www.michellesilverart.com | www.instagram.com/michellesilverstudio 

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