Various Works by James Bentley

by James Bentley   James Bentley is a Canadian artist who lives and works on the small island L’Île-Perrot, just off Montreal, Québec. He studied and began his career as ...

The Beginning of Something that Touches the Universal

by Anne Siems   Artist: Anne Siems Artist Statement: Essence In my latest work I have shifted to an emphasis on pattern, color, brushstroke and mark making. Moving into an ...

Recent Artwork by Jess Miller

by Jess Miller   Artist: Jess Miller “Making figure and portrait sculpture is really about chasing the shadows and profiles of the sitter. I don’t think about making a ‘successful’ ...


Various Works by James Bentley

by James Bentley


James Bentley is a Canadian artist who lives and works on the small island L’Île-Perrot, just off Montreal, Québec. He studied and began his career as a freelance illustrator; a practice which gave him a great love for drawing. Anchored in figuration, he now works mainly with acrylic on canvas and acrylic & pastel on paper. Bentley’s current body of work is focused on the ocean, portraits and figure studies. He is always on the search to paint in an inventive open manner.







The Beginning of Something that Touches the Universal

by Anne Siems


Artist: Anne Siems

Artist Statement:


In my latest work I have shifted to an emphasis on pattern, color, brushstroke and mark making. Moving into an ongoing exploration of my personal experiences through more abstract means of expression.

For the moment I have left the dresses, plants, fruit, animals. I am focusing the essence of my inquiry to the faces and the surrounding color field.

In my work I try to be as honest and true to myself as I can without losing discernment. I aim as best as I can for sincerity, intimacy and openness in my paintings. In them I find the beginning of something that touches the universal. It is a place where others can touch the magic and sensuality that gets exposed in the process.

I think deep inside of us lives a longing to experience a sense of ‘falling in love’. A visceral experience without words. For that to happen, this place needs to be free of irony, social commentary or conceptual humor. I am looking in my work to find the point in which we feel a certain ache – the ache caused by the knowledge that life is full of light and dark, sacred and profane, beauty and ugliness, life and death.







On Vacation for the Month of June 2017

We’re going to take a break for the month of June, but we’ll be back in July with some great posts!

Recent Artwork by Jess Miller

by Jess Miller


Artist: Jess Miller

“Making figure and portrait sculpture is really about chasing the shadows and profiles of the sitter. I don’t think about making a ‘successful’ piece when working – in fact I try not to think at all. Instead, focusing intensely on looking at the sitter, I let the work make itself as I try to capture what I am seeing.”

Jess completed an honours degree in art and design at Liverpool University in 1991. Since then she has continued making and learning about art. For the last ten years, her main focus – in both sculpture and painting – is a fascination with the human figure. She believes that we express our unique, personal narratives through body language and, in her figure and portrait work, Jess tries to connect the sitter with the viewer through the energy of her mark-making.

She exhibits annually with Crouch End Open Studios and was an active member of the North London Artists Network until it closed at the end of 2015. She has also exhibited in the New English Annual Open at the Mall Galleries for the last few years. She teaches regular painting and sculpture classes in North London.


Twitter: @JessMillerArt

Instagram: @jessmillerart

Classes: classes



Disrupt the Formula

by Sean Mundy

sigil, 2014

elude, 2014

untitled (chain) 2016

untitled, 2016

oaths, 2015

nescience, 2015


Artist: Sean Mundy

Sean Mundy (born 1991, Montréal, Canada) creates conceptual imagery through photography and digital manipulation.

Working through self-doubt and questions of identity, Sean constructs austere, yet neutral and distant scenes of palpable tension and uncertainty. With a subtle, minimal approach he aims to disrupt, select from, and delete classical narrative formula to form scenarios that are reliant on subjective associations.



Instagram: @seanjmundy




Finding Joy in Subtlety

By Clint Cline


Pythagoras Smiling

Flight of Thought

Le Rendezvous

The Man Who Spoke Riddles In Rhyme

Quarter to Three

That’s How I Feel



Elohim | The creation of thought

Fresh | Fenced

I Had A Green Box

And then again

The Cleric


Artist: Clint Cline

Clint Cline is a Florida-based iPhonic artist. He is also a writer and designer and has worked in visual communications since 1973.

His work variously explores the abstract and surreal co-mingled with fine art images and graphic interpretations of both contemporary and timeless themes that explore the interrelation of culture and faith.

His exhibitions include: Exposition d’Iphonographie in Venarey, France (Jury Award); Worldwide iPhoneography Art Movement (WiAM), Naples, Italy; SoHo Gallery of Digital Design, New York City, New York; LA Mobile Arts Festival, Los Angeles; “Lens as Palette” Exhibition, Denver; and #MOBIU1023 Experience, Chicago.

Cline’s work has been recognized for excellence within the iPhoneography community, most notably with a notation of excellence as a finalist in the IPA Mobile Art Grant Awards and as a Founders Choice Honorable Mention in the Mobile Photography Awards. His body of work has been featured at and at His work is also featured regularly at, a leading iphonic art site, and been selected in weekly features at LifeInLoFi’s Faved on Flickr,,, and at

Cline is a founding artist with The International iPhoneography Group (TIiG) and NEM: The New Era Museum.







Stories and Faces

by Nicola Paton

Amy Winehouse

Dead eyes, inspired by Giles Duley photography

Snoop Dog

The Poodle, inspired by Tim Flach photography

A gentleman called Allon

Portrait of my brother Richard

Zombie Boy

Tommy the jeweller

Dinos Chapman

The aging process

Ranulph Fiennes

Homeless man inspired by Lee Jeffries


Artist: Nicola Paton

My name is Nicola Paton and I’m from Birmingham in the UK.

I re-found my passion for creating pieces of artwork eight years ago and dedicate any available spare time to my hobby, which gives me so much pleasure and fulfilment. My medium is charcoal and pastel, but my true love is charcoal, it allows me to re-create the emotions of the human face and capture the story behind the image. Recently I’ve been enjoying the challenge of experimenting with animal portraits which I intend to introduce more to my art collection.

Being a self taught artist has allowed me to discover my own individual and unique style. My inspiration comes from photographic images which I transform into one off pieces of artwork. My portrait vary from famous to the unknown and take between one to six months for completion. I’m always pushing the boundaries with my art and feel I’m evolving with each piece I create.!



From Nothing, Mainly.

by Marc Jason Day

All Drills Hit Infinite Oil

Hollow Black Electric Converter Sun


Society Is Designed To Take Your Children Away From You And You Don’t Give A Shit

Spirit Cooking With The Clintons

The Delusion That Anything Is Better Than Anything Else

THe Removal Of Hope Is The Only Route To Contentedness

Your Shallows Must Never Threaten My Depths


Painter: Marc Jason Day

Painted works on A1 paper
– using Rotring Ink, Charcoal Sticks, Posca Pens, Acrylics, Glazes, Chalk Pens, Anarchism, Alternative History, Hidden Science, Existentialism, Conspiracy Theory, The Gutai Group, Maximalism, (Positive) Nihilism, Arte Povera, Advanced Audio, Chris Ware, Marcel Dzama, Moebius, Stanislav Kolibal, Roberto Bolano, Yukio Mishima, Yasunari Kawabata.

Will be exhibiting at the Cornwall Art Fair in St Ives, Cornwall, UK – 26th-28th May 2017.



Postcolonial Thoughts: Notes on Ellen Gallagher, Part 2… Fragility to Purpose

by Christopher Hutchinson

“Postcolonial Thoughts: Notes on Ellen Gallagher, Part 1” is here.


A certain fragility, shading into deliberate feebleness in the case of Elizabeth Peyton and Karen Kilminik, has been quite a trait of US painting in recent years. Ellen Gallagher has it too, if put to a quite different and much more serious end. But her intricate and ever-evolving aesthetic draws too much attention to itself. She has said that her work makes people “uncomfortable”. If only it had that power. –Laura Cumming


Fragility, Feebleness & Woman

Cumming’s astute inclusion of Elizabeth Peyton and Karen Kilminik is a valid assessment of their work in relation to the current trend by painters to have this feeble aesthetic. It does appear that many women artists subscribe to this to notion of feebleness as representation of ephemerality and womanhood. There are a plethora of artists using this faux “folk-like” attempt at painting and claiming it to be an interest in the act of painting. Whatever the reason, it is ugly.

This ugliness may be the point. These anti-paint painters may be challenging the history of the Western canon by accessing one of the Feminist agendas denying the “object” comparison to women. That is possible. However that would still be an overarching narrative that has nothing to do with paint. That narrative would alleviate the fact that these are ugly paintings.




  1. a recurrent theory or belief, as in philosophy or art, that the qualities of primitive or chronologically early cultures are superior to those of contemporary civilization.
  2. the state of being primitive : the primitivism of the Stone Age peoples.3.

the qualities or style characterizing primitive art.

This ugliness is akin to the Primitivism of the past in the west. Those initial primitivisms were interested in how to loosen up the rigid practice of painting. It was just as guilty of this faux primitive ugly aesthetic that went largely unchecked under the banner of investigating and appropriating other cultural practices without being accountable for the cultural authenticity of the work.

This apathetic trend towards painting over the last 30 years is contagious. It aligns itself with disingenuous legacy of primitivism. It also spurs legions of followers who are now identifying this lackluster trend with what it takes to be an artist. These artists then produce generations of students believing this is the type of commitment required to be an artist.

These faux paintings should never have been created in the first place. Why choose to cheat your pursuit as an artist by creating faux objects that requires icons, and narratives to squeak by as a possible art object.


Many are called

Why subject yourself to anything other than love? Everything has to feel, smell, taste–and measurements, whatever your rubric–must feel right in art-making process. Regardless of professors, classmates, wives, children, activism and whatever else that may be reasons to compromise that love. It takes time to recognize it, nurture it, and master it. One must hold that love closest to the breast.

Choosing to become an artist means this love is primary. No one has forced anyone to be an artist, painter, sculptor or whatever and one may naturally grow out of one discipline into the next. But to make work simple out of spite for a particular medium or topic is a waste of time. The only possible outcome is betrayal to your being. This trend of continuous cynicism and disdain of mastery in art is an attack at one’s core. These artists like Ellen Gallagher engage in this betrayal.


Christopher Hutchinson is an accomplished Jamaican conceptual artist, professor and contributor to the art community as a writer, critic and founder of the nonprofit Smoke School of Art. He is a Professor of Art at Atlanta Metropolitan State College and has been featured as a lecturer including prestigious engagements at University of Alabama and the Auburn Avenue Research Library. For two decades, Chris has been a practicing artist. His works have been exhibited in internationally recognized institutions including City College New York (CUNY) and featured at the world’s leading international galleries such as Art Basel Miami. He has always had an innate passion for creating spaces where Africans and people of African descent contribute to an inclusive contemporary dialogue—ever evolving, not reflexive but pioneering. This requires challenging the rubric of the canon of art history, a systemic space of exclusion for the Other: women and non-Whites, and where necessary he rewrites it. He received his Master of Fine Arts Degree in Painting from Savannah College of Art & Design, Atlanta and his Bachelor of Arts Degree from the University of Alabama in Huntsville, Alabama.



Platinum Lint

by Ana Bayon


Artist: Ana Bayon

Ana Bayon is a Argentine draftsman living New Hope, Pennsylvania. She studied fine arts in Buenos Aires and New York. Her work was recently featured in the contemporary drawing publications  ‘Strokes of Genius – 8’ and in the upcoming ninth edition. Her work was also selected for the book  “Art Journey: Portraits & Figures, The Best of Contemporary Drawing.” Her work is in collections throughout Philadelphia area.

Instagram – @platinumlint