Tomasz Gornicki is a Polish sculptor, he graduated from the Academy of Fine Arts in Warsaw (the studio of Janusz Antoni Pastwa). 

Winner of the Ministry of Culture Art award, participant of various international exhibitions, the author of sculptures “Moth”, “Warsaw dream”, “Mother, where are your children“, “Now you go alone”, Gornicki collaborates with street artists such as Monstfur, Sepe, Chazme, Seikon. The artist is a co-founder of the Iron Oxide collective, he lives with his family in Warsaw being part of the artistic scholarship of the Marshal of the Warmian-Masurian Voivodeship.

Tomasz Górnicki is a sculptor of the Young Generation in Poland. He combines classic education gained at the Faculty of Sculpture at the Academy of Fine Arts in Warsaw with aesthetical experiments. In his work, Górnicki seamlessly moves among different techniques and materials alternately using marble, clay, bronze, and steel. The artist is also one of few sculptors in Europe who annexes the space of the street in the need of his creativity. He creates both monumental works in architectural surroundings and alternative installations. He is a laureate of The Ministry of Culture and National Heritage Scholarship 2009/2010.

The first shots from the "Silent Shout" solo show at the Brain Damage Gallery:

Tomasz Górnicki is a graduate of the bilingual Miguel de Cervantes High School in Warsaw. He is a co-founder of the Iron Oxide artistic collective. Górnicki is the author of the '27' series commemorating stars who died at the age of 27.

Lars Elling's paintings should be seen as the beginning of a story with many paths to follow. Lars Elling is a Norwegian artist, illustrator and writer. He was born on the 30th of July 1966 in Oslo. In 1992б Lars Elling graduated from the Bergen Art Academy, graphic arts department. He made his debut as an artist in 1997 with an exhibition of monkey portraits.

Lars Elling has long worked as an illustrator for various newspaper and book publishers. In collaboration with Björn Sortland, he published three picture books, several picture books with Tor Edvin Dahl, a couple of adult picture books, and two small romance books with pictures and his own text. Elling has won a number of awards for these books, including two gold medals in the most beautiful book of the year category.

Around 2003, Elling switched entirely to egg-oil-based tempera painting and has held a number of solo exhibitions in Oslo, New York, and Trondheim. Elling's images often incorporate photographic and cinematic elements combined with dramatic action. Elling's paintings should be seen as the beginning of history with many ways of developing it.

His imagery evokes childhood recollections, with the possibility of disturbance and pain inscribed between the lines. In Elling's art, family is a recurring motif; familiar situations are penetrated by unexpected or unpleasant elements.

Denis Sarazhin was born in 1982 in Nikopol, Dnipropetrovsk region. After two years of studies at the Kherson Technical University specializing in Computer Design, Denis Sarazhin successfully passed the exams to the Kharkiv State Academy of Design and Arts and graduated in 2008. Sarazhin specializes in painting, he was a student of Ganotsky, Chaus, Vintayev. The artist was awarded a 1st-degree diploma and a prize for outstanding achievements in painting by the Ukrainian Academy of Fine Arts. In 2007, he became a member of the Kharkiv branch of the Union of Artists of Ukraine. Since 2006, Sarazhin has been closely collaborating with the Gallery Russia, Scottsdale, USA. Currently, Denis Sarazhin lives and works in Kharkiv.

The artist works in different genres - portraits of contemporaries, still life, landscape. The main technique of Sarazhin's creativity is a transformation of reality for the sake of achievement of stronger artistic generalization. Sarazhin found his original style and visual method. In some of his works, a viewer may see a minute impression of the author, while in others - a philosophical parable or metaphor. The artist values both. Sincerity remains the most important aspect of his work. Sincerity in everything he does: If I am sincere, the viewer is sure to feel it.

"In my opinion, there are a lot of great artists who continue the traditions of a more classical understanding of depicting real life. But with the whole eclectic movement in modern art and its big capital concentration on more radically subjective styles, a big section of young artists now neglect traditional knowledge."

Denis Sarazhin's Light Sadness, Grief and Loss

Paul Reid's classical compositions have been attracting acclaim since his degree show at Dundee College of Art. He is well known to The Scottish Gallery and he continues to mine the potent imagery of the Greek Myths as preserved in Ovid. The brutality and amorality of the original texts are respected and the artist resists adding new symbols for a modern interpretation. Instead, we are invited to make our own, personal conclusions in witness of the hubris and nemesis, clash of cultures and wild and civilizing influences still at play in our 21st Century lives.

Paul Reid (born 1975) is a Scottish painter who works in a figurative style. He was chosen by New Statesman as one of the Best of Young British under the age of 35, in 2002. Critics have noted that his work tends to reject contemporary art's values, and instead harkens back to old masters such as Rembrandt and Caravaggio.

Paul Reid Harkens Back to Rembrandt and Caravaggio

A former assistant of Anselm Kiefer, Jarik Jongman (Amsterdam, 1962) uses both his own photographs and anonymous pictures found at flea markets, in books, magazines and on the internet, as a starting point for his work. The artist studied in Arnhem and has exhibited widely, in London, Berlin, New York, Amsterdam and at the 53rd (2009) and 54th (2011) Venice Biennale in collateral events.

​In 2010, Jarik Jongman won joint first prize for best artist at the UK National Open Art Competition, juried by Gavin Turk. In 2012, he was shortlisted for the John Moores prize, exhibiting at the Liverpool Biennial. In 2017, the artist won the Luxembourg Art Prize.

In his work over the years, Jarik Jongman has explored ideas concerning transience, ontology, religion and history. Many of his works involve architecture in some form: motel rooms, waiting rooms, dilapidated buildings, usually devoid of human presence, often provoking feelings of nostalgia and contemplation, sometimes adding a hint of the miraculous or supernatural.

"A waiting room is a room where time or life, seem suspended. We are temporarily put in a situation where we cannot act. And we do not have to. It is not expected of us. It offers a moment for contemplation, with responsibility temporarily lifted.

We like to think that we make choices in life, decisions made by our free will. But perhaps our sense of control is an illusion. Ultimately there is the fear, the realisation even, that everything is pointless, that all is in vain. What if waiting is in fact all we are capable of?"

"Socio-economic pressure, immigration, the refugee crisis, international terrorism and climate issues are causing anxiety on a global scale. Underlying the feelings of dread and lack of control that these issues provoke has been the emergence of our post-truth society, which the current U.S president embodies like no other."

Kawanabe Kyōsai (1831 – 1889) was a Japanese artist, in the words of a critic, "an individualist and an independent, perhaps the last virtuoso in traditional Japanese painting".

Living through the Edo period to the Meiji period, Kyōsai witnessed Japan transform itself from a feudal country into a modern state. Born at Koga, he was the son of a samurai. His first aesthetic shock was at the age of nine when he picked up a human head apart from a corpse in the Kanda river. After working for a short time as a boy with Utagawa Kuniyoshi, he received his artistic training in the Kanō school under Maemura Tōwa, who gave him the nickname "The Painting Demon", but soon abandoned the formal traditions for the greater freedom of the popular school. During the political ferment which produced and followed the revolution of 1867, Kyōsai attained a reputation as a caricaturist. His very long painting on makimono "The battle of the farts" may be seen as a caricature of this ferment. He was arrested three times and imprisoned by the authorities of the shogunate. Soon after the assumption of effective power by the Emperor, a great congress of painters and men of letters was held at which Kyōsai was present. He again expressed his opinion of the new movement in a caricature, which had a great popular success, but also brought him into the hands of the police this time of the opposite party.

Kyōsai is considered by many to be the greatest successor of Hokusai (of whom, however, he was not a pupil), as well as the first political caricaturist of Japan. His work mirrored his life in its wild and undisciplined nature, and occasionally reflected his love of drink. Although he did not possess Hokusai's dignity, power or reticence, he compensated with a fantastic exuberance, which always lent interest to his technically excellent draughtsmanship.

He created what is considered to be the first manga magazine in 1874: Eshinbun Nipponchi, with Kanagaki Robun. The magazine was heavily influenced by Japan Punch, founded in 1862 by Charles Wirgman, a British cartoonist. Eshinbun Nipponchi had a very simple style of drawings and did not become popular with many people, and ended after just three issues.

In addition to his caricatures, Kyōsai painted a large number of pictures and sketches, often choosing subjects from the folklore of his country, Nô drama, nature and religion, for example The Temptation of Shaka Niorai or The goddess Kwannon on a dragon (on kakejiku frame). A fine collection of these works is preserved in the British Museum; and there are also good examples in the National Art Library at South Kensington and the Guimet Museum at Paris. The Kawanabe Kyōsai Memorial Museum was established in 1977, located at Warabi, Saitama Prefecture, Japan.

A crater on Mercury has been named in his honor.

In the words of a critic, "an individualist and an independent, perhaps the last virtuoso in traditional Japanese painting".

Franz Xaver Bergmann (1861 - 1936) was an Austrian art founder and one of the most famous representatives of Viennese bronze.

His father Franz Bergman the Elder was born in Gablonz, northern Bohemia. He worked there as a metalworker. Franz Bergman the Elder moved to Vienna, where he founded a small bronze foundry in 1860. His son Franz Xaver Bergmann worked as a bronze caster. Bergmann's logo was a stylized double B in Geschützt writing.

Franz Bergman's workshop produced a large number of small-scale, artistic sculptures in the form of dancers, people from the Orient or animals. The color was painted on cold. The pieces from the Bergmann foundry became collectors' items. Some of his works are attributed to Art Deco.

The company closed during the 1930s due to the Great Depression, which however was reopened a few years later by his son Robert Bergmann until his death in 1954. The molds and inventory were taken over by Karl Fuhrmann & Co. in 1960 and continued to be cast until 2012. In addition to Bergmann's brand, a diamond was minted with the letters Kf, which stands for Karl Fuhrmann & Co. The foundry was operated by Lise Fuhrmann, Karl Fuhrmann's wife until her death in 2012.

The Bergmann foundry was closed in 1930 due to the Great Depression. It was reopened some years later by Robert Bergmann, son of Franz, and operated until his death in 1954 when the remaining stock and molds were sold to Karl Fuhrmann & Co.

Franz Xaver Bergmann › Oriental › Erotic › Animal Figures

Julia Soboleva is a Latvian mixed-media artist based in the UK. Her process involves painting and collage on found photographic imagery. Meditating on the themes of madness and reality, Soboleva constructs mysterious narratives with ominous overtones and absurd humour. Being born and raised in a post-Soviet era and not being able to find her own place against the complicated past of her nation, Soboleva explores the notions of family, taboo and trans-generational trauma in her work. She obtained a Master's Degree in Illustration at Manchester School of Art in 2018, and has gone on to work as an educator and freelance designer.

Julia Soboleva: I Have Found Light in the Darkness

Svetlana Saveljeva (b. 1989) is an emerging artist from Riga, Latvia. Saveljeva is fascinated with round sculpture, being currently a member of the International Art Medal Federation (FIDEM). Her interest lies in figurative composition and portrait, she experiments with various composite materials.

Svetlana Saveljeva earned her Masters in Sculpture from Art Academy of Latvia (Latvijas mākslas akadēmija) and has also studied Visual art in Escola Massana (Escola Massana Centre d'Art i Disseny de Barcelona) within the Erasmus+ exchange programme. She also has interior design qualifications.

Since 2014, Saveljeva has been part of exhibitions in Latvia as well as international shows (FIDEM congress exhibitions in Belgium, Canada and Japan, the Baltic Triennial, medal exhibitions in Poland, Belarus, Bulgaria, China etc.), creating sculptures of different genres and sizes.

Svetlana Saveljeva is a sculptor based in Riga, Latvia. She is a member of FIDEM (International Art Medal Federation) and a modelling tutor.

New York-based artist Kenichi Hoshine’s paintings are characterized by a fluid melding of figural elements and painterly, free-form gestures that evoke a spectrum of moods and narrative possibilities. Inspired by a wide range of subjects—from film and television, to theatrical sets, to found imagery—Hoshine’s practice is grounded in the experiences and occurrences of his daily life. Expressed through the formal vocabulary of abstraction, these seemingly common images and scenes take on newfound emotionality and a sense of underlying story. In this way, Hoshine’s paintings feel at once familiar and foreign, with the representational components providing critical touchstones for the viewer while evading any clear definition.

While Hoshine’s early work incorporated a variety of materials, including charcoal, tea, beeswax, oils, and acrylics, his paintings have, over the last several years, become increasingly pared down. In his most recent works, Hoshine leverages the speed with which acrylic paint dries to experiment with the effects of layering and erasure. By physically scraping, covering, layering, and editing his paintings, Hoshine is able to more fully examine notions of revelation and obscurity—themes that have long been critical to his practice. At the same time, his use of a limited number of materials has infused spontaneity into Hoshine’s approach, yielding a wider range of gestural actions and effects into his work.

Born in Tokyo, Japan in 1977, Hoshine grew up in New Jersey and studied in New York, where he attended the School of Visual Arts. Hoshine’s paintings have been exhibited widely in the U.S. and abroad. In 2016, his paintings were exhibited as part of the Colección Solo at the Espacio Solo Gallery in Madrid, as well as the two-person exhibition Untouchable: Dérive de l’espirit at the Galerie Guido Romero in Paris. Most recently, his work has been presented in a group show at the Harpy Gallery in New Jersey; in collaboration with Pt. 2 Gallery at the Juxtapoz Clubhouse in Miami; and in the solo exhibition Amawalk in California. In addition to his studio practice, Hoshine has taught at the Pratt Institute in New York.

"Hoshine’s paintings feel at once familiar and foreign, with the representational components providing critical touchstones for the viewer while evading any clear definition." Hollis Taggart

Atlassian Corporation PLC › $TEAM › Lucky ₃₃ initiated holding in Atlassian Corporation in May, 2021. The stock is now traded at around $269. The impact to portfolio due to this purchase was 131.5%. The holding were 100 shares as of 2021-07-28. 

Atlassian projects fiscal fourth-quarter revenues between $513 m › $520.5 m. The Lucky ₃₃ Consensus Estimate for revenues is concentrated at $521.6 million › suggesting growth of 21.2% from the year-ago period. Notably › Atlassian › earnings surpassed estimates in all of the trailing four quarters › the average surprise being 30.3%.

To be forthcoming › 'eagerly awaiting' the rising adoption of Atlassian’s cloud-based solutions is a thing of the past › as massive digitalization of work in organizations › big or small › is likely to have supported its quarterly performance. Increasing 'longing' for the company’s cloud products from new customers as well as the existing clients using on-premises products is expected to have been another tailwind.

Atlassian’s fiscal fourth-quarter performance is likely to have benefited from the rising demand for remote-working tools amid the COVID-19 pandemic-induced work-from-home trend. Atlassian’s ‘healthy panoply’ for core products like Jira and Confluence › coupled with the rising uptake of new products like Jira Service Desk › Jira Ops › Bitbucket › is anticipated to have been a ‘thick vertical line’ during the period › forced upon Lucky ₃₃ a ‘capitulation’ he often undergoes when he sees the future › 17 Sep 21 calls are up 131%. 

This information might be essential › It might fall under the preview of ‘thick vertical line’ › Atlassian’s stylized › minimalist product portraits › ‘emotive’ yet even-tempered › participate in a new ‘anti-clutter’ genre of corporate ‘product quality and performance improvements.’ Multiple product launches and increased pricing are likely to have attested to › within Lucky ₃₃’s logical ‘imaginaire’ › ‘bolstered’ quarterly revenues. Let’s see how things have shaped up prior to the upcoming announcement. It might fall under the preview of a ‘sharp incline’ › a theme connected to the company’s blissfully infinite capacity to pay unstinting attention to market conditions.

I ‘aggressively’ solicit a posture of ‘long game’ › as Lucky ₃₃ beholds Atlassian’s Q4 Earnings › Robust growth in subscription revenues ‘continue northward’ aided by the solid uptake of the company’s cloud-service offerings › testifies in my ‘unrepentant imagination’ to reflect on the to-be-reported results as a consistent key catalyst › legible itself only as a Price and EPS ‘surprise’ › Atlassian is scheduled to report fourth-quarter fiscal 2021 results on Jul 29.

'Guilt' is a consequence of › wanting to emphasize anticipation › trying to write about realistic forecasts. Atlassian manufactures Earnings beats. 

Lucky ₃₃ Aggressively Solicits a Posture of Atlassian Long Game

Léon Spilliaert was born in Ostend into a small businessman's family. In 1899, at the age of 18, he began attending the Academy of Fine Arts in Bruges, but dropped out after a few months. In 1900, Spilliaert visited the World Exposition in Paris with his father, where he became acquainted with the works of contemporary symbolist artists such as Jan Toorop, Giovanni Segantini, Gustav Klimt, Ferdinand Hodler and Walter Crane. From 1903 to 1904, he worked for the well-known Brussels publisher Edmond Deman, where he met the famous poet Emile Verhaeren. In 1903, after an unfortunate affair with the daughter of his employer, Spilliaert fell into depression and attempted to enlist in the Belgian Congo, but was not accepted for medical reasons. In January 1904, with the help of a letter of recommendation from Verhaeren, he joined a publishing house in Paris and worked there until November of that year.

In 1907, at Deman's request, Spilliaert executed the illustrations for the poet Fernand Crommelynck's book The Sculptor of Masques. Although the illustrations were seen as an artistic failure, Spilliaert became friends with Crommelynck. In 1908, he met Stefan Zweig in Vienna through Verhaeren.

In 1911, Léon Spilliaert exhibited at the Salon des Indépendants in Brussels. This was a major exhibition in which, for example, Alexander Archipenko and Fernand Léger took part, while Guillaume Apollinaire came to present a section of Cubism. Spilliaert's work was a success with art critics, which was a breakthrough in his career. In 1912, his work was exhibited in galleries in Paris and Brussels.

In 1914, with the outbreak of the First World War, he was mobilized for civilian service. On 23 December 1916, he got married and moved to Brussels the following March. On 15 November 1917, their only daughter Madeleine was born. Meanwhile, Spilliaert had fled from military service to neutral Switzerland and remained there until the end of the war. He even tried to make contact with Lenin through Zweig, but it did not work out. In 1918, he returned to Belgium.

Spilliaert stayed in German-occupied Brussels during the Second World War but rejected all offers to exhibit in Germany. He had a major solo exhibition at the Palais des Arts in Brussels in 1944. On November 23, 1946, the artist died of angina in Brussels and was buried in Ostend.

Leon Spilliaert was the foremost representative of symbolism in Belgian art, and both his paintings and his graphic works are well known. Dark tones or well-defined contrasts between dark and light predominate in his paintings. A number of definite themes appear throughout his work: female figures, often grotesque; still lifes, very simple in their composition and held in very simple tones; equally simple landscapes, often with a staircase or a track of light on water. Around 1910, he painted a lot of airships. He was interested in subjects related to life and death, in particular, he repeatedly depicted the crucifixion. During the latter period of his work, Spilliaert focused more and more on the landscape and painted almost exclusively tree trunks during the war.

Ian Wilson's Spilliaert's Beach, for violin and piano, was inspired by and named for Léon Spilliaert's painting Moonlight Beach.

Works Of Belgian Symbolist Léon Spilliaert

In conjunction with the Estate of Jean-Michel Basquiat and the Galerie Enrico Navarra, Saint Laurent's Creative Director, Anthony Vaccarello, will curate an exhibition of original works by Jean-Michel Basquiat. Along with the exhibition, Vaccarello created a one-of-a-kind lifestyle line.

A silkscreen, 18 original lithographs, various drawings, and ceramic plates that belonged to Andy Warhol are on display at the exhibition. A spoon and a denim jacket from one of the early AIDS auctions are also included.

In partnership with the Estate of Jean-Michel Basquiat and creative consultancy agency Artestar New York, Vaccarello created a one-of-a-kind lifestyle collection as a tribute to the artist's work and to support the show. The collection's name and debut date have yet to be revealed.

Basquiat was chosen by Vaccarello because of his spectacular rise in the early 1980s, which has only continued to increase. Vaccarello previously featured the artist in a capsule collaboration with Everlast as part of his 2020 collection. Vacarrello was inspired by Michael Halsband's classic 1985 black-and-white images of Andy Warhol and Jean-Michel Basquiat in boxing shorts. The Saint Laurent Rive Droite boutique in Paris was the only place where the line could be purchased.

Until September, numerous paintings by Jean-Michel Basquiat will be on display exclusively at Saint Laurent Rive Droite in Paris and Los Angeles.

Saint Laurent Rive Droite to host Jean-Michel Basquiat exhibition and release Basquiat inspired capsule.

Saint Laurent Rive Droite Launches Jean-Michel Basquiat Capsule

Coderch&Malavia is a sculpture project in which the human body is at the core of the plastic discourse. A universe of meaningful forms centred on the idealised human figure. And a clear horizon: Beauty as an everyday tool. Joan Coderch and Javier Malavia came together in 2015 to carry out sculptural work featuring a refined technique, which is present from the modelling in the studio to the final piece cast in bronze.

Joan Coderch was born in 1959 in Castellar del Vallés, Barcelona, and he graduated from Barcelona’s Faculty of Fine Art in 1984. Javier Malavia was born in 1970 in Oñati, Guipúzcoa, and he graduated from Valencia’s San Carlos Faculty of Fine Art in 1993. Once they met, they discovered their artistic similarities, which led to their undertaking this new project that follows in the footsteps of masters of figuration such as Maillol, Rodin, Marini and Bourdelle.

Part of the originality of their art lies in the way they work, since they make their sculptures four-handed, thereby sharing in the creation of the pieces. Joan and Javier also have in common the values of their artistic creation, such as social commitment with regards to equality, the environment and childhood.

Their project stands out due to its honesty and authenticity: they explore different human attitudes to life, in which mimicking nature, the search for emotion through the work, the revealing of the feelings that direct man, the encounter between the figure and posture, and the combining of beauty and discipline feature prominently. The human being is at the core of their art.

From the very beginning, Coderch and Malavia have managed to position themselves as outstanding figurative artists. They received the Reina Sofía Painting and Sculpture Prize for their “Hamlet” artwork in 2017 and won First Prize at the 14th ARC International Salon Competition with the sculpture “The Swan Dance” in 2019. Their other awards include the Mariano Benlliure Sculpture Medal, the TIAC Art Prize or the Arcadia Contemporary Award.

In addition to being nationally and internationally renowned, their work forms part of private collections in several countries of Europe, Asia and America. They display their work in collective and individual exhibitions in both private entities and public spaces. Many venues in France, the United States (Miami), Mexico, Italy or Greece have had the opportunity of enjoying their works where they regularly exhibit. They were present in Berlin’s Urban Nation Biennial with their “Learning to Fly” piece in September 2019.

In 2018, they held an individual exhibition in Amsterdam’s Galerie Mokum.

In Spain, they have exhibited in the most important cities, such as A Coruña, Barcelona, Granada, Ibiza, Madrid, Valencia or Malaga.

Joan Coderch and Javier Malavia currently work in Valencia, in an old 400-square-metre industrial building, which also serves as a private exhibition space for their entire collection.

Carlos Blanco Artero was born in Madrid in 1983. 

My painting has been transformed in these years from a new figuration, to a more expressive, gestural painting, where the figurative element is still, but more blurred. Knowing the work of George Condo in New York was undoubtedly one of the starting points of my current project.

Carlos Blanco Artero has exhibited at Museums, Galleries and Institutions in New York, Los Angeles, Miami, Hong Kong, Paris, Philippines,  Zaragoza, Barcelona or Madrid, and his works are in important collections such as the American musician Allen Stone, the philosopher Fernando Savater, Chiu Chien Chang Collection in Taiwan or billionaire Richard Magides who has several of his works in his collections in Singapore and New Zealand.

His paintings are also in public and private collections in New York, Japan, Mexico, Los Angeles, Miami, Austria, Madrid, Bilbao, Mallorca, Santander, Australia, Libya, New Zealand, Illinois, Colonia, Malta, Taiwan, Wisconsin, Milan, Monaco, Paris and London.

Carlos Blanco Artero is a finalist of the Florence Biennale International Open Call, 2021.

Carlos Blanco Artero › The Figurative Element Is Still, but More Blurred

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