“These Untitled works are in mixed medium in 21.0 x 29.7cm size. These are pencil sketches with a touch watercolor is used in this work. It’s in minimal style composition with symbolic meaning. It is based on the current situation feelings that human life seems more just like a variety of weightless designed empty pots in the world. Single separated from each other. Everyone is living their life with fear.”

“With his Digital Pictorial Photography, Fu Wenjun intends to explore to place photography art in dialogue with other art media, including Chinese painting, oil painting, sculpture, as a result, to extend the border of art in the current digital age. By demonstrating the complementary relationship of photographs and other modes of artistic practice, Fu Wenjun transforms what may seem to be an inaccessible message into a highly approachable concept that can trigger critical thought about history and humanity.”

“My artistic projects are based on experimentation as a way of working, whether based on science or aesthetics, and thus the most figurative aspect of my artistic search also revolves around the decontextualization of images in a native way, abstracting forms and movements necessary to read the image in a more poetic way, more transcendental to the physical reality of the being, that is, again, distortion as a sensation-generating element.”

“Observado las formas en que el Arte puede aplicarse a la vida cotidiana, no sólo como conector de autorreflexión, sino como una manera de generar un dialogo de interacciones sociales con el fin de brindar nuevas formas de relacionarse con el ideal del lenguaje.


My practice observes the ways in which Art can be applied to daily life, not only as a connector for self-reflection but as a way to generate a dialogue of social interactions in order to provide new ways of relating to the ideal of language.”

“My questions about chemistry brought a new, much more experimental perspective to my work, generating more attractive images and eliminating the barrier between different disciplines. In this sense, I appeal to the versatility that photography offers me as a distorter of reality and the ability to create abstraction and generate invented landscapes that provoke queries from the viewer.”

“Estas obras se enfoca específicamente en no crear revelaciones icónicas del cuerpo y rostro mas bien con obras coloridas y de experimentos visuales. Lo femenino y social visto desde una óptica externa, sino también desde lo interno, cómo la mujer y el colectivo se ve a sí mismo, ambas visiones se interconectan de tal manera que lo externo influenciará a lo interno.

These works specifically focus on not creating revelations through icons of the human body and face, but rather using color and visual experiments. The feminine and social are seen from an external perspective, but also from the internal, expanding on how women and the concept of the collective self see themselves, both visions are interconnected in such a way that the external will influence the internal.”

“My practice is driven by a desire to bring material permanence to shadows. I work in the darkroom, using some of photography’s earliest chemical processes, to create photograms that are reflections of our transient place in time. ”

“Kelly currently lives and works in New York, NY. After graduating from Parsons School of Design, her work has been shown in solo and group exhibitions throughout Manhattan, Brooklyn, Miami, and New Jersey. Her pictures hang in various private collections in the United States and Europe, and she has been featured in printed publications in the U.S. and U.K. She primarily uses traditional (darkroom) and cameraless processes.”

“That objective of the multifaceted work is not discussed with the politics, nor ideology, but one of the main concerns and searches of conflicts coming to humanize the approach to the hard reality, and the human being itself as the (de)construction of social identities, and the recognition of meaning in various artistic manifestations, through (audio)visual language (or visual communication), and of versatile and inclusive art.”

“The present work tries to make a critical reflection on the different situations and phenomena of the social reality of inclusion and (multi)culturality... It’s related to various disciplines, both the visuality of plastic and graphic arts as the technology of media and digital arts— to constantly redefining their own obstacle towards complex reality and (semi)hidden.”

“In her artistic labour she tries to make visible the social aesthetic of appropriated urban spaces through religious costumes in different Mexican cities, recently she is questioning herself about the different ways offered by the religious icon bidimentional configuration in her most recent artistic exploration. Intervened images without copyright, multiplication, and repetition of motives, plain and rough images, plain colors and fragments are her main references to define plasticity on her proposals.”