Sabrina Raaf
Magdalena Kourti
Reinhardt Sobye
Leah King-Smith (Australia) 
Richard Wazejewski/Claire Waterhouse
Ian Gwilt (Australia)
Ray Caesar
Ricardo Báez -Duarte
Anne Maree Taranto (Australia)
Peter Patchen
Jiri David
Albert Giros
Alessandro Bavari
Alexey Tikhonov
Andrej Polushkin
Andrew Mamo
Barbara Vasic
Bonny Lhotka
Carmen Lizardo
Christopher Donovan
Diane Vetere
Dorothy Krause
Ruslanas Baranauskas
Francesco D'Isa
Gail Rubini
Harrison Higgs
Holger Maass
Ian Gwilt (Australia)
Ilkka Lesonen
Istvan Horkay
Ivo Widjaja
James Edwards
James Faure Walker
Jerzy Pietruczuk
Jesse Hunter
John Vucic-Wolfpup (Australian)
Karin Schminke
Kristy Kae Eaves (Australia)
Leslie Nober Farber
Linda Sim
Magdalena Kourti
Maria Best
Marte Newcombe (Australia)
Melissa Harshman
Michael M von Karkowski
Mike Moran
NAOE Toshio
Nick Karlovich
Osvaldo Gonzales
Pascal Yelle
Pauline Lavoipierre (Australia)
Richard Wentk
Robert Bartley
Sandra Crisp
Simon Millgate
Stephen Burns
Tony Robbin
Tony Schanuel
Ursula Freer
Viktor Koen
Vincent Pucciarelli






Artist: Tony Robbins (USA)
Title: Robbin-D40
Title: Robbin-D41
Title: Robbin-D52
Tony Robbin has worked in painting, sculpture, light, architecture, and computer art.
His first exhibition in New York was at the Whitney Museum, a first floor solo exhibit in 1974: these paintings combined an optical mix of color, through the use of a modified spray gun, with a complexity of multiple, superimposed spaces, created by spraying through patterned stencils.
He was a founder of Pattern Painting, showing widely in the United States and Europe with this school, and committed, as were his colleagues, to the lyric fusion of color and the intellectual understanding of the symmetries of pattern, as in the vast tradition of Oriental arts. 79-8, 70" x 120", Coll: the artist

It was at this time that Robbin discovered the possibility of seeing four dimensional geometry on computers - really seeing it, using four dimensional geometry as the organizing principle of spatial complexity in art, and as a result discovering several formal innovations that took his work through the 1980's. He became a programer (the only way to get such a capability at the time) making some of the most sophisticated programs for visualizing 4d, and becoming known in both the mathematics and computer art communities. 1980-2 56" x 70", private collection
At the same time, he discovered that by using two dimensional elements, painted lines, and three dimensional elements, welded steel rods, the visual information of the fourth dimension could be presented to the viewer in an artwork.

Later in his light pieces, the two dimensional elements became the colored cast shadows of the three dimensional elements: where blue and red light shines together there is white, but in the shadow of the red light, strong blue light is there (two thirds of what is on the wall is only light.) This work was shown in New York mainly at the Tibor de Nagy Gallery.

Robbin's closeness to the mathematics community led him to Quasicrystal geometry, a derivative of four dimensional geometry with truly remarkable visual properties. He decided that architecture was the preferred art form for this new idea. He holds the patent on the application of Quasicrystal geometry to architecture,
and has lectured and written so widely on the idea that it is now studied in architecture schools, primarily in Europe. To date, Robbin has made one permanent structure,
a very large architectural sculpture in Denmark, completed in 1994.
Since the Denmark project, he has worked exclusively on painting - paint on canvas. Even after all the formal adventures he has been through,

Robbin is convinced that this is the most powerful of media, and now has a body of these new paintings
1996-8, 56" x 70", private collectionAfter a visit to Scott Carter at the Mathematics Department of The University of Southern Alabama in Mobile in 2000, Robbin began to think more about his paintings as four dimensional knot diagrams:the flowing sheets are really hyperplanes that have not only thickness but an internal structure as well. The hyperplanes braid in ways that are impossible in three dimensions but are the natural consequences of projecting higher-dimensional structures into lower dimensional spaces.

Artist: Tony Schanuel (USA)
Tony Schanuel is an award-winning digital artist who has fused a background in photography with advanced digital technology to create fine art that transcends both mediums.
Schanuel has received international recognition and honors from the International Digital Artists Association, EFX Art & Design Magazine (Sweden) and Digital Photography & Design (Australia). His work currently is on display with the traveling Epson International Digital Art Exhibition. Schanuel has been featured in Digital
Imaging Magazine, Computer Graphics Magazine, Wild Heart Journal , St. Louis Design Magazine,and is a featured artist in Cyber Palette and Extreme Graphics, two books showcasing digital artists and their work, with a guide to the creative process. This St. Louis artist was selected by an international panel to exhibit his work at the 2003 Biennale Internazionale dell’ Arte Contemporanea in Florence Italy, His work also is held in display in private, public and corporate collections around the world.
Schanuel, a profesional photographer of 30 years, began manipulating photographic images first through a process called “sandwiching” and later with digital technology. His early work involved layering transparencies before printing, a process which resulted in images that were “photographic, yet surreal.”
Ten years ago, Schanuel bought his first Macintosh and began exploring digital graphics. Sitting at a computer was a challenge after a career filled with travel but once he learned the technology, artistic limitations fell away. The computer offered unconventional artist tools and new freedom to express, create and experiment in
ways he had never imagined. Schanuel’s work has evolved along with the technology, often melding photographic
and digital images. Photography now is an element in his artwork rather than the main statement.

Artist: Ursula Freer (Poland/USA)
Title: Roots
After spending my childhood and adolescence in Poland and Germany I came to the
USA as a refugee after World War II. I had painted professionally in traditional media for
twenty years before adopting the digital medium as the primary tool seven years ago.
Marist College, Poughkeepsie, NY: with studies in Art History, Theater and Psychology
Dutchess Community College, Poughkeepsie, NY: Advanced Painting and Philosophy
Coast Community College, Newport Beach, CA: Oriental Art and Watercolor Painting.

Artist: Viktor Koen (USA)
Title: Vanitas No.09
Title: Viktor Koen Vanitas No.24
1990 BFA in Graphic Design, Bezalel Academy of Arts & Design in Jerusalem
1992 MFA of Illustration, with honors, School of Visual Arts, New York City
1995 - present Faculty of the Illustration department, Parsons School of Design, New York
1999 - present Masters Thesis Advisor, School of Visual Arts, New York
Regularly published in The New York Times Book Review, Money, Forbes, Esquire, National Geographic and Reader’s Digest. Clients include: Atlantic Records, Roadrunner Records, Delta Airlines, IBM, Penguin Putnam, Random House, Doubleday Books, Simon & Schuster, Harper Collins, Time, Man’s Journal, Bloomberg Personal, Fortune, Smart Money, Business Week, Wall Street Journal, The Boston Globe, Chicago Tribune.

Title: series2-11
Title: series9-6
Although I am trained classically and bring painterly skills to my work, creating digital images is part of my life’s work. Each stage of life brings new opportunities to know ourselves at a deeper level: Who we are as individuals, who we are in our work, who we are in relationship to others and to the world. The digital work that is presented here is part of that process.
I make digital biomorphic abstraction without using photography as a source. I use the basic elements of the technology to create digital paintings. I exhibit prints of my digital images for which I use the computer in a painterly way. I use light, color and distortion effects as the building blocks of my image in the same way that someone might begin with pigment, glazes and brush stokes in traditional painting. I want to humanize the technology by making the images aesthetically pleasing. My goal is for the viewer to have an immediate visceral reaction.










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