london international

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Published by Asterisk Press™, © 2008ISBN-13- 978-0-9814741-0-6ISBN-10- 0-9814741-0-1

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London International Creative Competition is a vehicle for facilitating contact between uniquely talented artists and an international audience.

www.licc.me.uk

5000 submissions. 95 countries. 65 short list. 15 finalists. 12 jury.

An overwhelming and monumental response to the first annual London

International Creative Competition. The following pages represent the

international art community’s response to an innovative showcase of

creativity. Creativity is defined as the use of imagination or original ideas,

especially as it relates to the production of artistic work. The juror’s of this

competition and exhibition challenged the notion of creative expression

and these artists have risen to the occasion. The vision for LICC is to

create multi-platform resources (web, exhibition and publication) where

decision-makers turn to find international artistic talent. The list of

winners are not only published in this book but lauded on our website

and to the creative arts and media outlets worldwide.

With your encouragement and support, LICC will become the physical

and virtual venue to promote all facets of creativity - from writing, film

and installations to painting, new media and performance art. LICC will

have no boundaries as art has no boundaries. Congratulations to the

artists and salutations to the jury.

Hossein FarmaniFounder

5000:95:65:15

Neil BeloufaFrance

Cesar CornejoUnited States

Anne-Marie CreamerUnited Kingdom

Paola de GrenetSpain

Angela EllsworthUnited States

Taina GalisUnited Kingdom

Filip JonkerNetherlands

Adam KalinowskiPoland

Miró Rivera ArchitectsUnited States

Alyssa PheobusUnited States

PTW (in association with CSCEC & Arup)Australia

Mats Jørgen SivertsenNorway

Lucas SoiCanada

Tiffany TrendaUnited States

Liat YossiforUnited States

5000:95:65:15

NEIL BELOUFA, France“Kempinski”Video and Film

LONDON INTERNATIONAL CREATIVE COMPETITION72

“Kempinski”

The people of this mystical and animist place introduce it to us. “Today we have a space station. We will launch space ships and a few satellites soon that will allow us to have much more informa-tions about the other stations and other stars. “ This science-fiction documentary has no script and its scenario is caused by a specific game rule. Interviewed people imagine the future and speak about it in the present tense. The attractive aspect of the video leads to exotic stereotypes and a wrong fictitious reading of this true anticipation documentary. The editing is melodic and hypnotic. Shot in Mopti, Mali.

NEIL BELOUFABorn 1985 in Paris, Algerian and French Beloufa studied at the École des Beaux Arts de Paris, at the Art Décoratifs de Paris, at Cooper Union in New York and in CalArts in Valencia.

Working primarily with video and sculpture, each piece aims to outbid on the real like a “tuning” until it becomes unstable and parasites itself. It can be based on contemporary mythology, cinema, pop culture stereotypes, true events, social rituals and the echoes they have into various classical Art forms. Everything is treated on the same level to produce a new coherent universe real and fake at the same time that can’t be seen straightly because of the amount of artifices and mediators. The seductive artifices lead to wrong readings and blur frontiers between reality, simulation, documen-tation and fiction. Doing so, a range of interpretations and critical “side” sights are encouraged from viewers.

Beloufa’s work has been shown including Palais de Tokyo, Paris; 12th Biennial of Moving image, Geneva; MonkeyTown, Brooklyn; Transmediale 08, Berlin, NCCA, Moscow and Rencontres internationales Paris/Berlin/Madrid. He lives and works in Paris.

CESAR CORNEJO, United States“La Cantuta”Installation

“La Cantuta”In 1993, 9 students and one teacher from the National University of Education in Peru were kidnapped and killed by members of the Peruvian army, their bodies were found 6 months later buried in clandestine graves in the outskirts of Lima. At that time, I was living in Peru working as an architect assisting a major sculptor in that country, and I helped him to design a memorial for those victims. That monument was never built, but in 2005 when I received an invitation to show in Peru after 9 years living abroad, I decided to work on the subject which still held very strong memories for me. I visited the University and found that at the fashion workshops they made beautiful flowers out of white fabric for expensive wedding ceremonies in Lima. I thought the element is ironic considering that the students of that University are normally of very poor back-grounds. On the way back to Lima I had the idea to use it as the motif of the installation, I also decided to make them of black crepe paper as a reminder that social injustice is still today an issue in Peru and to make 60,000, which was the total number of victims during the years of violence in Peru. More than 1,000 people were involved in the making of the flowers including students and teachers from the National University of Education of Peru, school children and relatives of the victims, I also used 9 student desks and 1 teachers desk from those used during the years when the killing took place.

The exhibition took place in the Gallery Artco in Lima, in a space of 12 x 9 meters, I created a classroom covering the desks and floor with flowers.

CESAR CORNEJOCornejo received an MA and a PhD in Fine Arts from Tokyo National University of Fine Arts and Music. He received grants, awards and residencies from the Vermont Studio Center, Sculpture Space, Center for Book Art, Lower Manhattan Cultural Council, The British Council, The Arts Council of England, The Henry Moore Institute, The Tokyo National University Museum of Art and the Ministry of Education of Japan. Solo exhibitions have been held at Gallery Lightcontemporary in London, Gallery ARTCO and Peruvian-North American Cultural Institute Gallery in Lima and galleries Bellini, Gyokuei and Kobo Chika in Japan, He has participated in group exhibitions at New Art Birmingham; Situation Leeds, UK, The London Connection at Gallery Lisi Hammerlie, Austria, V Biennial Barro de America, Venezuela and V Biennial S-Files Museo del Barrio, NY. In recent years, he has been working on the concept of anti-architecture, and is currently working on the project to create The Puno Museum of Contem-porary Art, a community based contemporary art museum in the mountains of Peru.


ANNE-MARIE CREAMER, United Kingdom“Meeting the Pied Piper in Brasov”Video and Film

“Meeting the Pied Piper in Brasov”In the Transylvanian town of Brasov, where the lost children of Hamlin are said to have ended their days, British artist Anne-Marie Creamer meets a group of Székey children performing an ancient dance. Nearly everyone knows the story of the Pied Piper. The children, who in a state of mesmerism followed the Pied Piper of Hamlin, and were said to have disappeared into a cave within a hill just outside the town. In total, one hundred thirty children were lost. The mountain near Hamelin where the children disappeared really exists and is called Poppenberg. Local legend in Transylvania has it that the children emerged near the site of the old town square town of Brasov.In September 2005 on my way to the city of Czikzederea in Transyl-vania to do an artist residency, I had to pass an hour in the small city of Brasov between changing trains, and so I made my way to this same town square only to find it full of dancing children. Struck by the strange parallel between these dancing children and the lost children of Hamlin, who were also said to have ended their days here in a sort of fantastic terrible exile, I recorded the dance to make this film.Brasov is actually in the heart of Hungarian Székey Land, a principality of ethic Hungarians who until the end of WW1, when the Romanians forced many out, they had lived for hundreds of years. Surrounded by Ceausescu’s communist Romania, the Székey’s found ways to remember who they were by preserving old forms of dress, song and dance, such that now Hungarians in Budapest sometimes travel there so that they bear witness to an older form of ‘Hungarian-ness’ that they themselves have long forgotten.

Both this self-conscious act of self preservation through dress, dance and song, and the fictional children of the Pied Piper, themselves forever bereft of their home, signal a kind of impossible return to an place of origin that is always a kind of fiction.

ANNE-MARIE CREAMERAnne-Marie Creamer is a British artist, based in London who has always been interested in story-telling and experimental approaches to narrative. Originally a painter, she decided to expand on her interest how language & narrative are structured to explore a use of the moving image in 2000. Most of this transition took place during time spent working in Japan & most importantly Central-East Europe. Creamer has developed a body of work, mainly experimental videos, drawings & installations, that form a kind of expanded, discursive narrative with interconnected objects & images that explore the relationships between documentary & fiction, realism & illusion. Her work has often centered on the existence of artifacts or chance encounters, such as the 200 letters Transylvanian exile Mikes Kelemen wrote to his fictitious aunt in the 18th century, her encounter with a group of dancing Székey children in Transylvania, finding an old coat in an abandoned apartment, or the small painting that the fictitious Vladimir Slapeta commissioned from painter Andrew Grassie. All these are included in slyly reflexive & deceptively simple tales, often featuring nameless protagonists who search for lost objects or places that seem forever out of reach.


PAOLA DE GRENET, Spain“Albino Beauty”Photography

“Albino Beauty” Through these portraits I look for and show a different kind of beauty; by doing so I intend to eliminate the stigmas sometimes associated with diversity.

PAOLA DE GRENET Born in Italy in 1971, de Grenet started her photographic career in London in 1999 after finishing her studies in Graphic Design at Camberwell College of Arts. De Grenet has done editorial work for The Sunday Times Magazine, Canary, Evening Standard, Tank Magazine, British Journal of Photography, New Scientist, Guardian Weekend Magazine, VQR, Etiqueta Negra and others.

In Barcelona she has worked for Vanidad, .H, Vivir en el campo, Elle, Linea, Ojo de Pez, Rolling Stones, El Semanal, Woman, El Magazine (La Vanguardia), Ling Magazine and Flydoscope”(Luxair). In 2006, de Grenet was selected for the photo festival “NOVAMIRADAS-OLLADAS 06”(Galicia/Spain) and for the contemporary art festival of Barcelona “BAC 06”. She was also the winner of the grant “Foto Pres 07” la Caixa, with the project “the albinos of the Rioja(Argentina)”. In 2007 she was a finalist in the competition organized by the Associaciò per a les arts Contemporanies de Vic,selected for the exhibition “5ª bienal de fotografia de Vic” and exibited the project “The albinos of La Rioja argerntina” Caixa Forum, Barcelona.


ANGELA ELLSWORTH, United States“Hot Air: Keep Yourself Alive”Video and Film

“Hot Air: Keep Yourself Alive”Hot Air is Tania Katan’s one-woman, all-boy band. No amps, no guitars, no breasts, no ovaries, just explosive silence. Stripped down and ready to rock, Hot Air is one woman with no girl parts and all the bravado of an entire boy band! She moves to the beat of Queen, “Keep Yourself Alive,” by giving everything she has to breathe life into Hot Air.

ANGELA ELLSWORTHAngela Ellsworth is an interdisciplinary artist traversing discplines of drawing, installation and performance. She is interested in art merging with everyday life and public and private experences colliding in unexpected spaces. She is Assistant Professor of Intermedia in the Herberger College of the Arts at Arizona State University in Tempe,Arizona where she teaches Intermedia Performance and other interdisciplinary art practices.


TAINA GALIS, United Kingdom“Minerva”Video and Film


“Minerva”A short fiction film (under 5 mins). 35 mm, colour. No dialogue. A 7 year old girl is left alone in her living room and takes off into her own world.

TAINA GALISTaina Galis is a cinematographer. She was born in Bucharest in 1976 but has lived most of her life in London. Taina studied cinematog-raphy at FAMU. Before that, she studied philosophy and politics at

Oxford and LSE. Her sculpture, “Trinity cage” was exhibited in the National Gallery, London, “Back to the Future” exhibition, 1998. She has shot films in Czech Republic, Serbia, Croatia, Bosnia and India and was selected for the Berlinale Talent Campus in 2007. Taina has just finished shooting a documentary set in barbershops in the Balkans, and later in the year, will be shooting her first feature film, “Restaurante”, with the director Gabylu Lara in Mexico City.

FILIP JONKER, Netherlands“Harvest/Terra Nullius”Sculpture

“Harvest/Terra Nullius”Harvest: A “machine” which brings huge hay-bundles into a museum in rural east Holland. Terra Nullius: A scaled scrapwood settler-churches build on unused land in Holland and America. Grounds for sculpture, NJ, USA. Urbitopia.

FILIP JONKERBorn in 1980 in Rotterdam, Jonker currently lives and works in Berlin. He started the Industrial Design study in the Hague, but quit after two years because of the compromising environment. He bought a one-way ticket to Bombay to see the world, travelled by train and

bus back to the Netherlands, crossing Srinagar, Nepal, Tibet, China, Mongolia and Russia. He found the ideal art school: the AKI-academy in Enschede, and co-organized a number of expositions and made an exchange with the Mucha-academy in St. Petersburg. Jonker won an “Outstanding Student in Contemporary Sculpture” award in the USA and a Stimulation award in the Netherlands. He then went to Berlin for inspiration and co-organised a big open-air exposition on an abandoned piece of ground in the centre of Berlin last summer called “blind spots”. Jonker is currently working on getting the City of Berlin to use weird city-objects as bases for sculptures.


ADAM KALINOWSKI, Poland“The Sky Reaching Railway Track”Sculpture


“The Sky Reaching Railway Track”Isn’t it funny that a railway track normally hidden in a labyrinth of landscape, secretive by one’s “hendiness” becomes here a fragment of great space, a dramatic point of contact with infinity? In one of the projects, the rails create outlines of empty vessels, filled up with the cubature of an indifferent space. In another one, they are arranged into the form of a long arch section, that points freely into space.

ADAM KALINOWSKI Kalinowski was born in 1959 in Poznan, Poland where he lives and works. He studied Cultural Antropology at The Adam Mickiewicz University in Poznan, Poland and received his M.A. in 1986. He is the author of outdoor projects and critical texts and in1998 he established and ran The Tadeusz Kalinowski Art Foundation.

ALYSSA PHEOBUS, United States“I’m on Fire”Painting


“I’m on Fire” I appropriate the lyrics of songs that hover near the folkloric inter-section of Love and Loss. These songs are littered with suppressed narratives of violence and misogyny that are rarely acknowledged by the audience who consumes them. Through a labor-intensive draw-ing practice that simultaneously invokes and refuses textile tradi-tions strongly associated with women’s work, I pictorialize texts that are typically performed by desiring, male voices. My drawings clothe these texts in the simultaneously rebellious and authoritative aesthetic of a man in black.

ALYSSA PHEOBUSAlyssa Pheobus grew up in Frederick, Maryland. In 2004 she graduated from Yale University, where she was the recipient of several grants and a full fellowship to the Yale-in-Norfolk summer residency program. She has exhibited her work in the United States and Canada and is currently a student in the MFA program at Columbia University in New York.

PWT (in association with CSCEC & ARUP), Australia“Watercube”Architectural

“Watercube” The so-called WATERCUBE associates water as a structural and thematic “leitmotiv” with the square, the primal shape of the house in the Chinese tradition and mythology. The entire structure of the Watercube is based on a unique lightweight-construction derived from the structure of water in the state of aggregation of FOAM. Conceptually, the square box and the interior space are carved out of an undefined cluster of foam bubbles, symbolizing a condition of nature that is transformed into a condition of culture. The appear-

ance of the aquatic centre is therefore a “cube of water molecules”-the WATERCUBE.

PWT (in association with CSCEC & ARUP)Peddle Thorp & Walker, now known a PTW Architects is an Australian firm with offices in Sydney, Beigin, Shanghai and Hanoi delivering excellence in environmentally sustainable architecture and masterplanning over a diversity of building types.


MATS SIVERTSEN, Norway“iCyborg Manifested”Photography


“iCyborg Manifested” Photo series investigating ideologies inherent in spaces and object.

MATS SIVERTSEN Born in 1974, Sivertsen has been working in Oslo, Norway, as a designer and animator for 10 years. Alongside commercial work, he has written and illustrated two “underground” children’s books and one yet unpublished graphic novel. In 2006 he received a Fulbright scholarship and went to Baltimore to study for an MA in Digital Art.

LUCAS SOI, Canada“Untitled”Illustration

“Untitled”1.“At The Base Of The Crucifixion,” 2007, pen and ink on paper2. “The Dog Park,” 2005, pen and ink on paper3. “Autoportrait,” 2005, pen and ink on paper

LUCAS SOI Born in 1979, Soi is a Canadian artist living and working in Vancouver, B.C. He specializes in pen and ink drawing with a monochrome palette. As a self-taught artist with no formal training, Soi works in the tradition of 1970s American underground comix and 19th Century French Romanticism.


TIFFANY TRENDA, United States“A Condemned Opera”Performance

“A Condemned Opera”I created a digital environment using the contrasting themes of an elevator and elegance. I constructed a light box with an image containing the knobs off an old elevator. Three video images of an elevator going up and down were projected onto a nine-foot plexi-glass box. The performance included me holding a children’s toy that expanded and contracted. Inside the toy were two small cameras that connected to two monitors on the outside of the plexiglass box. There was a continuous sound of an elevator. It is an elevator reaching no destination, an opera with no direction.

TIFFANY TRENDA Trenda is a graduate of Art Center College of Design and is based out of Malibu, CA. In 1996 she was honored as a California Arts

Scholar and later attended Pratt Institute in New York. U2.com quoted her as a star in the making. Tiffany has graced over 40 gallery shows and is said to be a rising artist by Review Journal. She has received LA Weekly’s Pick of the Week from Peter Frank and has graced the cover of Apparel News twice.

“Where man and machine intersect is where you will meet per-formance and digital media artist Tiffany Trenda, whose apocalyptic aesthetic and soul-baring passion compel us to take a closer look at our relationship with technology. She demonstrates through her live performances that the human/machine interface has become an extension of the body, creating an equilibrium destructive to the organic form as more and more elements of our human existence are becoming simulated inorganically.” - V.S. Magni


LIAT YOSSIFOR, United States“The Dawning of an Aspect”Painting

“The Dawning of an Aspect” These paintings explore the abstraction that a war landscape depicts in the way that bodies and natures exist together. Initially, this series of paintings is hard to discern due to the use of a wet-on-wet technique in which I excavate figurative masses from a dark field of thick paint (the figurative elements unravel after a sustained view-ing). The work is inspired by cinematography from Malick’s The Thin Red Line and the familiar battle paintings of Theodore Gericault, and Francisco Goya. My paintings move between over-the-top the-atrics (i.e., sentimentalized cinematic & romantic references) and my connection to conflict and war.

LIAT YOSSIFORYossifor graduated with an MFA from the University of California, Irvine, and a BFA from the San Francisco Art Institute. Most recently,

in 2007, Yossifor exhibited her new work: in a solo show at the Pomona College Museum of Art entitled “The Tender Among Us,” in a group show at the Torrance Art Museum, and a project show at the Susanne Vielmetter Los Angeles Projects entitled “The Dawn-ing of an Aspect.” Previously her work has been shown in solo and two-person exhibitions such as: “Portraits of Yfat” at Angles Gallery, LA; and “The Black Paintings” at Noga Gallery of Contemporary Art, Tel Aviv, Israel. She has been included in group exhibitions at the Lyman Allyn Museum, New London, CT; Museum of Modern Fine Arts, Minsk, Belarus; New Wight Gallery at UCLA, LA (the Wight Biennial); University of California Gallery, Davis, CA; Claire Trevor School of the Arts Gallery at UCI, Irvine; and Deep River Gallery, LA. She was recently written about in the NY Arts magazine article “Training Ground” by Carrie Paterson, and interviewed by Kimber-ley Brooks for the Huffingtonpost.


SHORTLIST

Mattias Adolfsson, Sweden

Marc Asnin, United States

Matt Baker, United Kingdom

Sara Bavar, United States

Richard Boll, United Kingdom

Sara Bomans, Belgium

Giorgio Borruso, United States

David Bowen, United States

The Bridge Club, United States

Jennifer Celio, United States

Juan Chavez, United States

Carlos Contente, Brazil

Matt Coyle, Australia

Jessica d’Avigdor, Germany

Urska Draz, Slovenia

Uta Elv, Germany

Andrew Eyman, United States

fabric | ch (C. Babski, S. Carion, C.Guignard, P. Keller), Switzerland

Thomas Falstad, Norway

Bob Faust, United States

Marco Ferreri, Italy

Jason Fletcher, United States

Martine Fougeron, United States

Tamar Frank, Netherlands

Wolfgang Hametner, Switzerland

Sean Hovendick, United States

Mitya Kushelevich, Germany

Marcio Kogan, Brazil

Man Lok Law, China

Ed Lippmann, Australia

Carolyn Mason and Susannah Slocum, United States

SHORTLIST

David Miles, United Kingdom

Frog Morris, United Kingdom

Karim Najjar, Austria

Kim Herforth Nielsen, Denmark

Adam Niklewicz, United States

Kristen Nyce, United States

Andrew Ohanesian, United States

Rok Oman & Spela Videcnik, OFIS ARHITEKTI, Slovenia

Nachaat Ouayda, Lebanon

Liliana Ovalle, Mexico

Robin Provart-Kelly, United States

Case Randall, United States

Miguelina Rivera, France

Comenius Roethlisberger, Switzerland

Rod Roodenburg, Canada

Daniel Rosenbaum, Australia

Ted Sabarese, United States

Matthew Salenger, United States

Indre Serpytyte, United Kingdom

Christopher Silva, United States

Andrew Smaldone, Italy

Mark A. Smith, United States

Bryce Speed, United States

Bob Stevens, United States

Saskia Takens-Milne, United Kingdom

Tim Taylor, United Kingdom

Michael Tole, United States

Bridget Walker, Australia

Christian Weber, Germany

Liat Yossifor, United States

Paola Zampa, Italy

MATTIAS ADOLFSSON, Sweden“The Whaler”Illustration 40x30 cm. For a personal project about movement.


MARC ASNIN, United States“Uncle Charlie”Photography

Uncle Charlie was my hero, godfather, and a big tough tattooed guy with a gun in Brooklyn in the 60s. Charlie was everything a boy in my world wanted to be. Look-ing back, I realized it was more my fantasy than reality. When I caught up with him later in life I was shocked to see what condition he was in: My “dark hero” that

appeared in front of me was now in an anorexic and catatonic state. Charlie, who was hopelessly immersed in his life “waiting for Godot,” became a twenty-seven year journey. What haunts me is whether these photo-graphs were provoked by my need to figure out what Charlie means to me.

MATTIAS ADOLFSSON, Sweden“The Whaler”Illustration 40x30 cm. For a personal project about movement.

MATT BAKER, United Kingdom“Shinglehook”Installation

The concept was a ‘place’ rather than an ‘object’ in the landscape - Shinglehook is a place to wait for geology. Growing from the opposite shore of the loch is a new land bridge that will eventually divide the water in two. The four bronze floats are precise castings taken from the material that comprises

the growing land bridge. These small floating ‘islands’ await the approaching land. The line of floats is free to move with the water but is anchored to the land by underwater cabling held fast to the two oak structures, half-buried in the shale.


SARA BAVAR, United States“Generation Tehran”Video and Film

Women in burkhas and bearded men in turbans--is this what you think when you hear Iran? Or is it uranium enrichment and dicta-torship? What if you traveled there and saw young men and women dressed in the latest fashions carrying the latest technology? What if you heard Iranian rap and saw people dancing in the streets? Would you still perceive Iran in the same way? Generation Tehran is a docu-mentary short that will change your mind about Iran, its people, and its future. As one of the youngest populations in the world (70% are under 30), Iran’s youth are helping to build a new country. The foun-dations they lay will not only affect the Middle East, but also extend

out to the whole world. Born and raised in the United States, Irani-an-American director/producer Sara Bavar wanted to create a plat-form for Iran’s youth to speak their mind and to let the world know the truth about them--to give them a voice. This film is that single, unified voice, crying out, demanding freedoms, and dispelling pre-conceived notions--all of which, we in the west sometimes take for granted. Using interviews and observational footage filmed entirely on location in Tehran over the course of three months in Fall/Win-ter of 2006, the film will surprise, shock and leave the viewer ques-tioning everything they knew, or thought they knew about Iran.

RICHARD BOLL, United Kingdom“Gallery”Photography

These images are from “Gallery”, a series of images taken in Cape Town, Barcelona and London that examine the stripped down, purified space of the art gallery. They represent a personal search for balance and refinement through minimalist photography that I began in 2004 with a project entitled “Studio”, that took an oblique view at the production of artwork through the depiction of creative

environments. “Gallery” applies the same minimalist approach to the visually clinical aesthetic of gallery spaces, an approach that bridges the canon of minimalist painting with that of contemporary photographic practice.


SARA BOMANS, Belgium“Trophy”Sculpture

Knitted head-like figure hangs on wall with the brains laying on the floor, connected with a single yarn. If you pull the yarn a sweet song comes out of the brains. The size of the head is life-size. it symbolizes unused talent that’s still alive and a decorative element for others happiness.

GIORGIO BORRUSO, United States“Fornarina Las Vegas”Interior Design

We created, inside chaotic Las Vegas, an oasis for the Italian women’s fashion line ‘Fornarina’; a place of rest for the retina and the mind. Visitors are exposed to a series of “marvelous” products encased in moulded pearlescent and chrome rings, embedded on suspended cascading panels and unexpected floor undulations that form display surfaces. Lining the walls with sensual undulating curves are

pearlescent eyelids from under which the product is illuminated. Strange light objects are raining from the sky, bulbs of glass sus-pended from fuchsia filaments and large tentacles supporting a grid of directional lights, an obtrusion of eyes, which observe and at the same time indicate where to concentrate our vision, in this oneiric experience.


DAVID BOWEN, United States“Growth Rendering Device”Sculpture

This system provides light and food in the form of hydroponic solution for the plant. The plant reacts to the device by growing. The device in-turn reacts to the plant by producing a rasterized inkjet drawing of the plant every twenty-four hours. After a new drawing is produced the system scrolls the roll of paper approxi-

mately four inches so a new drawing can be produced during the next cycle. This system is allowed to run indefinitely and the final outcome is not predetermined.

THE BRIDGE CLUB, United States“The Voyage Out”PerformanceThe Bridge Club is a collaborative art and performance group consisting of artists Julie Wills, Annie Strader, Christine Owen, and Emily Bivens. Performances have taken place in both traditional and nontraditional venues, incorporating and responding to sites such as a city bus, a public library, an abandoned house, and a laundromat, in addition to the traditional gallery space. Each performance is conceived in specific relation to its site and audience. The ideas embedded in these performances directly parallel the investigations happening in each member’s individual studio works, to broadly and specifically include notions of feminin-ity, gender roles, family dynamics, intimacy, privacy, and social

narrative. Costuming, props, and responsive action contrib-ute to The Bridge Club’s collective persona. Each member wears wigs, shoes, gloves, and a variety of carefully selected garments that relate directly to the site and concept of a specific performance. The costuming and other aesthetic choices, such as sound and environment, create a historical ambiguity of era that addresses change and continuity of gender and interpersonal histories. Performances are not scripted per se, and contain no dialogue, but are rather structured as an aesthetic and conceptual conversation. Each member’s actions are in response to concept, space, sound, interaction, and visual appeal.


JENNIFER CELIO, United States“A Trip to the Park”Other

That which changes and that which remains the same form the basis for my graphite drawings of urban environments. These images catalog my present and past through my daily driving.

JUAN CHAVEZ, United States“Speaker Project”Installation

The speaker project is a found materials box, constructed with the purpose of producing an interactive space, which involves the viewer and performance into physically interactions with sculpture, architecture and sound.


COLAB STUDIO, LLC: MATTHEW and MARIA SALENGER, United States“Cedar Street Residence”Architectural

Renovation of a 1950’s suburban house. All 3 bedrooms were removed and rebuilt as free-standing structures in the backyard. Each new bedroom is a microcosm of the existing house with a sleeping space, a deck, and a private yard. The new structures force interaction with the garden and weather. Electricity usage was cut in half after conversion. Appreciation of nature dou-bled!

COLAB STUDIO, LLC.: MATTHEW and MARIA SA-LENGER, with JONES STUDIO, INC., United States“Moving Memories”Sculpture

The Arizona 9/11 Memorial; A place to reflect on our evolving understandings of the events and their significance; a place to ponder the mystery, magnitude, and impact of change. Stainless steel panels cast sunlight through 54 laser cut inscriptions onto a 42 foot wide base. Words appear as pixels of light and become legible for a time, and then blur again. A salvaged steel fragment from ground zero is placed above a pedestal of concrete mixed with rubble from the Pentagon and earth from Shanksville, Pennsylvania. At noon each 9/11, sunlight shines onto the center of the steel fragment.


CARLOS CONTENTE, Brazil“Green on Contente’s Show”Writing

“Interview with the Green Color” is a hand drawn talk show, where Contente (an homonimous self portrait of the author) have a conversation with an green brushstroke about existentialism, color prejudice, politics and chromatic problems.

MATT COYLE, Australia“Dream 2”Illustration

From my ‘Night Stills’ series, where each drawing operates as a cinematic nightmare, like a film still belonging to some unknown horror movie.


JESSICA D’AVIGDOR, Germany“Question to the Digital”Video and Film

“Question to the Digital” is one of my self-portraits in which I attempt to reveal what it feels like to live in a world that is overrun by a wave of virtualisation. It shows a bodiless being which is digitally reproducing itself, quasi infinitely - an allusion to the fact that the cyberworld mainly focuses on mental connections while the body becomes less and less important. My work aims to illustrate that identities are increasingly dubious, interchangeable

and reproducible. The question “For what reason can avatars fuck if they cannot get pregnant?” encourages the recipient to think about the meaning of virtual spaces, religion and future. The whole scenario could be interpreted as the visualisation of the spiritual heart of virtuality - questioning whether a ‘spirit’ exists in these data-spheres at all.

URSKA DRAZ, Slovenia“Texile Dress Design”Fashion

Work between 1993-2006.


UTA ELV, Germany“Im Schatten Meiner Locken”Painting

“Im Schatten Meiner Locken” is all about women. Possibly the artist herself.

ANDREW EYMAN, United States“The End”Video and Film

Collected from 100 films made during 1950’s Hollywood, “THE END” is a video montage of endings. These clips, showing short scenes with the words “The End” from a given film, with exam-ples such as “THE AFRICAN QUEEN” (1951), “THE SEVEN YEAR ITCH” (1957), “NORTH BY NORTH-WEST” (1959), etc. are mixed and repeated in a random order. All 100 clips are from color films. The video is 1 hour long and there is no discernable beginning or

end. On the soundtrack is music by Leonard Rosenman. It was taken from the finale of the 1955 film “EAST OF EDEN” and highlights Rosenman’s signature “pyramid ending” (an orchestral climax). These few seconds of music have been cut-up and reorganized, forming a unique piece, which sounds as if it will end, but doesn’t; it is a “stuck climax”. Hence “THE END” never ends.


C. BABSKI, S. CARION, C. GUIGNARD and P. KELLER, Switzerland“Perpetual (Tropical) Sunshine”Installation

Perpetual (Tropical) Sunshine is an architecture made of heat and light. By means of a “screen” composed of several hundred infra-red lamps, Perpetual (Tropical) Sunshine relays continuously and in “live” format the tropical sun, thereby creating an abstract, never-ending and planetary form of a summer’s day through meridians

and time zones. Questioning our relationship to contemporary space, Perpetual (Tropical) Sunshine defines a place out of sync both temporally and climatically.

THOMAS FALSTAD, Norway“Isle of Doom”Painting

Computer graphics, futurism, romantic landscape painting and dark sci-fi from film and literature are all references that make up the skeleton of my work. These images are dystopias and portray a failed society in decay. These ruins may be all that remain after an imagined

future catastrophe – today’s situation with rising tension between the east and the west and dramatic global climate changes feeds these stories from the future. Uncertainty and pessimism about the following decades lies at the heart of these works.


BOB FAUST, United States“Nick Cave Boxfolio”Graphic Design

Mad. Humorous. Ritualistic. Visceral. Elaborate. Grotesque. Glamor-ous. Unexpected. ... All words used to describe Chicago multimedia performance artist Nick Cave’s body of work entitled, “Sound-suits,” a name inspired by the sound many emit when in which they are performed. Cave’s 2006/7 exhibitions were accompanied by this “Boxfolio” which housed similarly unexpected materials of

the mundane including light wands, iron-ons, magnets, playing cards, pins, customized ViewMaster, postcards, and, of course, an exhibi-tion catalog and poster. The Boxfolio symbolized a challenge to the perception of what constitutes art and how it can be reproduced with the added analogy that both his work product and the Boxfo-lio, which was noisy when shaken, was inspired by sound.

JASON FLETCHER, United States“Elk Cloner”Video and Film

I have sought to create a time-capsule from the future. This time-capsule acts as a virus upon the realities of the human mind. Forced full of dangerous warnings and strange excitement of the things to arrive. With a sky of soot, abstracted ideals bloom unto the

perplexed viewer. Will anything be understood and taken from this insistent virtual reality? Without leaving the realm of artist foundation, I valued total experimentation with persistent themes through a fluid narrative structure.

MARTINE FOUGERON, United States“Tête-á-Tête: Intimate Portraits of Adolescent Sons”Photography

Tête-à-Tête is an on-going series, naturally staged, which reflects the face-to-face of the mother-photographer and the private world of two adolescent sons.


TAMAR FRANK, Netherlands“Spatial Transition II”Installation

This installation was created for an exhibition in the Lightart Museum in Eindhoven in collaboration with sound artist Marten de Wind. The walls have been painted with a linear pattern of phosphorescent pigment showing deviating perspectives. On entering the space the walls are flushed with green light disguising the lines. This is accompanied by a low sound. After one minute a stroboscope begins to pulse combined with a high pitched sound.

30 seconds later the green light extinguishes together with the low sound. This continues for another 30 seconds after which both the stroboscope and the high sound stop. The viewer is left to see only the afterglow of the linear pattern on the walls revealing a different space. The afterglow is accompanied by a thin sound that slowly diminishes.

WOLFGANG HAMETNER, Switzerland“Her Letter”Illustration

Mixed technique about writing love letters.


SEAN HOVENDICK, United States“Be A Man”NetArt

Learned behaviors have many sources: parents, siblings, friends, neighbors… however, when those elements are unavailable, or at best weak in their ability to contribute to the learning process, the influence that is always available is television. Television grows more powerful every day, as our filters of critique remain oblivi-ous to its control allowing mediated behaviors to permeate our senses. The mental anguish, confusion, and isolation brought about

by its endless consumption, feeds on itself with no sign of repen-tance. “Be A Man” is a representation of the male mediated psyche constantly in flux and endlessly referencing gender-role behaviors learned through the media. Is it possible to disregard mediated real-ity? Can we be sure of our true personalities? Or will the power of television forever be the driving force of cultural control?

MITYA KUSHELEVICH, Germany“Home”Photography

This project deals with the human subconsciousness, with things which constitute the core of our psyche and determine our everyday behavior underneath the surface. The pictures, which came into being within this series, show my personal analysis of the important questions about our intrinsic “self”. By orientating around dreams during the sleep, the most direct way our subconsciousness communicates with us, I created rooms and people within them based on the similar degree of abstraction our brain uses on

generating dream sequences. Redundant details were left out; every-thing is concentrated on the emotional basic state of mind, which constitutes the particular person. Anxieties and traumas, yearnings of the not recurring past and the possible future, unfulfilled dreams and destroyed illusions in life, self-love and self-mortification - all that are the real attributes of the human characters and not their daily social masquerade. My work is devoted to the visualization of these emotional basic states.


MARCIO KOGAN, Brazil“Cury House”Architectural

The Cury House is the alignment of design, of exhaustingly elaborated details, and of execution. The use of the materials, the form, the intention of the design, quietly materialize, as was thought out on the drawing board. This well-defined design is conjectured in the architectural detail. Each tiny re-entering angle of the house had been projected. The cleanliness and organization of the project are evident in the completed house. The workman-ship, meticulous handicraft labor, gives weight, form and color to the architecture. In the entrance to the house, a small atrium links the spaces together: the path to the dining room and the kitchen, the living-room and, vertically, to the bedrooms on the first story

and a small intimate area on the top floor. In this room, two large wooden lathe doors open onto a deck where, on one side there is a beautiful view of the city and, on the other, looks out to the garden that, further downstairs, continues out from the grand living room. The living-room opens entirely: two window moldings are entirely imbedded into the wall, constituting a continuous open and free space while offering a cross-ventilation between the two gardens. There is no interference of the structure in this area. The garden is structured by a wooden floor, a reflecting pool and minimalist vegetation. The interplay of volumes builds a surprisingly free and continuous space.

MARCIO KOGAN, Brazil“Micasa Store”Architectural

This project is the retail furniture store Vitra located in São Paulo. We used the materials in their extreme condition, such as visible concrete executed without any concern about precision or finishing, or the skin of the back volume where we used various layers of a steel frame which is usually used on the inside of the concrete slabs and were found at the site.

Likewise, the interior walls did not get any special finishing and still have the original chalk markings left by the workers during the construction, almost an archeological discovery. The external floor is made of pebbles which are also used to mix concrete.


MAN LOK LAW, China“Thus the Chinese Spake”Video and Film

The Contemporary Chinese Art (CCA) chic probably is the successor of the yBa chic. But what is the condition of CCA? If contemporary art is the game of the West, whose and who the Chinese are we referring to under the Westernized Globalization context? Shall Contemporary Chinese Artists give up their mother

tongue and so as their own wisdom & philosophy? With all these questions, the so-called most promising condemn-porary Chinese Artist, Law Man-lok, now shows you how the Chinese learn art.

ED LIPPMANN, Australia“Butterfly House”Architecture

This 420 sq. m. house was designed for a Chinese property devel-oper who insisted that the house have “no straight lines” to attract good “chi” in accordance with Feng Shui principles. The result was a voluptuous sculptural form which has been widely and critically acclaimed. The house’s curved forms, aluminium and glass skin appears surreal in its setting. The two wings of the butterfly - living

wing facing west over Sydney Harbour, the other bedroom wing facing east over the Pacific Ocean - with the central glazed stair extracts hot air from the interior. The curved free form glass facade employs the most up to date technology in its fabrication and instal-lation. Overhangs to the north facade provide passive solar protec-tion to the substantial glazed walls.


CAROLYN MASON and SUSANNAH SLOCUM United States“Maternity & Matrimony”Performance

For the past year we have been sitting for portraits at the Kmart and Sears studios with a variety of men and children – all recruited on craigslist and paid to portray intimate relationships with us. In the project, Slocum appears as a mother and Mason appears as a spouse. During the making of the portraits, the photographers inserted us into the studio’s template poses illustrating motherly affection or romantic love. The photographs document an ongoing performance which, to date, is comprised of 20 images.

DAVID MILES, United Kingdom“Pact; Milkman; Ghost; Inquest; Este Veranon te Mato”Sculpture

All made from card and wire. All the mobiles have narratives - some are from local news stories, some are personal. With their movement, different narrative readings are possible.


FROG MORRIS, United Kingdom“Anti-Frieze”Audio/Music

This science fiction audio drama was made using recording from my local supermarket. I read a lot of science fiction when I was growing up. Now I am grown up it feels like I am already living in the future and I don’t have robot slaves or a bio-dome, all that I got was some new features on my mobile phone. Though I am

disappointed that I don’t have a flying car, I sometimes like to think about all the weird stuff we do have already, such as eBay and supermarket loyalty cards. What are these things?

KARIM NAJJAR, Austria“Bug, Kinematic Space”Architectural

A space of isolation, which communicates through its enclosure, an interface with the outside world. The envelop is an instrument of communication - it changes its structure according to the events that occur inside. The space changes its structure through shifting and transferring its centre of gravity. When the occupant is at rest the box engulfs itself within the outer shells. In connection with the phenomenon of the variety of human existence forms, the conception of Bug is to visualize the solitude of man in his envi-

ronment. The hermit is aware of his seclusion, but nevertheless, he exposes his being to the public. The kinematical mechanism of the box allows it to transform from one balanced state to another. By shifting the centre of gravity in diverse locations, the box transforms its shape into different forms. The geometrical configura-tion of the mechanism construction consists of articulated paral-lelogram elements with hinges, initiating the transformation of the geometry.


KIM HERFORTH NIELSEN, Denmark“Orestad Collage”Architectural

The Orestad College will be the first in Denmark to fulfill new educational visions regarding subjects, organisation and teaching systems. Communication, interaction and synergy has been key issues. The project displays a visionary interpretation of openness and flexibility regarding team sizes, varying from the individual over groups to classes and assemblies, and reflects international tenden-cies aiming at achieving a more dynamic and life-like studying envi-ronment and introducing IT as a main tool. The intention is also to enforce the students’ abilities gradually to take responsibility for own learning, being able to work in teams as well as working

individually. The college is interconnected vertically and horizon-tally. Four boomerang shaped floor plans are rotated to create the powerful super structure which forms the overall frame of the building – simple and highly flexible. Four study zones occupy one floor plan each. Avoiding level changes makes the organisational flexibility as high as possible, and enables the different teaching and learning spaces to overlap and interact with no distinct borders. The rotation opens a part of each floor to the vertical tall central atrium and forms a zone that provides community and expresses the college’s ambition for interdisciplinary education.

ADAM NIKLEWICZ, United States“Selection of Works”Sculpture

These works draw upon my Polish childhood, and examine to what degree it prepared me for my subsequent and ongoing emigrant experience. They are a realization that certain visuals and situations from childhood can reappear (after many years) as symbols defining one’s life.


KRISTEN NYCE, United States“Instruments to Facilitate the Study of Speech and Sound”Sculpture

Thinking about the creation of speech and sound - recording a conversation with a loom operated by the mouth to make listening into a tactile experience -creating a loom for threatening words with the jaw of a shark – imagining leaves as tongues and remaking them into new forms to rustle new sounds – creating a new hairstyle in the shape of a megaphone and braiding my hair to amplify my voice.

ANDREW OHANESIAN and TESCIA SEUFFERLEIN, United States“30-yr. Fixed”Installation

15’ x 30’ mixed media installation. The hallway frames the ideal American home that disintegrates upon further inspection.


ROK OMAN and SPELA VIDECNIK, OFIS ARHITEKTI, Slovenia“Infrastructure”Architectural

Work ranging from 450 square meters to 2500 square meters.

NACHAAT OUAYDA, Lebanon“Project R”Environmental Design

Construction of an on site prototype for one unit (112 square meters) to illustrate the innovation of a pioneering, cost & environ-mental effective system for rubble recycling resulting from wars or earthquakes into transitional or permanent structures. Beirut, Lebanon.


LILIANA OVALLE, Mexico“Crash Bench-It Came From the Skies”Design

Something came from the skies, made its way through the ceiling and collapsed inevitably on a bench. The unexpected incident transformed the object, the odd impact imposes a new way of being. The bench is based on the arbitrary and unforeseen nature of an accident. The object survives a collision out of the ordinary, a shape that responds to a speculation.

ROBIN PROVART-KELLY, United States“Mending Series”Sculpture

I am addressing complicated social issues with simplistic forms and universal sybolism. Thoughts of vulnerability and the fragility of financial and emotional stability during a deceptively acquisitive period in Western economics were in my mind during the creation of this series. Nakedness,

weakness and susceptibility are interpreted by the use of colorless glass and the scratched surfaces are alternately calming, agitated, confused and angry. The scale is pushed to the extreme to amplify the sense of helplessness, danger and the brittleness of the glass sewing needles and pins.


CASE RANDALL, United States“That Teenage Feeling/Blow”Sculpture

1.Bronze, glass, chair. 2.Bronze, velvet, chair. This work is based on my desire to give figural “bodies” to various universal human feelings.

MIGUELINA RIVERA, France“Power of Thorns”Sculpture

Directional lights that signal to each and every one of us – the observers – appropriated by a myth onto our reality which continues in search of “forgiveness”.


COMENIUS ROETHLISBERGER, Switzerland“Dearest Constellation, Sweetest Invitation”Sculpture

Cocaine, sugar, polyster resin (45cm x 35cm x 12cm) edition 1 + 1AP.

ROD ROODENBURG and DAVID COATES Canada“GDC Anniversary Stamp”Graphic Design

2006 marked the 50th anniversary of the founding of Canada’s professional graphic design association, the GDC. To mark the occasion, Canada Post produced a commemorative stamp. Ion’s intent was to create an icon that represents the Canadian graphic design community using type and image, and the beaver seemed a natural. One of Ion’s self-imposed directions was to combine typography and image in a clever way that epitomizes what graphic designers strive for when creating a successful icon image. Like the beaver, the Canadian designer is enterprising, hardworking and in tune with its environment.

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DANIEL ROSENBAUM, Australia“Formations on Ice”Interior Design

Ice and Snow Interiors created in Jukkasjarvi, Sweden.

TED SABARESE, United States“Evolution”Photography

With all the recent, fiery controversy between evolution, creationism, intelligent design, science, religion, the political left and right, etc., I thought it might be provocative to throw my visual two-cents into the ring. The images beg the question, “is it really so difficult to believe we came out from the sea millions and millions of years ago?


INDRE SERPYTYTE, United Kingdom“State of Silence”Photography

The Lithuanian papers wrote that it was a “painful misfortune (a catastrophe)”, when the Head of Government Security died. Albinas Serpytis died in the early hours of the 13th of October 2001, in a “car accident”. No one seemed to know the details, or circumstances, or provide straightforward answers. His death was premeditated

and brutal. For me this was sufficient proof, he had been eliminated. All that remains is silence, unknown circumstances. Hidden moti-vations. A chilling absence. This was my father. The subject of my indefatigable investigations.

CHRISTOPHER SILVA, United States“Human Mess”Installation

Weaving an illustrative style throughout compositions of salvaged materials this series of installations presents various tragedies inspired by true stories, while also providing interesting examples of creative reuse. Discarded materials are collected from the streets and become parts of gallery exhibitions, elements from

one installation make their way into the next, and finally, after the exhibitions are finished inside, they continue outside as the rejuvenated materials are returned to the streets and reinstalled in new configurations at public sites.

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ANDREW SMALDONE, Italy“The Space in Between 1”Painting

Architectural interiors are used as a framework in which to explore the passing of time, while tonal variation strongly evokes processes of remembering. 18x24cm, ink on paper.

MARK A. SMITH, United States“Red”Graphic Design

Through personal memoir blending the innocence of childhood with the fears of growing up, this artist book incorporates hand lettering with a fragmented sentence “flipbook” structure to address the chaos and humor that comes with growing up gay in 1980’s America. Within this flip structure, all of the juicy details

(including a Southern Baptist upbringing, media representations of the AIDS crisis, and “coming out” to my mother at the local Red Lobster restaurant) are allowed to blur with one another, to reflect the confusion found within the struggle for self-discovery.


BRYCE SPEED, United States“Double Lives”Painting

This piece emphasizes the importance of sexual suggestion. Along with my other work, this drawing relies on the drab and prosaic, repressing any painterly virtuosity. 30” x 44” oil wash, silverpoint and graphite on paper.

BOB STEVENS, United States“Friends Are Not Disposable”Advertising

The objective was to target teens who might have friends who were spiraling downward under the influence of drugs or alcohol. The “Friends are not Disposable” headline encourages the audience not to treat their friends as “disposable” like trash, just because they have gotten themselves in trouble. It was our intention that the kids not look homeless, but instead look like they’ve been dumped there straight from their comfortable upper middle class suburban homes; a visual contradiction between a “regular” kid in the middle of a trash heap or junkyard. The props are designed to show that in their desperation, that they have made an attempt to

create a “home” in a surreal sort of way. It was also our intention to have them appear reasonably well-dressed to imply that they are recent arrivals, thus underscoring the timeliness of contact and reaching out needed by their friends. The talent is portrayed as a vulnerable and confused as if they had been “disposed of”. I designed a lighting and post production approach to add a surreal quality and somber mood to the images with the talent bathed in a pool of light to create a sort of angelic presence in the less than pleasant environments.


SASKIA TAKENS-MILNE, United Kingdom“Untitled”Video and Film

Through my work I attempt to explode the suspension of disbelief common to the experience of cinema and, in so doing, explore the ‘reality’ created by and in films. With clear reference to Brecht I attempt to show that film ‘reality’ is a construction and that the reality, that it reflects/distorts, is also a construction that can be

changed. I am particularly concerned with the representation of women and the unrealistic and outmoded expectation that women must excel in their professional field whilst also ‘keeping a good home’ if they do not want their ‘womanliness’ to be judged.

TIM TAYLOR, United Kingdom“Office Explorations”Installation

“Many’s the long night I’ve dreamed of cheese - toasted, mostly” - Ben Gunn. Exploring aspects of form, scale and commodity, these works take perceived notions of tropical island life and man’s search for paradise as their starting point. The work continues an ongoing exploration of the beauty, pathos and humour inherent in the everyday.


MICHAEL TOLE, United States“Untitled (Blue Egg)”Painting

This painting depicts a blue Faberge Egg. This body of work exemplifies the attempt of the American elite to define themselves via symbols of an all but extinct ruling class. The work also explores

the exotic via reproduction (reproductions of Faberge Eggs, photo-graphic reproduction, video, painting, etc) and the flavor imparted by the generations of reproduction to the final “art object”.

BRIDGET WALKER, Australia“One Verse, No Chorus”Video and Film

A grand loop of looking, creating, and consuming.


CHRISTIAN WEBER, Germany“No. 8”Painting

Acrylic on mdf 100 to 130.

PAOLA ZAMPA, Italy“Francesa; Greeting from Kabul; Merry Christmas; Dame al Bagno. Lourdes”Textile

Embroidery on X-ray, lead, canvas.


JURY

Alfonso Artiaco, Alfonso Artiaco Naples, Italy

Saffet Kaya Bekiroglu, Architect London, United Kingdom

Marcia Fortes, Director, Galeria Fortes VilaçaSao Paulo, Brazil

Xavier Hufkens, Xavier HufkensBrussels, Belgium

Sarah Kent, writer and criticLondon, United Kingdom

Vera Monro, Galerie Vera MonroHamburg, Germany

Knut Ormhaug, Senior Curator, Bergen Art MuseumBergen, Norway

Stathis Panagoulis and George Vamvakidis, DirectorsThe Breeder, Athens, Greece

Barbara Polla, Owner and Director of Analix Forever GalerieGeneva, Switzerland

Rebecca McClelland, Photo Director, Art World Magazine London, United Kingdom

Ben Tomlinson, Director of Alma EnterprisesLondon, United Kingdom

Lisa Wells, Art Appraiser and AdvisorLos Angeles, United States

www.licc.me.uk ISBN-13- 978-0-9814741-0-6

ISBN-10- 0-9814741-0-1 Published by Asterisk Press™

london international

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