Vojislav Radovanovic

Star Wrangler

2022-2023

"The Endless Sea Inside" was featured in "After the Rain," an exhibition at Mash Gallery in the Los Angeles Arts District. This piece juxtaposes a hybrid shark composed of many eleme...

"The Flow 2" was featured in "After the Rain," an exhibition at Mash Gallery in the Los Angeles Arts District. This piece combines bright, texturized urba...

Rock N Rose is a vibrant, mixed media artwork made by Haleh Mashian. It is 60" x 60", features three-dimensional elements that add great depth and texture, and the surface sparkles a...

"It's Time to Grow 3" was featured in "After the Rain," an exhibition at Mash Gallery in the Los Angeles Arts District. This piece combines bright, textur...

"Untitled 4" Abstract Acrylic on linen Painting 32'x46' inch by Hossam Dirar Acrylic on linen canvas CHAOS This project is a representation of the life around me right now. All t...

Maureen Baker lives in Warakurna, an Indigenous community nestled in the Rawlinson Ranges, approximately 330km west of Uluru. Maureen is a creative and...

Carolanne Ken was born in 1971 and resides in Kaltjiti, formerly Fregon, located in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Carloanne went to school in Kaltjiti as a y...

Yannima Tommy Watson is a Pitjantjatjara artist born around the 1930s, in the bush some 44km west of the small isolated community of Irrunytju. Not yet very well known to the French public, despite his participation in the architectural project of the Musée du Quai Branly, Tommy Watson is nevertheless often considered the greatest living Aboriginal artist. Like many aborigines of his generation, he lived a traditional, nomadic or semi-nomadic life before his contact with Western civilization; then he will occupy the only jobs that the Aborigines find: herdsmen (until Yuendumu), laborers for the construction of infrastructures in the desert. Throughout this period he became familiar with his "country", a harsh region, and deepened his knowledge, both profane and sacred, relating to Dreams and Dreamtimes, to the connections between sacred sites and the Ancestors. He will even work in Papunya, where the artistic movement started. But the Pijantjarra are intransigent with tradition…no question at this time of revealing the motives and the secret stories. The North of South Australia, the region where he is from, was touched by the pictorial movement only at the very beginning of the 2000s. In 2001, Tommy began his career as an artist in Irrunytju (Wingellina). He is a young artist… He learns by observing other painters and draws on the experiences of a long life and on the exceptional knowledge he has stored up. But quickly he will find his way, a radically new style where color plays a major role. Very quickly, the iconography now well known by the artists of Yuendumu, or the Western Desert, Balgo or Lajamanu disappeared. The symbols are no longer there. As Rover Thomas, Emily Kame or Paddy Bedford had done before him, this is a real artistic revolution. For Tommy, it is not a question of describing his Dream (Caterpillar), the routes taken by the Ancestors. He concentrates on a site, a story, sometimes very profane, the memory of a meeting, of a hunting party, tries to condense his memories, the information of which he is the depositary, to add a poetic touch to it, sometimes melancholy, and this gives a painting with a very abstract aspect. It is a painting where the emotion is very present, undoubtedly less cerebral than the art of the neighbors of the north the Pintupi, like Ronnie Tjampitjinpa, George...