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The 2010 Chelsea International Fine Art Competition exhibition features an incredible collection of juror selected artistic talent from around the globe. Working with photography, painting, sculpture, digital and installation art, these artists fashion their visions in the modern world using both traditional and cutting edge technologies, continually pushing the boundaries of creativity. This impressive selection of artists chosen by competition juror Megan Fontanella, Assistant Curator of the Guggenheim Museum, will thrill audiences looking to explore the abundant variety of the contemporary art scene
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Evi Apostolou
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My artwork is painting, digital art and/or a combination of these mediums. I am mostly inspired from biology, exploring the interaction and coexistence of spirit and matter, as well as of the natural and the artificial world. I also want to express a particular state of mind and soul. The human body, both internal and external, and every living matter could be transformed into images of a flowing energy, even though a still life could be seen as something breathing and alive. Everything in my art is living, can be connected, everything is like an organism, or a part of a bigger organism.
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Untitled 2
"Untitled 2"
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Bigbirth
"Bigbirth"
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Denny Bond
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Born in 1952 in Berks County, Pennsylvania, I grew up on a chicken farm without chickens. In 5th grade, I remember digging up large bones behind a shed and telling my class they were dinosaur bones. The teacher told everyone they were cow bones... Though my five minutes of fame was shattered, from that time on, being creative was my calling. Now a nationally recognized award winning watercolorist living in Lancaster County, Pennsylvania, my paintings have been featured in Watercolor Artist, February 2008, and in American Artist, June 2007. I approach each painting with the thought of wanting to return to review it again at a later date. If I can capture that interest within myself, the content and execution of the painting is successful. I search for concept, composition, and detail in a realistic style of painting that is predictable, but a choice of subject matter that is not.
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Guardians of Time
"Guardians of Time"
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Standard
"Standard"
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Allen Bryan
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Comforts of Home came about as I searched in recent years for connections between my early, quickly taken photographs of oddities and ironic juxtapositions and the slower, far more contemplative landscape work that followed. I realized that I could go beyond merely taking photographs as a way of editing and refining my vision of the world. Using digital tools I am able to re-examine and reorganize my photographic life, creating pictures that question our comfortable reality. The places in these pictures are figments constructed from slide and digital images, varied light sources and lenses, altered perspectives and depth of field.
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Breakfast Buffet
"Breakfast Buffet"
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Reading Room
"Reading Room"
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Cassie Clements
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Working from observation has always driven me to paint. This process involves the artist’s perception of sight and the translation of what is seen through marks on the surface. Combined with these marks and objects are ideas that are changing around me, which create my work. Currently my work deals with the ways people perceive nature and bring it indoors. My choice of objects is representative of both the tradition of still life and the essence of landscape. While painting, I gradually begin to see what is actually in front of me, and translate that to an abstract mark on the surface, creating space, light, and color. Ultimately it is my goal for the viewer to understand these objects better because they are painted and that they may view them through the painters lens.
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Self Portrait with Oil Refinery: Velazquez, Cezanne, and Gauguin
"Self Portrait with Oil Refinery: Velazquez, Cezanne, and Gauguin"
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Still Life with Power Plants: Monet and Cezanne
"Still Life with Power Plants: Monet and Cezanne"
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M. Worrell / D. Mott
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We began working together in late 2007, on a large scale sculpture project in Phoenixville, PA. During that process, we discovered similar interests and motivations and discussed gender experiences and family histories. We realized these ideas could be dynamically presented. Thus, we have come to the creation of the nest forms, cast in clear resin, freestanding in their own individual space, representing “Home” or anywhere you come from. Having started our artistic careers later in life, we have been able to draw on a lifetime of experiences which influence our works.
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Beautious
"Beautious"
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History
"History"
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Gaspare Di Caro
 
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I am a performer-artist with a Fluxus root, traveler without frontiers. My field of expression is a multidimensional territory, measured and measurable. My mindmark of inspiration is the spirit of the artists from the Ècole de Nice and the Nouveau Realisme, and mainly Yves Klein’s work The Leap into the Void, based on the photomontage of Harry Schunk and John Kender. As Leonardo da Vinci, I consider art as a mental occupation, everything is art from the moment that it is wanted, thought, chosen. The artist is someone that chooses: the color, the shape, the size, the subject. Choosing the space/place, this one and not another, I sign it, it belongs to me, I turn it sensible, hence, it becomes an artwork, eternal. No matter the transformation of the nature, of men, it will never change, it will always be there, until the end of time.
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Christ the Redeemer
"Christ the Redeemer"
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Brasilia Metric Time 81 64
"Brasilia Metric Time 81 64"
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Ferdinando Di Maso
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My artistic career is based on my mental pursuit of my art, drifting away from the traditional issues that art deals with. Instead of these matters, I'm interested in creating ideas, concrete images that aren't connected to a particular experience. After all, both the real and the surreal belong to the knowledge of man and should be understood to have knowledge of man. So, I try to discover the different ways that the mind can undertake to explore and discover, to generate the "thought", and this influences both my life and my art, and the way I produce and go about designing my work.
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Temporary Solution
"Temporary Solution"
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My Ritual
"My Ritual"
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Horacio Dowbley
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Argentina is a young country built on a very large number of ethnic groups, with local cultures that have each synthesized a particular world, open to all forms of thinking. This opening is part of my job. I think there are three types of reality, the first being a reality in which we live every day, that I will not tell about because everyone knows his own, the second being a reality which is going on in the media, that of the culture of zapping, superficiality. The third is the reality of the artist, who gives meaning and challenges the viewer. So for me, the real work of art is that through the impact, reflection and questioning caused by the work, the viewer experiences intellectual growth.
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Homo Videns
"Homo Videns"
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Jack at school
"Jack at school"
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Julio Stanly Flores
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My work is about an uncommon and strange beauty found at the moment of creation and destruction, intended to elicit a moment of thought. I see myself in figures that are naked rather than “nude,” false and vulnerable representing our continuously changing fads and ideas. I am inspired by strange beauty, the uncommon appeal of a dead rose or dilapidated appearance of rusty metal, the contorted distortion that is found in rigor mortis and the flowing branches of a vivacious tree. I paint the slow decay & birth of human civilization- the silent cry for help in a colorfully apocalyptic world. The destruction of what was once a pristine brushstroke gives rise to the ruins and the distorted over dramatization of a body suspended in motion. The duality of male and female, life and death, beauty and my distorted interpretation of what that means, fuel the underlying theme of my work.
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Depleting Silence
"Depleting Silence"
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Remnance of Glee
"Remnance of Glee"
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Edward Hahn
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My artistic vision is of the contemplative, and concentrates on capturing a meditative emotion that is present in the everyday. I prefer to capture the image in the camera, using techniques such as long exposure or tilt-shift lenses. The processing approach is to eschew outright digital manipulation, and instead to focus on techniques equivalent to what a film photographer might perform in a darkroom: adjusting contrast, enhancing / deemphasizing color, and adjusting highlight and shadow areas. For black-and- white images from a digital source, I tweak the image to mimic the tonal balance and contrast achieved by different black- and-white films, filters, and photographic paper and processing techniques such as toning.
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Vapor
"Vapor"
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The Bottom
"The Bottom"
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Eily K Jammy
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The landscape from the train. There are so many windows. Every window has long stories, falling back in time, but we'll never be able to see it all. You are in the train. We are the windows. We put eternity in windows. What is in the windows? It's not fantasy. It's not lies. The stories cut off from reality. We'll escort you to wonderful admiration. There are all living things to be found in there.
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Picnic
"Picnic"
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Nick Kozak
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It’s been my experience that the most common things penetrate me at the deepest level. I’ve found myself several times in a grocery store, gazing at the immaculately placed products organized on the shelves. So constant, so synchronized. The mass production of objects ensures their uniformity, which is almost sublime, like plant cells under a microscope neatly stacked up like bricks. There is power in numbers. The careful placement of simple objects can transform them into a real entity that is majestic and harmonious. My objects are enlightened from repetition, like Buddhist monks chanting mantra and finding solace in the selfless echo.
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Umbrellas (for Jeanne-Claude)
"Umbrellas (for Jeanne-Claude)"
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Ocean
"Ocean"
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Stephanie Kristofic
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I’m trying to understand my own condition as a human being, through questioning myself about the relation between our bodies and the way they move. I am a soul and I live inside a body, which is my only means of connecting to the world and with other people. Everything between us happens through our bodies, however I wonder how what we are inside appears outside and how to catch that, how to transcend body and see our specific identity. This is a vital concept in my work. Finally, I’m trying to see the process by which our shape tells something about who we are and becomes the incarnation of our humanity.
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Cambre
"Cambre"
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En Arriere
"En Arriere"
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Jürgen Lechner
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In 2006 I decided to go back to the roots of photography, to rediscover pinhole photography with a "Camera Obscura" - which has become my preferred means of taking photographs. I studied the works of different artists, including painters who influenced my current work. A good photograph takes time, I often visit places several times to find the conditions I need for a special photograph. Working with a pinhole camera means an immense depth of field, a huge image circle and a long exposure time. All has to be considered. I love this "slow" photography, being one with nature, engaging in deep introspection, getting movement in the pictures, like the action of water or branches in contrast to non-moving objects to reach more tenseness. I do black and white pinhole photography only, as I think it is more mysterious, more insistent, more quiet and suits the method better than color photography.
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Pinhole_7
"Pinhole_7"
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Pinhole_8
"Pinhole_8"
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Claudia Ficca & Davide Luciano
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After a sudden collision with a canyon-sized crater of a pothole we decided to channel our frustration into a positive project. The imaginative and diverse applications we came up with for potholes led us on a relentless quest in search of perfect ones. We set up our props as required to build the set we desire. Our shooting sessions are evenly divided, with each of us taking a turn behind the camera. Consistency and artistic integrity are very important to us. We created restrictions for ourselves to keep some uniformity within the series. The main focus of the series is the pothole, the action of the scene cannot take place without it. We never close off the street and we don’t use photoshop to create the image or add props. The entire shoot takes approximately 5 to 10 minutes to complete.
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Baywatch Amalfi Drive, Los Angeles
"Baywatch Amalfi Drive, Los Angeles"
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Bubble Bath Rue De St-Firmin, Montréal
"Bubble Bath Rue De St-Firmin, Montréal"
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Michael May
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In my recent paintings I am depicting experiments developed by a fictional harmless lunatic. The picture plane is split into segments, each showing a different stage of the experiment. By moving from segment to segment the viewer is able to unpack the experiment piece by piece. These paintings are developed based on idioms and common ideas like the idea that someone can make a million dollars by building a better mousetrap. In my character’s mind, he is curing the world by solving problems like these one at a time and imparting knowledge to those who will listen. Unfortunately, he doesn’t realize that each experiment is a failure and no one is listening.
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Safely Discerning Witchhood
"Safely Discerning Witchhood"
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Building a Better Mouse Trap: The Black Hole
"Building a Better Mouse Trap: The Black Hole"
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Víctor Meliá De Alba
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One of the questions that I answer most often is: "When did you start painting?" Honestly, I painted my first painting at age 19. A bit late, isn’t it? I know there is an idea of the artist being a lover of colors and shapes from childhood, but that was not true in my case. Without knowing it, I spent my time asking questions. I needed to know how the world works, how the society in which we live runs, how people relate to one another and the world and why. Now, though, shapes and colors help me to answer old questions and to formulate new others that help the viewer to see the world differently.
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Layers 2
"Layers 2"
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Layers 1
"Layers 1"
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Franco Monari
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The photographs in the exhibition are all part of a series titled "MEMORABILIA", an ongoing work about abandoned buildings. The reason for the subject is partly mysterious to me, but is partly due to my interest in architecture and local history. But the "spark" that leads me to enter the forbidden is to be found in deep within my soul, in my unconscious – perhaps a consequence of a literary education, or the attraction of abstract expressionism. Maybe it’s my continued search for peace; I always preferred silence to noise and in an abandoned building you do not perceive the passage of time. In exploring the buildings I try to not interfere, to move in silence. It is a private matter, between me and the walls, the present and the past. Nothing else matters.
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Innocenti
"Innocenti"
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Convitto
"Convitto"
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Losan Piatti
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My technical background as a photographer can be divided into 3 phases: years spent watching MacGyver, a job as jeweler and time spent in a school of photography. Although you might not think so at first, 99% of what you see in my photos was actually built and photographed on the set. My pictures display my visionary and surrealist view, and are intended to explain who I am without the need for words. Lighting is possibly the aspect which I spend most time on; I can pass many hours on little adjustments that might only really make a significant difference in my own mind. But it is crucial to me that the finished result be just right.
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Burns Troia Burns
"Burns Troia Burns"
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Times
"Times"
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Allie Regan
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The figure dominates my work, with the focus on the face and hands. In my current paintings, not only is the figurative content important, but I also find it necessary to reveal the structure and material. I have developed an abbreviated, reductive style that relies more on intuition and aims at an enhanced psychological narrative. There is a parallel between contemporary society’s need to record simple, day-to-day moments via Facebook and my own need to paint them. In my paintings, this day-to-day content is increasingly becoming more about the female. I find exploring gender-based material interesting and relevant.
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I Will if I Want To
"I Will if I Want To"
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Isabelle II
"Isabelle II"
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Ruth Schreiber
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I was a young mother in northern California during the early 70s, and joined a consciousness raising group. This was at the height of the feminist revolution, “Our Bodies Ourselves” had just been published, and the prevailing zeitgeist had a deep and lasting influence on me. I was particularly fascinated by the conflicting prevailing attitudes not only to child rearing and division of labor between parents, but especially to childbirth and nursing. I subsequently helped establish similar groups for other women. Since becoming an artist, I have found that these debates still resonate with me and I am drawn to exploring life cycle issues- topics which relate closely to my role as a mother: birth, fertility, family, identity, memory, heritage, death and the related subjects of the body, health, beauty and aging.
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Angel's Ribs
"Angel's Ribs"
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Bronchial Tree
"Bronchial Tree"
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Yea Jin Song
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My paintings are composed of abstract spaces where architectural forms, fantastic landscapes, living creatures and geometric patterns are forced to intermingle. They resist readings of linear time and space. They confuse the past with the moment at hand, blurring the line between the actual event and its recollection. Through combining hyper-realistic objects with ambiguous forms on larger than life-size canvases, I hope to express the conflicted, malleable nature of memory. My large canvases hold many forms that coexist like the chaotic excess of data that swims in my memory. The complexity of the interactions between images is heightened by my use of layered acrylic and oil paints. I embrace the confusion and cacophonous imagery, hoping not to discredit the event or its simulation but to recognize a third reality in their colorful union.
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Requiem on Saturday II
"Requiem on Saturday II"
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Peter Strobos
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I crave the discovery of visual ways to express my curiosities with science, nature, and the wisdom that they have to offer. I continue to explore related facets, to fully comprehend what I must depict, and assemble this journey, into the big picture. Only pure, strong color and layering can achieve a luminosity that indicates aura, life, movement and tangible space, enabling the capturing of a moment as it passes. The versatility of oil offers me a myriad of color from a limited palette, giving me the freedom to sculpt, in realistic detail, on large flexible linen and canvas surfaces.
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Pompas de Jabón de Sitges - panel 1
"Pompas de Jabón de Sitges - panel 1"
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Pompas de Jabón de Sitges - panel 2
"Pompas de Jabón de Sitges - panel 2"
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Sangeun Yu
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In the Korean landscape painting tradition known as SanSu, painters have been concerned with representing the ideal utopian aspects of nature, both in what could be seen and what could not be seen. These days, since Korea is such a densely packed country, we have urban and rural/natural areas side by side. My work applies elements of the SanSu painting tradition to the modern Korean landscape.
My technique involves using tape and a painting knife to make clearly defined shapes, angles, and layers in the work.
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Beyond the Landscape 3
"Beyond the Landscape 3"
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Beyond the Landscape 4
"Beyond the Landscape 4"
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