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Painting is silent poetry, and poetry is painting that speaks. Simonides

Ewa Pello

Ewa Pello

Born in 1964 in Lezajsk.
In the years 1983 - 89 Faculty of Graphic Arts Academy of Fine Arts. Diploma in 1989 under prof. Zbysław Maciejewski.

Winner of many prizes and awards, among others.:
1994 - National Biennial Pastel, Nowy Sacz (first prize)
1996 - National Biennial Pastel, Nowy Sacz (honorable mention)
1998 - Festival of Contemporary Polish Painting, Szczecin (honorable mention)
II National Biennial Pastel (second prize).
Her works are in many collections in Poland and all over the world .

Stephen Cefalo

Stephen Cefalo

Born 1976 , Nurnberg, Germany


2007 - Studio Incamminati • Summer Intensive Figure Painting with Nelson Shanks and Studio Incamminati instructors • Philadelphia, PA

2004 - M.F.A. • Indiana University • Bloomington, IN
1999-2001 - Independent Study with Steven Assael • New York, NY
1999 - B.F.A. • School of Visual Arts • New York, NY


2006-Present - Artist in Residence • University of Arkansas at Little Rock • Little Rock, AR
2004-2006 - Art Academy of Cincinnati • Cincinnati, OH
2003-2004 - Indiana University • Bloomington, IN


2003-2004 - Grant in-aid-of research award
2003-2004 - Indiana University Arts & Science Scholarship
2003 - Dr. Harriet McNeil Award of Distinction • Swope Art Museum • Terre Haute, IN

Guan Ze Ju

Times of great upheaval often produce great artists. This seems to be a truism for the Twentieth Century. Its two world wars created environments rich with constant reevaluations of the role and purpose of art. Powerful movements, such as Surrealism, altered the way people view the world and communicate with each other. Similar contributions to the world of art from Asia have thus far not been wholly appreciated, such as the legacy provided by China's Social Realists. One of the greatest of these Social Realists is Guan Zeju.

Guan Zeju has lived through some of the most tumultuous times in China's five thousand year history. He has become a masterful painter and a great teacher through intense discipline and effort and obviously a great deal of inherent talent. As a teenager, people called him the "painting ox" for his single-minded focus, both in Western and in traditional Chinese modes of expression. Again and again, when he is asked about his experiences, his birth in 1941 in a small village outside of Guangzhou (Canton), his formal and informal education and apprenticeships, he returns to the same word in Mandarin, meaning roughly "effort."

Through the Cold War and the Cultural Revolution, Guan continued to paint, whether his surroundings and possessions were, by current standards, lavish or incredibly spartan. His efforts produced some of the finest Social Realist artwork in China, artwork now being understood for its influence on the social and political course of the world's most populous nation. His numerous portraits and murals of Mao Ze Dong, paintings and drawings of ethnic minorities, images exalting the glory of the Han Chinese, collections in the National Museum of China, significant works in the Museums of Nanchang and Henan Provinces, as well as numerous prestigious private collections, stand as important testaments to the times in which he has lived.

Guan began at a very young age with graphite and watercolor as well as traditional Chinese ink. At the age of fifteen, he was recognized as a prodigy and awarded by his junior high school with an exhibition of more than two hundred works of art in at least three media. He later graduated first in his class from the Guangzhou Institute of Fine Arts. His teachers at the Institute passed on to him knowledge of techniques and trends both within and outside of China. One of his two primary instructors spent a number of years studying in Russia. The other spent time in America, at the Art Institute of Chicago.

After art school and much success in the public sphere, Guan moved south with his wife to live in relative isolation on the large South China Sea island of Hainan. The work of this period includes many quickly executed studies of common people all over the island, many fishermen, women working with crops and government employees. For Guan, this was a communion with the fundamentals of painting, a technical mastery of which he had already achieved. The tropical light was more intense than any he had yet captured. And the colors, particularly reds, greens and blues, were richer than those he had thus far allowed himself to explore; this became the foundation for his great ability as a colorist. He lived with the people he painted, developing an empathy for particular individuals evident in the deepening expressions on their faces. Even the elements became part of his labors. Often, Guan would work by the sea, suffering terrible sunburns from days or weeks of sustained painting. Strong winds would blow sand onto his canvases, sticking on the oils and becoming part of the texture of his paintings. This place was his sanctuary, and he feels it represents the most peaceful and joyful fifteen years of his life to date.

With the entire history of art, with an emphasis on academic and Symbolist painting, as his inheritance, Guan possesses the skills to realize any flight of his own imagination. The subtle influences of Surrealism are also evident, particularly in earlier paintings, and clearly still inform aspects of perspective. He can paint like the most expressive of the Impressionists, or render people's features with a crispness similar to America's "hyper-realists." Technical virtuosity, however, is clearly not an end in itself. Rather, technique is the beginning from which the artist creates the imagery he desires. For Guan, that imagery is now dance, specifically the ballet.

Qian Xiao Ling, Guan's wife, is a successful choreographer of traditional Chinese folk dance, though she also studied ballet. As childhood friends, she first introduced Guan to the world of dance. Currently, Xiao Ling is the artistic director of the "Chinese Folk Dance Association of San Francisco." Guan counts among his close friends many excellent dancers. One of them is the San Francisco Ballet's principal dancer, Yuan Yuan Tan. Guan believes Tan is the most formidable dancer he's seen since his first experience with the ballet in 1958. At the time, he was seventeen, and one of the former Soviet Union's greatest dancers was making her first appearance in China. The young man was captivated by the dignity, grace and power of this dancer, Galina Ulanova, a woman many consider to be the greatest dancer/choreographer in the history of Russian ballet. It was a production of "Swan Lake," and it remains with Guan to this day. Interestingly, at a competition in 1992 in Paris, it was Ulanova who judged Tan's ability flawless and gave her a perfect score.

Guan's passion for dance is not an emulation of past artists such as Degas or Toulouse-Lautrec. Rather, he is working from his own unique and reverent love of the ballet and of theater in general. As previously stated, his technique, both painterly and well-defined, but always highly expressive, is entirely his own. His paintings are complex in narrative content and not afraid to be essentially beautiful. Choosing almost sylvan backdrops for his portraits, nature invades the dancer's studio with generous light filtering through trees and curtains to catch a woman often in a moment of ease. These images convey the experience of watching an accomplished dancer float and spin about the stage, whether there is motion or stillness. Guan's work eavesdrops but does not invade upon the private moments of these dancers. They can be deep in contemplation before a recital, lacing a slipper or celebrating together a successful performance. When there are several dancers, the viewer finds in their distinctive expressions the camaraderie, jealousy or stage fright associated with their world.

A painting can require as much as several dozen preliminary sketches, investigations into both light and composition. These are sometimes preceded by many hours in the audience, backstage, in the studio, even in the orchestra pit, taking photographs. Once he makes it to canvas, a painting may take several weeks to several months to complete. He employs 18th and 19th century techniques, both in the preparation of the surface he will work on, and in the complex alchemy involved in utilizing thin glazes of translucent oil paints. Guan's palette ranges from subtle hues used to create the transparent folds of a dancer's costume to luminous red lips, indigo blue curtains and emerald green leaves.

When asked which artists Guan himself most admires, he responds not with his contemporaries, but with names like Alfred Sisley, the great Impressionist. He speaks with deep respect for the deceptive simplicity and powerful movement of Monet. Isaac Levitan, a Russian academic painter of landscapes is a favorite. But Guan's greatest admiration is reserved for the late nineteenth century Russian master Ilya Repin, a man who produced dramatic nearly monochrome canvases, scenes from the theater and portraits of friends like Leo Tolstoy.

With such great depth to his abilities, a willingness to learn and experiment, to "instruct" himself, Guan Zeju's greatest achievements are clearly ahead of him. Weinstein Gallery is deeply honored to be a part of his future, and to present his work to the public in America, in China and throughout the world. As this extraordinary artist continues to develop his own voice, his own visual language, one which combines all his disparate learning, he will undoubtedly produce wholly unexpected and new imagery for a world refreshingly enamored once more with representational art.

source: Weinstein

Gottfried Helnwein

Gottfried Helnwein

Gottfried Helnwein (born October 8, 1948 in Vienna) is an Austrian-Irish fine artist, painter, photographer, installation and performance artist.

Helnwein studied at the University of Visual Art in Vienna (German: Akademie der Bildenden Künste, Wien). He was awarded the Master-class prize (Meisterschulpreis) of the University of Visual Art, Vienna, the Kardinal-König prize and the Theodor-Körner prize.

He has worked as a painter, draftsman, photographer, muralist, sculptor, installation- and performance artist, using a wide variety of techniques and media.

His early work consists mainly of hyper-realistic watercolors, depicting wounded children, as well as performances - often with children - in public spaces. Helnwein is concerned primarily with psychological and sociological anxiety, historical issues and political topics. As a result of this, his work is often considered provocative and controversial.

Viennese-born Helnwein is part of a tradition going back to the 18th century, to which Messerschmidt's grimacing sculptures belong. One sees, too, the common ground of his works with those of Hermann Nitsch and Rudolf Schwarzkogler, two other Viennese, who display their own bodies in the frame of reference of injury, pain, and death. One can also see this fascination for body language goes back to the expressive gesture in the work of Egon Schiele

A clarity of vision in his subject matter was emerging in Helnwein's art that was to stay consistent throughout his career. His subject matter is the human condition. The metaphor for his art, although it included self-portraits, is dominated by the image of the child, but not the carefree innocent child of popular imagination. Helnwein instead created the profoundly disturbing yet compellingly provocative image of the wounded child. The child scarred physically and the child scarred emotionally from within.

In 2004 The Fine Arts Museums of San Francisco organized the first one-person exhibition of Gottfried Helnwein at an American Museum: "The Child, works by Gottfried Helnwein" at the California Palace of the Legion of Honor. The show was seen by almost 130,000 visitors and the San Francisco Chronicle quoted it the most important exhibition of a contemporary artist in 2004. Steven Winn, Chronicle Arts and Culture Critic, wrote: "Helnwein's large format, photo-realist images of children of various demeanors boldly probed the subconscious. Innocence, sexuality, victimization and haunting self-possession surge and flicker in Helnwein's unnerving work".

Harry S.Parker III, Director of the Fine Arts Museums of San Francisco explained what makes Helnwein's art significant: "For Helnwein, the child is the symbol of innocence, but also of innocence betrayed. In today's world, the malevolent forces of war, poverty, and sexual exploitation and the numbing, predatory influence of modern media assault the virtue of children. Robert Flynn Johnson, the curator in charge, has assembled a thought-provoking selection of Helnwein's works and provided an insightful essay on his art. Helnwein's work concerning the child includes paintings, drawings, and photographs, and it ranges from subtle inscrutability to scenes of stark brutality. Of course, brutal scenes—witness The Massacre of the Innocents—have been important and regularly visited motifs in the history of art. What makes Helnwein's art significant is its ability to make us reflect emotionally and intellectually on the very expressive subjects he chooses. Many people feel that museums should be a refuge in which to experience quiet beauty divorced from the coarseness of the world. This notion sells short the purposes of art, the function of museums, and the intellectual curiosity of the public. The Child: Works by Gottfried Helnwein will inspire and enlighten many; it is also sure to upset some. It is not only the right but the responsibility of the museum to present art that deals with important and sometimes controversial topics in our society".

Comics and trivial art

The San Francisco Museum of Modern Art (SFMOMA), 2000, Gottfried Helnwein's "Mouse I" (1995, oil and acrylic on canvas, 210 x 310 cm) in the exhibition "The Darker Side of Playland - Childhood Imagery from the Logan Collection".Another strong element in his work are comics. Helnwein has sensed the superiority of cartoon life over real life ever since he was a child. A magazine interview brought out an explanation of his obsession with Disney characters. Growing up in dreary, destructed post-war Vienna, the young boy was surrounded by unsmiling people haunted by a recent past they could never speak about. What changed his life was the first German-language Donald Duck comic book that his father brought home one day. Opening the book felt like finally arriving in a world where he belonged:
"...a decent world where one could get flattened by steam-rollers and perforated by bullets without serious harm. A world in which the people still looked proper, with yellow beaks or black knobs instead of noses." (Helnwein)

In 2000 the San Francisco Museum of Modern Art presented Helnwein's painting "Mouse I" (1995, oil and acrylic on canvas, 210 cm x 310 cm) at the exhibition The Darker Side of Playland: Childhood Imagery from the Logan Collection.
Alicia Miller commented on Helnwein's work in Artweek: "In 'The Darker Side of Playland', the endearing cuteness of beloved toys and cartoon characters turns menacing and monstrous. Much of the work has the quality of childhood nightmares. In those dreams, long before any adult understanding of the specific pains and evils that live holds, the familiar and comforting objects and images of a child's world are rent with something untoward. For children, not understanding what really to be afraid of, these dreams portend some pain and disturbance lurking into the landscape. Perhaps nothing in the exhibition exemplifies this better than Gottfried Helnwein's 'Mickey'. His portrait of Disney's favorite mouse occupies an entire wall of the gallery; rendered from an oblique angle, his jaunty, ingenuous visage looks somehow sneaky and suspicious. His broad smile, encasing a row of gleaming teeth, seems more a snarl or leer. This is Mickey as Mr. Hyde, his hidden other self now disturbingly revealed. Helnwein's Mickey is painted in shades of gray, as if pictured on an old black-and-white TV set. We are meant to be transported to the flickering edges of our own childhood memories in a time imaginably more blameless, crime-less and guiltless. But Mickey's terrifying demeanor hints of things to come..."

Although Helnwein's work is rooted in the legacy of German expressionism, he has absorbed elements of American pop culture. In the 70s he began to include cartoon characters in his paintings. In several interviews he claimed: "I learned more from Donald Duck than from all the schools that I have ever attended." Commenting on that aspect in Helnwein's work, Julia Pascal wrote in the New Statesman: "His early watercolor Peinlich (Embarrassing)- shows a typical little 1950s girl in a pink dress and carrying a comic book. Her innocent appeal is destroyed by the gash deforming her cheek and lips. It is as if Donald Duck had met Mengele".

Living between Los Angeles and Ireland, Helnwein met and photographed the Rolling Stones in London, and his portrait of John F Kennedy made the front cover of Time magazine on the 20th anniversary of the president's assassination. His Self-portrait as screaming bandaged man, blinded by forks (1982) became the cover of the Scorpions album Blackout. Andy Warhol, Muhammad Ali, William Burroughs and the German industrial metal band Rammstein
posed for him; some of his art-works appeared in the cover-booklet of Michael Jackson's History album . Referring to the fall of the Berlin Wall Helnwein created the book Some Facts about Myself, together with Marlene Dietrich.[15] In 2003 he became friends with Marilyn Manson and started a collaboration with him on the multi-media art-project The Golden Age of Grotesque and on several experimental video-projects. Among his widely published works is a spoof of the famous Edward Hopper painting Nighthawks, entitled Boulevard of Broken Dreams. This painting also inspired the Green Day song of the same name
Examining his imagery from the 1970s to the present, one sees influences as diverse as Bosch, Goya, John Heartfield, Beuys and Mickey Mouse, all filtered through a postwar Viennese childhood.

"God of the Sub-humans" (detail, self-portrait, right panel of the Triptych), Gottfried Helnwein, 1986, Photography, Oil and Acrylic on Canvas, Collection Leopold Hoesch Museum, Düren'Helnwein's oeuvre embraces total antipodes: The trivial alternates with visions of spiritual doom, the divine in the child contrasts with horror-images of child-abuse. But violence remains to be his basic theme, - the physical and the emotional suffering, inflicted by one human being unto another.'

Self portraits
The self-portrait for the artist's blindfolded unbent head covered with blood occurs twice in Helnwein's triptych The Silent Glow of the Avantgarde (1986). The middle panel shows an enlarged reproduction of Caspar David Friedrich's The sea of Ice, a depiction of a catastrophe of 1823/24 which is generally interpreted as a romantic allegory of the force of nature overpowering all human effort . Helnwein compared the "quietly theatrical" ecstatic attitude of his self-portrait with the heroic pose of the figure of the suffering figure of Sebastian and generalizes both to the stigma of the artist in the 20th century, making him a kind of saviour figure. In addition, its poetic title sets the viewer onto the right track. The visual montage of the modern artist as Man of Sorrows with Friedrich's landscape painting projects the dashed hopes of the romantic rebellion into the present, to the protest thinking of modernity, which has become introverted and masochistic, and its crossing of aesthetic boundaries. Is romanticism making a comeback? - No; actually, it had never left modernity. But its rebellion is confining and introverting itself in the "body metaphysics" of contemporary artists to its own flesh and blood. Thus, the comeback of romanticism leads for Helnwein, too, to stressing just one of its partial aspects, the stylizing in the form of a self-portrait of a protest introverted to martyrdom which historically was once linked in a contradictory way with social opposition, rebellion, and utopia..

References to the Holocaust

Gottfried Helnwein, "Epiphany I (Adoration of the Magi)", mixed media on canvas, 1996Mitchell Waxman wrote 2004, in The Jewish Journal, Los Angeles: "The most powerful images that deal with Nazism and Holocaust themes are by Anselm Kiefer and Helnwein, although, Kiefer's work differs considerably from Helnwein's in his concern with the effect of German aggression on the national psyche and the complexities of German cultural heritage. Kiefer is known for evocative and soulful images of barren German landscapes. But Kiefer and Helnwein's work are both informed by the personal experience of growing up in a post-war German speaking country... William Burroughs said that the American revolution begins in books and music, and political operatives implement the changes after the fact. To this maybe we can add art. And Helnwein's art might have the capacity to instigate change by piercing the veil of political correctness to recapture the primitive gesture inherent in art."

One of the most famous paintings of Helnwein's oeuvre is Epiphany I - Adoration of the Magi, (1996, oil and acrylic on canvas, 210 cm x 333cm, collection of the Denver Art Museum). It is part of a series of three paintings: Epiphany I, Epiphany II (Adoration of the Shepherds), Epiphany III (Presentation at the Temple), created between 1996 and 1998. In Epiphany I, SS officers surround a mother and child group. To judge by their looks and gestures, they appear to be interested in details such as head, face, back and genitals. The arrangement of the figures clearly relates to motive and iconography of the adoration of the three Magi, such as were common especially in the German, Italian and Dutch 15th century artworks. Julia Pascal wrote about this work in the New Statesman: "This Austrian Catholic Nativity scene has no Magi bearing gifts. Madonna and child are encircled by five respectful Waffen SS officers palpably in awe of the idealised, blonde Virgin. The Christ toddler, who stands on Mary's lap, stares defiantly out of the canvas." Helnwein's baby Jesus is often considered to represent Adolf Hitler..

Works for the stage
Helnwein is also known for his stage and costume designs for theater, ballet and opera productions. Amongst them: "Macbeth" by William Shakespeare, (director, choreographer: Johann Kresnik), Theater Heidelberg, 1988, Volksbühne Berlin, 1995; "The Persecution and Murder of Jean Paul Marat, Performed by the Drama Group of the Hospice at Charenton, under Direction of Monsieur de Sade" by Peter Weiss, (director: Johann Kresnik), Stuttgart National Theatre, 1989; "Pasolini, Testament des Körpers", (director: Johann Kresnik), Deutsches Schauspielhaus Hamburg, 1996; "Hamletmaschine" by Heiner Müller, (director: Gert Hof), 47. Berliner Festwochen, Berlin 1997, Muffathalle, München, 1997; "The Rake's Progress" by Igor Stravinsky, (director: Jürgen Flimm), at Hamburg State Opera, 2001; "Paradise and the Peri", oratorio by Robert Schumann, (director, choreographer: Gregor Seyffert & Compagnie Berlin), Robert-Schumann-Festival 2004, Tonhalle Düsseldorf; Der Rosenkavalier" by Richard Strauss, (director: Maximilian Schell) at Los Angeles Opera, 2005,and Israeli Opera Tel Aviv, 2006;"Der Ring des Nibelungen, part I, Rheingold und Walküre", choreographic theatre after Richard Wagner, (director, choreographer: Johann Kresnik), Oper Bonn, 2006; "Der Ring des Nibelungen", part II, Siegfried and Götterdämmerung, director, choreographer: Johann Kresnik), Oper Bonn, 2008, "The Child Dreams", by Hanoch Levin, composer: Gil Shohat, directed by Omri Nitzan, Israeli Opera, Tel Aviv, 2009/2010. quote

Jose Manuel Círia

José Manuel Ciria was born in Manchester (UK) in 1960 but grew up in Spain. Ciria is one of the most active and internationally successful contemporary Spanish painters. His abstract work is featured in the collections of Spain’s most important museums, such as the Museo de Arte Reina Sofía and the Instituto Valenciano de Arte Moderno.

“I venture to say that José Ciria is a great painter, by which I mean that he has complete command of his medium and means: paint and the modernist vocabulary of abstraction [which is] as gestural as geometrical. It’s impossible to escape the plane [surface]—the gospel truth of modernist painting—even as the slimness of the stylistic layer is brought to life by various events that take place on its surface: spattering, dripping, splashing, a certain flourish of brushwork, an exciting mixture of the refined and coarse, the elegant and gritty, making for Ciria´s own unmistakable signature painting, as it has been called.”

- Donald Kuspit

Matias Klarwein

Abdul Mati Klarwein. Visionary art. Surrealist and visionary paintings, landscapes and mindscapes, portraits, psychedelic surrealism, magic realism ...

"Matias Klarwein was born on the 9th of April 1932 in Hamburg, Germany. His father Joseph (born Yusef Ben Menachem), was an architect working with the Bauhaus movement and his mother Elsa (born Elsa Kühne), was an opera singer. Mati emigrated with his parents to Israel (then Palestine) in 1934. During the formation of the new Israel, his father won the competition to construct the parliament building: the Knesset in Tel Aviv.

1956 ID for the Academy Julian

At the age of 17, Mati moved to Paris with his mother where he studied painting at the Academie Julian, the Beaux Arts, as well as with Fernand Leger (1949-51) and Ernst Fuchs (1952-54) with whom he learned the mixed technique of the 16th century Flemish school. He made several other fundamental friendships in France with such personalities as Kitty Lillaz, Boris Vian, and Salvador Dali. Mati obtained French nationality in 1965 with the help of Mrs. André Malraux.

Mati's work included drawing, painting, writing, playing drums and guitar, and directing short and medium films and videos. Throughout the years, he worked, traveled and lived in many countries including: Spain, Italy, Greece, Turkey, India, North America, Morocco, Niger, Haiti, Jamaica, Indonesia, Brazil, Mexico, Bahamas, Kenya, Senegal, Gambia, Cuba and Guatemala - more or less in that order. It follows that he spoke no less than six languages: English, French, Spanish, German & Hebrew with good notions in Arabic and Italian.

Mati had four children with three different women: Eleonore (b.1963) with painter Sophie Bollack, Sérafine (b.1971) with writer and photographer Caterine Milinaire, Balthazar (b. 1985) and Salvador (b.1988) with painter Laure Klarwein. He lived with each of these women and others including model Kathy Ainsworth, cosmopolite Regina Mayall, and musician Julia Murphy.

Mati resided for the most part in New York City (1967-1983) and in Deia, Mallorca, Spain (intermittently since 1953 and as a resident 1984-2002). In New York, he lived in several downtown lofts where he would create his artwork, jam with musicians and run around with such notorious characters as Andy Warhol, Jimi Hendrix, Peter Beard, Timothy Leary and Jon Hassell. In Deia, Mati lived in a house his father built overlooking the local beach - La Cala - where he would hang out with the likes of painter Domenico Gnoli, archeologist Bill Waldren and the poet Robert Graves. He sold the house to fund a round-the-world trip. When he finally returned, he lived in rented houses particularly: Casanova and his final home San Rullan, owned by neighbors Annie and writer Fred Grunfeld- one of his closest friends.

Matias Klarwein

His many events and parties in Mallorca were legendary and in the friendly company of artists such as Ben Jakober, Yannick Vu, Yakov Lind, Annie Truxell, Curtis Jones, Mondino, Annie Lennox and Lynn Franks. During his last months, his longtime friends Bettina Rheims, Serge Bramly, Heloïse Ficat, Felipe Hernandez, Sara Ball and Juan Sanahuja were of great help to him. At the age of 69, Mati Klarwein died from complications arising from cancer. He died in his sleep at home on the morning of the 7th of March, 2002.

Mati Klarwein's best known paintings are 'Annunciation', which was chosen for the cover of Santana's album 'Abraxas', and the painting used by Miles Davis for his cover 'Bitches Brew' - also reproduced for Absolut Vodka's ad campaign. His artwork has been widely shown in galleries in New York, Paris, and all over Spain. Mati's most unique installation was the Aleph Sanctuary, a cubic room comprised of 68 paintings including the 'Tree of Life' requiring a guard at its entrance in the Museum of Art in Santa Barbara, California. During his last years, he had major retrospective shows in Madrid, Barcelona, Palma and Cadiz.

At the present time, Mati is known to have painted at least 600 pieces, including 280 landscapes/mindscapes, 270 portraits, and 120 improved paintings. "


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