Vinczellér Imre

Imre Vinczellér, painter artist, was born in 1953. He completed his studies at the Academy of Fine Arts, where he graduated in 1980.His masters were László Patay and Tibor Bráda.Imre Vinczellér's paintings suggest meditative lyrical myth. His figurative surrealistic pictures are inspired by the artistic tradition in his family, historical past and music. He has completed study tours in France, Great Britain, Australia and Italy.The artist's confession about himself is the following.“ I have always been searching the essence and the questions of reality behind the facts. This is the reason why a selection of past experience combine with the questions raised by the present in my art. Following my own route, I confess, it is not only my parents who deserve my gratitude. I have also learnt a lot from believers and atheists, from happy and humiliated people with clear mind and fate, from intelligent aristocrats, educated cosmopolites, from Hungarians and from people of other nationalities. Nevertheless, I am incapable of setting up an order among them. However, my dreams connected to my experiences filtered from the world are constantly in Hungarian.”His paintings can be found in various museums across Hungary (Kalocsa, Kecskemét), and in the possession of several Hungarian, Austrian, German, Swedish and Japanese art collectors.Prizes:Art and Science Prize of Bács-Kiskun County, 1996;Molnár C. Pál Prize, 1998;2nd Grand Prix, Marseille-M.C.A. International Exhibition, 2003;Grande Medaille d'Or, Cannes-M.C.A. International Exhibition, 2004;Gold Cross of Merit of the Hungarian Republic, 2004;Diplome de Medaille d'Or, 'Arts Sciences Lettres' Société Academique Francaise, 2005.

Ferenc Tulok

Born in 1949 in Budapest, I received my diploma in mechanical engineering from Budapest Technical University in 1973, and began to paint in 1977. Most of my paintings are still life of fruit and flowers. My work is in the tradition of Albrecht Dürer, and the Flemish and Dutch masters of the 16th and 17th centuries: Jan van Huysum, Jan Davidsz de Heem, Abraham Mignon, and Jan Steen. The majority of my works embrace this tradition, but I have also produced paintings with lighter backgrounds that make this tradition more accessible to modern tastes. Replicas of old masters' paintings on old canvas, wood, and antique copper plate are in the greatest demand. I prefer wood and copper because these materials best reflect the harmonic beauty of the tradition.

Many of my pictures were bought by Hungarian and foreign collectors (Austria, England, Germany, USA, Italy, Greece, Danmark,Holland)

Mary Alayne Thomas

My desire to be a painter was fostered early on in my hometown of Santa Fe New Mexico, where I was raised by two working artists. I was initially taken with a love for the luminosity and versatility of watercolor. I have since gone on to work with encaustic, resin, silkscreen, gold leaf, India ink, colored pencil and tin. My artwork begins as a watercolor, which is then coated with encaustic (beeswax combined with resin) or an epoxy resin. The other media are then layered between the wax or resin washes. There is a delicacy and softness that emanates from the layering of art forms within the transparent surface.

The result is an unusual depth, a three-dimensional artwork with an emphasis on unique stylized patterns, shapes and textures.
I find constant inspiration from my beautiful surroundings in New Mexico, and with my paintings I continually attempt to capture those magic ephemeral moments we all experience, both real and imagined.

Yinka Shonibare

Yinka Shonibare, MBE was born in London and moved to Lagos, Nigeria at the age of three. He returned to London to study Fine Art first at Byam Shaw College of Art (now Central Saint Martins College of Art and Design) and then at Goldsmiths College, where he received his MFA, graduating as part of the ‘Young British Artists’ generation. He currently lives and works in the East End of London.

Over the past decade, Shonibare has become well known for his exploration of colonialism and post-colonialism within the contemporary context of globalisation. Shonibare’s work explores these issues, alongside those of race and class, through the media of painting, sculpture, photography and, more recently, film and performance. Using this wide range of media, Shonibare examines in particular the construction of identity and tangled interrelationship between Africa and Europe and their respective economic and political histories. Mixing Western art history and literature, he asks what constitutes our collective contemporary identity today. Having described himself as a ‘post-colonial’ hybrid, Shonibare questions the meaning of cultural and national definitions.

Shonibare was a Turner prize nominee in 2004 and awarded the decoration of Member of the “Most Excellent Order of the British Empire”. He has added this title to his professional name. He was notably commissioned by Okwui Enwezor At Documenta 10 in 2002 to create his most recognised work ‘Gallantry and Criminal Conversation’ that launched him on an international stage. He has exhibited at the Venice Biennial and internationally at leading museums worldwide. In September 2008, his major mid-career survey commenced at the MCA Sydney and toured to the Brooklyn Museum, New York in June 2009 and the Museum of African Art at the Smithsonian Institution, Washington DC in October 2009 . In 2010, 'Nelson's Ship in a Bottle' became his first public art commission on the Fourth Plinth in Trafalgar Square.