First name Last name Company/corporation/business Email Prospective shipping address Which artworks you want to enquire about? Select an artist Further notes Phone number Choose the artworks you require about... "Expect nothing" [150 x 200 cm] "Follow" [150 x 200 cm] "Less is less" [60 x 95 cm] "Less is less 2" [50 x 60 cm] "Mirror" [150 x 200 cm] "Nothing without intention" [50 x 60 cm] "Pop out" [150 x 200 cm] "Take a good look" [28 x 35 cm] "Twirl" [50 x 60 cm] "Untitled" [50 x 60 cm] "Untitled 2" [50 x 70 cm] I want to subscribe to the mailing list. I agree to the terms & conditions. View terms of use. REQUEST A QUOTE Thanks! We'll send you a price quote shortly. Request a price quote Partnering with contemporary artists internationally we trade and ship exclusive artworks of outstanding craftsmanship.

Ben Lenovitz BigBaby Head Ben Lenovitz (b. 1991) is a painter, illustrator, sculptor and designer from New York City. His sensibility is shaped by his fondness for the absurdities of everyday life and the imagination, the creatures and critters of urban environments and beyond, and the unabashed freedom of children’s art. € 450 Unique work Request now Edition details Dimensions 28 inches x 22 inches framed: 30 inches x 24 inches Medium spray paint on paper Finishing signed on front Release date XXX XX, 2024 Artist Ben Lenovitz 5 collaborations Other collaborations with this artist

Bety Krňanská "Untitled" (2) Bety Krnanska (b. 1992) is an artist based in Prague. Her personal vision is shaped through the lens of maternity and feminine sensitivity and is informed by her experience as a young mother and artist. In 2019 she was a finalist of the Czech Art Critique Prize for Young Painters.. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 19,68 inches x 27,56 inches 50 x 70 cm Medium pigments, inks, beeswax, painting in the custom rattan frame Finishing signed on back by the artist, certificate of authenticity included Year 2022 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Expect nothing" Bety Krňanská "Laid back" Bety Krňanská "Nothing without intention" Bety Krňanská "Pop out" Bety Krňanská "Mirror" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Less is less" Bety Krňanská "Follow" Bety Krňanská "Twirl"

Bety Krňanská "Mirror" Bety Krnanska (b. 1992) is an artist based in Prague. She is a graduate of the Academy of Arts, Architecture, and Design in Prague (MFA). Working with painting and installation, she brings together contemporary and traditional materials, experimenting with old crafting techniques and using them within new contexts. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 59,05 inches x 78,74 inches 150 x 200 cm Medium beeswax, inks, pigments, dye, marbling, patchwork, digital print, cotton canvas Finishing signed on back by the artist, certificate of authenticity included Year 2023 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Expect nothing" Bety Krňanská "Laid back" Bety Krňanská "Nothing without intention" Bety Krňanská "Pop out" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Less is less" (2) Bety Krňanská "Follow" Bety Krňanská "Twirl" Bety Krňanská "Untitled" (2)

INTERVIEW Bety Krňanská: Interchanging Prototypes BY OBLO GALLERY 18 April 2024 BUY ONLINE FOCUS After objecting the submission to something that hurts us, a much more difficult and longer journey starts, that of knowing yourself. ​ ​ Traditions can be surprising in a way, how we are looking at them with fresh eyes. The context of the society is constantly changing but if we look back, we can get inspired in many ways. We can either deny the context in which the things were put or add the contemporary ideas on the past. Also some things from the past, for example those which were closely rooted to the nature and natural cycles, can be inspiration in todays world. In my work specifically, the tradition is something I was observing through my whole life, and as an idea which would make no sense in todays society. Crocheting and patch-working as a domain of woman, who were mostly staying home, taking care of others and the house itself, and also valued through their manual skills. Me personally, I value the traditional manual work, in the context of machine production, of easily reproductive things. Also what is made by hands, is unique, with its imperfections, asymmetry and that makes it human. ​ ​ Sensitivity can be overwhelming, but for me it is a necessary element for creation. Although it might appear as dangerous it can be cultivated as a source of strength both artistic, and in our lives. ​ ​ Prototyping is for me a fundamental part of the process of materializing an idea. ​ ​ The pictures I have been using in my recent paintings were found and downloaded from the online database. Pictures, once taken by real photographers, showing real persons, that are uploaded to the cloud impossible to reach and manipulate again. Girls who once were photographed on these pictures are in the online drawer under the label "sexy girls, posing next to the luxury cars". The physical fragmentation of the once found and printed picture, deconstructing, cutting them into pieces and putting them back together in a different order by sticking, creates the whole picture into abstract composition, showing parts of the bodies, materials, organically and artificially blending them together into one. The women who once in the online database lost their identity are getting anonymity through the painting. ​ Like when you make art, when you bring a child into this world, you have some ideas and preoccupations but your creation has a life of its own and develops in ways you wouldn’t expect and I find this as one of the most interesting elements of creation. ​ ​ I think these two forces are linked and coexist. Remembrance and knowledge of previously made mistakes is what sets the basis of avoiding them in the future. In my work, I believe that this concept of repetition shows up through my patterns. ​ As humans we have senses which we can also strengthen or numb, and technology is exactly doing that, focusing our attention more on visual and hearing stimulation. However we need to remain conscious about this effect of technology on our senses and also focus on developing the rest of our sensing for example from experiencing nature which we are inseparable part of. All rights of image are reserved to the artist Bety Krňanská herself. ​ Artworks by Bety Krňanská available on oblogallery.com you find here . ​

Bety Krňanská "Pop out" Bety Krnanska (b. 1992) is an artist based in Prague. Her work conceptually explores the interconnections between environmental issues and contemporary gender challenges. Her personal vision is shaped through the lens of maternity and feminine sensitivity and is informed by her experience as a young mother and artist. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 59,05 inches x 78,74 inches 150 x 200 cm Medium beeswax, patchwork, dyes, pigment inks, sublimation dyes, glossy anti UV varnish Finishing signed on back by the artist, certificate of authenticity included Year 2023 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Expect nothing" Bety Krňanská "Laid back" Bety Krňanská "Nothing without intention" Bety Krňanská "Mirror" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Less is less" Bety Krňanská "Follow" Bety Krňanská "Twirl" Bety Krňanská "Untitled" (2)

Bety Krňanská "Less is less" Bety Krnanska (b. 1992) is an artist based in Prague. Her work has been exhibited at home and abroad, including the exhibition ,,A Scattering of Salts''American Institute of Greece, 2023, Effimisms at MISC Gallery Athens/GR, The WORLDS (Drawing Triennale in Wroclaw, Poland) curated by Honza Zamojski and the SWAP Barcelona Art-Fair in 2021. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 19,68 inches x 23,62 inches 50 x 60 cm Medium beeswax, inks, dyes, pigments, patchwork, digital print, cotton canvas, anti UV varnish, aluminum custom frame Finishing signed on back by the artist, certificate of authenticity included Year 2023 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Expect nothing" Bety Krňanská "Laid back" Bety Krňanská "Nothing without intention" Bety Krňanská "Pop out" Bety Krňanská "Mirror" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Follow" Bety Krňanská "Twirl" Bety Krňanská "Untitled" (2)

Bety Krňanská "Laid back" Bety Krnanska (b. 1992) is an artist based in Prague. Her work conceptually explores the interconnections between environmental issues and contemporary gender challenges. Her personal vision is shaped through the lens of maternity and feminine sensitivity and is informed by her experience as a young mother and artist. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 23,62 inches x 37,40 inches 60 x 95 cm Medium beeswax, inks, pigments, patchwork, digital print, crochet doily, cotton canvas, anti UV varnish, aluminum custom frame Finishing signed on back by the artist, certificate of authenticity included Year 2023 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Expect nothing" Bety Krňanská "Nothing without intention" Bety Krňanská "Pop out" Bety Krňanská "Mirror" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Less is less" Bety Krňanská "Follow" Bety Krňanská "Twirl" Bety Krňanská "Untitled" (2)

Bety Krňanská "Nothing without intention" Bety Krnanska (b. 1992) is an artist based in Prague. In 2019 she was a finalist of the Czech Art Critique Prize for Young Painters. In 2021 the group exhibition Wom*n-Rose-Bone-Song she participated in, curated by Hana Janeckova, was featured in the issue 68 of Spike Magazine. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 19,68 inches x 23,62 inches 50 x 60 cm Medium beeswax, marbling, inks, pigments, patchwork, digital print, crochet doily, cotton canvas, anti UV varnish Finishing signed on back by the artist, certificate of authenticity included Year 2023 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Expect nothing" Bety Krňanská "Laid back" Bety Krňanská "Pop out" Bety Krňanská "Mirror" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Less is less" (2) Bety Krňanská "Follow" Bety Krňanská "Twirl" Bety Krňanská "Untitled" (2)

"Show me the garden that's bursting into life" Lydia Lee / art.rtistiq Running like water It seems a symphony unfolding poured into oil paint looking at Lydia Lee's artworks... On our interview t he Seoul based artist reflects upon her goal in expression, the power of presence and rare beauty in the ever-changing. WRITTEN BY OBLO GALLERY . PUBLISH ED: MAR 10 , 2023 Time like water seem to be of fluid quality. Can be running fast, or frozen down. Both evaporate into transparence, change into different states, the latter unrecognizable from the prior. Impossible to hold on to one moment of time or a drop of water preserved and unspoilt. Flowing it encounters all kinds of marvelous life - beholds it and runs further - barely it takes possession, but saves it in the soul. Unknowing we make part of it already and cannot be without. Yet a will arises to hold against this current, and to stand ground - even if it's just for short. Lydia Lee possesses an unlike power to break this incessant stream of life whilst portraying it onto the canvas. WIP Lydia Lee / Instagram In the following Lydia Lee presents us with a fresh perspective on her artistic craft, the impact on creating that surroundings do have and discusses the pursuit of freedom in her work. Studio Insights Lydia Lee / Instagram "I think there is a unified flow that moves t he whole picture and the operability of various forces when looking into it. Great chords, fast strokes " HOW DO YOU BEGIN YOUR PROCESS OF CREATING WHEN YOU START SOMETHING NEW? I listen to a lot of music that makes me ecstatic and challenges me, and I do what I want to do without regrets. USING OIL PAINT, WHAT ARE POSSIBILITIES AND CHALLENGES TO THIS TECHNIQUE? The density and texture of oil paintings give me the sense of reality I want. I haven't found a limit yet. If I had to find it, I would like it to dry a little faster. CAN EXPRESSIONS EVER BE CONTROLLED? I do not know. When I draw, I make unexpected gestures other than what I thought. HOW DID YOU CHANGE AS AN ARTIST OVER TIME? As more and more people look at my paintings, my attitude towards the screen seems to have become more serious. "I am nothing" Lydia Lee / Saatchi Art DOES THE PLACE YOU LIVE IN AFFECT YOUR STYLE OF ART? ​ The place... sometimes it's really important and sometimes it's not. The location of Seoul was not such a attractive place for me from the beginning. However, imagining through media and booklets is also a solution. CAN THERE EVER BE REGRET IN CREATION? Of course. It is another event where the combination of my choices i s visualized. "The happy memory" Lydia Lee / Saatchi Art "There is a saying by Thales that once soaked in the water, it never comes back. I see change in itself." HOW DO YOU KNOW WHEN A PAINTING IS FINISHED? IS IT A DECISION OR MORE OF A KNOWLEDGE? Nothing ends. There is only recognition. Respect myself for every movement in the moment I drew it, and acknowledge it. ​ ​ ​ WHAT IS THE BEAUTY OF THE EVER-CHANGING? There is a saying by Thales that once soaked in water, it never comes back. I s ee change in itself. Lydia Lee / Instag ram HOW MUCH TIME IS A MOMENT? It can't be the same every moment. Normally once I hold a brush, I will spend three hours with the canvas screen. It is also essential to take a break in the middle. The bigger the screen, the harder and longer the focus to direct the whole thing. CAN ART BE PERCEIVED IN A WRONG WAY? Yes, of course. In my case, most of the symptoms are caused by lack of patience. Anyway, there are things that lead the screen by imagining and drawing continuously. However, if I run out of energy or my desire to paint weakens depending on my personal condition, I will inevitably go down an unwanted path. WHAT ARE SURROUNDINGS THAT INFLUENCE YOUR CREATIVE POWER? It is a very harmonious, elegant yet magnificent scenery, people and architecture. If it's a big city that comes together, it's very exciting. Any space where I can witness or experience modern change is great. Occasionally, a unique character from a novel or movie is also a good influence. And the feeling of being in love has a good effect, especially in a relationship with an erotic person. WHAT MAKES A GOOD PIECE OF ART? The goal you want to express should be clear. Beautiful colors require a continuous change of thinking along with a clear imagination through color. The mind is insanely busy, and the hands move frenetically to keep up with the thoughts. All materials must be in a place where the eye can observe so they can be quickly transferred to the screen. What kind of flow will I create? What place will I draw? And how would I describe the light? "Paradise" Lydia Lee / art.rtistiq "The charm of abstract painting is that the formative relationship between shape and color can give viewers meaning. I want to be seen as something completely different." CAN DEPTH BE SEEN ON THE SURFACE? Depth for the screen also works as part of the canvas cloth. Consider the various colors drawn on the surface, the direction of brush strokes, and the material. And above all, the oil painting material gives a sense of depth for each color. Different brands of the same blue are considered shallow and deep seas. And the depth of the screen determinate the overall flow of light in the picture. In my paintings there is a clear between light and what is experienced in the three-dimensional world we live in. For example, what I experience when I see a material that reflects the dazzling sunlight is reflected in the beauty of specific parts on the screen. I am always moved by the fact that all of this can perceive a different sense of space through light. WHAT IS A POEM OR A PIECE OF MUSIC THAT IS A SOURCE OF INSPIRATION TO YOU? Such a medium makes me a completely different person. There I find a sense of immeasurable freedom and a state of being able to work. Instead of seeing things as they really are, they come into a relationship with me, making them completely different entities, and they even omitted and transformed. I'm mainly interested in connecting them from some sort of inner journey. ARE SPACES AN EXPANSION OF OURSELVES? Sure! I'm sure I will never see the world for myself. That's why there are some collectors or just viewers who appreciate my paintings. For example, it is said that we live in a three-dimensional space, and we sense light, color, and movement in it. The sensations we receive meet each of our sorrows, fears, joys, loneliness, and boredom to create new perceptions, which I focus on. The charm of abstract painting is that the formative relationship between shape and color can give viewers meaning. I want to be seen as something completely different. ​ THE DEFINITION OF A GOOD DAY? It's a perfect day if I know exactly what I'm thinking, the direction I'm going to go ahead and am overflowing with ideas that even concrete designs are build. Lydia Lee/ Instagram HOW IMPORTANT IS STABILITY IN AN ARTIST'S PROFESSIONAL LIFE? It seems to be important where stability is needed. Of course, it would be nice if the food problem could be solved. However, there have been many times where I thought to myself that this was not the wright answer. Abundance leads not necessarily to good results. As long as the direction is clear to go is clear and firm, I don't care too much about anything other than financial stability. WHAT LIES BEYOND TIME AND SPACE? Well, I don't know either. Why are there so many scientists, philosophers and artists? Because there is something unknown that no one knows, we stutter and fight until we die in the artificially created numbers of time and space, and it seems that we have only a moment's pleasure. OF ALL YOUR GREAT ACHIEVEMENTS AS AN ARTIST, WHAT ARE YOU MOST PROUD OF? I think there is a unified flow that moves the whole picture and the operability of various forces when looking into it. Great chords, fast strokes STUDIO INSIGHTS ​ÁlVaro Working Progress DO YOU HAVE A FAVORITE COLOR? Nothing special. At that time, my favorite color changed. Lydia Lee in the studio WHAT DOES FREEDOM MEAN TO YOU AS AN ARTIST? I am most free when the relationship between my blood and heart is smooth and there is moderate tension. To be honest, there are many times when I only draw pictures like this. It is no exaggeration to say that the rest of the time is almost in a state of obsessive compulsive disorder. There seems to be some nervousness and sensitivity lurking there. When I leave the studio behind I brush, I fall into a position of committing a crime and running away. I have this kind of experience all the time, so I don't have a lot of free time. I don't have a single moment where I'm completely out of my work. ​ I do not know. A long time ago, when I was in high school, when I went on a trip to the Western United States with my family for the first time and saw Mother Nature unfolding before my eyes, I forgot about myself for a while and was completely obsessed with it. I have never experienced such an experience since then, and whenever I draw, I see that place as my utopia. ​ For inquiries about Lydia Lee's artworks go to the linked website .

ÁlVaro Tavarez D’Guilherme / Instagram Meeting Ál Varo As L uanda born artist ÁlVaro Tavares D'Guilherme talkes the brutalism of creation and the grinding struggles of making a vision come to life, a spirit truly lifted comes to the fore. WRITTEN BY GIULIA ENGLER . PUBLISH ED: MAR 10 , 2023 " Sê plural como o universo" is said by the Portuguese poet Fernando Pessoa . And thus he defies the modern urge to break down the human figure into the t rivialization of definement. His radical-changing yet decisively curated Instagram feed speaks to a corresponding reciprocity in thought: ÁlVaro isn't to be brought down to the letter. Currently based in Berlin and New York, "magical city" he states, the objective to creation he pursuits is the fervent instant conversing concrete reality, embodied on the canvas. A firm will of resistance to ready-made narrative looks back at the viewer from ÁlVaro's artworks; a raw poetry. ÁlVaro Tavarez D’Guilherme / Instagram O n our interview the artist reflects upon his process of creating, the doing of outer influence and the significance of the spectator's perception. "Pro Era". ÁlVaro Tavarez D’Guilherme / Instagram "no limits, there will never be. Free to add to the culture." WHERE ARE YOU TO FIND INSIDE YOUR ARTWORKS? Everywhere, when I'm in control of it, sometimes they find me. WHAT IS A SOURCE YOUR POWER OF IMAGINATION IS COMING FROM? E verything mostly from life. Berlin, Paris or NYC streets have a lot of influence on it,books and mythology,. i also must admit spending hours in a museum. WERE YOU TAUGHT HOW PAINT OR DID YOU LEARN IT ALL BY YOURSELF? well, I do know how to capture things, I'm interested in representation of a form or figure or mask references. ​ I've passed 8 years of my childhood in Luanda, during the civil war. At times drawing in the sand or making handmade “lodo” toys, was my time well spent and that kept me happy. When my parents sent me to Europe I realized that what I was doing was art! Then I developed it and still do. ​ As a teenager,I dropped out of my art school and self educate from there. I was 17, then I made tattoos and t-shirts for extras. Took me to do more and more paintings, works that I wouldn't show to anyone at that time. "Mawashi" ÁlVaro Tavarez D’Guilherme / Instagram ÁlVaro Tavarez D’Guilherme / Instagram ​ presence, sorf of violence...at the end of day the work talks by itself. The subject is already in the action of making it, and the performance o f creating also can be defined and funded. HOW DOES YOUR ART SPEAK? WHAT DOES IT VOICE SOUND LIKE ? IS IT IMPORTANT TO BE UNDERSTOOD? big part it's intentional to be understood, other times a presence turns into the privilege j ust to be observed. "Flying Heads" ÁlVaro Tavarez D’Guilherme / Instagram "a piece can decide by itself if it's ready or not, it will deal with inner voices guiding you a hundred ways, but a work never ends." DO YOU REMEMBER THE FIRST TIME YOU KNEW YOU COULD ONLY EXPRESS IT THROUGH ART AND GOT THE COURAGE TO DO IT? I always knew, as a teenager. I spent a lot of time alone. It took me to draw massively at the bus,class,library, whereever I could. My drawing Teacher at highschool once told me that if i really wanted i could make it and somehow that woke me up and added to my confidence to express. ​ There were moments I doubted but I was so assertive about it, that responsibility led me to encourage the process also to accept myself. It sounded like an impossible mission, the truth is if I'm not painting or working in my practice I do not feel alive and I get really moody,so there's always “ to be or be”. "Mundo de grandes sonhos Num teatro pequeno" ÁlVaro Tavarez D’Guilherme / Instagram WHAT ARE OTHER ARTISTS THAT INFLUENCED YOUR WAY OF CREATING? curiosity I've been drawing before I got connected to some certain influence,cartoons definitely had a big role, i felt my experience was the influence and for some reasons, i pumped into other artists and it was all organic from that point. ​ Robert Nava is someone I've met in NY shortly, whom I estimate the path as the bodywork language. An eclectic thing. HOW YOU MAKE YOUR DECISIONS IN AN ARTWORK? IN THE PROCESS, HOW DO YOU KNOW THAT SOMETHING IS RIGHT OR WRONG FOR THE PAINTING? it's all in the process,for me. ​ A piece can decide by itself if it's ready or not, it will deal with inner voices guiding you to a hundred ways, but a work never ends.Sometimes you work 3 months and it looks finished and suddenly there ́s one day you're back to the studio and paint over it, I respect the process and timing of making it. ​ When I know it's finished it's a victory day and I can enjoy a glass of wine.(what is rare) FOR AN ARTIST, IS IT A GOOD THING TO FEEL SAFE AND SECURED, OR IS IT DAMAGING THE ART? Well that's a good question, yet I do not know what it means. I do agree that with better conditions and material the chance to have more possibilities and mediums are unique and great. Comfort zone it's something that I haven't tried yet, if so I'll let you know. WHAT ARE LABELS GOOD FOR? It gives a better idea of the possibilities to where things can or not belong. "Love to Shi" ÁlVaro Tavarez D’Guilherme / Instagram "Be healthy , purchase your dreams. And work hard." IS IT, THAT YOU AND YOUR ARTWORK ALWAYS HAVE THE SAME OPINION? Yes, we do. It's important to know that the work reflects an emotion. WHAT IS AN OVERRATED STANDARD IN SOCIETY? I guess Privilege,depending on how you use them. A POEM OR PLAYLIST YOU LOVE? Lately I've been listening to Sun RÁ and jazz, and rap. ​ Poetry:Ode Triunfal & desassossego by Fernando Pessoa . HOW IMPORTANT IS THE APPROVAL OF OTHERS IN THE ARTIST'S WORK? It's always good to exchange opinions with other artists and speak about things, you see, it helps to bring new ideas and create different methods to add things together. ​ I do not agree that validation it's something that an artist wants/needs but yet, to belong to the artistic environment, it keeps the flow and learning. ÁlVaro Tavarez D’Guilherme / Instagram WHEN DID YOU DECIDE FOR YOURSELF TO BECOME AN ARTIST? My High School was in a small village in Lisbon. I was 16 years old in drawing class. I asked to leave in the middle of it as I couldn't sit and make the best drawing to please my teacher as the rest of the class did for her requirement. Consequently I went to the library and read the newspaper. At that moment I realized that I wanted to make an artist career so from that moment I did. WHAT'S THE BEST PIECE OF ADVISE THAT SOMEONE EVER GAVE TO YOU? must be said from my parents definitely. Be healthy ,Purchase your dreams and work hard. ARE THERE LIMITS TO ART? no limits,there will never be. Free to add to the culture. STUDIO INSIGHTS ​ÁlVaro Working Progress ÁlVaro Tavarez D’Guilherme / Instagram For inquiries about ÁlVaro Tavares D'Guilherme's artworks go to the linked website .

ABOUT Roman Manikhin Berlin-based interdisciplinary artist Roman Manikhin invites us to his world of vibrant celebration of life and freedom. In contrast to the widespread objectification and sexualization of women in arts, Manikhin considers nudity's potential for liberation from shame and oppressive norms. Magenta muses are the sovereign spirits, looking back proudly at the spectator from the paintings. ​ Manikhin’s vision of a woman is shaped by his upbringing by a single mother. Internal spark, everlasting joy and timeless youthfulness is how femininity got imprinted in his childhood memory. Despite the suffering and darkness the world is overwhelmed with, he believes his artistic mission is to spread light and provide an escape into the warm, light-hearted paradise where humans, animals, and plants can enjoy each other in peace. The artist’s paintings are on display at the museum Zuzeum in Riga and in private collections in Russia, Italy, Turkey, Denmark, Sweden and the USA. Website Instagram SELECTED WORKS