Author: Seraphina Calder

David John Hilditch, born in Wolverhampton in 1951, has developed a practice that moves between painting and philosophical reflection. His work resists fixed interpretation, instead raising questions around identity, perception, and lived experience. With a background shaped by both visual exploration and deeper intellectual inquiry, Hilditch treats the canvas as something active rather than still. Paint is not simply placed; it shifts, reacts, and continues to evolve across the surface. His compositions feel detached from linear time, with no clear beginning or endpoint. What unfolds is a space where perception remains in motion. The viewer is not positioned as an…

Adamo Macri approaches art as something fluid, never confined to a single direction. Born in Montreal in 1964, he built his early foundation at Dawson College, studying across disciplines that included commercial art, graphic design, photography, art history, and fine arts. That breadth continues to inform his approach. Though widely associated with sculpture, his practice extends into photography, video, painting, and drawing, shifting mediums as ideas require. Rather than isolating each discipline, he treats them as part of the same language. Across his work, recurring concerns surface—identity, change, and the tension between appearance and inner experience. Figures and faces emerge often,…

Jo Gabe treats painting as a way to preserve experience while letting it evolve. Working in acrylic, oil, and pastel, the practice moves between what is seen and what is felt, where memory shifts and place never fully settles. There are traces of artists like Kandinsky in the relaxed forms and attention to color, but Gabe’s work stays rooted in personal reflection rather than pure abstraction. Landscapes, interiors, and figures are not separated. They function as extensions of lived experience, connected through mood and recollection. Travel continues to shape this direction. From the layered energy of Sydney to the openness…

Linda Cancel’s work starts with place, but it never remains fixed there. Born in 1959 in Moscow, Idaho, she was raised within the open terrain and shifting light of the Pacific Northwest. Those surroundings continue to inform how she approaches painting. One of her earliest memories—watching fireworks over the Snake River as a toddler—left a quiet but lasting impression. It was not only the brightness of the moment, but the way light traveled across water and faded into darkness. That sensitivity to light and transition continues to surface in her paintings. Her work returns to atmosphere, to the gradual movement…

Sebastian Di Mauro’s work begins from a place of displacement. Born in Australia and later relocating to the United States, he entered a cultural landscape that felt both recognizable and unfamiliar. The America he had absorbed through film and television—constructed through distance—shifted when encountered directly. Living alongside a partner connected to Wilmington, Delaware, he moved between two understandings of place: one imagined, the other lived. That tension continues to shape how he approaches image and material. Rather than treating identity as stable, Di Mauro works through its instability. His practice reflects movement, contradiction, and the layering of experience over time.…

Bobbie Carlyle, an American sculptor with a deeply rooted sense of purpose, shapes her work from a life rich with experience. As a mother of seven and a grandmother many times over, her perspective is grounded in lived moments rather than abstraction. Her practice does not separate art from life. Instead, the two move side by side, each informing the other. She earned her Fine Arts degree from Brigham Young University while raising her family, a path that reflects both determination and clarity. That same focus carries into her sculpture. For Carlyle, bronze is more than a medium. It becomes…

Nancy Staub Laughlin works across pastel and photography, allowing the two to merge into a single visual language. Based in the United States, she earned her BFA from Moore College of Art in Philadelphia, a background that continues to influence how she approaches composition and surface. Her work has been shown in galleries and museums along the East Coast and is held in both private and corporate collections. Critics, including Sam Hunter, have recognized her work for its distinct character. That sense of distinction comes from how her images avoid clear classification. Rather than separating photography from drawing, or observation…

Miguel Barros’s work is shaped by distance, movement, and a life lived across cultures. Born in Lisbon in 1962, his path stretches through Portugal, Canada, and Angola, each place leaving its trace on how he constructs images. His move from Angola to Calgary in 2014 introduced a new environment, yet Lisbon remains a constant point of return. With a background in Architecture and Design from IADE in Lisbon, Barros builds his paintings with a sense of structure that feels present but never restrictive. It serves as a foundation rather than a rule. His work unfolds between control and instinct, where…

Michel Marant, born on August 4, 1945, in Saint-Junien, France, has shaped a practice grounded in the rhythms of everyday life and a close awareness of the natural environment. Educated at the National School of Decorative Arts in Limoges and affiliated with the Maison des Artistes, he has gradually developed a visual language that feels both personal and consistent. His work moves fluidly across pencil, acrylic, oil, and collage, applied to canvas, paper, and cardboard without preference. While his sensibility echoes aspects of art nouveau, it is not tied to tradition. Instead, he constructs his own system, where line, color,…

Some artists begin with what is in front of them, while others begin with what is happening inside. Rebecca Navajas belongs to the second approach. Her paintings are not built around precision or careful depiction. They unfold from feeling. Emotion leads, and the visual language follows behind it. Color is not there to decorate the surface. It carries intention and weight. Gesture is not restrained. It moves freely, sometimes shifting direction, sometimes pushing back. Nothing in her work feels fixed. Each piece holds a kind of internal movement, as if it continues to evolve beyond its final form. Navajas treats…