Israa Kazem; Balance between Spirituality and Geometric Perfection

Abstract Human and Islamic pattern. Handmade Paper, dyes, rust, gold leaf. Dimensions with frame: 67.5 cm × 83 cm Production Year: 2019.

Israa Kazem uses handmade paper as her primary material, breathing
new life into it. As it carries its own story. Her work merges the magic of
nature with the aesthetics of ancient art civilizations, influenced by
Islamic art and miniature paintings creating a style that is both vital and
contemporary. The process demands precision, resulting in pieces free
flowing lines and texture of the paper lend a unique character to the
artwork, in addition to depth and expression—a return to roots.
These frameworks surface in her approach to papermaking—a process
where chaos (raw, recycled materials) yields order (structured sheets),
mirroring the emergent patterns found in nature.

Flamingo reflection and the disk of sun
Paper Pulp, Gold leaf, Dried Leaves, Stalks of Grain Plants, Ink, Color Dyes.
Dimensions with frame: 132.5 cm × 102.5 cm
Production Year: 2023


Her work transforms discarded fibers from wastes into delicate sheets of
paper, each piece is a tactile archive, inviting the viewer to
contemplation on sustainability and our relationship with the natural
world.

Deer are running on the mountain
Handmade Paper, feather, gold leaf, dyes, ink, acrylic pens.
Dimensions with frame: 85 cm × 50 cm
Production Year: 2024.


She aims to highlight the diversity of living organisms and the different
environments surrounding them, especially highly diverse ecological
communities.

Deer are eating flowers
Handmade Paper, dyes, ink, gold leaf. Dimensions with frame: 40 cm × 40 cm Production Year: 2024


This harmony is evident in her paintings, which may combine deer
surrounded by geometric patterns, or blossoming flowers where
the deer serves as a decorative motif. This fusion creates a visual
language that speaks of the balance between two worlds: the
world of spirituality and geometric perfection, and the world of life
and growth in a timeless artwork.

Handmade Paper, Dyes, ink Dimensions with frame: 50cm × 50 cm Production year: 2020


In her artworks collection, the deer refer as a main symbol, not
merely appearing as an aesthetic form, but carrying various
perspectives and meanings. The artist employs it as a symbol of
optimism and new beginnings.

Handmade Paper, Dyes, ink Dimensions with frame: 50cm × 50 cm Production year: 2020


In its grace and lightness, the deer represent hope and the journey
toward a better future. In Islamic art, the deer have always been
associated with beauty and gentleness, making it the perfect choice
to express her vision. The deer is painted in state of stillness and
motion depicted in a style that combines simplicity of form and
ornamental pattern, giving it a symbolic and contemporary
dimension simultaneously. This demonstrates that art knows no
bounds, and that the dialogue between past and present can
produce creativity that transcends time and place.

Israa Kazem (B. 1987) is a Cairo based visual artist and researcher, holds
Bachelor degree of Art Education, Helwan University.

She earned her master’s degree 2015, PHD 2020, in drawing and painting. Kazem is a member of the syndicate of plastic artists. She participated in many international and local Exhibitions. She found her creative inspiration in her drawings and paintings through nature. Kazem employed many drawing, painting, printing and mixed media techniques to achieve her artistic style.

Kazem uses handmade paper and paper pulp and combines them with
different materials. Her use of natural materials not only adds depth and
texture to her artwork but also focuses on the importance of sustainability in art and life. Her artistic practice reflects her respect for the surrounding environment and express its essence through her own
vision.

Solo Exhibition:
“Green Border”, Mahmoud Mokhtar Cultural Center, Nahdet Misr
Gallery, 2023.

Group Exhibitions:
– Agenda Exhibition, Conference Center, Bibliotheca Alexandrina,
12th, 14th, 15th, 16th sessions for the years 2019. 2021, 2022, 2023.
– Cairo International Art District Exhibition (CIAD), Second Edition, Art D’Égypte, Downtown, 2022.
– General Exhibition entitled “Art…The Memory of the Nation”, the 42nd session 2021, Arts Palace, Cairo Opera House.
– White and Black Salon, 5th session, Gezira art center, 2020.
– First Time Exhibition, 14th session, Conference Hall, Bibliotheca
Alexandrina, 2019.
– Second Exhibition: Artist’s Book, Mahmoud Mokhtar Cultural
Center 2019.
– Dai Festival of Arab Youth, Second Session, 2018.
– Exhibition of the accompanied workshops for Cairo Salon 58,
Artist book workshop, the Fine Arts Lovers Association, 2018.
– South International Salon, Faculty of Fine Arts, Luxor – the 5
session 2017.
– Youth Salon, 20th, 21st, 26th sessions Palace of Arts, Cairo Opera House, for the years 2015, 2010, 2009.

Awards and Grants:
Kazem won the First Prize in Youth Visual Arts competition, 6th Edition, El Horreya Center for Creativity, Alexandria, Cultural Development Fund
Sector, Ministry of Culture.

Sabbatical Grants Artist in the field of Fine Art specialized in Painting,
Supreme Council of Culture, 2019, 2021, 2022, 2023.

Israa Kazem prepared the official representation of this article and has granted permission for this article to be published.

Salma El Ashry: Paintings From the Orbit of a Flower

The Concept Behind My Work by Salma El Ashry

In my artistic practice, I am deeply committed to exploring the symbolism of the elements that surround me and to delving into their profound meanings—meanings that may often go unnoticed, yet form essential keys to understanding much of my work.

The majority of my pieces contain symbols that reflect personal, contemplative visions, intimately connected to the places and objects around me. These works are nourished by my readings and inner reflections.

I draw inspiration from the symbols of ancient Egyptian heritage, using them as a contemplative entry point to examine our relationship with identity and visual memory.

My artistic vision emerges from a personal meditation on the meanings of identity and existence. In this journey, I turn to ancient Egyptian symbols and texts—chief among them the lotus flower, which I regard as a central icon due to its multiple manifestations and its profound philosophical role centered around the concepts of rebirth, balance, and inner transformation.

I also incorporate other symbols, such as the dove, which I see as a representation of loyalty, return, and peace.

Color plays a pivotal symbolic role in completing this vision, alongside other visual elements.

Each color carries a philosophical significance rooted in the legacy of ancient Egypt:

• Green symbolizes purity, renewal, and the continuity of the spirit.

• Blue represents protection, connection to the sacred, and embodies

tranquility and psychological harmony.

• Red signifies energy, life, passion, and the latent strength within the human being.

Through this framework, I seek to build bridges between eras—between the past and the present—reinterpreting cultural symbols from a contemporary, humanistic perspective.

My intention is to open a spiritual and contemplative space for the viewer, inviting them to look beyond the surface image, to listen to the hidden messages that these symbols transmit when revived in a personal, spiritual, and modern philosophical context

Mental Labyrinths Laberintos Mentales/Rene Fernando Ortega Villarroel

The faceless figures in Rene Fernando Ortega Villarroel’s work open a doorway to our silhouette.

Las figuras sin rostro en la obra de René Fernando Ortega Villarroel abren una puerta a nuestra silueta.

A labyrinth that challenges realities between an all-knowing self and a unicursal passage of selves.

Un laberinto que desafía realidades entre un yo que todo lo sabe y un pasaje unicursal de yos.

The viewer will see waves of motion paused long enough to discover psychic architecture and lapidary engines.

El espectador verá ondas de movimiento pausadas el tiempo suficiente para descubrir la arquitectura psíquica y los motores lapidarios.

Rene Fernando Ortega Villarroel’s art delivers a psychic experience to our world. The deities are shapes and eternal archetypes

El arte de René Fernando Ortega Villarroel entrega una experiencia psíquica a nuestro mundo. Las deidades son formas y arquetipos eternos.

The vision is an art beyond the vanishing points camouflaged and hunted by shamanic, artistic, and theurgic observance.

La visión es un arte más allá de los puntos de fuga camuflados y cazados por la observancia chamánica, artística y teúrgica

Rene Fernando Ortega Villarroel is a visual artist from Chile who practices the ancient tradition of X-ray vision in his painting.

René Fernando Ortega Villarroel es un artista visual de Chile que practica la antigua tradición de la visión de rayos X en su pintura.

Rene has exhibited work in Chile and Argentina. He is involved in many cultural art programs that have related to hospitals, children and teaching art professionally.

René ha expuesto obra en Chile y Argentina. Está involucrado en muchos programas de arte cultural relacionados con hospitales, niños y la enseñanza del arte profesionalmente.

“My concern is the human figure as a feeling of primitive and irrational states, whose main point is the heads, universal thought of the creation of man and center of the universe. All this led to a mutation of the plastic and pictorial language”.
Rene Ortega Villarroel

“Mi preocupación es la figura humana como sentimiento de estados primitivos e irracionales, cuyo punto principal son las cabezas, pensamiento universal de la creación del hombre y centro del universo. Todo esto llevado a un mutamiento del lenguaje plástico y pictórico”.
Rene Ortega Villarroel

Everyone is invited and welcome to celebrate Rene Fernando Ortega Villarroel’s exposition Mental Labyrinths at the Til Til Cultural Center Art gallery on June 18, 2022

Todos están invitados y bienvenidos a celebrar la exposición Laberintos mentales de René Fernando Ortega Villarroel en la galería de arte del Centro Cultural Til Til el 18 de junio de 2022.

written by Mitchell Pluto

Zodiac by Oscar Barra

Oscar Barra was Born in Santiago in 1964, he studied Art at the University of Concepción, co-founder of Grisalla, an outstanding group of artists from the 90s and early 2000s. Mainly dedicated to painting, he has extended his creation to engraving, sculpture and the drawing. He currently resides between Concón and also maintains a workshop in Santiago.

Visions Enrique de Santiago

It had to be finished yesterday, like every day in 2021, creating. Because the reason for my existence is to navigate the wonderful.
Happy today and tomorrow for all, since according to the calendar of nature, each day should be celebrated loving it intensely.

Visions
Ending centuries of moonlight dimming
a dark fire travels the walls without knowing the foolishness of its orbit,
an empty smoke escapes from her womb that is the son of the empire,
leaving a rough trail of ancient scales,
and from that place new demolitions erupt to lower their faces when winter looms,
slowly the room is emptied leaving only undamaged strings that proclaim instantaneous blues,
because she admitted flowers in her womb,
and she came down the stairs with her bare legs,
while from her shadow the absolute gesture of death loomed,
hidden and unexpected
and emitted the song of the breeze of oblivion
in order to satisfy the gesture of a star bathed in failed zodiacs,
impertinent and uncertain attempts,
that were thrown to the cosmic confines beyond certainty.

Había que terminar ayer, al igual que cada día del 2021, creando. Porque la razón de mi existencia es navegar por lo maravilloso.
Feliz hoy y mañana para todos, ya que según el calendario de la naturaleza, cada día debe celebrarse amándolo intensamente.

VISIONES
Acabando con siglos de oscurecimiento de luz lunar
un fuego oscuro recorre los muros sin saber de la necedad de su órbita,
escapa de su vientre un humo vacío que es hijo del imperio,
dejando un sendero áspero de escamas antiguas,
y desde ese lugar estallan nuevas demoliciones para bajar los rostros cuando acecha el invierno,
lentamente queda vacía la sala dejando sólo cuerdas indemnes que pregonan azules instantáneas,
porque ella admitía flores en su útero,
y bajaba las escaleras con sus piernas desnudas,
mientras desde su sombra asomaba el gesto absoluto de la muerte,
oculta e inesperada
y emitía el canto de la brisa del olvido
para así saciar el gesto de un astro bañado de zodiacos fallidos,
impertinentes e inciertas tentativas,
que fueron arrojadas a los confines cósmicos más allá de la certidumbre.

Enrique de Santiago

Born in Santiago, Chile (1961). Visual artist, poet, researcher, essayist, curator and cultural manager. He studied a Bachelor of Art at the University of Chile and at the Institute of Contemporary Art (Chile).

Since 1984, he has exhibited in individual and group exhibitions, counting to his credit around more than 100 exhibitions.


He has edited five books: Fragile Transits Under the Spirals in 2012, with La Polla Literaria; Elegía a las Magas and the book essay: El Regreso de las Magas, both with Editorial Varonas. In 2018 he edited La Cúspide Uránica with editorial Xaleshem and Dharma Comunicaciones, and Travel Bitácora with Editorial Opalina Cartonera.

He has participated in various poetry anthologies, both in Chile and abroad. He has collaborated in the newspaper La Nación with articles on new media art, and in magazines such as Derrame, Escaner Cultural and Labios Menores in Chile, Brumes Blondes in Holland, Adamar from Spain, Punto Seguido from Colombia, Sonámbula from Mexico, Agulha de Brazil, Incomunidade de Portugal, Styxus de Rep. Czech, Canibaal de Valencia, Spain, Materika de Costa Rica and other printed and digital publications.

Space Cat

we Interrupt the regularly scheduled program
to bring you this important message
this wireless emergency alert has scanned and detected globular lightning behaving like intelligent light
expect winds to reach the speed of a dream
prepare for half past tension to relief
watch the clock turn into a ball
all conspiracy and plans swept clear
empty and full
total memory forgiven
expanding free as time overflows
following through cells and selves
without a body
to this star door
that small bond of love I forgot
the cat did not forget about me

written by Mitchell Pluto© December 11, 2021

Space Cat

we Interrupt the regularly scheduled program
to bring you this important message
this wireless emergency alert has scanned and detected globular lightning behaving like intelligent light
expect winds to reach the speed of a dream
prepare for half past tension to relief
watch the clock turn into a ball
all conspiracy and plans swept clear
empty and full
total memory forgiven
expanding free as time over flows
following through cells and selves
without a body
to this star door
that small bond of love I forgot
the cat did not forget about me

written by Mitchell Pluto© December 11, 2021

Beyond the Bone


it is a super kind of role
rotating archetypes
where
number equals avatar
all four won once
if you want to get elemental
around the table
occurring at intervals
periodically
snap shot to
photogrammetry
a kinetic map
perception transfer
interface fidelity
contemplation points
an evidence board
but folded into
an icosahedron
edges linked by fiber optics
on invisible lines
as best they could trace
those
dice face are channels
those
dice face are mirrors
refraction may be
tubes of light
or if you prefer day stream
an almost calendar
in one lapidary being
an extraterrestrial of triangles
predeterminer and all
lets play
rotated and rolled
hyperstition is now
but also then
all ways
crossroads
a mobile hot spot
every time
is space
echolocation
our deep unknown ability
leads to where
wear leads
to dissolve dice
and sincerely know
the icosahedron remains spinning
all over time
an everlasting pattern
a rapidly occurring gem
from
the house of invention

written by Mitchell Pluto© December 11, 2021

Voice scroll of the arctechnician

written on September 17, 2021  © Mitchell Pluto

my cursive thought

wrapped around

some thing

joined together

possession

and

loss

i stood it still

to review

a snake sliding on a scale

tipping an X to a teetering cross

each letter a whirling dreidel

a little dervish

a

retrojection to every tense

then from now too

a serpentine door way

between the rippling pillars

unites me with my temporal lobes

temple fuses

a religion of selves being one another

a seizure

spattered wings

brush strokes

drifting leaves

fins

curves from flowers

quenched by snow stars

a hoop dancer is behind every shape

while marrow carries iron

memories transports us to dreams

restored

but then

returned

too a mind stream

equaling parallel to

is

i with a wave

a twin two

a point

on a pen

moving

angel of feather and scale frozen in a moment

Voice scroll of the arctechnician and the angel of time

written on September 17, 2021  © Mitchell Pluto

my cursive thought

wrapped around

some thing

joined together

possession

and

loss

i stood it still

to review

a snake sliding on a scale

tipping an X to a teetering cross

each letter a whirling dreidel

a little dervish

a

retrojection to every tense

then from now too

a serpentine door way

between the rippling pillars

unites me with my temporal lobes

temple fuses

a religion of selves being one another

a seizure

spattered wings

brush strokes

drifting leaves

fins

curves from flowers

quenched by snow stars

a hoop dancer is behind every shape

while marrow carries iron

memories transports us to dreams

restored

but then

returned

too a mind stream

equaling parallel to

is

i with a wave

a twin two

a point

on a pen

moving

angel of feather and scale frozen in a moment