Daniela Astone, Painter, Teacher, Mother

 Daniela Astone teaching at The Old Masters Techniques Workshop in TIAC Beijing.  

Daniela Astone teaching at The Old Masters Techniques Workshop in TIAC Beijing.  

Daniela Astone is an Italian realist painter born in a small Tuscan fishing village called Porto Santo Stefano, a peaceful and quiet place close to the sea where the relationship between its inhabitants and its splendid nature is strong and important. According to Daniela, fishermen and farmers are the village's main population, the reason why people are strongly attached to the environment in an almost rustic way. Her parents, owners of a "pizzeria", are hard-working people who taught her passion and respect for work. Daniela recalls herself as a child taking naps on top of flour sacs because her family life was spent mainly in their working place.

Astone splits her time between painting, teaching and being a mother and she admits she's capable of managing several aspects of her professional and personal life at the same time because her parents educated her to devote to work.

 Eva, Oil on canvas 110x110cm

Eva, Oil on canvas 110x110cm

Daniela confesses that since she was a child she felt different, weird and extremely creative, qualities that didn't fit into the regular behavior expected from a child from her town, reason why she felt misunderstood.

Daniela started drawing in a spontaneous and passionate way at an early age, often preferring to draw instead of paying attention to school, the reason for which, after several failures, her mom wanted her to abandon her studies to find a job. In response to that, Daniela asked for the last chance to show she would be a great student if their parents sent her to an art school. Daniela's mom agreed with one condition: if she would have failed just once, she would have had to find a job. Daniela not only didn't fail an exam, but she became a great student because she found her personal channel in Arts, getting also her parents support once they realized that was what she needed. 

After completing high-school, Daniela enrolled at the Comics School of Florence in order to develop her drawing skills. 

In Florence, the path to take wasn’t very clear. I wasn’t too ambitious and I didn’t have big expectations. I just wanted to refine my drawing method and find any job which would put me in front of a table with a pencil in my hand.

At the Comics School, Daniela met her partner, Simone, a professional illustrator who introduced her into the working field. After a year and a half of working together, Daniela realized that committing to a client's request didn't fit her, because she doesn't like her creativity to be restricted by someone else. Luckily for her, Simone knew Daniel Graves, the Director of the Florence Academy of Art, who invited her to an evening drawing class in his academy. 

I just fell in love. What shocked me the most was the difference between the environment I came from, which was very free but often chaotic and messy and this place in which the act of drawing was almost a ritual where everyone silently focuses on what they’re doing. Going to that drawing class felt like entering into a temple. That was exactly what I wanted.

Daniela is currently the Director of the second year program of the FAA. She is in charge of the transition from charcoal drawing to oil painting. She feels mentoring someone is a matter of paying attention to the needs of every student, reason why she frequently modifies and adapts her program method in order to pass on very classic and precise techniques and concepts in a creative way. Daniela believes the human relationship with the student is fundamental because it defines the quality of the teaching.  To her the most important lesson she can convey is to challenge oneself, to be constant, focused and disciplined. She thinks Art is not only the product that comes from the voluntary need to create, but it is also the consequence of the act of repeating and practicing in class or in a studio. "Inspiration must catch you with a pencil in your hand. Probably most of the things you do are meaningless or worthless, but those are the small experiments that lead you to great results. It is important to be in the studio with yourself" she says. 

Daniela splits her time between teaching, painting and being a mom. She loves what she does, and her inspiration comes mainly from her feelings, her environment and the people who surround her. She believes being an artist is a state of being, and to her drawing and painting are the means to be in touch with herself, an encounter between her conscious and her unconscious. It is not clear to Daniela what does she want to share with the viewer, she feels her goal is not to make an impact or to change the world. 

I just want to be honest with myself. There are people who empathize with my art not because I want to move them, but because there’s a communion of souls. There is always a universal language that goes beyond the literal message of a painting. I believe that if Art is honest, it has the power to take the viewer to a non-space in a no-time where they feel eternal. Isn’t that the purpose of art?

Daniela's inspiration comes from her own life and fantasies. She also spends time looking at other painter's work in order to understand what she doesn't want to paint. To Daniela, painting is a sort of ritual that starts with strong "call" by an image or a form which asks her to be instinctively put on canvas. She explains that during this process she gets into a state of mind similar to a trance where she doesn't really understand much what the image is about, but she allows herself to be guided by it, creating a strong relationship with the painting. Once she finishes it, she lets it rest for a variable period of time which allows her to settle down the experience.

...and when I look at it again, I understand what it is about. My paintings are a sort of chronology of my life, and the images that come to me so spontaneously are talking about specific voices of my subconscious that want to have space. I really love this aspect of creation.

Daniela likes challenges and that's one of the reasons she has followed the path of representational painting, which suits her research and taste. To her observing and understanding nature in order to find the way to transfer it into a canvas is exciting, and she believes teaching a classical method of relating with the world gives young people the tools to be more honest with themselves. 

When you put students in front of an object or in the middle of nature, and you ask them to observe it their own way, you force them to be in contact with themselves in order to find solutions. When someone is alone finding solutions, personality gets developed, and a much more sincere journey to personal research starts. I think people should be more sincere with themselves to be able to discover who they are and what they really want despite society.

Daniela believes we live in times where we are bombarded by images and messages which encourage people to reach a kind of "success" decided by social media and society, which send people away from their own voices. Learning a method which demands to be in contact with reality helps to give a clear form to what could be an abstract concept, often unclear for the artist himself.  

Daniela finds the expression "Classical Studies" is boring, she simply believes that if someone wants to master a language it is important to learn the "grammar", that's why representational education is important. 

Daniela has collaborated with TIAC teaching during the Old Masters Techniques workshop in Beijing organized ate the beginning of 2018. She spent a short but intense time there, realizing that intercultural exchange is a way of creating a sense of peace.  She's confessed her desire to go back To China to establish more strong human relationships with people, to get to know them better and to discover a culture completely different from the European in order to get inspired. 

 Light and form, oil on canvas80x70cm

Light and form, oil on canvas80x70cm

Eran Webber, Sculptor


At the beginning of the year, we had the pleasure of interviewing Eran Webber, a magnificent artist and, above all, an amazing human being.

Let us tell you his story.   

Eran Webber came to Florence in 2008, graduated and taught in the Florence Academy of Art for 6 years before returning home to Israel where he currently resides and produces his work.

His love for art began at an early age, occupying much of his time, even at school, with drawing. He candidly recalls how when he was a child, he used to placed art books under his pillow at night, in the hopes that the art from the pages might seep into his mind while he was sleeping. After years of taking courses and attempting to make his art “in an amateur way”, he finally decided at the age of 25 to make art the center of his life and to devote his career to creating.

Eran’s education commenced in Israel via courses with a few Israeli artists, until 2008, when he came to Florence to study at the Accademia di Belle Arti.

At first, he was enrolled at the Accademia di Belle Arti di Firenze, though he soon learned it was not the environment he was yearning for.


Fortuitously, he was introduced to the Florence Academy of Art, where he immediately felt that his journey had lead him to the right place and amongst the right people. He had found his niche and in having done so, dove intensely into sculpture for the next 10 years.

While in his former years, he had been dedicated to chasing the two-dimensional-world of drawing and painting, he found himself greatly affected by the impact and challenge of sculpture, after an Italian sculptor introduced him to the medium during his year at the Accademia di Belle Arti. “There’s a world of things you can describe in three dimensions which is so huge, that it became this enormous challenge and the effect that sculpture had on me, once I knew what it took to make it, was such a strong impact… I can’t leave the field, it’s just too fascinating.”

As the self-proclaimed prisoner to the field of sculpture, his career has had its moments, both of glory and of challenge. While he believes that the best of these moments has yet to come, the one he regards most highly is the moment in which he realized that he was capable of bringing his visions to fruition; that he was able to, with his hands, create what was in his mind. The challenges, he finds, come in choosing his projects, since it appears that for Eran, the world is “too full” of inspirational material. “The hardest thing for me is actually to focus on one element, so many people…stories… narratives, could be an inspiration.”


The rabbit hole of inspiration has lead Eran down many paths, the current of which is a visual narrative series of personal stories that others have lived, “…tragedies of different individuals and how the course of life took them…”. He views the creation of each project as a means of personal research, from which he can learn and grow, describing it as a type of marriage that is cultivated and slowly evolves over time. Once Eran finishes a project, not only does he hope that he has made a comprehensive sculptural representation of his subject’s story, but he hopes that his work does not force anyone to think in any certain way. Rather, his intention is to “take the shell of people” and to leave as much room as possible for the viewers to make of it their own.

When asked why he makes representational art, he laughingly responded, “I don’t think I chose representational art, I think representational art chose me!” He goes on to recount the first time he went to a museum as a child and how the only thing he remembers from that day is the sense of shock and awe that he felt the moment that he laid eyes on the works of the Old Masters. He recalls being filled with the desire to know “…how one becomes that great…”. Another of Eran’s motivations to discover how to become “great”, was his Grandfather, who although now passed, was an accomplished artist himself, “a pioneer”, who sadly was of a time that did not permit the pursuit of art as a career, “…but I can, it’s a different world than where he grew up…”.


To Eran, representational art is a vehicle that can take him from one part of his journey to another, “a river that can connect to another river, that can connect to an ocean of things…that could end up anywhere…”. He believes that everyone must choose their own path in art and advises artists and students to open up any door that they come across, stating that there is a world of art, technique, passion and theory that can be accessed through these doors. He does add the caveat however, “make sure that it is not your last door,” urging all of us to remember that the concept of start and finish is all in one’s mind, and that the only way to live is to “chase your mind…make your dreams become real, be professional and preserve your integrity - this way, the only legitimate person left to stop you will be yourself “.

Mitchell Hill Price, from cowboy to artist

There is nothing more inspiring than a life story with resolutions. Knowing that there are people out there who are investing in their passion, following their intuition and betting for a life full of creativity is utterly motivating.

We invite you to enjoy this beautiful story written especially for TIAC by  Mitch, who we have the pleasure to collaborate with having him as the ecorchè teacher. 

We are extremely proud of having passionate and professional artists working with us!  




My name is Mitchell Hill Price, and I am a painter, sculptor, draftsman, and teacher of same. 

I come from the United States, but I mostly grew up in Western Colorado and Northern New York State. As a young child, I spent my formative years on a horse and cattle ranch and was, very literally, a cowboy. Now when I am back I spend my time on an island in the middle of the St. Lawrence River, but most of the time these days I am a resident of Florence Italy. 

I began to study art because I was already compelled to make it. During high school, my art class was the most pleasant and therapeutic time I had, and I continued to draw and sketch and work as I wanted to. Sometimes I went long periods of inactivity, but others I became completely and utterly focused on some idea that came out of nowhere. 

After I graduated from college, which was in the middle of the American financial crisis, I managed to get several commissions for some murals. Since I had not studied art in college I was surprised but also delighted and I began to drive around the country and work as an artist. 

I have had a great number of jobs over the course of my life but nothing felt anywhere near as good and correct and right as working on those murals. The idea that I was to be paid for this work seemed to me almost unbelievable, which is an attitude which probably costs me when it comes time to negotiate prices now. I decided to move to South America for a period after completing these projects and see what life was like in a new and foreign land. 

During that time I learned many things, but foremost amongst them was that I was compulsively drawing and studying the environment around me. I was living in Buenos Aires and was doing practically nothing besides studying Spanish, walking around, and drawing. After a couple of months, I moved to an apartment that was between the National Art Museum and their “national” cemetery, which was just row after row of epic figurative sculpture done in bronze and marble, by Italian sculptors. Between my time in the cemetery and the museum I had filled several sketchbooks and made up my mind: I was going to apply to an art school I had found in Italy and proceeded to do so. 


I moved to Florence, Italy about eight months later, and began studying at the Florence Academy of Art. I studied for three years, became a teacher, and in my own mind, I am still very much a student of the craft of drawing, painting, and sculpture. I feel that more than anything I am continuing to learn and grow as both an artist, but also as a student of an art form that has tremendous depth and complexity. Every time I begin to feel comfortable with one technique or approach it raises questions about what comes next, or how can this lesson be applied elsewhere. 

Recently I have been focusing more on the role of subject, and how the presentation of a series of objects or beings can change one's reaction to said objects depending on the most subtle decision on the part of the artist. How does the small technical thing I am learning now help me to make decisions that will better communicate or describe the subject I have in mind? I often feel that I am juggling a dozen technical questions at the same time while trying to understand what it is about a subject that is appealing. 


In many respects my art is a reaction to the world around me in a very direct way, i.e. I see something or situation; I become interested; I draw or paint it. The things and ideas which interest me the most I believe are only now starting to sink into the way I am choosing subjects and presenting them. Hopefully, any questions about my inspirations will be answered in the goodness of time by my own future works.

I feel that it is imperative for serious art students, be they aspiring artists, enthusiasts, collectors, sellers, historians, or conservators, should have a background in the fundamentals of drawing, painting, and sculpture. I say this because the subject of how to convey the illusion of reality in two dimensions (drawing and painting) or in three (sculpture) is a serious and difficult intellectual pursuit in its own right, and is one of humanities oldest pastimes. 

The humble elegance of learning to observe, interpret, and recreate is a small and patient activity which is practically mundane. It’s an act in which quiet and unbiased observation is most of the activity. It can be boring, and that’s why I think it gets passed over, or, as I suspect is as much or more the case, it can be hard to find a teacher these days. As a child of rural mountain America, artists were strange and somewhat ignoble creatures who I did not understand. I still don’t know if I understand, which is why I try and keep my eyes open and hope to learn something here and there.

Mitchell Hill Price

Jorge Abbad, Spanish Painter

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Madrid has welcomed TIAC once more to host a painting Master Workshop held by the Living Master Antonio López García and his pupil and assistant Jorge Abbad. The workshop is currently running at El Instante Fundación and it'll be on until the April the 7th 2018.

We took the chance to talk to Jorge Abbad to know more about him and his passion for painting. Without any further ado, read this beautiful interview.  

Who is Jorge Abbad?

Jorge Abbad is a Representational Spanish Painter.

How, when and why did your love for art begin?

I think I’ve always liked Art, I used to draw a lot even at early age. There is a specific experience that stroke me when I was a child though,which made me understand my love and passion for Art. When I was 7 years old I saw The Triumph of Bacchus by Diego Velázquez. The face of the drunken man staring straight to the viewer made me undestand I wanted to be a painter. The experience of acknowledging that someone had the skill to reproduce such a strong human expression on a canvas touched me in such a special way that I remember myself calling my mom’s attention to it and telling myself “this is incredible”. 

Where did you study?

I studied at Universidad Complutense de Madrid, but my real training as a painter came with Antonio López García. What he taught me during the workshops is impossible to find at the university. It is an extraordinary learning process seeing an expert painting step by step, because you get the chance to observe and study his method, which makes you understand much better his work of art. In addition, you get in touch not only with abstract side of creation, but also with the concrete aspects of the logistics of the process of starting a project. I think we need more real artists as teachers in the Universities, because the exchange you get with someone who is on the field will really enrich your learning. Antonio is the person I had admired the most since the beginning, and I’ve learned everything from him. It is thanks to him that my journey as a painter started. 

  Antonio, study on wood 2017

 Antonio, study on wood 2017

Why painting? What makes this particular medium special to you?

I don’t mythify painting, I think it is just a way to express myself. I like it because is my medium, it makes me feel a personal connection with the Matter and the world. I don’t think painting is better than other medium though, what really matters is the artist, his deepness, his message. Painting is just a language, I love it because I find it a miracle that you can create incredible things with few materials, bringing to life a whole world of emotions in a bi-dimensional space by just gradating color. 

Which have been the most satisfying moments of your career?

The most satisfying moment of my career is the one that is about to come! I think one must keep on moving forward and looking to the next step without exulting too much at the achieved. I’m not saying I don’t enjoy the successful moments, but one must keep on climbing the mountain. 

The biggest challenges?

The biggest challenge to me is running out of challenges. I always put myself in a position of voluntary struggle, that's my way of keeping motivated. 

Where does your inspiration come from?

I think inspiration comes from what is happening within our soul. We are influenced by a series of experiences and places which trigger emotions and thoughts that, I believe, are our “spiritual environment”. I think the most important thing is to be honest with inspiration, and don’t lose yourself in the banal. We must follow what our inner voice is asking us to materialize. For example, I get inspired by the mountains because my heart is called by them.

 Antonio, oil on canvas 2015

Antonio, oil on canvas 2015

How is your creative process? What do you enjoy most? What less?

The process of creating a painting is like the evolution of life itself. It starts with an idea that is born within yourself and strikes you powerfully, then it grows up with strength but suddenly you start facing problems, and that’s an interesting part of the process. I enjoy the problem-solving phase because it leads you to the research of answers. To me it doesn’t matter if the final result is not perfect, but the effort of researching is fundamental. Problems can be technical, you may struggle with pigments that sink into the canvas or with a specific part of the life model or a still life, which are really important to your project, that you’re not capable to capture as you would wish, so you keep on pushing yourself to get better. Eventually there is a moment when you feel the energy of the project decreases little by little until and there's nothing else to do. I love every step. 

What is your research and what message do you wish to share with the observer? 

My dreams, ideas, and desires are my personal focus, which I interpret through reality. Representational art sends a clear message, which is “I’m looking at this subject/object that has a meaning for me”. Our method is based on observing and copying reality, therefore the message will come after the meaning and the emotions we put into that reality we've decided to observe, and to which, for some emotional reason, we're drawn to. I think emotions build the painting up because they are the ones to lead you to decide where the focus is. 

You've chosen representational art, why? What is the importance of keeping it alive and passing it on to the next generations?

As a kid, when I saw the face of the drunken man in Velàzquez Triumph of Bacchus, it seemed incredible to me that it could be possible to strip away a smile from someone and put it into a bi-dimensional support. Reality can provide us with great things, and it is amazing that we are able to borrow a piece of it to place it on a canvas. 

I’m not sure about the importance of passing representational art on to the next generation, but I feel it is important not to underestimate it just because it's something that seems to belong to the past. I think figurative art still has lots to say and regardless of the opinion of the rest of the world, if someone feels he or she have to follow a representational path, they should. I feel I have to do this.

Trying to imagine a parallel reality, who would you be without Art?

I would be a mountain climber! I’ve tried to combine both passions! 


If you knew that with you Art you have the power to make a change, what would you change?

 I don’t think you could do big changes with Art because it's not its purpose. A politician could maybe change something, Art is only a witness that nourishes people’s soul. That’s enough for me. 

What message would you give to the future generations?

I’m the future generation! 

I would say being an artist is a difficult journey, but if you feel in your heart you want to engage it, then you should with no hesitation. Someone once said to me "If this is not meant to be your path, life will strike you and will take you somewhere else".

You must risk. We have only one life and we must live it the way we want.

If you fall, you stand up, you don’t give up and you find your way. 

 Natalia, oil on canvas 2014

Natalia, oil on canvas 2014


To know more about Jorge, visit his website www.jorgeabbad.com

Coderch & Malavia Sculptors, winners of TIAC Art Prize 2018

Today we want to introduce to you the Artists winners of the TIAC Art Prize 2018 given by The International Arts & Culture Group within the Art Renewal Center’s 13th International ARC Salon Competition.

Coderch & Malavia Sculptors have received the award for a fantastic piece called "The Tissue of Time".

Let's get straight to them!

Who are Joan Coderch and Javier Malavia and how did they become Coderch & Malavia Sculptors?

Joan y Javier.jpg

Joan Coderch:
I was born in Castellar del Vallés (Barcelona) in 1959 and have studied
at the Department of Fine Arts of Barcelona.

Javier Malavia:
I was born in Oñati, a small town in the Basque Country, in 1970. When I was a little child I moved to Valencia with my family, there I graduated from the
Department of Fine Arts of San Carlos.

We met when we became part of the team of sculptors of the company Porcelanas Lladró, there we established a strong friendship and had the opportunity to work together. Without knowing it, we were putting down the foundations of what later would be Coderch & Malavia Sculptors.
The encounter between our artistic concerns and the desire to unleash our creativity led us to start Coderch & Malvia Sculptors in 2015.

How did the love for art begin and why?

Joan Coderch:
When I was very young I was lucky enough to find a teacher of Plastic Arts who saw in me the love and sensitivity I had for volume. He supported me and helped me by teaching me the basics of modeling. He took me to the house of Manuel Hugué, a famous Catalonian sculptor of the early twentieth century. This was for me a turning point. I discovered a whole new world and I realized sculpture, and Art in general, is the perfect way to express my ideas and my feelings.

Javier Malavia:
I've always liked to draw and I've always loved nature, the human body, chemistry and physiology. Before I started my university studies I did not really know very well whether I wanted to follow one way or another. Suddenly something clicked in my mind, just like when inspiration comes to you, and I realized that I wanted to study fine arts.
Once in class, the first contact I had with sculpture, especially the modeling, was like a crush. . . it was love at first sight!

Why sculpture? What makes this medium special to you both?

The human being is three-dimensional.  Probably that is the main reason why we are attracted to sculpture, it is the closest artistic representation of ourselves.

Modelando el Hamlet.jpg

What have been the most satisfying moments of your careers and why?

Making the decision to start our project together has been one of the most difficult and exciting moments of our careers.
Before that we where doing things we liked, but that somehow did not fulfilled us because they where commissions.
That vertigo produced by the unknown, the transition from a comfortable situation to a very different one. . . It felt like jumping down to emptiness!
But we did it without hesitation and we can say today that we are living the best stage of our lives at a professional level.

What, on the other hand, have been the toughest struggles?

We shouldn't talk about what our struggles have been, we should, instead, talk about what our daily struggle is, which is our obsession to transmit the best of ourselves through our work. We try to achieve excellence in what we do, so we are also very demanding with the people who work with us, and that could create some conflicts!

Where does your inspiration come from?

 Literature, poetry, theater, photography, cinema and ballet, they all serve as inspiration.

Being two heads and four hands that must agree to create the same "world", how is your creative process? 

Sharing the creation of a work of art is complicated, there must be a predisposition to fit together artistically.
The fact that a work of art can emerge from the collaboration of two different sensibilities might catch people's attention because it might seem complicated, but in reality we believe that this alliance empowers the final result. However, starting a project from a dual dynamic requires much more previous work. We start from several brainstorming sessions in which we put all the cards down on the table. During this process we share our ideas, no matter if they are good or bad, to get the a point where we understand what is important to us and what is that we want to develop. 
Meeting and discussing is simple, the complicated part is organizing and sharing the physical creation of the work itself, because you need double discipline, you must learn to trust your partner and be able to share your ideas and your work with him, and, above all, you must put your ego aside in order to stay equal to commit to the final result. 

The human being is your preferred subject, what is your individual research and what is the research as partners?

Working together does not mean losing our individual research, on the contrary, that research as a team allows us to individually approach our personal concerns.

"The Tissue of Time" was TIAC's favorite this year. Tell us about it? 

El tejido del tiempo-coderch-malavia-sculpture-bronze--01.jpg

"The Tissue of Time" is our own vision of the myth of Penelope, who awaits with ingenuity the arrival of Ulysses.

Weave and unweave, build and destroy...

The pure emotion made of knitted instants is our Penelope, through her we offer a part of our reflection about beauty, sensuality and stillness.

We always work with live models, so we had to look for our own Penelope of flesh and bones to develop the sculpture. It was not very easy, but after a long research, we found her.

After several model sessions, subtle gesture changes, a thousand different facial expressions that came and vanished, she appeared. . . and we knew it was her as soon as we saw her!
Because although we had never seen her, we knew within ourselves how she was like.

El tejido del tiempo-coderch-malavia-sculpture-bronze--02.jpg

Trying to imagine a parallel reality, who would Joan and Javier be without Art?

Sincerely, we find it difficult to imagine that parallel reality.
We have dreamed of doing what we do now a
ll our life. Art is part of us. Maybe we would be yearning for the life we currently live if we had dedicated ourselves to something else.

If you knew that with what you do you have the power to change something in the world, what would you change?

The world is a work of art, we should not become mere spectators of what happens.  We should get excited and reflect about what surrounds us just as we do about a piece of art. This process of reflection is, with no doubt, the basis for changing things.

What's your message for us?

Thanks for this opportunity you have given us. We wish to encourage all those who, like us, have decided to engage the adventure of doing what they really like to never give up!

Modelando Flight of the Swan.jpg

Nick Alm, Painter, Winner of TIAC Art Prize 2018

This year The International Arts & Culture Group has been invited by Art Renewal Center to be part of Art Renewal Center’s 13th International ARC Salon Competition. to introduce and give the TIAC Art Prize. The winners were the painter Nick Alm for his painting Ruset and the sculpters Coderch & Malavia Sculptors for the piece The Tissue of Time. The winners where selected by the leading members of TIAC, the artists Lynn Guo, Qin Chuan, Scott Breton, Zhang Meng , and Shi Yu Liu. 

We chose a painting and a sculpture that we felt exemplified the integration of fluent and powerful technical means with a theme that could resonate with a contemporary audience, and produce an iconic image, aesthetically and thematically.
— Scott Breton, TIAC Co-Founder

We've asked the artists to talk about themselves to present them to our community. 

Today is Nick Alm's turn.


Who is Nick Alm?
Born 1985. Living in Stockholm.

How did your love for art begin and why?
I’ve always been into drawing for as long as I can remember. Why? We're all born with inclinations. Visiting the Gothenburg Museum had a big impact on me and encouraged me to start painting in oil. 

Why painting? What makes this particular medium special to you?
The brushstrokes and the texture foremost. Also, the medium gives you both freedom and control.

Which have been the most satisfying moments of your career and why?
I´ve got no particular moment, but all awards have been welcomed. Selling out my first solo show was also a blast. 


On the other hand, the toughest struggles?
Poor painting days. Also I had a back injury that tortured me for almost a year.

Where does your inspiration come from?
From an accumulated memory bank, sometimes in alliance with new impressions.

pablo & francesca-oil-2013-90x70cm-72.jpg

It´s a process that usually is hard to put words on.

How is your creative process? What do you enjoy most? What less?
The creative process varies, but it mainly involves small thumbnail sketches with pencil and paper and experiments in photoshop.
The first vision is quite a dopamine kick, and seeing the picture come to life has some magic in it. It´s rarely a walk in the park though. I often get stuck with the composition, not knowing how to solve the problem. However, it´s worse to discover a problem once the picture is already painted.

Your paintings depict scenes of what it could be interpret as a Dionysian feast, full of characters and stories, could you tell us more about this? 
My appreciation for the theme has little to do with the mythology, but the theme is so full of potential. That´s why I´m drawn to it.

"Ruset" was TIAC's favorite this year. Could you talk about it? 
While working with a model for another painting she all of a sudden stroke this expressive pose, a pose that was telling a story. I placed her in a somewhat undefined restaurant in an unspecific time. More models were then brought in, one at the time, to add interest and context. The composition was most of the time a consuming part of the process. Painting took approximately between 1-2 weeks, but the process from the idea to the finished product took about two years. Though most of the surrounding is imaginative, one of the paintings in the background is a part of an album cover by Slayer. 

  Ruset  2017 95 x 115 cm | 37 1/4 x 45 1/4 in Oil on canvas

95 x 115 cm | 37 1/4 x 45 1/4 in
Oil on canvas

Trying to imagine a parallel reality, who would Nick Alm be without Art?
Maybe a musician. I would have to channel the creativity somehow.

If you knew that thanks to your Art you have the power to change something in the world, what would you change? 
Peoples sense of aesthetics. 

Any particular message you'd like to leave us?
Thank you!

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Flash Interview: Cristina Chiappinelli, Illustrator, TIAC Teacher

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Full name and profession

My name is Crisitina Chiappinelli, I'm an Illustrator and an Art Graphic specialized in prints and engravings. I'm also a teacher.

Where do you come from?

I was born in Cosenza, in the south of Italy. In 1994 I moved to Tuscany and I've lived in this Italian region since. Recently I've moved to San Rocco a Pilli, close to the city of Siena.

What did you study and where? 

After high school I enrolled at the Fine Arts Academy of Florence where I got a degree in Visual Arts and Multimedia Languages. I later got an "Ars in Fabula" Master degree in Editorial Illustration at The Fine Arts Academy of Macerata.

What moved you to get into the art world and to follow art studies?

I've always loved Art in all its shapes. Images have always fascinated me, I believe they have a cathartic power on the observer. I soon realized that Art and Illustration are the perfect means to express my emotions and feelings because they are the right channels through which I'm able to connect with the external world in a natural and genuine way.   

As a student, what was the most important lesson you learned? 

I remember with love and affection the linoleography and xilography lessons held by Professor Amadeo Lanci (1943 - 2011), who made me passionate about these techniques characterized by their almost primitive lines, from which images emerge powerfully thanks to the contrasts between fullness and emptiness described by the use of black and white.

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What do you teach at TIAC?

I teach Illustration and Art History. In the past I've taught Fashion, Scenography and Cinema History.

As an artist and teacher, what do you want to share with the students?

I often repeat to the students that every young artist who is starting to engage the path of art holds within himself a precious personal baggage full of excitement, artistic creativity and culture that allows him to see and interpret the world from his own and unique point of view. 

The Artistic community is always looking forward to meet with new perspectives of the world

According to you, where does inspiration come from?

In my field, inspirations comes mainly from books, especially from the classics ones like "Alice in wonderland" by Lewis Carroll, "The adventures of Pinocchio" by Carlo Collodi, Jules Verne "Extraordinary Voyages", "Master and Margarita" by Michail A. Bulgakov and so on. Music and cinema are also great sources of inspiration. 

Which phase of art/ creation affects you most?

Every phase of creations has its charm and I enjoy all of them, from the materialization of the idea in my mind to the actual realization of the work of art. Every single step is important, especially during the creation of a lithograph inspired by a book.

Lithography is for sure the technique that I prefer, because the act of carving absorbs me completely and fulfills me like no other technique.    

Why did you choose your career?

After high-school I was very hesitant about the next step to take regarding my professional path. I had attended a classic studies - focussed school that provided me with knowledge about artistic and cultural heritage in Italy, which in a way narrowed the options to choose.  I decided to enroll the Fine Arts Academy of Florence in order to develop more my studies and to be able to transform my passion for drawing into something else. 

What is the importance of passing on artistic knowledge to new generations?

New generations are the future, it is a fact. They'll eventually be the keepers of the artistic knowledge and the preservers of the cultural heritage of the world. Art has walked hand in hand with The Man since the beginning of times until now. Not passing on Artistic Knowledge to the next generations means erasing human history and Man himself. In the future, the current "new generation" will have the task to pass on the knowledge to the next generation and so on...forever.

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In your opinion, what is the social function of Art?

Art is a great tool, it is like a gigantic iridescent map that reveals the world to us. Through Art we can express everything we are without limits, for better or worse. Technology and Multimedia Arts have empowered the Artistic Language and made it much more direct. Nothing will stop its cathartic and purifier power.

What does TIAC mean to you?

TIAC is an important International Cultural Association with headquarters and collaborators all over the world, which main aim is to educate and train high level young artists and creatives. TIAC is a fresh, youthful and welcoming artistic community that emanates amazing energy. It is a place where professional artists get the right recognition and have the chance to share their knowledge with young people. I'm very happy to be part of this reality!

What personal message would you like to leave us?

Thanks for all that you are and for what you do.

Keep it up!


Flash Interview: Stefano Farinelli, Art Historian, TIAC Teacher

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Full name and profession

Stefano Farinelli, Art Historian.

Where do you come from?

I live in a city close to Florence called Prato since I was born.

What did you study and where? 

I graduated in Art History at the University of Florence.

What moved you to get into the art world and to follow art studies?

I've always liked to draw since I was a child. After high school, for two years I attended the Faculty of Architecture to follow this passion. However, I soon realised that the only class that really fascinated me was History of Architecture. I therefore decided to change faculty and I enrolled in the Art History Faculty. I have followed this path with conviction until graduation, and I intend to continue my studies to get a Phd.

As a student, what was the most important lesson you learned? 

There's no doubt for me that History of Modern Art classes were my favourite ones. The teacher was very passionate about the subject and he transmitted us his passion. He was also very good at giving us a non-canonic point of view on the matter, which was always stimulating.

What do you teach at TIAC?

Art History.

As an artist, what do you want to share with the world?

I would like to make the students understand that a work of art is not only beautiful, but it is the result of a long thinking process that hides behind its surface a fascinating world, which often is not easy to interpret, but it is for sure always truly beautiful.

According to you, where does inspiration come from?

I think inspiration comes from the artist's personal history, from his past. Our experiences, our constant work and passion are all elements that allow us to be creative. Inspiration must therefore be constantly stimulated, and must reflect the artist individuality in a genuine and honest way.

Why did you choose your career?

I wish to be able to understand what is behind Beauty...or what it is considered Beautiful. 

What is the importance of passing on artistic knowledge to new generations?

Art is a means of communication that allows us to live better. Young people must learn to communicate their essence. Often words are not enough and art can always help them.

In your opinion, what is the social function of Art?

Art has had different roles and taken several forms in society over the centuries, but I believe it has always satisfied a primary need for communication on a higher and almost spiritual level.

What does TIAC mean to you?

TIAC is an evolving reality with an enormous potential, because its goal is to interconnect very different cultures between each other. I believe this is fundamental for our times.

What personal message would you like to leave us?

Have a good time studying!

Flash Interview: Franco Spina, Visual Artist, TIAC Teacher

TIAC is lucky to collaborate with exceptional artists and professionals on the artistic field. 

We have created the Flash Interview formula to present them to you...let's start with Franco!



Full name and profession

Franco Spina, Visual Artist.

Where do you come from?

I come from Calabria, a region in the south of Italy, but I live in Florence.

What did you study and where? 

I have a Master's Degree in Visual Arts from the Academy of Fine Arts in Florence

What moved you to get into the art world and to follow art studies?

My drive was the continuous intellectual and professional redefinition of myself, but, perhaps, also the need to exorcise death.

Art is a trace, even if it is invisible.

As a student, what was the most important lesson you learned? 

The lesson I have never followed. It is not a provocation.

What do you teach at TIAC?

I hold a theoretical and practical course on Performance Art and Contemporary Practices.

As an artist, what do you want to share with the world?

I wish to educate the eye and the thinking...pretty ambitious! 

Where does your inspiration come from?

I do not believe in inspiration in a romantic way, idealization is too anachronistic.

Inspiration, as far as I'm concerned, is the act of transforming a thought or something I see into something else, it is seeing things in a different way, undressing them, penetrating them. 

I think idler is a good state of mind to trigger creation; this sort of abstention from the "real world" (nothing transcendental, just "doing nothing") ironically reconnects you to reality.


Which phase of art/ creation affects you most?

The transition from an abstract thought to the practical action, which often leads to the redefinition of the whole project. This is the essence of making art and being an artist: giving shape to a thought.

Why did you choose Visual Arts?

Let me quote one of my favorite songs by Moltheni: "A new world will be born, kind and imperfect, but immune to everything". I believe in the absolute beauty of imperfection, of the ephemeral, of the transitory. It's what is closest to life.

What is the importance of  passing on artistic knowledge to new generations?

To trigger…

In your opinion, what is the social function of Art?

Ethics and politics. It is an incessant exchange. Art should never become propaganda, but it must be a means to allow thinking and exchange.

What does TIAC and Turandot mean to you?


What personal message would you like to leave us?

Let us remember the banal!


Old Masters Techniques in Beijing

In order to strengthen the cultural exchange between China and Europe, TIAC has organized a Master Workshop in Beijing called Old Masters Techniques. Two experts on the matter, Daniela Serrano, Art Restorer, and Daniela Astone, painter and director of the second year studio of the painting department of The Florence Academy of Art, have traveled all the way to China to share some precious european heritage.   

Daniela Serrano started the course introducing the Opificio delle Pietre Dure, an autonomous institute located in Florence specialized in restoration of works of art, where she completed her Master Studies.

It was fundamental to show to the oriental audience that, due to its artistic high level and history, The Opificio is one of the most important sources of knowledge in terms of restoration techniques not only in Italy, but also in Europe. The institute was established in 1588 at the behest of Ferdinando I de' Medici to satisfy his love for inlaid precious and semi-precious stoneworks. This grand ducal institution, which remained active for three centuries, was the core of the Opificio delle Pietre Dure, established at the end of the 19th century, which still has its headquarter in the original location chosen in 1798 for the laboratories formerly housed in the Uffizi. The institute maintains also a specialist library and archive of conservation, a museum displaying historic examples of pietre dure (hard stones) inlaid semi-precious stones artifacts and a scientific laboratory focussed on researching and providing conservation and restoration services.

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Having a broad background on the matter, Daniela Serrano unveiled details about materials, chemistry and techniques used by some of most admired european painters.

The preparation of rabbit glue with the correct proportions, its application on wood and canvas, pigment grinding, oil selection and imprimitura preparation where some of the subjects treated during her lessons, which where focused mainly in producing the painters materials from scratch using the same raw materials, oils, powders and tools used by the Great Masters in the seventeenth century.

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After the theoretical lessons, the students had the task to try and practice the techniques themselves along with Daniela Astone.

Astone is an Italian new-realist painter who after graduating from the visual arts high school of Grosseto, moved to Florence to study illustration at the International school of Comix. In 2001 she enrolled in the Florence Academy of Art, where she graduated in 2004. Daniela is currently the intermediate program director at The FAA, a prestigious academy founded by Daniel Graves, a great Neo-Realist living Master, specialized in offering training to aspiring professional draftsmen, painters, and sculptors who desire to work in the tradition of the Old Masters.


With Daniela Astone's guidances, the students could experiment the practical application of the materials produced by themselves during the exercise of copying on canvas one of Rembrant's famous self portraits. This brought a whole new painting experience to artists who broaden their understanding of color and its meaning by being forced to analyze in a much more conscious and methodic way the techniques of the Great Masters.

Antonio Lopez

At the beginning 2017, another enriching experience began for the group of artists that travelled all the way from China to Spain to study painting with two great Spanish Masters: Golucho and Antonio López.


TIAC Master Workshop with Antonio López García started on March 27th in Madrid. This was 6-day course during which Mr. López painted and sketched along with the students while giving them guidance on the painting process as well as suggestions on techniques and materials.

López also took the time to look at the artists portfolio one by one to analyze their creative ideas and to give them the most precious advices. 


The students were deeply touched by this Artist, who on the first day of the workshop went himself to the vegetable market to select the material for the still-life exercise. It was important for López to allow the students to observe the creative process from its very beginning. Thanks to the Master they learned how to select the object/subject to be depicted and how to set up a harmonious composition with beautiful local products.   


López shared with the students that he wanted to paint only what he could see, but also confessed that while studying the comparative method of painting, which uses only a brush as tool to check and compare proportions within the painted subject, he realized he lacked of means to capture more accurately the physical form.

 Antonio Lopez's measuring tools

Antonio Lopez's measuring tools

During the '60s, he came up with his own personal measuring method using a variety of tools designed by himself that would allow him to measure any object regardless the distance.

A wooden square, a compass, some strings, a plumb bob, a bottle of temper and some needles have been used since during the development of his paintings.

My uncle is also a very good painter but he does not care about these rigorous methods of creation. He thinks he should practice how to observe the subject and I have very much agreed with him for long time, but I slowly found myself increasingly eager to achieve a higher level of precision, and in order to shorten the process, I tried some methods and finally found that measurement is the best way.
— Antonio Lopez

Antonio Lopez devoted himself to every aspect of the development of the student's progress in their paintings, and, regardless the difference of language, he was able to convey his passion and care for them. Not only he taught  the lessons, but also he took the time to know every one of the artists, to listen to their life stories, experiences and questions in order to give them the best of the advices. His humbleness was shocking for the Chinese artists, who pay so much respect to their Masters that they would never consider themselves as equals.

Master López broke cultural boundaries expressing his love for the encounter between the younger generations of different cultures, making TIAC's efforts to organize this kind of Master Workshops even more meaningful.

Artists Take the Lead

Artists Take the Lead

What is the role of the Artist in society? What leads the Artist to do what he does? What are the tools that help Artists to make a living on their creations? How does the Art Market behave and how can it be reached? How can creative thinking promote change and social impact? What are the challenges and opportunities faced by artists throughout their career? What’s the impact of technology in art? How is heritage managed? What is the relationship an artist’s practice has with their environment? 

All these questions and more were faced and discussed on Saturday November 25th during the event ‘Artists take the Lead’ hosted by TIAC and organised by Art World Forum in their first Italian edition. 

About Art World Forum

Art World Forum is an emerging global platform created by Anni Oates and Veronica Neo, whose aim is to build valuable network between art professionals and business leaders.

Through its high quality, high value international conferences, Art World Forum provides unique informational, marketing and networking opportunities to a vast number of art investors, collectors, dealers, insurers, academics, practitioners and overall art enthusiasts. Their aim is to be established in each of the world’s key art markets where transactions and investments are taking place.

Through their carefully curated sessions, delegates of the conferences will have the opportunity to network with leading experts in the art-business industry from around the world, to learn about how the art market interacts with business, financial, consumer and knowledge markets, and to develop strategic alliances that may lead to business opportunities and social impact.

The Forum

‘Artists Take the Lead’ was a series of conferences about artistic entrepreneurship and about The Artist as an entrepreneur himself. The event took place in The International Arts & Culture’s headquarters in Florence where at 9:30 a.m TIAC’s team welcomed the speakers and the attendants offering them a good Italian coffee.

Before 10:30 a.m., all the seats were taken and it was satisfying for both TIAC and AWF to see how the room was full of people coming from a variety of backgrounds and realities of the artistic field, from students of several art academies to professional artists.

 TIAC headquarters in Florence, Italy

TIAC headquarters in Florence, Italy

 Anni Oates, Co-Founder of Art World Forum

Anni Oates, Co-Founder of Art World Forum

Anni Oates and Veronica Neo, co-founders and directors of Art World Forum, started the event thanking TIAC and Florence for giving them the chance to organise a forum focused mainly on the Artists’s perspective, which often tends to remain on the back burner when pieces of art are treated only as economical investements to be sold and auctioned by art dealers and buyers.  

 Scott Breton & Lynn Guo, Co-Founders of TIAC

Scott Breton & Lynn Guo, Co-Founders of TIAC

Right after, it was Lynn Guo and Scott Breton’s turn to speak. As TIAC’s co-founders they introduced The International Arts & Culture group as one of the projects that offer support to new artists to find an easier and clearer way of entering the artistic educational and professional world through the services they offer along with the Turandot project and Synarts, one focused on offering full education in arts and the other in charge of building an online platform to find grants, jobs, residencies and opportunities in arts all around the world.

Mr. Samir Ceric followed introducing the Art Coach, a project designed to empower artists with the tool-kit and the knowledge about how to turn their passion into a long term career and guide them on their own road to success by helping them develop more, learn more, discover more, decode more, figure out more, and in that way demystifying the art industry, opening it up to a much wider audience.

Mr. Ceric handed over to Armen Agop, a contemporary artist born in Cairo and currently living and working in Italy. Mr. Agop was in charge of introducing The Artist’s Perspective, bringing up the fact that the reason why human beings do art is unknown even for the Artist, who is led by a strong primary drive to create. Agop highlighted that the most precious resource for an Artist is Time. 

 Armen Agop

Armen Agop

According to him, an artist must have the time to think about his project, sketch it, find the materials, work on the piece, question it and tweaking it. Though, it is well known that most of the artists are often solving financial problems by accepting jobs, sometimes not even related to art, that would give them the possibility to roughly make ends meet, but would waste their time and energy, putting them on the loop of frustration and unfulfillment of his primary drive.

Mr. Agop’s statement opened up the next discussion: what are the tools an artists can use to help him to save time and have access to a market that would fairly value him and his work of art?

Ms. Barbara Tagliaferri, Brand & Communication Leader, talked about how the Art Market works and underlined that social media and online communication and transactions are taking the lead on the way artists and buyers are getting connected. She introduced a very clear and detailed landscape from the buyers and art market’s point of view, but the question about what is the most successful way for an artist to access a market that seems unreachable for him, and how this numeric information could be helpful, remained without a clear answer until Miguel Mayher presented a project that links both the artistic and the financial worlds. 

 Miguel Mayher

Miguel Mayher

The Artist MBA (Master in Business Administration) is a project sponsored by TIAC and created by Miguel Mayher with the aim of offering a series of online tutorials that would guide the artists on the path of entrepreneurship by finding creative ways of displaying, offering and living on their work of art, as well as promoting positive change and social impact.  Mayher presented some examples of artists that would inspire people to get in touch with art by using their influence in social media.

Technology should be seen as leverage for art.
— Miguel Mayher, Artist & Entrepreneur


Next on the Agenda was a case of study: Thinking Outside the Box, a conversation with five artists to discuss the challenges and opportunities faced by them throughout their career, about how has the art market categorized their practice and how can new initiatives inspire change. 

The conversation started with a video by Anna Rosa Paladino, Burlesque Artists, presenting the contrast between the joy and beauty offered to the audience during a show, and the internal world of the artist, often painful and sad but. The video stated that being a live performance a performer’s job, no matter what, the show must go on.

The ‘Thinking outside the box’ panel was composed by Mitchell Price, Artist & Teacher at The Florence Academy of Art, Tessa Moroder, Co-Founder & Textile Designer at LottoZero, Daniela Astone, Artist & Director of Second-Year at The Florence Academy of Art, Emanuele Barili, Space Designer & Architect of Associazione Chi-Na and Anna Rosa Paladino, Artist & Performer. 

The panel brought the attention back to the Artist’s world and to the fact that Art is not only a product to be sold, but a service to society through which it is possible to help people to find themselves, to enjoy life and to face difficult times. 

 Mitchell Price, Tessa Moroder, Daniela Astone, Anna Rosa Paladino, Emanuele Barili

Mitchell Price, Tessa Moroder, Daniela Astone, Anna Rosa Paladino, Emanuele Barili

According to Daniela Astone, success in art can’t be measured only by the number of items sold within a year, the amount of money made with a piece or by popularity. Success is also given by the emotional impact on someone who might change behavior thanks to the contact with a work of art or the experience of art itself. Mitchell Price expressed that the worse advise that could be given to an artist is to change his lifestyle only because there could be a profit in it, therefore an artist should remain faithful to the essence that moves him to create. Tessa Moroder  and Emanuele Barili encouraged the combination between arts and other disciplines, such as architecture, to create new human experiences that would serve society’s harmony and help cultural integration.

Another case of study followed: Redefining the Studio, a conversation about the struggle of sourcing for an artist’s studio. How have artists taken the matter into their own hands, how have public spaces been redefined, culturally and personally and how has the cultural space been revamped were the topics to be discussed. 

 Alessandra Tempesti, Leonnie Buche, Cristina Chiappinelli, Cosimo Balestri

Alessandra Tempesti, Leonnie Buche, Cristina Chiappinelli, Cosimo Balestri

Cosimo Balestri, Space Designer & Architect, Cristina Chiappinelli, Artist & Art-Teacher, Leonnie Buche, Musician and Alessandra Tempesti, Curator were the interviewees for this topic. The first task for this panel was to define how important it is to have a studio for an artists, and the conclusion was that the form of art defines its importance. For Cristina Chiappinelli, who often uses big printers for her graphic pieces of art, a studio is fundamental because of the need of physic space; this comes down to an increase of the artist’s expenses. On the other hand, Leonnie Buche talked about her experience in studio-sharing, that has given her the opportunity of networking and a way to widen her contacts and experiences. Cosimo Balestri exposed the possibilities of recovering abandoned places and transforming them into sustainable co-working spaces, and presented some examples of abandoned buildings being transformed into cultural spaces.

After lunch the forum focused on discussing the existing models of artistic creation, restoration an preservation versus new ones.

As an introduction to this topic, the art historian Andrea Foenander talked about the beginning of computer art and the development of contemporary art with the introduction of technology in it. Foenander explained that computers brought a whole new artistic field and possibilities that created a new language of expression. 

After the analysis of this new reality, it was the time to face and discuss the impact of the digital world on the process of art making.

Scott Breton joined Ms. Foenander in the discussion, expressing how exciting it is to experiment with new media and encouraging artist to overcome their natural resistance to digital resources, which gives the artists more forgiving ways of making mistakes and experimenting. However, Breton agrees on the fact that Classicism will always be the main source of knowledge in terms of composition and narratives. Ms. Foenander added that digital world still lacks of the physical experience, which sends specific codes to the human brain trough the senses, but acknowledged that Virtual Reality is giving a whole new perspective to the experiencing of art, since it’s already being used in art installations. Breton added that VR could be a possibility to widen the experience of physical art "imagine you can walk around a sculpture with an Ipad in your hands showing you the Artist while working on his piece" he said. 

 Scott Breton, Andrea Foenander

Scott Breton, Andrea Foenander

This part of the forum was a reminder to the artist about the ongoing and unstoppable reality of technology development and digital world, yet, the decision of using a real brush or a computer still remains in the hands of the creator, as well as its responsibility on studying the classic methods to apply them in the digital format and vice versa. 

The previous topic was directly connected to the next one, a conversation about the institutional paradigm when protecting the heritage. Mr. Emiliano Galiani, Director and curator of Cartasia International Biennale, Mr. Giandomenico Semeraro, Vice-Director of Accademia di Belle Arti di Firenze and Mr. Emanuele Barletti, Curator of Annigoni Museum, were the speakers analyzing how institutions are keeping up with the changing environment and how classical models are welcoming change and promoting adaptability.

This last discussion brought up more questions than answers since heritage - keeping is a paradox for Emiliano Galiani, who thinks that heritage is something created continuously and renovated in the act of transmission of culture from one generation to the other, therefore it should be kept and maintained by both the government and people.

 Emiliano Galiani, Emanuele Barletti, Giandomenico Semeraro

Emiliano Galiani, Emanuele Barletti, Giandomenico Semeraro

Education was a strong point of discussion, for Giandomenico Semeraro the more a person studies and knows about cultural heritage, the easier it is to create awareness on the importance of its conservation. For Emanuele Barletti, art is a matter of spirit, reason why it must be honored and respected as religion, but at the same time admits that money defines the possibilities of choosing methods and frequencies of conservation processes. The discussion ended with a spontaneous participation of the audience, who suggested Art should be taught and experienced since kindergarden and at home to broaden the awareness of its role and importance in society "it is too late to create awareness in college and University, a human being needs to get in touch with art since babyhood!" shouted a lady from the audience, followed by an ovation.  

The cherry on top of the cake was the closing speech by Mr. Chen Danqing, the Art World Forum Featured Artist. With his relaxed yet serious way of speaking, Mr. Danqing words were a challenge for everyone in the room. The Master advised every artists to quit their artistic path if thoughts about money and success are defining the directions of their creation, because an artists doesn't know why he creates, but he still does it. 

Why do I paint? I don’t know. I love painting, so I do it, that’s it.
— Mr. Chen Danqing
 Mr. Chen Danqing

Mr. Chen Danqing

Danqing closed the circle bringing the discussion back to what Mr. Agop said at the beginning of the day: an artist responds to a primitive drive to create and he should be the condition to have time and space to do it, so as an entrepreneur he needs the right people and tools to help him. 

At the end of the day, the members of Art World Forum and TIAC witnessed the success of the event when, after the closing speech by the co-founders Anni Oates and Veronica Neo, several speakers and attendants sticked around to keep on passionately talking about the topics exposed. 

It could definitely be said that Artists Take the Lead in Florence was a success because at the end of the day, the network was created.

Will Artists Take the Lead? Definitely after the Forum it remained very clear that when an artist chooses how he wants to live and what he wants to create, he has already taken the lead.

Art World Forum: When Superwomen take the lead

Next Saturday 25th of November, TIAC will have the honor to host 'Artists Take the Lead', an event created by Art World Forum in association with The International Arts & Culture Group to gather all the players of the Art Market together to discuss the artist’s role in society; the liminality between art and commercialization, and leadership in the artistic and cultural ecosystem.

Art World Forum is an emerging global platform born in Singapore which aims to build valuable networks between art professionals and business leaders.

Through its high quality, high value international conferences, Art World Forum provides unique informational, marketing and networking opportunities to a vast number of art investors, collectors, dealers, insurers, academics, practitioners and overall art enthusiasts.

The newly-established initiative is anchored in Singapore and was founded in response to the lack in art & business conferences in Asia. Its goal is to extend various industries and to promote an exchange of various content by welcoming leading art and business experts to promote their expertise.

Our aim is to be established in each of the world’s key art markets where transactions and investments are taking place.
— Art World Forum Team
 Anni Oates & Veronica Neo

Anni Oates & Veronica Neo

Two young and beautiful women are the leaders behind this start-up, Anni Oates and Veronica Neo, called by The Art Gorgeous Singapore’s Power Duo. 

According to the Duo, professionals in the art industry are keen on experimenting and testing new ground. The art world has always been a rather opaque environment with a fairly tight circle or individuals. It is refreshing and truly interesting to see people open up and invite the opportunity of having a chat. Anni and Veronica also think Asia is experiencing a renaissance in cultural and intellectual rejuvenation; blockchain may help overcome issues of transparency.

As a start-up, the greatest challenge has been to source for consistent support and engagement at our various events. Being involved in a start-up means that hurdles and complications are inevitable. Having said that, it is also what keeps us on our toes.
— Annie Oates for Art Radar

Art World Forum's niche is the gap not filled by art fairs and festivals, which offer plenty of opportunities where art may be viewed, displayed, sold or discussed, but without focusing on the marketplace or industry overall; 'the discussions and opportunity to network is the essence of our events' says Annie Oates.

The International Arts and Culture Group (TIAC), is proud to present Art World Forum for the first time in Italy to offer a series of conferences about artistic entrepreneurship and about The Artist as an entrepreneur himself.

‘Artists Take the Lead’ will be open to all artists interested in deepening their knowledge of the Art Market, how to deal with it and get involved in it in an organic, effective and fulfilling way.

The aim is to discuss current issues and lead positive change in the global artistic and cultural ecosystem, to inspire and encourage change. In a changing environment which demands a proactive attitude, and the ability to wear multiple hats in the industry, the focus is put on practitioners, creativity and problem-solving. 

TIAC's Team along with Art World forum are looking forward to the results of this collaboration that will offer a wide scale of encounter and also will allow The Artists to take the Lead.

AWF Florence - Flyer_Insta.jpg

Pictures by Veronica Neo

Sources: Art World ForumThe Art Gorgeous, Art Radar

Beyond Skills, a Master Workshop with Golucho

On March 2017, a group of Chinese artists officially started their journey to Spain to attend the Master Workshop organized by TIAC with the great Spanish painter Golucho whose work is considered to be part if the New Realism.

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The problem with realism is that everyone believes that they understand it, they think before a realistic picture that it’s aim is the mere representation of everyday life. On the other hand, abstraction makes the viewer become humble and say ‘I don’t understand it’ and in that way, by not discovering that picture, they’re closer to the testimony of that work, but when it comes to quickly ‘understanding’ the painting, there is realism. The conclusion is that the viewer stays on the surface of what is represented and this work can be left in mere appearance and in technical ability.
— Golucho

After visiting El Museo del Prado, the artists went the to La Casa del Pavo Art Studio, the "Peacock House", located in the center of modern Alcoy, famous for being both Fernando Cabrera Cantó and Joaquín Sorolla's studio during the 19th century and which in 2012 became a professional art college.

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Beyond Skills was the name given to the five-day course during which the Master challenged the artists with the exercise of abandoning innate ideas and explore new possibilities through the exchange of cultures. Golucho finds experimental painting very important; his way of moving and changing according to the needs of creation break the rules of traditional techniques.

The best part of a painting is what has not been painted
— Golucho

After the course and as a closure to the experience with Master Golucho, TIAC organized an exhibition in Alcoy's City Hall where the paintings produced by the Chinese artists during the workshop were displayed along with Golucho's. The exhibition attracted wide attention from all over Spain and it's popularity was unexpected.

Although Spain and China are miles away from each other and have different cultures, through the arts they are all interlinked. Master workshops are organized not only to create the right ground for artistic education and exchange, but also to prove that communications goes beyond languages and creation Beyond Skills.

TIAC Master Workshop

Sometimes, as a young art graduate you feel there are lots of questions, technical and philosophical, that haven’t been answered during your studies maybe because you just face them once working by your own without a teacher's supervision. Often finding the answers to those questions becomes a matter of spending too much time searching for the right course, masterclass, workshop or connection suitable for both your craft and your wallet, and one might end up giving up because the experience is either too expensive or to far away.

In order to accomplish TIAC's mission of bridging between different levels of artistic education and to make artistic development easier and accessible for everyone, the team has come up with the idea of organizing Master Workshops. 

TIAC Master Workshop is a projects to get established and respected artists, who are highly skilled and professional and to create spaces to allow people from across the range of artistic world to learn from them.

In other words, Master workshop is about mentoring.

 Master Workshop with Odd Nerdrum, Florence 2017

Master Workshop with Odd Nerdrum, Florence 2017

 Master workshop with Golucho, Madrid 2017

Master workshop with Golucho, Madrid 2017

Led by the spirit of learning and sharing knowledge, TIAC invites artists that are in their Senior stage of their career to mentor other artists from a variety of levels of education, even the ones who are already professionals or in a late state of their career but are still in the research of answers. The main goal is to create a platform for artist to communicate with each other, to exchange opinions, questions and challenges.

Three Master Workshops have been organized during 2017, two in Spain with Masters Golucho and Antonio Lòpez and one in Florence with Master Odd Nerdrum. This have been extremely enriching experiences not only for the artist attending the workshop, but also for TIAC's team members, who also have learned how accessible, humble and full of questions even great masters are. 

At the moment TIAC is working on the new proposal and possibilities for the next Master Workshops to widen the the educational offer and opportunities and to strengthen the net that makes The International Arts & Culture Group a reliable artistic community, open and devoted to every single form of art and creative work.

 Master Workshop with Antonio Lòpez, Madrid 2017

Master Workshop with Antonio Lòpez, Madrid 2017




About TIAC

Dear reader, we hope this letter finds you well.

We’d like to invite you to join us for a coffee in Florence to introduce ourselves, but if you prefer having a tea in Shanghai or Hong-Kong, tapas in Spain, a meal in USA or even a beer in Sydney, we can easily fix that. 

We are very much looking forward to meet you, and before we start describing ourselves, we’d love to hear about you; tell us what makes you an artist and why did you choose to follow the path of creativity. May we ask what are your projects, ideas, fears, frustrations and artistic needs? 

On top of everything, we want to hear about your passion.

Do you think the places we proposed for our meeting are unreachable? Think twice. 

Actually, don’t think…imagine.

Imagine a world wide artistic community capable of building bridges to turn any cultural, geographical and social boundary down, allowing encounter, realization and self-fulfillment to every person who decides to become a member. This idea might sound utopian, but with a little of visionary attitude and devotion it actually has become a reality called TIAC. 

The International Arts & Culture Group is an organization that aims to connect and support artists from a variety of mediums, backgrounds and nationalities. Bridging between disciplines, the organization itself is made out of people from different backgrounds such as fine arts, photography, architecture, design and performing arts. The Group is spread across the globe, with key teams in China and Italy, but others who work from Australia, Hong Kong, Spain, and the United States.

TIAC was created by artists for artists. 

The Founders Lynn Guo, Liu Shiyu and Scott Breton, professional fine artists, came across the simple idea that they wanted to create more jobs, options and opportunities for people like themselves. The goal was to benefit people.  

We were not planning to become a company, our idea was to help artists to grow and to create jobs. We started with workshops and we had about 30 artist working for TIAC, and also a variety of models who are actually arts history professional but ended up modelling because of necessity. Later those models became our teachers. We want to give new graduates and students the opportunities to develop their profession, to live their passion also as a job.
— Lynn Guo, Painter and TIAC's Co-Founder

TIAC is an educational organization and it’s range goes across different levels of people involved in arts, from students to developing artists and professionals. TIAC supports them through introducing them into an artistic network and also providing them of workshops to enrich their skills and knowledge. 

The International Arts & Culture Group believes in the encounter between people from different cultures because trough exchange it is possible to discover several ways of seeing the world, face new personal and social challenges and “ you get in contact with new esthetics that might enrich your own work of art” as TIAC co-founder Scott Breton says.

The mission is clear: connection, education, collaboration, exhibition and development.

It is about creating fair opportunities for every artist regardless of their social or cultural state to allow them to study, get into the artistic community, work with other artists, show their creations and develop their talent so as to pass it on to the next generation. 

Dear reader, we hope to have encouraged you to put aside your concerns about not being able "to make it as an artist". Know that there are other artist like yourself willing to make it easier for all of us. It is time now to believe in your passion and decide to develop it. We all have something to say, but if you think you're alone you won't speak out because from your perception  no one will hear.

Remember, in a community, no one is alone.  

Looking forward to meet you,