Bruton + Co, the new strategic adviser art business founded by London-based art entrepreneur Olyvia Kwok, is to hold a special opening exhibition at its premises on Bruton Street, Mayfair, from 12th June. This exhibition will be one of the most significant retrospectives of post-war abstract art on view in London for many years. The exhibition will feature works by major 20th-century pioneers, including 1950s artist Sam Francis, 1960s artist Robert Motherwell, and 1970s artist Joan Mitchell.
The exhibition will be hosted in the company’s premises on Bruton Street in Mayfair, which is not a gallery but instead a showroom functioning as a platform for rare opportunities and investment. Spanning movements such as Abstract Expressionism, Art Informel, and Gutai, the selected works will focus on the way that colour interacts with emotion, beauty, and fluidity.
Says Kwok: “What really matters in today’s art market is quality. It’s without doubt that art is an investable asset, and blue-chip artworks with historical significance will often enjoy a better rate of return than blue-chip stocks, particularly given the current volatility of stock markets. With gold reaching new highs, and the US dollar growing vulnerable, there has never been a better time to invest in significant cultural artifacts that represent a vital period of art history.”
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Abstract Expressionism, an American movement, has long been overlooked in the European market, but will feature heavily in the exhibition. Bruton + Co differs in its taste-making approach, guiding buyers towards an international perspective on art collecting, offering key works by major American artists. With America’s economy one of the most resilient in the world, American art remains a safe investment.
This is followed by Asia, and works by Kazuo Shiraga and Zao Wou-Ki will also feature in the exhibition. By showing these artists together a conversation will unfold, complemented by the inclusion of works by European lyrical abstractionist artists Georges Matthieu and Pierre Soulages, speaking to the lyrical qualities of Wou-Ki and the performative nature of Shiraga.
Bruton + Co aims to educate buyers in the London market, positioning them ahead of the trend and giving them access to rare opportunities as well as emphasising the importance of looking beyond national boundaries when investing in art. Regardless of their own nationality and experience, looking at art with a global perspective allows buyers to identify the best acquisition opportunities and to discover works that speak to their emotions, allowing them to curate their own distinctive tastes.
Buying art can be a significant tool in wealth planning. The ability of blue-chip artworks to hedge currency risks has long been overlooked; artworks can be sold in multiple currencies across multiple nations, removing many of the barriers seen by traditional investments. Art and property are often compared for their investment potential, but art supersedes property in its ability to be shipped easily around the world, and requires only storage, instead of constant maintenance costs, as well as simpler tax implications.
Bruton + Co will not only curate fantastic examples of blue-chip art in its London home, but will also provide expertise across all areas of art investment, whether you are someone looking to make your first acquisition or you are an experienced collector.
The space on Bruton Street is open by appointment only, but members of the team are always happy to initiate a more detailed conversation about buying art at any level.
Bruton + Co will be hosting independent events from the start of June, and is also open to collaborations and joint ventures. If you are interested in collaborating, please contact a member of the team directly to discuss any ideas or arrange an appointment.
London-based art entrepreneur Olyvia Kwok is set to launch Bruton + Co, a new type of art business that goes beyond traditional dealership and advisory models. Instead, it acts as a strategic partner for those looking to buy and invest in art within the ever-evolving market. Located on Bruton Street in Mayfair—just across from the apartment where Her Majesty Queen Elizabeth II was born—the business will operate from an office featuring a large, double showroom on the first floor. The premises will officially open on 12th June.
Bruton + Co represents a novel business model for both Kwok and the art market at large. It is neither a gallery nor a conventional dealership; instead, it offers a partnership-based approach for collectors and investors, while also providing management services to emerging artists deemed to have strong commercial potential.
The firm delivers comprehensive services across all aspects of art investment, including estate planning, portfolio management, auction structuring, and even advice on using art to hedge against currency risk. It also facilitates access to distressed opportunities, thanks to strong ties with legal professionals and receivers—allowing clients to benefit from rare buying prospects not available elsewhere.
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The showroom will host invitation-only exhibitions curated by world-renowned experts, collectors, and private estates—enabling clients to make lucrative investments while enjoying the works firsthand. Additionally, it will serve as a venue for collaborative events and networking, aiming to bridge the worlds of art and finance. Guest lists will extend beyond the traditional art audience, with a focus on encouraging private banks, hedge funds, and other financial institutions to invest in art and form meaningful partnerships with the creative sector.
Founder and CEO Kwok explains:
“Now is the time to bridge the gap between generational collectors with deep experience in the art market and the new buyers emerging from the significant wealth transfers currently underway—across both generations and industries. We’ve seen a major increase in interest from this new demographic, who view art as an alternative asset. Bruton + Co is designed to guide and serve both seasoned collectors and first-time investors, offering a distinctly tailored and adaptive approach.”
“I’ve been in the art business for over 20 years, and there’s hardly an area I haven’t touched. I opened my first gallery in London’s St James’s when I was 23, led the Asian Contemporary trend, and built the first emerging markets art fund, which delivered extraordinary returns in this ‘emotional asset class.’ I transitioned to Pop Art (Warhol, etc.) just before it ‘popped’,” she smiles. “I’ve made substantial returns for my investors over the years. When the market began shifting, I focused on sourcing museum-quality postwar and Impressionist works for Asia. Some of these are now in liquidation due to industry changes—through which I discovered another angle: selling artworks directly from receivers.”
“In 2014, I launched an art lending fund—using blue-chip works as collateral—well before art lending gained mainstream traction. I was also among the first to use art guarantees as an investment tool for high-net-worth clients. Over the years, I’ve maintained a ‘go big or go home’ mentality. Now, I feel it’s time to double down.”
“We’re in an exciting new phase of the market, and Bruton + Co is ahead of the curve with a business model built for these changes. Crypto and tech billionaires—once newcomers—are now major players. With our global reach, I see vast opportunity. Buying art is also a strong hedge against financial risk, particularly in light of today’s geopolitical and currency-related uncertainties in the US and Asia.”
“While more than 11,000 millionaires chose to leave the UK in 2024 due to tax policy shifts, I’ve decided to stay and double down on London. I believe the UK will follow Europe’s lead and focus on fostering economic growth. Many of those who’ve left will return.”
“In the next 12 months, we’ll be announcing our Asia locations, followed by a US presence. Our business will operate as a franchise—a first for the industry—and we’ll be releasing more details soon.”
“I’m ready to begin this next chapter, to build a bridge between what’s come before and what lies ahead. For me, this isn’t just a business—it’s a part of who I am. That’s my ethos, and it’s what I live by.”
Swedish artist, musician, and writer Maj-Britt Niklasson will soon bring her deeply introspective work to an international audience in Japan. Selected to participate in the Tokyo International Art Awards Exhibition at the prestigious Metropolitan Art Museum, Niklasson will travel to Tokyo to attend the event and receive the International Peace Award for her evocative painting Without footprints. The exhibition runs from May 29 to June 4, 2025.
Niklasson’s award-winning painting, Without footprints, is a serene and contemplative work that captures the essence of presence and peace. “The shadows are calm and kind,” she says of the painting. “It’s morning, no footprints. It’s here and now.” Featuring a horse, a dog, and human figures, the piece is a quiet meditation on harmony and the subtle poetry of untouched moments.
A multidisciplinary artist whose talents span visual art, music, and literature, Niklasson has long explored the depths of the human experience through various mediums. With over 30 years of painting and exhibiting, including a scholarship from the Royal Swedish Academy of Fine Arts, she is known for her distinctive, symbol-rich oil paintings that speak to the universality of life’s existential questions—light and shadow, birth and death, stillness and motion.
Her art is not her only voice. As a seasoned musician and composer, Niklasson continues to develop a parallel musical career. On May 21, she will release a new English-language single titled Choir of Dawn’s Light, available on Spotify, YouTube, and other major platforms. The original Swedish lyrics were written by Niklasson herself, with the English version co-written alongside Catharina Jarl. The song, born from darkness and resolution, echoes themes of wounding, awakening, and the return of hope. “I searched for echoes / I searched for signs / But all I found was a wound… Then I heard the choir… Soft and humming voices / The choir of dawn’s light,” the lyrics say—reflecting the same quiet strength that runs through Niklasson’s visual work.
This autumn, she will release a full-length CD titled Big Bang – födelsen (Big Bang – the Birth), a collection of original songs that she both composed and performs. Singing and playing the violin, Niklasson blends lyrical sensitivity with musical depth, continuing her journey as a singer-songwriter. The image of the space with the little girl will be the cover of her CD this autumn—linking her visual storytelling with the sonic worlds she creates.
Prior to devoting herself fully to painting, Niklasson toured internationally as a professional musician with the Swedish folk-rock group Landslaget (Friendship Train), recording several albums and performing across borders. Even as her focus shifted toward visual art, music remained an integral part of her identity. Today, her exhibitions often feature live performances, creating immersive, multisensory experiences that blur the line between sight and sound.
Niklasson is also a published writer, adding yet another dimension to her expression of the human condition. Whether through painting, music, or the written word, her work invites reflection, empathy, and connection.
With her upcoming exhibition in Tokyo and continued musical output, Maj-Britt Niklasson proves once again that art knows no boundaries. Her creative journey, rooted in introspection and openness, serves as a powerful reminder that even in a divided world, art can unite us in our shared humanity.
Vian Borchert is a distinguished contemporary artist whose expressive and emotionally charged works have captivated audiences worldwide. With a career spanning decades, Borchert blends a painterly approach with abstract and impressionistic elements, drawing deep inspiration from nature, memory, and personal experience.
Raised in an environment steeped in artistic influence, her journey from a creative childhood to a celebrated fine artist and educator is as rich and nuanced as her art. In this exclusive interview, Vian shares insights into her artistic process, the inspirations that fuel her creativity, and the resilience it takes to thrive in today’s ever-evolving art world.
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Can you tell our readers about your childhood, family, and the environment you grew up in? Were you an artistic child?
My childhood was deeply immersed in art, as my mother is a professional artist and my father is an art collector. I was raised in a family where creativity was a cornerstone, cultivating an environment that fostered artistic development and expression. Growing up, seeing my mother standing by an easel while listening to classical music like Beethoven’s Symphony No. 9 instilled in me a natural affinity for art, making it an integral part of my daily life.
Yes, I was definitely an artistic child. I loved art from a very young age and everything about it. Attending art exhibitions with my parents, being around their artist friends, and listening to art discussions all broadened my appreciation for the arts. For me, art was as essential as nourishment. As a child, I had a desk in a quiet corner of the house where I would retreat to draw and paint. In that space, I would enter my own world of artistry and dreamscape. I have always been a dreamer, from childhood to this day. My childhood was a tapestry of artistic immersion, intellectual stimulation, and emotional expression. The nurturing environment provided by my family, combined with my personal experiences, played a pivotal role in shaping me into the artist I am today.
First and foremost, seeing my mother paint in front of me as a child made me want to become an artist. My father, a nature lover, often took us on countryside trips where we would hike and explore wildflower fields. These experiences instilled in me a deep love and appreciation for nature’s beauty. Such early encounters helped me connect with my sources of inspiration and shaped my creative identity.
How would you describe your art style, and how long did it take you to master it?
My art style is expressive and painterly, with abstract and minimal elements. There are hints of impressionism, especially in my landscape work. I would say it took me a lifetime to develop my style, which continues to evolve and refine as I grow older. My vision becomes clearer with time, especially regarding what I want to represent in my art. As an art educator of over two decades and a seasoned artist, the mastery of my craft has been shaped by years of consistent practice.
What materials do you use, and how long does it take for you to create an artwork on average?
I primarily use acrylic paints on canvas. As a painter, I love working with paint tubes, pigments, and brushes of varying sizes to create the painterly elements and brushstrokes I want to express. Depending on the work, it can take anywhere from a few days to several weeks to complete an artwork. My creative process is heavily influenced by my mood—I need to be in the right mindset to produce effectively.
How do you decide what size an artwork will be, and what is the typical size of your art?
Over the years, I’ve noticed that I gravitate toward certain sizes, particularly square and rectangular canvases. My work ranges from large canvases measuring 36″ x 36″, to medium-sized ones like 24″ x 24″. I also enjoy working vertically on 36″ x 24″ canvases.
Was it difficult to become a full-time artist, and what risks, challenges, or setbacks did you have to face in your art career?
Yes, being a full-time artist is one of the most challenging careers. It’s a labor of love, but also actual labor—from producing the work to affording materials and maintaining a studio and business. Presenting a body of work publicly through exhibitions means exposing oneself to critique, opinions, and reviews. Financial returns are not always guaranteed. The career of an artist is full of challenges, and one must be truly passionate to endure its hardships.
Were there any significant events during your art career that influenced your artistic development?
I’ve always identified as an artist—even as a child, I would retreat into art to find peace and joy. It has always felt like a natural part of me. A particularly life-changing event was when my father had a heart attack years ago (which he thankfully survived). That moment made me reevaluate my life and realign with what truly mattered. I remember sitting on the edge of my bed after hearing the news and deciding then and there to pursue art wholeheartedly. That was a definitive turning point.
What is your favorite or most exotic artwork?
I have several favorites. One of them is Two Happy Clouds, a skyscape painting featuring a melange of cloud activity against a baby-blue sky. The colors, the perspective, and the clouds are central to what I like to explore in my work. I often joke that I have my “head in the clouds”—as a child, I would lie on the grass and watch the clouds move, finding shapes and stories in them.
Another favorite is Man, a figurative piece I created in the 1990s during a period when I focused more on human anatomy. I like it because it conveys strength and reflection through its intense gaze.
How do you come up with innovative art ideas?
Ideas come to me naturally. I believe I was born with a talent for art and vision. Sometimes, inspiration strikes through dreams, which I then turn into artworks. Other times, I revisit memories—like in my lavender fields series, which started from a personal memory and grew into a broader cultural and artistic impact.
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How do you handle creative blocks or periods of low inspiration?
I’ve never truly experienced creative blocks or low periods of inspiration. As a creative person, my mind is constantly filled with ideas. In fact, I often have to slow it down just to manage the influx. Since childhood, I’ve known I was different in this regard.
What makes your art unique?
My art is deeply personal. It reflects my life, vision, experiences, and travels. I’ve been told that my paintings possess a kind of magic—what some call “The Vian Effect.” Viewers often say my work touches them in ways no other art does, which confirms to me that I’m on the right path. My work stands on its own, needing no explanation.
Have you ever experimented with unconventional or new mediums in your artwork? If so, what was your experience?
Yes, I love experimenting. I’m curious and adventurous by nature. Still, I often return to traditional techniques, especially acrylic on canvas. As an art educator, I expose my students to unconventional approaches—for instance, using wax and watercolor together to create interesting textures and effects.
Who are your favorite artists, and what works of art influenced you the most – and why?
I have many favorites. Claude Monet is a kindred spirit—his Water Lilies at MoMA in New York are simply breathtaking and transport me to Giverny. Anselm Kiefer is another favorite; his landscapes, like The Evenings of All Days, The Day of All Evenings, are incredibly powerful. I also admire Richard Diebenkorn’s Ocean Park series, which evokes memories of my childhood drives through the Palisades in Los Angeles.
What types of art do you like to surround yourself with?
I surround myself with art that stimulates me both visually and intellectually. My home includes my own work, my mother’s art, and pieces I’ve collected from fellow artists, photographers, and sculptors over the years.
Are there any recurring themes or motifs in your artwork, and if so, what do they represent to you?
Yes, recurring motifs in my work include the blue sky, clouds, and seascapes. Blue, in particular, represents my identity. Born near the Mediterranean, the sea and sky are constant sources of peace and reflection for me. These elements express serenity, introspection, and emotional depth.
Do you have a specific routine or ritual you follow when creating art?
Yes. I prefer a tranquil, quiet atmosphere. I usually wake up very early, brew a strong cup of coffee, and face the blank canvas with focus and energy. I work until the household wakes up, as interruptions break my concentration. I often listen to music—jazzy tunes by Hiroshi Suzuki or Ibrahim Maalouf, and rock by The Cure or Kate Bush—to create a mood conducive to creativity.
In your opinion, what is the primary skill set one must possess to be a good artist?
A good artist must have strong freehand drawing skills, without relying on grids or projectors. Drawing is the foundation of fine art. Mastery of structure, line, form, perspective, and composition is essential.
There are so many artists today creating amazing art in a vast array of mediums and styles, do you ever feel the pressure of competition?
Not at all. I don’t compare myself to others. I remain authentic and true to my own vision. Throughout my journey, I’ve pioneered new directions in art that others have followed. As my kids say, “I’m the real OG.”
What advice would you give to new artists who wish to make art their career?
Get a solid art education. Don’t copy others or chase fame through imitation. Instead, focus on developing your own voice and vision. Be ethical, be grateful to your mentors, and take the time to grow as an artist.
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You’ve participated in many art exhibitions. What has been your experience with them?
My experiences have varied, but overall, they’ve been positive. Every exhibition is unique, and I’ve grown from each one.
What is your overall outlook on how the art market is changing?
The art market is evolving rapidly, and it can be hard to keep up—especially with the rise of technology. The impact of AI on the market remains uncertain, and much of the future in this area is still a mystery.
How do you stay updated with trends and developments in the art world?
We live in a highly connected world, and most developments are easily accessible online. That said, I don’t focus on trends—I often create them. I’ve seen my ideas and aesthetics ripple through the art and design world many times.
What role do you think social media plays in the career of a contemporary artist?
Social media is just a tool to share one’s work. While some artists have found success early through platforms like Instagram or TikTok, the fine art world operates differently. Popularity online doesn’t always translate to success in the real art world.
A masterpiece returned to its former splendor after a restoration campaign lasting over four years is now drawing the attention of art critics. The work in question is the Altarpiece of San Leo, titled Madonna Enthroned with Child among Saints, which Annalisa Di Maria—an international expert on Leonardo da Vinci and artists of the Neoplatonic movement—attributes to the Florentine master Sandro Botticelli. The findings from this extensive research will be published in an upcoming volume that will present all the studies conducted.
“Seeing the altarpiece, I immediately recognized, through various pictorial and iconographic elements, that it was indeed the work of Botticelli and his workshop. For over 20 years, I have studied the artistic and cultural movement that experienced a significant revival during the Renaissance: Neoplatonism. My research has focused especially on artists who supported this philosophy and who were regular visitors to the Neoplatonic Academy of Florence, founded by Marsilio Ficino in 1462 at Villa Careggi, at the behest of Cosimo the Elder.
Throughout these years, I have concentrated on the techniques, symbolism, and themes found in the works of these great artists. Botticelli, along with Leonardo da Vinci, was one of the most prominent representatives of this movement. The altarpiece was traditionally attributed to the master Frosino, but this attribution appears to be incorrect.”
Di Maria refers to a document from the late 15th century by a certain Vecchietti, a notable Florentine notary, who commissioned a work from Maestro Luca di Frosino for the community of San Leo. However, the document does not clearly identify the artwork in question.
“It is tempting to believe that the commissioned piece depicted Saints Marino and Leone, as we see in this altarpiece. While Frosino had a workshop in Florence, his style differs significantly from that of the San Leo altarpiece. A case in point is his Annunciation of Pesaro (1507), also commissioned by the Servants of Mary. Several entries in Federico Zeri’s catalogue further suggest a stylistic link between Luca di Frosino and the Maestro di Marradi, possibly connecting both to Ghirlandaio’s workshop.
However, when considering the technical and scientific data—including dimensions—the connection to the altarpiece described in Vecchietti’s document doesn’t align. It’s more plausible that the Botticelli altarpiece was brought to San Leo to replace Frosino’s work when the cathedral reopened in 1700. If Frosino had created the original altarpiece for San Leo, it may have been lost or relocated during the decades the cathedral remained derelict. What we see today is certainly not that original work.”
The rediscovered Botticelli painting was in a poor state of conservation. Over the centuries, it had undergone various restorations, yet Botticelli’s unmistakable style—and that of his school—clearly remains. Stylistic comparisons and scientific analysis have revealed the hand of Botticelli himself, along with contributions from some of his students.
“After 1492, following the deaths of Lorenzo the Magnificent, Pico della Mirandola, and Angelo Poliziano in 1494, Botticelli fell into a deep depression. He abandoned Neoplatonic iconography and returned to a more austere Christian style, with considerable assistance from his students. This painting precisely reflects that transitional period—a return to his early altarpiece style, reminiscent of the Sant’Ambrogio Altarpiece at the Uffizi in Florence.”
Botticelli’s works fell into obscurity for centuries after his death in 1510 and were rediscovered only in the 19th century thanks to the Pre-Raphaelites. Many of his works were stored in church warehouses and later reused to replace lost or damaged paintings, often modified with added iconographic elements to suit their new contexts.
At the center, a detail of the Madonna’s face from the San Leo altarpiece is presented, compared with the faces in other works by Botticelli.
“The crown on the Virgin’s head, for example, was added later during one of the many reworkings. The two flanking saints—identified today as San Marino and San Leone—may originally have been intended as Pico della Mirandola and Angelo Poliziano, recurring figures in Botticelli’s oeuvre.”
This altarpiece becomes a symbolic journey—of saints, ideas, and artistry—traveling from Florence through Montefeltro, altered at each stop, yet never losing the spirit of the great Renaissance master.
“Many hands altered this painting over time, as if each felt entitled to leave their mark. But no one dared to change the face or bearing of the beautiful Simonetta, who now lives again in a land not her own. Here, she testifies to the enduring power of beauty—how it can overcome adversity.”
This work rightfully belongs to the Municipality of San Leo.
Bridget Riley, one of Britain’s most revered living artists, once again proved her enduring power in the art market as her 1985 painting Myrrh achieved a sensational £1,802,900 ($2,362,000) at Bonhams‘ 20th/21st Century Art Evening Sale last night in London. The vibrant canvas, a standout from Riley’s celebrated Egypt series, topped the high-profile sale at Bonhams’ New Bond Street showroom, confirming her continued influence in the global art scene at the age of 93.
Riley, best known for pioneering the Op Art movement of the 1960s, drew inspiration for Myrrh from a pivotal 1981 trip to Egypt. Captivated by the radiant hieroglyphics and sun-drenched landscapes, she developed what she called her “Egyptian Palette”—a breakthrough in her use of colour. The result was a series of works that shimmer with optical precision and emotional resonance.
Myrrh by Bridget Riley | Bonhams
“The distinctive palette of Bridget Riley’s Egypt series paintings make them amongst her most highly sought-after works,” said Ralph Taylor, Global Head of 20th and 21st Century Art at Bonhams. “It’s no surprise that collectors wanted to own this exceptional piece by one of the greatest living artists.”
Riley’s achievement is all the more remarkable given her career’s sheer longevity and consistency. From her early black-and-white optical experiments to the bold chromatic harmonies of her later works, she has remained a trailblazer in the field of abstraction. Her paintings, which appear to pulse, shimmer or even move, continue to challenge the boundaries of perception and form.
Myrrh by Bridget Riley | Bonhams
Today, Riley’s works are housed in major institutions around the world, including Tate, London; the Nationalgalerie, Berlin; the Metropolitan Museum of Art, New York; and the Stedelijk Museum, Amsterdam. Last night’s record sale is yet another milestone in a career defined by innovation, resilience, and an unrelenting pursuit of visual truth. At nearly a century old, Bridget Riley remains not only a living legend but a market force to be reckoned with.
Anna Teresa Laurita is an acclaimed Italian poet, writer, and painter whose work reflects a deep connection with artistic expression and the human spirit. Born in Potenza, Italy, in 1967, Laurita has dedicated her life to exploring the intersections of literature and visual art, creating an impressive body of work recognized both in Italy and internationally.
The Artistic Vision of Anna Teresa Laurita
Laurita describes her artistic impulse as an unavoidable force that invades her soul, demanding expression through poetry, prose, and painting. She perceives art as a paradoxical shadow—both luminous and mysterious—that penetrates the depths of the mind, seeking new forms of beauty and meaning. Her artistic journey is guided by an insatiable quest for spiritual and intellectual elevation, a theme that recurs throughout her extensive literary and visual portfolio.
Passione by Anna Teresa Laurita
A Prolific Literary Career
Laurita’s literary accomplishments span several decades, earning her numerous awards and recognitions. Her poetry, novels, and dramatic works delve into themes of love, spirituality, existential struggle, and artistic transcendence. Notable works include:
Dolcezze Ribelli (2004) – A poetry collection exploring themes of passion and defiance.
Maledetto Poeta (2005) – A deeply introspective poetic work.
Condannato (2007) – A poem reflecting on fate and destiny.
Nato con le Ali (2008) – A novel that explores themes of freedom and transformation.
La Città dei Vivi (2015) – A dramatic piece depicting the complexities of human existence.
Caravaggio e l’Amore (2016) – A novel paying tribute to the legendary painter Caravaggio.
Miriam (2020) – A sacred poem reflecting her interest in spirituality and faith.
Le Poetic (2022) – A recent poetry collection showcasing her evolving style.
Her works have been featured in prestigious literary anthologies, and she has received accolades such as the Casentino Prize in Florence, highlighting her contributions to contemporary poetry and drama.
Santacroce Artist by Anna Teresa Laurita
A Celebrated Painter
Beyond literature, Laurita has established herself as a distinguished painter, exhibiting her works in renowned galleries and international art events. Her paintings, much like her literary works, are deeply expressive, exploring themes of transcendence, beauty, and the metaphysical. Some of her most significant exhibitions and awards include:
Solo Exhibition “Sacra” (2016)– A personal showcase of her religious and spiritual artworks.
Biennale of Contemporary Art – Potenza (2019)
City of Barcelona Prize (2022) – MEAM Museum, Barcelona
Golden Lion for Visual Arts (2023) – Recognizing her impact in the art world.
Leonardo Prize (2023) – Cesenatico
Master Caravaggio 2024 Prize – ArtExpò Gallery
Artist of the Year 2024 – ArtExpò Gallery
Her participation in prestigious events such as the Louvre’s Italian Artists Exhibition, the Biennale of Ferrara, and the International Art Awards in London and Monte Carlo further solidifies her reputation as a leading figure in the contemporary art scene.
Benedicta by Anna Teresa Laurita
Legacy and Influence
Anna Teresa Laurita’s artistic legacy is defined by her relentless pursuit of beauty, meaning, and spiritual enlightenment. Her ability to weave profound themes into both literature and painting makes her a rare talent whose work resonates with audiences across different mediums. Her contributions to contemporary art and literature continue to inspire, earning her a place among Italy’s most celebrated artists. As she forges ahead with new creative endeavors, Laurita remains a testament to the power of artistic expression—an artist whose words and images transcend the ordinary to touch the depths of the human soul.
Vian Borchert is an internationally acclaimed artist known for her distinctive abstract expressionist style. Her paintings, often described as visual poetry, blend expressive brushstrokes with a striking color palette dominated by turquoise, bright blues, and impactful touches of black and white. Through her art, Borchert creates an atmosphere reminiscent of serene skies and tropical waters, evoking both tranquility and emotional energy. While abstract, her compositions subtly suggest hidden landscapes, cloud formations, and ocean waves, drawing the viewer into a meditative exploration of nature and the subconscious.
A graduate and “Notable Alumni” of the Corcoran College of Art and Design at George Washington University in Washington, DC, Borchert has exhibited her work in over 100 international exhibitions, including prestigious venues such as the Louvre Museum in Paris, the SAM Museum in Pennsylvania, and the Venice Biennale.
Her work has also been featured in major publications, including Museum Week Magazine, GOSS Magazine, and The Washington Post. Beyond her artistic achievements, Borchert serves as the Art Lead for the Oxford Public Philosophy Journal and is a dedicated educator, teaching fine art classes in the Washington, DC area for over two decades.
Borchert views her artwork as a unifying force that transcends borders and speaks a universal language of emotion and connection. She draws inspiration from nature, believing that it fosters inner peace and a sense of interconnectedness. Her paintings capture fleeting moments of time, movement, and memory, blurring the boundaries between reality and imagination. Through dreamlike imagery and deep emotional resonance, her work explores the endurance of the human spirit, offering viewers a contemplative, almost meditative experience.
Her reputation as a leading contemporary artist is reinforced by her participation in prestigious exhibitions worldwide. At the Louvre Museum in Paris, Borchert’s signature blue seascape and cityscape paintings were displayed at the Carrousel du Louvre, an international exhibition organized by Capital Culture House in collaboration with Guto Ajayu Culture from Madrid, Spain. In 2024, her work was selected for The PATH exhibition at the Venice Biennale, curated by Amy Jackson and powered by SHIM Art Network, highlighting critical collective action against climate change and inequality.
Her latest David Bowie portrait paintings were exhibited in the Bowie Bash Amplified show at the National Liberty Museum in Philadelphia. In Texas, her artwork was selected for the Brownsville Museum of Fine Art’s 48th International Art Exhibition, curated by renowned art critic Christina Rees.
Borchert’s signature paintings were also featured in a February 2024 exhibition at the prestigious and historic Arts Club of Washington, DC, in the Monroe Gallery, curated by art historian Dr. Erich Keel of the Kreeger Museum of Art. Additionally, her painting “Two Happy Clouds” was selected for the Salon International Art Résilience 2024 at the Musée de Peinture de Saint-Frajou in France, an exhibition that champions artistic quality and resilience.
Beyond exhibiting in key galleries and museums, Borchert’s work is available on major global art marketplaces such as 1stDibs, Artsy, Zatista, and Artsper. She continues to contribute to the artistic discourse through her writing, curation, and innovative thought in the art world. Her ability to merge the abstract with an emotive depth ensures that each painting offers a profound experience for the viewer—one that transcends time, place, and perception.
Through her work, Vian Borchert invites us into a realm where color, form, and emotion converge, leaving a lasting impression on those who encounter her art. As she continues to push the boundaries of expressionism, her influence in contemporary art remains undeniable.
In December 2024, Borchert’s painting “Two Happy Clouds” was on display at ART BASEL MIAMI Beach at RED DOT MIAMI, curated by Circle Arts in partnership with Artavita/World Wide Art, from December 4–8, 2024, at Mana Wynwood, Miami, Florida.
Borchert was also invited to exhibit her paintings in the world-class Medinaceli DeArte Museo Contemporáneo in Spain in an exhibition titled “Myriad Reflections,” presented by Capital Culture House. The exhibition was on view from December 20, 2024, to January 12, 2025, at the Fundación DEARTE Medinaceli, located at the Ducal Palace, Plaza Mayor 4, Medinaceli (Soria), Spain. From January 17 to January 27, 2025, Borchert participated in the “ECHOES OF TIME” exhibition in Manhattan, NYC. The exhibition took place at El Barrio Art Space, where a number of her signature blue abstracted seascape paintings were displayed.
Looking ahead, in April 2025, Borchert will be part of a group exhibition titled “Beyond Horizon” at Lichtundfire gallery in the Lower East Side of Manhattan, NYC. She has been exhibiting with Lichtundfire since 2019, showcasing her work in a series of curated exhibitions. Additionally, in April 2025, Borchert’s painting titled “Malibu Shore” will be on display at the upcoming “Art Expo” in NYC. The exhibition is curated by Circle Arts in partnership with Artavita/World Wide Art and will take place from April 3–6, 2025. To learn more about Vian Borchert and her work, visit: www.vianborchert.com
Vian Borchert is an internationally acclaimed artist known for her distinctive abstract expressionist style. Her paintings, often described as visual poetry, blend expressive brushstrokes with a striking color palette dominated by turquoise, bright blues, and impactful touches of black and white. Through her art, Borchert creates an atmosphere reminiscent of serene skies and tropical waters, evoking both tranquility and emotional energy. While abstract, her compositions subtly suggest hidden landscapes, cloud formations, and ocean waves, drawing the viewer into a meditative exploration of nature and the subconscious.
A graduate and “Notable Alumni” of the Corcoran College of Art and Design at George Washington University in Washington, DC, Borchert has exhibited her work in over 100 international exhibitions, including prestigious venues such as the Louvre Museum in Paris, the SAM Museum in Pennsylvania, and the Venice Biennale.
Her work has also been featured in major publications, including Museum Week Magazine, GOSS Magazine, and The Washington Post. Beyond her artistic achievements, Borchert serves as the Art Lead for the Oxford Public Philosophy Journal and is a dedicated educator, teaching fine art classes in the Washington, DC area for over two decades.
Borchert views her artwork as a unifying force that transcends borders and speaks a universal language of emotion and connection. She draws inspiration from nature, believing that it fosters inner peace and a sense of interconnectedness. Her paintings capture fleeting moments of time, movement, and memory, blurring the boundaries between reality and imagination. Through dreamlike imagery and deep emotional resonance, her work explores the endurance of the human spirit, offering viewers a contemplative, almost meditative experience.
Her reputation as a leading contemporary artist is reinforced by her participation in prestigious exhibitions worldwide. At the Louvre Museum in Paris, Borchert’s signature blue seascape and cityscape paintings were displayed at the Carrousel du Louvre, an international exhibition organized by Capital Culture House in collaboration with Guto Ajayu Culture from Madrid, Spain. In 2024, her work was selected for The PATH exhibition at the Venice Biennale, curated by Amy Jackson and powered by SHIM Art Network, highlighting critical collective action against climate change and inequality.
Her latest David Bowie portrait paintings were exhibited in the Bowie Bash Amplified show at the National Liberty Museum in Philadelphia. In Texas, her artwork was selected for the Brownsville Museum of Fine Art’s 48th International Art Exhibition, curated by renowned art critic Christina Rees.
Borchert’s signature paintings were also featured in a February 2024 exhibition at the prestigious and historic Arts Club of Washington, DC, in the Monroe Gallery, curated by art historian Dr. Erich Keel of the Kreeger Museum of Art. Additionally, her painting “Two Happy Clouds” was selected for the Salon International Art Résilience 2024 at the Musée de Peinture de Saint-Frajou in France, an exhibition that champions artistic quality and resilience.
Beyond exhibiting in key galleries and museums, Borchert’s work is available on major global art marketplaces such as 1stDibs, Artsy, Zatista, and Artsper. She continues to contribute to the artistic discourse through her writing, curation, and innovative thought in the art world. Her ability to merge the abstract with an emotive depth ensures that each painting offers a profound experience for the viewer—one that transcends time, place, and perception.
Through her work, Vian Borchert invites us into a realm where color, form, and emotion converge, leaving a lasting impression on those who encounter her art. As she continues to push the boundaries of expressionism, her influence in contemporary art remains undeniable.
In December 2024, Borchert’s painting “Two Happy Clouds” was on display at ART BASEL MIAMI Beach at RED DOT MIAMI, curated by Circle Arts in partnership with Artavita/World Wide Art, from December 4–8, 2024, at Mana Wynwood, Miami, Florida.
Borchert was also invited to exhibit her paintings in the world-class Medinaceli DeArte Museo Contemporáneo in Spain in an exhibition titled “Myriad Reflections,” presented by Capital Culture House. The exhibition was on view from December 20, 2024, to January 12, 2025, at the Fundación DEARTE Medinaceli, located at the Ducal Palace, Plaza Mayor 4, Medinaceli (Soria), Spain. From January 17 to January 27, 2025, Borchert participated in the “ECHOES OF TIME” exhibition in Manhattan, NYC. The exhibition took place at El Barrio Art Space, where a number of her signature blue abstracted seascape paintings were displayed.
Looking ahead, in April 2025, Borchert will be part of a group exhibition titled “Beyond Horizon” at Lichtundfire gallery in the Lower East Side of Manhattan, NYC. She has been exhibiting with Lichtundfire since 2019, showcasing her work in a series of curated exhibitions. Additionally, in April 2025, Borchert’s painting titled “Malibu Shore” will be on display at the upcoming “Art Expo” in NYC. The exhibition is curated by Circle Arts in partnership with Artavita/World Wide Art and will take place from April 3–6, 2025. To learn more about Vian Borchert and her work, visit: www.vianborchert.com
Darla Farner’s journey as an artist is anything but conventional. From working two part-time jobs while relentlessly pursuing her passion to having her first ten paintings exhibited at the governor’s office, her story is one of perseverance, creativity, and unshakable dedication. Inspired by raw emotion and an unfiltered imagination, her abstract expressionist works captivate with their energy and depth. But despite decades of creating, she has yet to sell a single piece—by choice. Why has she held off on selling her art? And what drives her to keep pushing forward? Read on to discover the fascinating story behind this visionary artist.
Can you tell us about your childhood and how it influenced your artistic journey?
Growing up, I didn’t have the traditional family lifestyle. I grew up with six siblings, my parents were divorced, and my mother raised the children.
Did you have any early experiences with art in school?
I remember my art teacher would let me work in the classroom so I wouldn’t have to stay in my history class.
When did you meet your husband, and how did your career evolve over the years?
I met my husband in 1987 and got married in 1988. I continued to work in the medical field for 17 years and the food service industry for 25 years while following my artistic path. I took on the jobs that nobody wanted since it was difficult to work full-time and pursue my art career. I spent every waking moment creating and marketing my art for 26 years, sometimes working two part-time jobs.
What initially inspired you to become an artist?
I don’t recall being inspired to be an artist; it was just who I am. I remember liking art more than any other class.
How would you describe your artistic style?
I would describe my art style as abstract and contemporary. I mastered it immediately after taking a one-week workshop.
Do you prefer working with specific materials or formats?
I have been painting on the same size museum-quality hot-compressed paper, 22×30 inches and 30×36 inches.
What challenges have you faced in becoming a full-time artist?
It was very difficult becoming a full-time artist. I have faced many challenges and wanted to give up many times. It can be embarrassing to put yourself in the public eye since people are often very critical. However, I’ve learned to embrace criticism.
Where was your first major exhibition?
My first ten paintings were exhibited at the governor’s office in Salem, Oregon, in 1999. This motivated me to produce a few hundred paintings since then.
Do you have a specific technique or process for starting a painting?
I have a routine of layering various types of paper on hot-compressed paper and pouring watercolor, gouache, and acrylic over it. After letting it dry, I peel it off and start using my imagination. This is the beginning process of each painting.
What do you believe is the most important skill for an artist?
The primary skill to becoming a good artist is to create as much as possible. Every time I create, I learn something new—often by making a mistake.
Do you feel pressure to compete with other artists?
I never feel pressure or competition from other artists. I strictly focus on my own work.
You will need to wear many hats, and it’s not an easy road. Be prepared to embarrass yourself and take lots of criticism. Do not copy someone else—be true to your own work.
Have you ever collaborated with other artists?
I collaborated once with other artists in a show for the City of Gresham, Oregon. However, I felt that my art was too sophisticated for the show. I consider myself a solo artist.
How do you balance the commercial and creative aspects of being an artist?
Balancing the commercial aspect with the creative side requires a separate mindset.
I have not sold my art since I started in 1988. Most of my sales have been through charity auctions. After I was published and inducted into the Hall of Fame in 2009, I held off on selling my art. I don’t know what price to put on my work, and I hope to get into an auction house to find out.
How do you promote your art?
I have been promoting my art for years through magazines, social media, news releases, and online galleries.
Have you ever taken on commissioned work?
I tried a commission project once, and it was a very unpleasant experience. It was nothing like what the client wanted. I vowed never to do it again.
