Skogens Rymd



“Well, I think I´m going to say an obvious thing, but nature is so rich that is impossible not to be inspired,” says Allesia Brusco, aka Skogens Rymd.  Her painterly title means “the space of the forest” in Swedish, telling of the world that she captures on the canvas.  The artist has made a name for herself by creating images inspired by natural phenomena that hold the spirit of ancient myths.  Each painting is a Nordic landscape.  The ebb, flow, and creshendo of an epic tale is found in the depth and lights of colors, the movement of celestial bodies, and the steadfast presence of a dense forest.

The classical landscape is a benign image, some may even call the genre boring.  Few artists have presented the landscape, an image that appreciates forms in nature, with a sense of awe that is on the cusp of otherworldly.  (Thomas Uttech is another artist who successfully put his own spin on the genre).  Skogens Rymd became an internet sensation because she presents nature as she sees it interacting with her wealths of knowledge in various subjects.

Bringing new life into the landscape, the paintings gained popularity over social media culminating in Brusco’s current show at Gallery Marcus in Ystad, Skåne, Sweden (


While she finds inspiration in the sky in Southern Sweden, the artist is originally from Northern Italy.  She was always an avid reader, managing to “devour” a book in a manner of hours.  Reading Tolkien spurred an interest in ancient and medivel studies, in which she has holds a degree.  “I´ve read a lot of medieval literature from many countries, mostly Italy, England, France, Spain and Scandinavia. I really like novels from Nordic writers,” her favorites being among Sigrid Undset, Knut Hamsun, Selma Lagerlöf, Arto Paasilinna, Jón Kalman Stefanssón, Fridtjof Nansen, and Mikael Niemi.  Philosophy, anthropology, and archeology are also of interest to Brusco.  All of her studies feed her artistry.  “Sometimes I add a quote, under the title of my paintings, coming from a book that gave me something I wanted to transform in an image.”

inner space

“Inner Space” 

Sweden is her creative home, in a sense.  “I´ve always been fascinated by this culture and I felt at once home here and inspired by everything I paint.  The sky is so clear here in the countryside that I started to look at the stars more often.  Obviously not only the culture I got from books, but many of the legends and the environment here helped me to start to paint on December 2015.”

It is no surprise that Brusco feels quite at home in her landscapes.  “Where I was born, in the northwest of Italy, there is a lot of nature and I lived in little town by the sea.  Here in Sweden the nature is of course more dominant and I like it very much.  I really feel good in the countryside with not so many people, cars, buildings, and noises. When I have to come back to Italy, each time I just get to the train station or the airport, it´s like a little trauma to come back in a big city and I feel quite misplaced.”  The details of her paintings come from what I imagine to be a peaceful study of her surroundings.  “What really inspire me are the colors of the sky at dusk or dawn.  There are so many tones that most of the  times is so difficult to reproduce because the human eye is lured to think that, for example, a kind of pink is warmer but when you try it on the canvas it has another effect.”


About the Artwork:


I painted “Lullaby” without thinking at the title in the first place. I just wanted to experiment an Aurora Borealis with pink/violet colours and make it appear like a veil. When I finished it, in a way I perceived it like dreamish, like a veil in the sky and I thought it could be so nice to fall asleep under such a sky.

isfruns vag

“Isfrun väg” takes the name from the Lady of the Cold in a novel by Tove Jansson from the Moomin serie. The book is called “Trollvinter” in swedish (translated as “Moominland Midvinter”) and describes the adventure lived by Moomintroll who wakes up from hibernation and experiences the winter for once with some of his friends. During the winter, strange and dangerous creatures come out from their hiding places and the Lady of the Cold is one of them.  She rides around freezing and killing everything with her icy stare. I´ve read again the book before Christmas and I had the idea to try to paint her my way with her dress like Northern Lights. 





Matti Sirvio

Matti Sirvio encounter-900


In Matti Sirvio’s paintings there is time and space, the movement of the soul.  His paintings simultaneously celebrate the felt senses, the beauty in life, and the nature of a spiritual existence. “I think that colors and their composition are the key to all visual communication.  I love connecting them, experimenting the way that they relate to each other.  I sometimes do just long color meditations (sounds much more weird than it is.)”  With his eyes closed, Sirvio spends time envisioning colors and diverse patterns.  “It helps me to move objects and see how certain colors serve certain messages.”

On Sirvio’s Instagram account, it is sometimes hard to tell what is a painting and what is a photo.  The play of shadow and light on a building, cast-off objects in the sand, appear at first to be Sirvio’s painted works.  Upon closer inspection, you see that they are all pieces of the quiet town of Muscat, Oman.  In compositions that most people can witness every day without reverence, the artist sees more.

For over thirty-five years, Sirvio has been a humanitarian worker through Greater Grace World Outreach (GGWO) in Eurasia and Central Asia.  While he treasures the many places that he has lived in, Oman is now home.  “I fell in love with the Omani people.  They are very gentle, silent and friendly. For some foreigners, this country is eventless and even boring.  For me it’s a privilege.”  Fourteen years ago, he attended a conference on Mumbai, India.  Through contacts there, the opportunity to work in Oman presented itself.  It would take some years for Sirvio’s schedule to allow for him to work in Oman with GGWO.  When he was able to visit for a conference, he also found a place for his artwork.  “I was invited by the Protestant Church of Oman to do a weekend conference in Muscat.  I often travel with my art and also work in hotel rooms during my travels.  I took some of my paintings to a local gallery and connected with them.  That resulted in a solo exhibition here.”

“My artistic journey has its intensive creative times and long times of silence as well.”  Sirvio was born and raised in Finland where he studied art.  He originally wanted to purse becoming an art therapist.  But, as a young man he felt called to humanitarian work and as an artist, he felt disconnected from the art world.  “As a young person, I found the art world to be extremely selfish and self-oriented.  Besides that, I had a really hard time connecting with all the perverted art that started spreading in the seventies.  I didn’t want to be a part of it.”  Deep into his journey as a humanitarian worker art would re-emerge for him in a way that was healing.  “Twenty-seven years later I was full of art again. I just had to start painting.  I didn’t have a choice.  It didn’t just make me happy, but it helped me to manage my soul.  Art is not the most important thing in my life, the presence of God is.  Art is a helper.”

The painting “Encounter” communicates a spiritual way of experiencing what comes and goes.  The spiritual is a constant, a thread woven through every part of life.  The soul need not suffer when something meaningful ends, but have joy for the impression that was left and for the meaningful encounters that will also come and go in the future.

Two figures are in the shape of doorways, each one emitting some of kind of movement.  The one on the left appears to contain light, while the shape on the right is red.  The light feels like a spiritual force, while the red is earthy, human.  The two are open to each other to mingle, to merge, but the temporal of nature of the “Encounter” implies that they will each return to their spaces and close their doors.

These colors and symbols illustrate the nature of an encounter from a spiritual perspective.  A person can form a lasting attachment to an experience after it has passed, returning to themselves, yet remaining somehow changed.  Also, the joy of the peak of the moment does not have to turn into despair because it ends.  If there is more to life than moments, then there is no need to mourn what is lost but celebrate what remains and what will be part of the never-ending life of the soul.

In Sirvio’s paintings, there are dreams, prayers, scents, and sensations.  The artist is a deeply spiritual person who clearly has a reverence for life.  “I love all the places where I have lived. God gives you a special love for it. Without that I could not see myself connecting with other cultures and people.”  He is writing a book about the GGWO ministry Central Asia and paints in his spare time.  “I continue dragging my paintings all over the world, exhibiting them wherever I can and praying that I could reach one more person with the love of Jesus.” 


Lael Burns


“Secret Place”

Lael Burns’ artwork is delicate dance.  The murky, fleshy shapes and celestial glitter bodies tell a story of opposites that interact.  It is a painful struggle.  Within the intricacy of this exchange, of these gruesome and pleasing elements, there is beauty.

“Making art has always been a way for me to process life and is just something that ‘clicked’ with me from early on,” says Burns, who lives and works in the Fort Worth, Texas area.  The shapes in Burns’ artwork developed in her childhood.  “I used to have this huge magnolia tree in my yard growing up, and the buds that fall off the tree fascinated me.  In middle school, I started drawing them and thinking about other biological and organic forms as a representation of my inner self, so it’s a means of communication and expression I adopted that I still use.”  Burns placed a high value on her creativity from a young age, due to support from her family and teachers.  Art became a necessity in her young life.  “When I was in middle school I feel like I really turned to art as means of survival during some dark family circumstances and just never stopped making.”


“The Blessing”

Viewing much of what Burns creates is an experience of repugnance and awe.  Confronted with an element that is ugly and strange, it is hard to look away from its relation to what is beautiful.  Organic forms in her current work are like wombs and gnarled roots, an outpouring of her psyche and spirit that comes from a deeply spiritual place.  The lure of darkness and the pursuit of connection to God are ever-present themes.  This duality of existence is shown as the visual layers of human nature and the spirit.  On the canvas, the distorted being (human nature) still possesses the spark of true life (spirit) that will remain after death and presently reaches for connection with the heavenly realm.


“The Process of Believing Beauty”

What has had a powerful effect on her canvases is the renewal of Burns’ soul at the age of twenty-seven when she pursued Christian faith.  Like the tension between what is ugly and beautiful, the past and the present are relevant aspects of what the artist communicates with forms.  “I think much of my work prior to this major change was dealing with similar ideas and themes.  I was just on the other side of it. I was heavily steeped in church and Christianity growing up, but I was angry and running from Christ, whereas now my work is a picture of a person finally yielded to and remade by Christ.”  There is a heavy sense of matter in the bulbous forms that rise from the page.  Bright airy clouds and shrouds of smoke balance the weight.  The colors, and glitter accents, harken to the light in the soul.  “The most exciting, driving aspect of my work to me now is continuing to experience healing and deliverance from God and watching how that plays out visually. It’s a process that will continue until I die.”

Burns’ life is also a balance, one that she approaches with a spiritual flow.  She is a wife, mother of two small children, and manages to dive deeply into the creative process while they nap or play outside.  While motherhood often pulls artists away from their practice, Burns found balance in an at-home residency and support network for mothers.  “I did a 6 month long residency with An Artist Residency in Motherhood which really helped reframe the way I was thinking about my work after I had our second child and I stopped working.”  Burns was formerly a high school art teacher.  “It was a big adjustment to go from working full time and being away from my children so much, to being home all the time with then a newborn and a toddler. It was a big adjustment emotionally and for my studio practice, but such a good one.”  Some sessions meant creating with the kids, while others were fruitful moments like the ones that she finds in her day now.  ARIM helped her set the tone for being a creative person and a mother.  “[It] helped me get in contact with other artist mothers and reinvent a studio practice that works with my situation once my daughter got a little older.”

LBurnsRevival's Seed8

“Revival’s Seed 8”

Burns now homeschools both children while maintaining her studio practice.  She does not keep a rigid creative schedule, but lets her studio time fall into a unique pattern each day. She often works on several pieces, assembly-line style, somehow knowing what each different piece needs at the same time.  It is unconventional, but helps her maintain a certain level of productivity.  The process is successful, considering that new pieces are frequently popping up on her Instagram account.

Burns’ current sculptural exhibit at Fort Worth’s Art 7 Gallery is wrapping up soon.  The artist will continue to find inspiration in the spiritual aspects of her life and seek balance one day at a time.  “You’re only going to be able to get so much done if you are with your children, and I’ve just made peace with that.  I’m learning and enjoying this season of less structure and just ‘going with the flow’ and staying in the place of joy and freedom.  I know it’s so cliché, but my children will only be little this one time and I want to enjoy it.”

Learn more about Lael here:

Art for a Cause

forever-everlasting_staticmedium_mna_smallInternational Fine Art Fund board member and fine artist Hilary White is expanding her Made New Arts program to the Alachua County Department of Juvenile Detention.  White launched the first Made New Arts program with Ignite Refuge and Partnership for Strong Families in a Gainesville, FL shelter.  She documents the progress of the youth program on the Made New Arts blog.  White, who is passionate about offering people a constructive outlet for their experiences, is now planning to teach art classes in the Juvenile Detention Facility in Alachua.  There, she plans to facilitate weekly classes, mural projects, and showings of the artwork within the facility.

To get involved in the formation of this program, visit White’s blog.  The print pictured above is being sold, with 100% of the proceeds going toward purchasing art supplies for Made New Arts at the Alachua County Department of Juvenile Detention.  These prints are limited, so keep an eye on the website for more works to benefit the expansion of Made New Arts.



“My main mode of expression, and the most present element of my visual vocabulary, is the line. It’s a flow of uninterrupted force that travels from me to the paper.”  Tatjana Jovancevic

works on paper to build complex concepts into forms.   The mode of her line work interacts with her overarching theme of being uprooted early in her life.   While focusing on the experience of being torn away, the forced loss of innocence, Jovancevic also finds continuity and new life.

In 1991, Jovancevic was an exchange student, from what was then Yugoslavia, when she came to the United States.  A war broke out in her home country, so she stayed in the US to complete her education.  Every facet of this deeply painful experience is present in her artwork.

“The war in my home country stripped me of my sense who I am.  I lost my home, community, and personal items that were extension of who I was,” says Jovancevic.  Going beyond the surface layer of the trauma, she gained a spiritual perspective on the reality of loss.  “Looking back, and ahead as well, I feel I was being watched over and guided.  In losing material things, I became aware of how we attach ourselves to the impermanent and fleeting.  It led me to seek something that cannot vanish at the will of men, or weather or war.  In losing, I gained a new identity and my faith.”


False Starts

It took years for Jovancevic to invest more time in her creative gifts.  Art became a way for her to express both the unique and universal aspects of being torn away from her home.  Some of her work depicts abstract representations of landscapes from her upbringing.  “Dublje” and “Duboko” are hearty, earthy forms, with the latter floating on something like fire.

The feeling of “False Starts” is envisioned as a leaf with many red stitches, each one ended with its own knot.  Each new beginning is a thread, meant to be continuous, but painfully chocked to a close instead.  It is the experience of searching but never finding.

Risen” depicts a black coldness out of which fire and light rise to the surface.  Jovancevic uses color and the intentional direction of each line to convey the feeling of moving through pain and back into light, emerging restored.w

“In my work I attempt to process our impermanence, and also the heaviness of human existence.  The tension between good and evil, light and darkness,” the artist states.  “At the same time I want to capture the concept of grace and love, to visually embody something that’s abstract and yet concrete at the same time.”  Faith also has an influence on some of her work, and is at times a part of the creative process itself.  “Some of my works are based on the verses which sometimes come up for me before the drawing.  On other occasions, I will create and the verse will come up after the fact.  It’s a constant dialogue and a form of an ongoing prayer.”



Jovancevic also creates installation works, which she calls ‘interventions.’  Her installations often use outdoor settings.  “I always wanted for my drawings to come alive, and taking it outside the studio seemed like a natural progression.”  Jovancevic has worked on natural waterways, as well as in the snow.  “There are intangible things that draw me to work on a site.  Interventions that I created outdoors were influenced by the materials I saw around me, but also the ‘feel’ of the place. It just felt right to become the canvas to draw on.”  One site-specific work, “Generations” and a series of works titled “Goodbye” were created in her grandmother’s house in Serbia.  There, she says, “the connection was more emotional. It was my attempt to say good bye to the old house, the past and part of family history.”

In 2015 Jovancevic took part in the Colorado Art Ranch Residency program.  While there, she utilized natural materials to create sculpture works, and to ‘draw’ on the earth, in a sense.  Instead of building lines on a page, Jovancevic created lines with the placement of sun bleached sticks, and built forms with stones in contrasting dark and light hues.  The effect harkened to her works on paper, but had a new energy.  “Being in the new environment and the vast expanse of space made an impact.  Prior to being there, my site-specific interventions were smaller in scale and tied to my surroundings.  Being in a new landscape and having a gift of time to explore elevated my work to a new level.”

Jovancevic currently resides in Chicago, Illinois where she continues to explore the weight and depth of the human experience. 

Images courtesy of the artist.

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Kirsten Van Mourick



“The Psalm”

“A concept that I am always attempting to wrestle into my pieces is the presence of God.  Since I believe that we were created in his image, and that community is one of the most important ways that we learn about and experience Him, I long to communicate the way we participate with Him when we make our lives worship.”  Perhaps the strongest representation of these combined ideas is Van Mourick’s painting “Communion.”  What appears to be a quaint picnic scene at first glance reveals itself to be a gathering of individuals sharing bread and wine.  These are elements traditionally representative of the body and blood of Jesus Christ when consumed within church walls.  The blanket is almost liquid, like fabric floating on air.  The surreal surroundings, the ritual bread and wine, transform a commonplace activity into something that isn’t quite of this world…

Read more on the International Fine Art Fund Blog



Holly Bobisuthi


The Longship Necklace

Anyone who has taken a drawing class has been told that the negative space is just as important as the solid, black lines they etch onto the paper.  The pieces in Holly Bobisuthi’s jewelry line suspend from the ear of the wearer, lay over the collarbone, and float almost like halos on the crown.  The shapes are drawn with metal, allowing what is seen between each line to become a canvas.

The Fortnight Necklace & Lover’s Eye Hairpin

Bobisuthi’s primitive renderings are of natural phenomena and ancient wards.  The Fortnight Necklace tells the story of the phases of the moon; the Sunspot earrings capture the temporary bursts of energy in petal shapes emitting from a ring.  In her collections, there are also many eyes (the Evil Eye—to protect the wearer from black magic).  The Longship Statement Necklace, created in the Bobisuthi’s simplistic style, possesses drama not only because of it’s size.  The necklace also offers movement and sound to represent a Viking longship and it’s many oars sailing in the sea.

See more of her work and peruse the shop at

images from Pinterest

Dame Paula Rego/Jane Eyre



Dame Paula Rego’s artwork is brutal.  It Realistic detail is used to manipulate the surreal into grotesque visual fair.  Humans interact with over-sized animals whose hair you can feel by looking at the image.  You flinch when figures contort themselves with pained expressions, regarding your own physical state.

One particularly interesting trait in Dame Rego’s work is her choice to sometimes illustrate children in adult bodies.  She believes that children are not blissfully innocent, but posses a kind of knowing.  This suits her visual exploration of Charlotte Brontë’s novel Jane Eyre.  Dame Rego illustrates Jane as both a woman and a child, but not based on the timeline.   Jane is chastised, punished, in the text for not being more child-like.  By this, the adults around her mean that she is aware, intelligent, and capable of conversation that is not fluff.  Yet, they wish for her to be simple.  Her disposition is cultivated by an early life wrought with cruel treatment.  The stormy tone of the book suits Dame Rego’s style in more ways than this.  Jane Eyre has mystery, darkness, and fantasy that walks the edge more on the side of reality.  At times, there is an explanation for such things, yet the fantastic description stays in the mind.  It allows the reader to believe in the possibility that these chilling moments crossed from reality to the other side.


“Loving Bewick”

“Loving Bewick” depicts an adult Jane set to devour a pelican.  This embodies the very first pages of the book where Jane hides behind the curtain in a windowsill to read Bewick’s book about animals, virtually eating up the text to cherish each morsel of knowledge gained.

In “Inspection,” a young Jane stands on a stool as the minister examines her to discover if she is as evil as her Aunt claims she is.  Jane is so small beneath the gaze of these over-sized grown ups, emphasizing the absurdity of their perceiving the presence of a devil in Jane.  An over-sized defense that would rising up against what they deem the threat of a budding intellectual.

My favorite quote from the text, “The shadows are just as important as the light,” sums up the protagonist herself.*  She is a complex web of her experiences.  After spending a lifetime misunderstood, and introverted as a consequence, Jane encounters Master Rochester.  To most people, she silently fades into the background like a portrait on a wall.  Yet, the depth of her inner life shows itself as a mysterious and frightful quality in his eyes. He describes her as set apart from society and culture like a nun, but senses her humanness.  He invites her into conversation, finding her to be his intellectual match.  He registers her as being a person with an astute shell raised against the experiences that life gave to her.  “You are no more naturally astute than I am naturally vicious,” he says because he too buried his heart beneath memories of poor treatment.*  Dame Rego’s illustrations capture his ragged, brash shell that is often softened in film adaptations.

Learn more about Dame Paula Rego here.


images from Pinterest
*Charlotte Brontë, Jane Eyre.  New York: Random House, 1943.

Angela Ellsworth – Seer Bonnets


Upon entering the Lisa Sette Gallery booth at Art Miami, one felt the sense of a hush.  The strings of bonnets trailed to the floor.  Beads of while pearls on the outside and the teeth of silver,  gleaming pins on the inside.  Floating more than five feet in the air, the white bonnets bore thousands of pins, like tiny swords, poised to pierce the wearer.  For artist Angela Ellsworth, this is symbolic of the esoteric price of becoming a plural wife. Ellsworth channeled the history of her ancestors, pioneer Mormon plural wives, and created her Seer Bonnets out of corsage pins.  The pins display the outward, spoken accolades and the inner psychological and emotional toll.  Decorated with pristine, white pearls, they are objects made to pierce and to bind.  Done so beautifully, the outside result makes one forget that the object is capable of creating a wound.

While my immediate interpretation was what I have described above, Ellsworth also meant for the seer bonnets to translate as representing the inner resilience and strength of women who needed to have an inner world to survive.  In this instance, the pins speak to the pain that grew the need for an inner world.  Ellsworth re-imagines the power of these women hidden in the underside of the bonnet to show the qualities of their secret lives: the pain as well has hidden power and strength.

See more work from Ellsworth’s Sister Wives series here:

Image Source here

Regina Jacobson


“Wearing My Sundae Best”

After working in the fashion industry for thirty-three years, Regina Jacobson brought her insight into the culture of beauty onto the canvas.  While pursuing her MFA in fine art at Laguna College of Art and Design in 2013, Jacobson had an epiphany.  She “discovered a provocative message which is a syntheses of my background in fine art, fashion and religion – a spiritually and philosophically charged commentary on human frailty, the vulnerability of our delicate self-worth when based [on] appearances, our need as humans for love and our quest for approval from others.”  Jacobson goes deeper than the search to reach an unrealistic standard of beauty, and into the spiritual destruction of misplaced self-worth.  “My work is filled with Judaeo-Christian signifiers that point…away from the rituals and events set forth in the Bible; crucifixion, prayer, marriage, original sin, betrayal, worship, sanctification, etc., are applied to the idolatry of unattainable physical perfection.”

Jacobson’s surreal approach on the canvas has whimsical and playful elements used to communicate the worship of beauty.  Each image is met with a poignant darkness.  In “Clipped Wings” the bird in the cage under the enlarged eye in the magnifying glass is shrinking under the mockery of her own poor perception of her physical being.  The woman is both the caged creature and the human being perpetuating cultural messages of what should be attained.  One of the most fantastic and deeply troubling images is “Wearing My Sundae Best.”  A woman’s face atop an ice cream cone is covered by a black funereal veil and piled high with elaborate, bright hats.  Underneath the layers is a despondent veiled face, resigned to believing that she is meant to be enjoyed, even if she doesn’t enjoy it.  These fantastic elements, executed in a clean, realistic style, communicate multi-layered messages.  “The ice cream scoop on the expansive checkered board floor and the topiaries of the rabbit and the Queen of Hearts from Alice in Wonderland serve to undergird the idea of the bizarre and curious being accepted as normal,” says Jacobson.


“My god, my god”

In Jacobson’s series “Cult of Beauty” the secret ritualism within the life of someone who seeks approval from an illegitimate source is uncovered by the usage of religious elements.  “While the arrows that I shoot are aimed at the heart of idolatry, they originate from the truth of the Bible – the idea being that the origin of the thought, therefore, insinuates meaning onto the target.”  In “Witness” mannequins stand in the place of ministers, symbolized by long panels on their clothing that are similar to the details on preacher’s robes.  The panels of Jacobson’s “Alterpiece” triad harken to stained glass images, each holding their own story that supports a whole when placed side by side.  To the left, a figure is trussed in ropes, yet their casual demeanor makes them seem unaware that they are indeed bound.  To the right, the upper half of a woman’s body is support by the lower half of a mannequin.  The central image strikes a blatant Biblical chord, titled “My god, my god.”  A woman is suspended by a rope hung on meat hook.  Her toes hover over the ground while she pulls the strings of her corset so tight that her outstretched arms mimic images of Christ on the cross.  Her body is reduced to an object that can be strung and moved about at the whim of what she worships.  Behind her, soft candles glow on the alter where she sacrifices herself.



“As a Christian, I view life through the lens of my beliefs.  Though my work tends to the darker side of the emotional spectrum, my beliefs seem to saturate the work, dealing with eternal and moral themes” says Jacobson.   She desires for her work, dark, vulnerable, and unafraid of the truth, to cross boundaries.  “Recently I’ve come to feel that, to those outside of Christianity, our message seems archaic, our language drenched in exclusivity, our imagery burdened with puritanical innocence.”  The artist says, “I want my work to resonate with the world in a way which allows them to feel that we can empathize with their pain. We are all suffering, we all hurt, we have all fallen short of the glory of God. I want to open up a conversation about our common weaknesses.”  By viewing her work, and contemplating the larger messages, Jacobson hopes that others will be directed toward spiritual renewal.  By using art to communicate messages of faith to all people, she says, “I want to extend a hand to help them out of their bondage – out of the darkness and into the marvelous light.”

Jacobson is currently at work on an installation.  The large-scale project is a collaborative effort among various visual artists (including set designers) and will grow “Cult of Beauty” into a “fully immersive environment.”  Currently, another exhibition titled “The Ring” is in production and will include performance art.  “My vision grows daily and it’s hard to keep up with.  I hope to receive grants and raise funds to produce an international exhibition: I dream big.”

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