Photos from the UWC Graduating Art Show Exhibition 2014!







Art shall not be judged by a matter of taste, in our nowadays society Works of art re despised and criticized by personal opinions. 

There will always be art you like or you dislike, but to categorize it as NOT ART cannot be done. Art cannot be defined in a general way; each individual creates their own definition of art.

Pieces should create a feeling, the pieces should promote a further reflection.

Art will not be used to disturb people, there’s enough violence, cruelty, fear in the real world why should I create more?

I believe in the telling of a story

This does not means that a complete story is narrated through the piece, but the essence of it, if it’s just the representation of a human being

What is the emotion?

Where does she/he come from?

What is happening?

What can a simple drawing can actually tell us about this character.

Beauty does not create art, but it can be an enhancement to it.

We can ask what is beauty?

For me beauty is a feeling, it goes beyond the explanation of concepts defined by words. You feel the beauty in a painting, in a person, in a blooming tree, in the sunny day after weeks of pouring water. I cannot express it by talking nor writing it’s one of the highest peeks of life. 

Do not stick to the Ideal of Beauty created by society, which impose stereotypes that undermine the different types of beauty. There are endless types of beauty.

Beauty can be found in the most horrible of the situations if you just take a minute and


So find the essence of the story, the feeling that wants to be produced, let the piece talk to you, be open to what could change through its development.

Seek the beauty, but never stop, use art as a tool to express, to let the feelings expand through it, to tell a life, to give a visual impact to something that was limitef to words or thoughts. Don’t be afraid to make a mistake, use it to improve.

Just do…

Create new concepts that didn’t had an explanation before.

Don’t let society restrain you.

Let the art make a jump




-Julia Belen Granillo Tostado, March 2014




Manifesto of sincere art

Art is nothing  but suffering.

If you do not suffer, you cannot make art.

Because art is about expressing what you feel. And you do not need to express joy, or happiness. You just spread it outside, you do not need to hide it, because you are not ashamed of it.

But you are ashamed of suffering. You do not want other people to feel your weakness. Not too much, not through your voice or your tears.

That is why you make art.

It is your SCREAM to the world.

It is your only hope to be understood.

It is your only eco to be resounded, anywhere, everywhere.

Because you cannot let it die outside, it has to come out.



They are twins, but just art cannot leave without suffering.

Distrust who does not think it.

Art is a reflection of who you are.  – And   you   are   suffering. –  Joy goes away. Suffering stays, and can be transformed into art.

Times have changed. Beauty is not worth anymore, at least not in the measure as it was in the past. There is no space for it. People do not seek for it, because they do not need it. They need art, which is suffering, and suffering is not beautiful.

But, in any case, what is beautiful? What is beauty? Just a word, which has too many meanings to really have one. Suffering does not. Suffering means suffering. And it spills art.

All art of all times has been suffering. From the first wall paintings on the caves. They were made to seek for the benevolence of the Gods. The main reason was the fear that something bad could come from them. Fear means suffering. But let’s move on. Michelangelo. “La pietà”. One of the most beautiful artworks of the whole history. Representing a mother sustaining his dying son. What can be more suffered? In modern art, the examples are a lot. Munch, “The Scream”, Klimt, Degas, Van Gogh…

So… Do not be afraid of it, accept it, and develop it in something more, to let it arrive to people without looking pathetic. Art is the only way to do it.

Accept the truth.


Make art.

– Rebecca D’Andrea, Duino, Night between 11th and 12th of March 2014

2014 Manifesto 2014, Ethan

My art manifesto – Ethan Liberman

Art, is a very large media, it is not just a tool but a whole language. You can use art to express ideas, to discuss topics whether they are complicated or simple. Art, just like any other language has its own vocabulary, its own evolution process, its own accents and styles. What distinguishes art from any other language is art being an international language and the fact that it may take a large period of time to say something in the art language, but it takes a short moment of observation to receive an enormous message.

Those different qualities are the reason why art is made and must keep being made. This language must not waste away! Ours society must never be an illiterates society! This super power that art grants – to transfer a message in a blink of an eye to any person in the world must be protected among the people, the same people who have the right to speak.

Art should give up on its grammar (I mean, who likes grammar?), art should be a limits free language, people should not judge an art piece according to how realistic it looks like, the material or the color combination.

When I speak art I am honest, I have a loud voice and strong expressions, I talk about what amazes me and bothers me. I try to visually tell people about my world. I talk about visual concepts that people find for granted even though they are extremely hard to domesticate.

Limitless art in any terms will allow me to get full attention as my language tends to claim. The attention is power, this power allows me to achieve my goal. My goal is not to change the world because I don’t believe that one can change the world alone, especially not by only talking. I want my art to make people think twice about the ideas which build their personal world. The unique ideological world we, separately, live in.    



Project Week Reflection: London

London: where old and new style coexist. The problem is: how?

The first week of March 2014, I went to London for a Project Week, organized by another student of my college. Walking around the city, one of the things that surprised me mostly was the coexistence of old and new architecture. 

At the beginning, I was positive about that. I really liked their union, and the way in which they interacted. I could feel a force that united them; I can explain it with a comparison. I think of the new buildings as the grandchildren of the old ones: they have the same spirit, the same blood, and therefore these common things make them live together in a harmonic way. 

But, continuing my visit, my idea changed. It happened particularly when we arrived in the zone near Tower Bridge and the Tower of London. It is the most “posh” part of London, where the banks and the most important business building are. The super modern building did not seem right anymore. It was too much glass, too much iron, they were too tall. In particular, I remember a church, that was not little, but it seemed compared to its neighbours. They suffocated it. It looked like it wanted to disappear, feeling inappropriate there; the new buildings seemed to be bulling it. 

Also, this modern constructions are the symbol of this a new tendency, that I can feel in different parts of the world: replace the new, the modern, with the old. A little bit like the Futurists with their Manifesto wanted to do. I do not feel it right. There are many cases in which modern and old can coexist: I always bring as an example the Pompidou in Paris.

It is the greatness of the architect expressing this union: it is difficult to achieve. And I think that in London in did not work in many cases, especially in the zone I brought as an example.

Rebecca D’Andrea

En Plein Air Painting Competition: Round Three

This past weekend I experienced the joy of painting in the en plein air painting competition in the castle grounds, next door. The basic format of this event is to create a work of art from observation within a limited time span of two days, with a culminating group exhibition and critique.

The first time I participated in such a competition I was 19 and in the rural fields of France, working at La Roche D’Hys – Domanine Des Arts. One of the nearby villages was hosting an en plein air event and I was dropped off in the hot August sun, with a few oils and boards, full of enthusiasm and absolutely no idea of what would unfold.  I had too many ideas, was too tame and overwhelmed by aesthetic possibility, and the experience was somewhat of a disaster. In the last moments of the competition, I panicked, probably cried, smacked some paint together and felt ashamed to set my poor display beside parisan professionals, who had clearly trained for year and created impressionistic works fit of the D’Orsay. All I wanted to do during the judging and critque was figure out how  to ditch my work in the closest trash canister as quickly as possible and find some sense of consolation for my clear failure.

So, when I was invited to attend the en plein air event in the Duino castle grounds last year, I not only saw it as a moment for reconcilation, but also dragged some students with me so that I could show them the ropes and help others have fun in such an experience rather than feeling lost or daunted.

For a primavera or “springtime” painting event, the weather was vicious; it was cold, bugs stuck to our canvases and a howling wind toppled them over, fingers froze but spirts remained high. The second day we surrendered to the elements and resorted to taking our sketches indoors to finalize our works. Together we made it through the weather challenges and found much inspiration in the scenery. And the students still speak kindly when recollecting the event; “ya, it was really nice…..,” they say with a genuine smile in a moment of reflection.

This year, however, I was on my own. The weather was not much better, rain poured overhead and the winds were just as strong. But I went into the castle with a much more relaxed approach and tried to simply enjoy the event and the experience of having time to paint in such beautiful surroundings.

Something happens to you when you paint in the moment with the pressure of time; you know you must work swiftly, to be decisive and cast any hesitancy aside. And although it is nice to look at the works of others, it is important to focus on your own approach, and to save any inspiration or techniques which you may observe for another time; instead, this is the moment to focus on oneself.

This year, I found I was more open and tried to let the painting flow out of the fingers. And despite gazing at the same view, the image on the canvas changed, it morphed, it became something that I wouldn’t even define as “my style”, and grew into a meditation instead of any sort of expression. I found that I resorted to a technique that I tend to use when I don’t want to think about very much – It is colourful, angular and disjointed – like fat pointalism, playing with focus and shifting the gaze out of focus – it is how I have come to play on the canvas. And this year, for some reason I able to let go of the outcome, to display it without expectation or attachment.  I didn’t particularly love it, or hate it – I was neutral and just put it up on an easel. So be it.

And by doing so, I was reminded of the joy and importance of exhibiting one’s work. There is a vulnerability to exposition, but once you accept that and allow yourself to be open to the comments of others, there is a meaningful connection made and a validation for your efforts.

Even it is feels awkward, I learned to accept all compliments, and that a simple “thank-you” and a smile seemed to suffice as a response. You don’t need to explain your work or talk it down, instead, just listen to what the person is trying to express to you. Some may genuinely like it or have found some sort of idea to extract, even if you want to dismiss it completely.

I was also more than complimented by receiving the “best interpretation” award for the show from the judges – this was unexpected and completely appreciated. I may not be able to communicate perfectly in Italian, but I understood that I was amongst a supportive group of painters and art lovers and that the creatively was flowing in our exchanges. And it felt good to be part of such a lovely shared experience. I was also able to make contacts in the community and ideas were sparked for future works, which is always worth any awkwardness.

Personally, I enjoyed bringing my students last year than participating in it by myself this year, but I also think that as teachers its important to allow ourselves to come out of that role. Next week, the second years at the college will be exhibiting their own works. For many of them it is their first major show, many of their works are personal, layered with subtle meaning and even risky. They too will have to face the complex emotions involved in exhibition and of recieving the comments which their friends, peers, teachers and strangers make to them. My best advice to them is to just smile, say “thank-you”, sit back, and enjoy the experience that this vulnerability brings.

en plein air 012

en plein air 1




Alumni Expressions: Danica Jokic, Serbia (2010-2012)

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Danice 7

Hello Sarah,

I am doing well, really loving this place (Ringling College of Art and Design). There are all these different artists and different approaches and it is a constant process of learning. I’ve been doing a lot of oil painting recently and it became my favorite thing to do 🙂 Teachers are doing demos all the time and we have a lot of visiting artists who are sharing the “secrets of trade” with us, and it’s so exciting. Every day is an adventure (but that is like UWC in a way).

I will write more as soon as I get a chance. Hugs from Sarasota!

You can check out my blog here:

Social Service: A Tiny Shadow Puppet Theatre Production

Shadow Puppet Theatre is manifest in many cultures around the world. And they typically use simple means to create stunning effects, using delicate and intricately cut-out figures  held between a source of light and a translucent screen or scrim.

In Indonesia shadow puppet theatre is referred to as a Wayang, and dates back to the first century, and where the puppets were fabricated from materials like buffalo hide and mounted on bamboo sticks. A talented puppeteer can bring each character to life, making it walk, dance, fight, laugh and be fully animated in between a world of light and shadows. The characters have come to tell traditional stories, romantic tales, and Indian epics like the Mahabharata. And this ancient and popular art form has been mesmorizing audiences for centuries.


The idea of using light in theatre is also being explored in particular by one of our own student social service leaders, Jasmina , who is from the Czech Republic, and investigating how to make these productions in her  IB Art investigations, and which she shared in her organization of a Project Week for other students in Prague last year.

Although Black Light Theatre originated from Asia, it acts as a speciality in Prague. Here, artists use  black curtains, a darkened stage, and UV light, along with flurescent costumes to create captivating visual illusions. This media allows the actors to turn objects into pure magic, where props and actors can suddenly appear out of the seemingly no where and take on a life of their own.

Black light theatre

The students and children in the art social service at UWC of the Adriatic decided to create small shadow puppets in an art making session, and this lead to a few theatrical productions in order to animate the story of their characters, which included a prince, a princess, and some friendly animal companions. This  video link below shows a clip of one of their story lines. We hope you enjoy this small performance!

Alumni Expressions: Ieva Blaževičiūtė, Lithuania (2009-2011)

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Ivea 2

Dear Sarah,

It’s lovely to see things from the alumni who still do artistic things…I am now in my final year of studying graphic and media design at the London College of Communication (University of the Arts London). It’s a really wide study programme, so we get to do different things. I am currently working on 3 briefs – an identity for a fashion exhibition, an app to encourage collaborative consumption and also on a bit less defined brief called Transformer, which is based on transforming a chosen subject by using a different media.

My latest project was about a ‘live’ identity for a town – a platform for the town community to communicate with the rest of the world despite the language barrier. Each brief is like a little puzzle that is solved with research and all the countless hours of thinking and work.

I also love studying design for the fact, that it can change people’s thinking and by that, it can also change their lives. Apart from design, I do fashion photography, mostly focusing on menswear, and also backstage photography and videos during London Fashion weeks.

With what’s left from my time – illustration, writing, side projects. And travelling. I was teaching design last year to Japanese high school students during a summer school and will be doing some design stuff for them this year.

Always good to put different interests together. If anyone has any questions about studying design or about studying in London, drop me a line anytime!


Here are Links to Ieva’s Blog and Portfolio: