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Soaring, falling, floating, I force the audience and myself to immerse in this

HER POWER Global Female Contemporary Art Online Exhibition 2021  · Chapter Sixteen


Curated by
(Click to see their preface and forword)

2021 · HER POWER

The prologue of the "Life.Blossom” Exhibition - "Her Power" Online Exhibition, was jointly initiated by HK Art of Nature International Female Art Research Society, Art Life Foundation, and female artists and art institutions.


The first stage will bring the recommendations from our academic consultants, invited curators and  International Women Artists Federation as pilot. Up to now, we have received works from around 120 artists from more than 30 regions (including oil paintings, ink paintings, installations, sculptures, photography, digital images, etc.).


The call for works is still open to public. The online exhibition will also be published by region, theme, category, subject, or material.


The content of the online exhibition will be presented on Art of Nature’s official website and the platform of "Her Art", Facebook,  and overseas online platforms.


Art of Nature Intrenational Female Art Online Exhibition

 Orgainisors :

HK Art of Nature International Female Art Research Society, Art Life Foundation

SCENE 9+9/ part 3 · SIXTEEN

Palette, Border · Under the Moon, Bio-geo · 

I , Passion · Window, Journal · Empty Chairs  · Mist, Lotus

Ginnie Gardiner


Ginnie's work is a visual defender of the minimalist aesthetic. Living in Catskill of  Hudson Valley,  where Ginnie enjoys a large, light filled courtyard and studio in the style of the church that has inspired her paintings, collages, montages and color studies. She has been working with the premise of creating collages and paintings with specific color palettes for many years, her ongoing studies involving the concept of ‘Phenomenal Transparency’, with opaque mixtures achieving the illusion of transparency in the medium of oil paint. 


This series, inspired by Josef Alber’s ‘Homage to the Square’ series, is created entirely with painted woodblock papers. It is a product of where she finds pleasure and challenge in seeing more than any single element that forms part of the work itself. What holds together her elegant partnerships between form and content is an exquisite sense of light and color. For her, it is a creating process that is endlessly fascinating. 


Ginnie Gardiner is a New York  artist who graduated from Cornell University with a Bachelor of Fine Arts. She has shown in numerous solo and group exhibits for 30 years. Her works are in many international art institutions as well as private collections,and has been reviewed in numerous publications, including Artsy. Kolaj Magazine,Empty Mirror, Hyperallergic.


2019 "Unfoldingobject", Group Show, Curated by Todd Bartel, Concord Center for the Visual Arts, Concord, MA

2018 "Ginnie Gardiner: The Color Prophecies", Solo Exhibition, Woodstock Artists Association and Museum, Woodstock, NY,

2018 "Paintings from the ‘Sunlit Stillness’ series", Group Show, Isabella Garrucho Fine Art, Greenwich, CT

2016 "Ginnie Gardiner: Variations on Self", Solo Exhibition, Nisa Touchon Fine Art, Santa Fe, NM

2015 Solo Exhibition, The Harrison Gallery, Williamstown, MA

2010 "In Translation: Austin, Deem, Gardiner", 3 Person Exhibition, Pavel Zoubok Gallery, New York, NY

Artist Statement

"This (creative) process feels almost like writing in a diary to me, personal and experience driven. I recognize certain moods in the color relationships and I can see the painting source that these mixtures are derived from. This imparts a foundational palette to these studies. 


They are not arbitrary or based on someone else’s notion of how color relates, or some academic or formulaic approach to color studies. They are the distillation of the optically observed mixtures from a very specific painting executed at a unique time formed by the seasons and local weather."

                                                                                                                                ——Ginnie Gardiner

<Interlusion 22>, 36 x 60 x 1.5 in , Oil on Linen, 2021

<Interlusion 12>

36 x 42 x 1.5 in

Oil on Linen


<Interlusion 19>

36 x 48 x 1.5 in

Oil on Linen


<Interlusion 22>, 36 x 60 x 1.5 in , Oil on Linen, 2021

<Purple Dress >

36 x 24 x 1.5 in

Oil on Linen



 40 x 30 x 1.5 in

Oil on Linen


Of course each artist has a distinctive way of unsettling our habits of seeing. With the sunlit stillness of her paintings, Gardiner seizes our attention and holds it with pictorial subtleties that show us, by stages, that stillness is not stasis. Presenting a precisely calibrated balance between figurative images and the harmonies of sheer form, each of her paintings oscillates between these two ways of seeing. Subliminal at first, this oscillation becomes conscious as we begin to see ourselves seeing. 


Encouraging us to be aware of how we make sense of the raw data of vision, Gardiner reminds us of our responsibility for the look – and the meaning – of our world.                                                                                                                                                                                                                                                                                                                                                                                                                               —— Carter Ratcliff


 24 x 36 x 1.5 in

 Oil on Linen


Where “reductive formalism ”(Greenberg) would see an unresolved contradiction I see a synergistic interplay that gives both kinds of transparency more meaning and value than either would have in isolation. It’s an expansive interplay, which gives these works a large scale and landscape atmosphere.             

                                                                                                                                                                                                                                                     ——Carter Ratcliff, 2019

Wei Hong 





Weihong's new work uses the brush and ink method of traditional Chinese painting, with generalized lines combined with modern structural paradigms. The superimposition and circle of the dry branches and vines of life suggests her awareness of nature, and the appearance of the works presents the interest of literati painting in spring and autumn.


She explores the noumenon language of painting in media and form, as well as the philosophical concept of the accommodation between East and West. The work exudes an inner natural spirit, and the artistic expression of Tao Yuanming's self-cultivation character.


Weihong graduated from Central Academy of Fine Arts in Beijing, she currently lives and works in Houston, USA and Beijing, China.

Her work has been featured in numerous group exhibitions at venues. Her works has been published by Marquand Books, Inc., Cartier Art, Beijing Center for the Arts, Hong Kong Century, Yunnan Fine Arts, and Beiyue Publishing House.

Her work has been reviewed in numerous publications, including Art in America, ID Magazine, The Willamente Week, The Oregonian, Artlies, Glasstire, the Houston Chronicle, and Zoom on Fashion Trends.

Public Art Performances:

2013 , Songzhuang Art Museum,Beijing, China

2010 , Art Basil Miami, USA

2007, The Menil Collection, Houston, USA

Artist Statement

"Painting is the vehicle enabling free wandering and interplay between macro and micro, the ever-changing I-Ching, and concept of the miniaturization of the cosmos.  My creation continues the incorporation of line, form, flow, yin and yang."     


                                                                                                                        ——Wei Hong

<Under the Moon>

 40 x 37 cm

Giclee, Mineral Pigment, Xuan Paper


<Under the Moon>

 40 x 37 cm

Giclee, Mineral Pigment, Xuan Paper


<Under the Moon>

 40 x 37 cm

Giclee, Mineral Pigment, Xuan Paper


Superimposing the arid tendrils of life highlights Weihong’s awareness of nature’s metaphysical and Taoist inviolability of existence.  The Eastern and Western concepts flow through each other, enhancing their universal characteristics to merge as a spiritual statement that would be appreciated by an American Indian shaman or a Buddhist monk – using her visual capability for emphasizing the inner landscape of human spirit and nature.


40 x 36 cm

Giclee, Mineral Pigment, Xuan Paper


<Biosynthesis>, 40 x 37 cm, Giclee, Mineral Pigment, Xuan Paper, 2019

Aima Saint Hunon



Aima’s sculptures capture emotion, passion and her own life force, embodying her own drive for perfection in the ancient and eternal medium of bronze. The process of making this work reveals and amplifies the existence of life and time. She has involved in the pursuit of forms and curves revealing a sensuality similar to her own inner being.


Born in Montmartre in 1980, Aima St. Hunon, a gifted young Parisian artist, showed exceptional talent as sculptor, painter, poet and performer working in many mediums. She has exhibited her sculptures and paintings in Paris, China, New Zealand (Nelson). The artist is currently accepted in the non-profit Fractured atlas Fiscal Sponsorship Program, and now in New York City. 

Artist Statement

"My art journey is driven by my sculpture, which is a homage to the eternal female that resides at the core of each human being. 


I live through my creation and want to awaken the goddess that sleeps in each woman. 


My sculptures reveal the sacred female dimension to us by relating to the profound depth of our heart, our sexuality and our soul. My female creations, The Goddesses, have the power to stimulate recognition within us.  These Goddesses exacerbate the expression of the core of our femininity by inviting us into our sacred cave, where our innermost resources coil. It’s a female vision of thinking and seeing the world."   


                                                                                                                        ——Aima Saint Hunon

<Earth Love>

36x29x17 in



<The joy Triskelle>

30 x 8.5 x 33 in



<Love fanfare>

19 x 16.5 x 7.5 in



Jingyi Wang


In Wang Jingyi's young career path, she was influenced by many art masters, especially the surrealist style of Rene Magritte from Belgium. The creation of her cactus theme series has been 4-5 years since the beginning of 2016. The painting has a quiet and almost trance-like atmosphere.


The main cactus is the carrier of her emotions. It discusses the contradictory internal and external relations between fragility and arrogance, sharpness and Jixi, which are projected by Lacan's mirror image to some extent. The indifference and crisis of the real world. She uses immersive artistic language to create an allegorical psychological space for her subconscious, and at the same time shows a sensitive emotion and attitude towards the evolution of society and the surrounding environment.


Among them, the "Needle Investigation" created during the epidemic was inspired by the painting "Gabriel and a Sister of Hers" at the Louvre in 2012. It alludes to the ecological problems of Antarctic glacier rupture and expresses it in a relaxed and humorous way. serious question. She brings her unique relaxed humor and a touch of ridicule into the picture, injecting a touch of warmth into the cruel reality.


Jingyi Wang (Chinese, b. 1989) is a New York based visual artist specializes in oil painting. She received her BFA degree from China Central Academy of Fine Arts in 2013, received her MFA degree from New York Academy of Art in 2016. Her works had been widely exhibited at Art New York, Sotheby’s New York, the Metropolitan Pavilion, Portraits Inc., Panepinto Galleries, X gallery etc.

Selected Exhibitions:

"The Growing", 2017, America Bank Gallery in New York


Solo exhibition “Soft Sting”, 2019, was opened at Times Arts Gallery in New York in


Online solo exhibition “Natural Social Distancing” 2021 was opened at Four you Gallery in 2021.

Artist Statement

"I like drawing! Most of the colors are directly extruded from the lead pipe and quickly daubed on the canvas. From the color to the rhythm of the brush strokes, from the beginning to the finish, I have been full of indescribable happiness, confidence and enthusiasm. I like that painting is the movement of the brush strokes and the touch of the oil paint, what they want to show is not the change of color or the change of the brush strokes. More is a way of expression and floating mood, narrating my happiness, sadness, miss, the story in my heart all pour out in the creation. 


Sometimes painting is not about conception. We put so much emphasis on knowledge that we forget about real feeling. That's where my painting comes from. Every thought begins with a primal feeling and a message that expresses my true self."                                                                                                  

                                                                                                                                                                                                                                                                                                        ——Tiffany Zhu

<Tiffany’s Breakfast>

26x 28 in

Oil on canvas



Oil on canvas



 Mix Media

30 x 40 in


<Summer flutters>

36x38 in

Oil on canvas


As a woman to paint"abstraction", the imagination may be unusual.


I see Tiffany's abstract order and rational passion and willfulness, more reverent and passionate feelings, infiltrate the creation of abstract landscape paintings and state paintings, depicting the abstract reality and agility in the  three dimensional space.  It shows the author's unprecedented  confidence and unassuming passion, the  brushstrokes of the painting are unrestrained, the colors are bright and generous, andeverything is just right. 


It is an expression of Chinese writing with abstract brushstrokes,  expressing feelings with the tension of emotion. The author's consideration of  composition is to write freely,  which also shows that any art  that is not subject to concrete constraints contains the absolute necessity of self-creation.


                                                                                                                          ——Frank C


<12-Bar Blue>

48 x 60 in

Oil on canvas


<True Love>

58x60 in

Mix Material on canvas


Toby Heifetz



Distorted, deformed and somewhat bizarre, Toby creates a fictional world that simulates reality in her work“Sleepers awake”and “the empty chairs”. In London, the painter Frederick Hayman-Chaffey introduced her to his friend Francis Bacon, the greatest painter of the 1940s, whose work deeply influenced her. Through Toby's works, we can feel a dramatic illusion, with a certain humid temperature, gloomy, depressed and anxious, which seems to reveal a tense and fuzzy relationship between people and things, or between things and things.


Toby Heifetz studied at the Tyler School of Fine Arts in Philadelphia, where he received his BFA and MFA. She went on to do a PhD in aesthetics at New York University. Toby has taught Art and Art history at Trenton State College and Brookdale College in NJ and at the College of NewRochelle in NY, and as an adjunct facility member at Long Island College (LIU).  In collaboration with Dr.Gottfried Wangner, as a writer and illustrator for the documentary  called “Journey from Bayreuin to Terezin “ produced by RAI TELEVISION. She then assisted on set design for an opera by Viktor Ullmann "The Emperor of Atlantis.” Written in 1942 at Terezin. 

Artist Statement

"As an artist, I have sought to cope with an intellectual analysis. Of charged emotional content Thur my work, these paintings and sculptures approach this task; using the figures as an icon, to describe flying, falling, floating, standing and reclining, to describe disintegration, reflection, volume, mass and space.


In regard to my work the figure becomes abstracted space. These works represent synthesis of form that forces the viewers and myself to be engaged in the depth of meaning they attempt to portray. They exhibert the power of the femine and it’s ability to express power of emotion"

                                                                                                                     ——Toby Heifetz

<Sleepers awake> series,144 x 240 in , Acrylic Painting, 1983

<Sleepers awake> series

72 x 96 in

Acrylic Painting


<Sleepers awake> series

96 x 120 in

Acrylic on canvas

<Untitled> series-Sculpture



<Sleepers awake> series-Sculpture

Wood, Clay and mix media


<The empty chairs>

 Graphite turpentine and White Painting 

<Untitled 1>

Mix media pen and Ink


<Untitled 3>

Mix media pen and Ink


<Untitled 2>

Mix media pen and Ink


<Untitled 4>

Mix media pen and Ink


Alian Price


Through the mist, Ailian’s lotus is peaceful and elegant, calm with transparent texture and purity. Her love for lotus comes from her childhood memories of Guangzhou, the southern part of China, and her early professional training in the Department of Chinese Painting at the Guangzhou Academy of Fine Arts, so her lotus are left in her marrow and blood with a traditional cultural flavor. Her studies at Parsons School of Design in New York have given her a new understanding and appreciation of mixed media. She uses the ancient method of brushwork to present the unique vigor and character of the lotus, and through continuous exploration and experimentation with materials, she achieves the best effect of blending color and ink…The best state of life is the tranquility of inner spiritual enrichment.


At age 15 she started studying with professors from the Fine Arts Academy of Guangzhou. At 16 she was participating in major fine arts exhibitions in Guangdong. She graduated with a bachelor's degree in Chinese painting from INE ARTS INSTITUTE OF GUANGZHOU in 1982 and Master of Fine Arts degree from PARSONS SCHOOL OF DESIGN in New York in 1986. She currently lives and works in Hudson Valley, New York.  

Ailian Price has participated in the joint exhibition of Guangdong Museum of Art and China National Art Museum, and won the fourth Student Works Award of China Academy of Art. "Retrospective exhibition of Guangdong Fine Arts in 30 Years" won the second prize of Chinese painting. Her work was awarded the Allies Artists of American Prize in 2020. Her work is in a wide range of Museums, public institutions and private collections from the United States, Germany, Hong Kong, Singapore and other countries:


2020  Allied Artists of America Member Exhibition, National Arts Club, New York, NY.

2017  North America Alumni Exhibition,University City Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, China  

2009  Solo Exhibition,Clement Art Gallery Troy, NY

2007  Solo Exhibition, Kaaterskill Gallery At Columbia Greene Community College, Hudson, NY

2006  Arte De Palm ,Group Exhibition,Palm Coast, FL

2006   Group Exhibition,Mariah Gallery, Bethesda, MD

Artist Statement

"I had been painting lotus flowers for decades. I have been fascinated and I have admired the character and beauty of lotus flowers since my childhood. Despite their environment, in mud, lotus flowers have the ability to remain upright and blossom with purity. I tried to show the lotus flowers’ spirit, their“will to live,” their love for life and their enchanting beauty in my paintings."

                                                                                                                        ——Ailian Price


23x 24 in

Ink on Silk


<Morning Mist>

32 x 16 in

Acrylic on Gold paper


-The End-


+852 2416 3632


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