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


HER POWER Curator Cissy Cheung   

"Her Power" Online Exhibition as "Life.Blossom" Exhibition - "Her Power" companion volume, began on International Women's Day 2021.

As the event originated in Kwangju Art Biennial in 2018, along with a motion by the President's Conference of the International Federation of Women's Arts, the event was then confirmed to be held in Hong Kong in 2021, during the International Women's Arts Federation Exhibition in Moscow in 2019.

Over the past few decades, women's art and female artists have risen, increasingly in academia, in the marketplace, making their voices heard and blooming- but not enough, yet her creativity clearly isn't silent, if not more powerful than men. Therefore, we want to build a platform for women around the world to shine; for professionalism, academic business, social responsibility and influential women's arts.

During the preparatory period, the world experienced an unprecedented "pulmonary disease". Our planning thus fell into a state of stagnancy; our plans cannot land, but our pace is still, out thinking non-stop.

In such a special historical period, long and difficult days have not been in time. Human accidents trigger our deep reflections on life: how can women cultivate strength in the limited length of life and increase the thickness and breadth of life? This was also a significant thought considered in the launching of the exhibition.

In the process of collection, we see the rich and tenacious "Her Power" conveyed by women's art. They bloom life and positive meaning in different countries and regions. They all have these things in common: they read for their own life, think for society, create portraits for the times, and hope to leave a mark on history.

The early stage of the event has been actively participated and supported by international female artists and art institutions, especially by many experts and scholars, as well as our guest curators, Dr. Han Qi, Dr. Rochelle Yang, Dr. Huang Mei, to which a series of guidance work was given. As well as thanks to Tao Weibai, Jia Fangzhou, Tong Yujie and other art and academic consultants for their strong support and guidance to the exhibition.

We believe when a person maintains an unfailing passion and enthusiasm for art, then she has given her life the meaning and value of youth. The energy yielded by the heart that burns for art is "her power" unmatched by anything else. 

An essential trait of art is the detachment of daily life’s repetition. Without innovation and breakthroughs, art no longer exists. This is a general consensus. 

From this consensus, in the 19th century, the emergence of the camera gave rise to a new form of art - it reproduces nature and characters more accurately than brushstrokes. Hence photography was born as a new type of art, alongside film and video, which also came into being.

In the 20th century, conceptual art was born, and installation art, performance art, and multimedia art were initially strong. Although it has been quite some time since all new art forms such as photography, video, installation, performance, and multimedia had been accepted in the West- looking back, their development and acceptance completely conform to the essence of art, that is, innovation and breakthrough.

In this sense, contemporary Western artists include female artists, and increasingly more people are willing to use new media to express their idea.

On the contrary, painting as a traditional medium is relatively less attractive. Nowadays, major documentary exhibitions and biennials in the West, such as the Documenta of Kassel in Germany, the Venice Biennale, and the Biennale of Sao Paulo, Brazil, etc., include photographic works and only a small part of them, installations and performances. Video, new media and other works occupy most of the space.

This is also the same as the works we received and selected for the exhibition in this solicitation - more than two-thirds are photography, video, installation, performance, and new media works. At the same time, traditional paintings and sculptures are indeed only a minority.

However, this does not mean that traditional paintings of the West are “dead”, or are so weak that it is about to die. Painting still exists in the West, painting exhibitions and collections are still plenty. 

Consequently, in this series of “Her power” by western female artists, each chapter concludes with their paintings. The paintings of these female artists will revitalize, proving that paintings are still active, not dead but once again separating the distance between artwork and theory.

 At the same time, we also show works of female artists from different countries covering various media and formats, displaying the diverse culture and expression behind their works.

In this chapter, we will exhibit 7 artists.

 It is particularly interesting to compare the photographs of Viktoria Andreeva from Austria and the sculptures of Monica Piloni from Belgium. Two women from different countries, using different media paid attention to the same theme, that is, the dismemberment of the human body, the relationship between dislocation and spirit. Both works are strongly conceptual.

On the other hand, Cornelia Renz from Israel paints and makes collages. Its content is a metaphor for contemporary medieval history. The composition and brushstrokes are almost as powerful as men. The computer creation media by Nikolina Petolas from Croatia is very novel, merging reality and illusion. The photographs of French female artist Jasmine Bannister are incredibly delicate.

Born in Belgium, Tine Deturck now lives in Paris, France, but she has owned a studio in China for many years. A lover of Chinese culture, the penetration and influence of Chinese ink in her works are obvious. Also focusing on painting is the American artist Kelly Reemtsen.

Through their unique brushstrokes, techniques, and materials, they create completely different expressions of personality, which touches deeply and inspires. They highlight the other side of contemporary art.

Contemporary art uses huge funds for grand display, causing fever in the eyes, inflated desires, eating one’s heart out.  Most female artists are still economically disadvantaged. The combination of economic disadvantage and spiritual honesty is reflected in their works, allowing viewers to reflect, be inspired and uplifted by art; but also with a warm heart, to strive to support these female artists.

Independent Curator and President of FIAKE
Huang Mei

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


"Monica Piloni: Reverberating in the Body", "Nikolina Petolas: Animal Fables",

"Viktoria Andreeva: Performing in a Fantastic Stage", "Cornelia Renz: Destruction of Norms",

"Kelly Reemtsen: New Female",  "Jasmine Bannister: Portraits of Everything", "Tine Deturck: Souls in Ink"



At the end of the second decade of this century, interest in the representation of the human figure in the field of art is still remarkable. The body, its gestures, needs and desires have become a key element in the most pressing social and political issues of our time, and this is reflected in the imagery of contemporary artists. It is in this spirit of the age that Monica Piloni's work seems to evoke the forces that act upon bodies.

Looking at the whole of the artist's work, we are confronted with a kind of cabinet of curiosities, populated by representations.

In this series, the figures reveal something rather apprehensive and vaguely erotic. There is a certain silence and tension in the pieces at the same time. Beauty quickly becomes monstrosity, as in the soft, delicate contour of a model's torso, which doubles and bulges in the space in front of a mirror, replicating a reality already unfolded and rebounded on itself, transforming what would be a classic torso into a mass of flesh. It evokes the forces that act upon bodies, through an interweaving between appearance and essence, fact and fiction. That produces a kind of echo that insists on reverberating in the body itself.



Sculptor, born in Curitiba in 1978. She currently lives and works in Brussels. Her works are collected by several art institutions and collectors around the world.

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Desbundo-Me | 180 x 50 x 200 cm | Fiberglass, mirror and base | 2019


Diver | 113 x 63 x 63 cm  

Fiberglass, polyurethane and pla | 2019

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Lee | 34 x 44 x 70 cm | Resin, pla and false nails | 2019


The Reader | 160 x 100 x 60 cm

Synthetic hair, fiberglass, pla, books cover | 2019


The Kiss | 78 x 80 x 45 cm | Fiberglass | 2018

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And Why Would You Want My Soul in Your Bed? | 66 x 99 cm | Archival pigment prints | 2014


Ballerina, FM | 186 x 113 x 32 cm | Resin, pla, collant, ballet point shoes, ocular prosthesis, synthetic hair and acrylic boxes | 2019


Ballerina II | 222 x 95 x 110 cm  | Fiberglass, synthetic hair, ocular prosthesis and acrylic boxes | 2014



Nikolina is a photographer and visual artist from Zagreb, Croatia.

With her works, she searches to underline the psychological and social aspects of our identity and the effects that endless soul searching has on our lives. In her metaphorical presentations, from dreamlike landscapes and fantasy scenery to strange and dark characters, creatures and environments, she uses the observation of inner conflicts and questions that arise from them, as a dreamy and vivid example to show complex human emotions and drives as well as her subjective personal experience of the world.

Visual interpretations of animal fables with profoundly detailed compositions in her signature 'Tale of the Blue Pear' series have been recognized by private collectors worldwide.



Photographer and visual artist. Her work has gained multiple international awards and has been shown in numerous international exhibitions, including galleries and museums of Europe, USA and Asia. Her art is also represented in various books, magazines and publications.

Important Exhibitions:

2019 Tale of the Blue Pear, Galerie Boris, Paris, France

2019 Tale of the Blue Pear, Lishui Photography Festival, Zhejiang Province, China

2018 ImageNation Paris (Paris Photo Days), Galerie Joseph Turenne, Paris, France

2017 Real - Surreal - Unreal, Villa Berberich, Bad Säckingen, Germany

2017 Münchner Science & Fiction Festival, Einstein Kultur Centre, Munich, Germany


Chicken or Egg | Editions vary by size | Museum-quality, archival pigment prints


Smuggler of Happiness | Editions vary by size

Museum-quality, archival pigment prints


The Tree House | Editions vary by size

Museum-quality, archival pigment prints


Forestation | Editions vary by size | Museum-quality, archival pigment prints


Smuggler of Happiness | Editions vary by size

Museum-quality, archival pigment prints

Lollipop | Editions vary by size

Museum-quality, archival pigment prints


Don’t Think About Pink Elephants | Editions vary by size

Museum-quality, archival pigment prints

Maybe This is Love | Editions vary by size

Museum-quality, archival pigment prints



Viktoria Andreeva is a fine-art photographer focused on the body as the main composition element. As a former ballet dancer, Viktoria’s love and passion for the art of movement have deeply influenced her aesthetic.

The distortion of the figure aims to blur the line between reality and illusion, natural and artificial. Viktoria plays with elemental and symbolic opposites which contradict each other at a first glance. Her work seeks to connect and communicate with the viewer - to open up a field for interpretation of the narrative.



Sculpture artist. Born and raised in Bulgaria in 2015 she moved to Vienna, where she pursued a degree in Photography and Audiovisual Media at the College of Arts Die Graphische.

Important Exhibitions:

2021 Romantica - shape of my art, M.A.D.S. Gallery, Milano, Italy

2021 Nude affiliation and Portraiture,  Pepney Gallery, Cavan, Ireland 

2020 “7th International Photo Salon Plovdiv” - Awarded photographers Travelling exhibition, Ancient Theatre, Plovdiv, Bulgaria

2019 Loco-not locals, Kunstraum am Schauplatz, Vienna, Austria

2019 Body Paint Soul, Viktoria Andreeva & Stefan Nuetzel Studio Stefan Nuetzel, Vienna, Austria

2018 In Schwebe, Gallery Lumina, Vienna, Austria


Into Pieces | 40 x 60cm  | Photography | 2020

Smuggler of Happiness | Editions vary by size

Museum-quality, archival pigment prints


All We Have Is Now  | 40 x 60cm  | Photography | 2020

Familiar strangers  | 60 x 40cm  | Photoggraphy | 2018


Forestation | Editions vary by size | Museum-quality, archival pigment prints


Shapes | 60 x 40cm  | Photography | 2020


In A Split Second | 60 x 40cm  | Photography | 2021


Faceless | 40 x 60cm  | Photography | 2017



As an artists with the cultural background of both Israel and Germany, Cornelia concerns about cultural norms and role models and their origins. In her work, she sampled existing image motifs from a wide variety of sources, such as European skeleton and Asian elf, in order to then deconstruct them using her montage process.



Born in 1966 in Southern Germany. Live and work in Berlin, Germany and in Tel Aviv, Israel. Awarded Grant Prize of Künstlerhaus Schloß Balmoral in Germany, Grant Prize of Villa Aurora Stipendium in Los Angeles, USA, and Prize of Föderprize Bildende Kunst der Schering Stiftung in Germany.


Cornelia Renz’s works have been exhibited in galleries, museums and public spaces globally, including Kunsthalle Memmingen, Berlinische Galerie in Germany and Contemporary Art Center Louisiana in New Orleans.


Into Pieces | 40 x 60cm  | Photography | 2021


Self Fed By Little Death | 120 x 200 x 6 cm | Pigment marker on acrylic glass | 2008


Alt New | 172 x 172 x 8 cm | Pigment marker on two sheet of perspex | 2018


Fair. Play. | 170 x 170 x 8 cm | Pigment marker on two sheets of perspex | 2017


Superheroine | 100 x 100 x 6 cm | Pigment marker on two sheets of perspex | 2014


Gretel Liesel | 100 x 100 cm | pigment marker on two layers of acrylic glass | 2020

In A Split Second | 60 x 40cm  | Photography | 2021


Dance of Death - Yes, We Can | 50 x 80 cm | pigment marker on foil | 2021



The paintings for which American artist Kelly Reemtsen is best known are her bright and bold paintings of women carrying household tools such as chainsaws or axes, which are elaborate depictions of the role of the modern day woman.

Reemtsen’s women are not simply pinup girls or arm candy. Rather, the women, while dressed to the nines, undertake household, and often, traditionally masculine tasks. The objects they hold, from dishrags to wrenches to chainsaws, range from domestic to menacing, and yet, as a body of work, address the question of the proper role of the contemporary woman. Anonymous torsos, the women remain beautiful representations of the feminine with which anyone can identify.

In terms of technique, Reemtsen’s work, with its thick impasto, represents a masterly handling of paint, which can be seen throughout her oeuvre of women, as well as other subjects including designer furniture and pills.



Born in 1967 in Michigan, USA. Her paintings are best known for its thick impasto, bright white background and the anonymous characters.


Important Exhibitions:

2021 THIS IS AMERICA, Kunstraum Potsdam, Berlin, Germany

2020 The Shape of Things (Solo), Albertz Benda, New York, USA

2020 Fragmented Bodies, Albertz Benda, New York, USA

2019 Pattern (Solo), David Klein Gallery, Detroit, USA

2018 Fix It (Solo), Lydnsey Ingram, London, UK

2018 Value (Solo), Albertz Benda, New York, USA


Smack Dab | 122 x 91.5 cm | Oil on panel | 2020


Pieces of Her 30 | 51 x 51 cm | Oil on panel | 2020

Grounded | 152.5 x 114.5 cm | Oil on panel | 2020


Taking Shape Neon Pink | 68.5 x 20.5 x 20.5 cm | Cast resin, steel, lacquer, gold | 2020


Pieces of Her 10 | 51 x 51 cm | Oil on panel | 2020



After graduating from the Ecole des Beaux Arts in France, photography is Jasmine’s main medium. She tends to question its possibilities with an artistic approach and by blurring the thin border between art and documentary photography. 

Her photography work focuses on narratives within different territories such as her own but also ones far from her, where culture, identity, history and environment collide. From photojournalism to contemporary photography, she have a desire to document the many different intricate realities that she comes across. 



French Artist


Important Exhibitions:

2020 Expo/osée, Granville, France 

2020 Domestic Landscape, Granville, France

2019 Rise and Fall o􏰀 tomorrow’s Icons, Nantes, France 

2019 Silver Show, , Granville, France

2017 Four Seasons, CCA Galleries International, Jersey, Channel Islands 



All prints are: 40 x 30 cm | Printed on Bright White Hahnemühle paper 




Tine Deturck started to create with ink decades ago. After setting up her own studio in Beijing in 2007, she spent her time between her studios in Paris and Beijing.

Affected significantly by the expressionists, she focuses on the human face which becomes more and more on the edge of abstraction. There is a balance between concise lines and expressionist momentum, zen concentration and explosive intuition. Tine Deturck sounds out the ineffable and fleeting impressions of the human mind directly connected to the soul.



Born in Belgium, Tine Deturck grew up and studied in Germany, Belgium, England, and the Netherlands. Live and work in Paris, France. She owned a studio in China as she is fond of Chinese culture. Her works noticeably reveal the penetration and influences of Chinese ink.


Enigma | 73 x 60 cm | Mixed media on canvas


Gagarin | 146 x 114 cm | Ink on canvas | 2013

Antichrist | 73 x 60 cm | Ink on canvas


Ode to Soulages n°2

146 x 114 cm | Ink on canvas


Papillon | 73 x 92 cm | Ink on canvas

HER POWER Online Exhibition 2021

This exhibition not only visually displays the unique and delicate creations of women, but also hopes to bring out the possibility of women’s perception and feminine aesthetics in contemporary art, beside the men-dominated mainstream, and promote their representability in the art world. This exhibition would serve as a forum for dialogue of the reflections on social culture and the examination of personal issues from women’s point of view, mainly delivered by their works of all forms.

HK Art of Nature International Female Art Research Society

HK Art of Nature International Female Art Research Society was founded in 2011 as a Hong Kong registered non-profit organisation; with the objective of uniting female art enthusiasts across Hong Kong, China, and overseas. It welcomes any and all females in art-related fields, as well as those interested in promoting contemporary female artwork. The Society aims to sponsor female artists and help them achieve their full potential. It has established the “Infinite Love” Series Triennial on 2015 and “Her.Power” Series Online Exhibition on 2020.


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Email: msctq@vintion.com