Painting a Kaleidoscope of Color with Jason Anderson

Marina by Jason Anderson (2019)

When we saw Jason Anderson’s work, we just had to find out who was behind the canvas. His eye-catching art is inspired by the beautiful and varied landscape of his coastal surroundings and his experience as a stained glass artist.

Anderson is a full-time artist based in Dorset, UK. His use of color combined with his bold application creates a compelling composition of large sweeping impasto strokes that blend seamlessly into areas of smooth vibrant color.

We got the chance to chat with him about his painting process, how he developed his unique style, and how he goes about marketing his art via social media.

What led you to decide to be an artist? When did your artistic story begin?

I left school at 16 to start my art career as a stained-glass artist.

I served under the renowned (stained-glass) artist Roy Coomber for 5 years and was involved in some major restoration projects including York Minster, Gloucester, and Wells cathedrals.

The restoration work forced me to experiment with many different styles, while the design work taught me to compose a subject around very defined slabs of glass (i.e. color). This imprinting had a huge influence on the way I see things and probably goes some way in explaining why I paint the way I do today.

Pilot by Jason Anderson (2019)

You have extensive (and pretty unique) experience as a stained-glass artist. What drove you to seek that out in the beginning and in turn, what influenced you to make the switch to oil and linen?

Convenience initially. The stained-glass studio was just around the corner from where I grew up… so when it was my placement as part of a technical illustration course — it was a no-brainer.

I soon fell in love with the environment and work and really enjoyed my time there. It was a delight to follow my watercolor design all the way through to the installed church window — with light beaming through it.

My progression into oils was again was influenced by circumstance.

Jason Anderson pictured next to his work Embankment (2019)

Last summer (2018) it was so hot in my (perspex roof) studio that the acrylic paint was drying far too quickly — so I thought I’d give oils a try. It was a revelation for my work!

The extra drying time allowed me to move and blend paint around the canvas. Suddenly I could create the paintings I had always envisaged.

Now I prefer to use linen over canvas as it’s more environmentally friendly and has increased durability. I also use water-based oil paints (and natural oil mediums) for this reason. It’s about the little choices.

The texture you create (both visually and texturally) is incredible. It’s dynamic yet mathematical. What’s the process you go through with each painting? Is every stroke pre-arranged? And how long do those thick layers of oil take to dry?

I paint with a palette knife as I love the textures and shapes it creates. Like the impressionists, I’ve found that if the colors and tone are right, the form isn’t that important. Your brain simply fills in the gaps. This creates two visual experiences. From a distance, it’s a scene. But up close it’s all about the shapes and color.

Close up of Ternary by Jason Anderson (2019)

Using a knife lets me create bold straight lines that give each structure a certain strength and impact — especially when they blend into a smooth background.

The raised texture tricks the brain into thinking that these areas are closer to the viewer, which adds depth and perspective to the painting (a technique termed ‘perceptibility’ by Rembrandt’s student, Samuel van Hoogstraten).

I always start with a black and white pen sketch. It helps me see if the composition is strong enough and prevents me from dwelling on detail. I then sketch out the painting with a large brush and start to add the big areas of color in the background. Then I build up the subject with a knife. I don’t really know what colors I’ll be using when I start out — I just keep adding colors until the painting feels balanced and ‘full’.

Each work takes around 2–4 weeks to dry depending on how thickly I have painted.

From what I’ve seen, you have two distinctive styles, one abstract and the other more realistic. What’s the reason behind your experimentation with such different styles?

Realistic acrylic landscape painting by Jason Anderson (2016)

I used to paint realistically with acrylics… but as my style has developed with the oils and my abstracts, I have found it increasingly more difficult to paint in this way.

The reality of being a professional artist is that initially, you must paint what a lot of people want — and often that’s a realistic painting that looks like a photograph.

As you develop as an artist and your profile builds you can start to experiment and move onto impressionism and abstracts. Having this foundation as an artist allowed me to ‘earn my spurs’ and understand color and composition far better.

Ultimately it’s made my abstracts more convincing — there is no better teacher than nature.

You’ve gained an impressive social media following and are quite active on Instagram. Do you have any pointers for other artists in building (and keeping) their social following?

My Instagram following was mediocre up until recently.

It was only once I started painting and posting my new style of abstracts that it improved. For me, this proves that you must be true to yourself and paint what feels right for you. People will either like it or they won’t.

I now only post 1–2 paintings a week — making sure they are good strong compositions presented in a professional way (framed, in a room etc.). Bombarding people with tons of ‘works in progress’ or (personal) things unrelated to your art or profile is a sure-fire way for me to lose followers as I’ve built up my profile in a very specific way. I always remember that you’re only as good as your last post! (note: some people choose to do the opposite and build up a following based on their works in progress etc. It all just depends on what your specific followers respond to).

Instagram snapshot showing Jason Anderson’s “Foundry” visualized on a wall (2019)

How do you think technology is affecting the way we create art and make a living as artists?

Technology has a huge impact on art and how artists promote and sell their work.

Social media is the perfect platform for artists as it’s so visual.

When I started out, Facebook was my biggest seller of commissioned portraits and traditional landscapes. Now that I am focusing on abstracts, I have more success with Instagram. I think this is down to the different markets of each platform — Facebook loves traditional ‘realistic’ art, and Instagram loves more expressive abstracts!

With this in mind… I still feel that it is important for artists to hold and show their work in galleries as it gives you professional credibility.

A lot of people criticize galleries for their commission rates, but they have bills to pay. I owned a high street business once, and I found myself just making ends meet and working only to pay the multiple bills (rent, business rates, utilities, etc.) that came in each month.

I have no problem with galleries taking their cut as they’re the ones taking all the risks. It’s one of the best deals you’ll get as an artist — you only pay if you actually sell something!

In your most recent paintings, the ocean, the sky, and the sunset/sunrise make common appearances and are dramatically juxtaposed with a silhouetted city skyline. What’s behind this inspiration?

Aperture by Jason Anderson (2019)

I love the sea and everything about it. I remember as a child being transfixed by the sparkling turquoise water and reflections of the boats in Weymouth harbor (my favorite place in the world!) — so I can’t really help myself 😊

I also love the contrast of our relationship with nature, which is why I often end up including some element of humanity (e.g. a boat or skyline) — I want to remind people that we are simply tenants on this beautiful planet.

What piece are you most proud of and why?

I am really proud of all my work — I will never let anything go that isn’t exactly how I want it. However, if I had to select one (at the moment) it would have to be ‘Relic’.

Relic by Jason Anderson (2019)

The style of my work is constantly changing, so I sometimes keep paintings that are unique in some way e.g. the subject, technique or even the process… and this applies to ‘Relic’.

‘Relic’ is only a small piece at 40cm x 40cm… but it is such a simple composition and I painted it so effortlessly — I simply love everything about it and just couldn’t part with it.

Close up of the textures on Relic

When you set up an exhibition, how do you display your work? Do you consider style, color, size, and layout? Talk us through your process and feeling.

The only exhibition I have set up was at ‘Dorset Art Weeks’ last year — where you turn your home into a gallery for two weeks and you let people walk in off the street.

Often, I will discuss with a gallery how many pieces they’d like (versus how many I can realistically produce) and the owners decide how best to display them.

With this in mind… I like to choose a selection of sizes and shapes to cater to different places in the home and budgets. Most of the pieces I paint are square as I think these are better suited to abstracts — the orientation can suggest a subject e.g. a landscape.

I also like to paint the pieces in a series to keep the style consistent.

Follow Jason Anderson on Social Media

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Painting Blind With Visually-Impaired Visual Artist John Bramblitt

Painting Blind With Visually-Impaired Visual Artist John Bramblitt

John Bramblit is a visually impaired visual artist based in Denton, Texas. To put it bluntly, he’s blind, but he’s also a painter.

Bramblitt paints by raising lines on the surface of a canvas and altering the consistency of paint so he can ‘feel’ the colors. He’s worked with internationally acclaimed museums like the Guggenheim and the Metropolitan Museum of Art to run popular workshops that teach people to see the world as he does and paint using their senses and imagination.

“I’ve drawn since I was really little, but I never painted until I lost my sight because I didn’t think I’d be good. But here I was, without my sight, and my brain was filling up with images, and I couldn’t get them out. And I didn’t think I’d be able to do art again.”

Take a look at John Bramblitt’s D Emptyspace galleries below:

Brazil Gallery in D Emptyspace / Originals for Sale Gallery in D Emptyspace

“Art came to me at a time when it just shouldn’t have. I mean, come on. It shouldn’t have. But it did.”

Brazil Gallery in D Emptyspace

Let’s just jump straight into human curiosity. Can you remember what your paintings look like after you’ve painted them?

It’s a funny thing. When I was sighted, I thought your physical eyes is where vision comes from — even though I knew logically that it’s your brain that makes the images.

But when I lost my sight… my brain still made the images. It’s almost like when you’re dreaming, you see the world, and it seems very real to you. It’s because those images are coming from the same part of your brain as when you’re seeing with your eyes.

But the trick is trying to get those images out of my brain. And that was the hard bit in the beginning.

“Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution.” is one of my all-time favorite quotes from Einstein.


You’re a pretty progressive guy. How does technology affect the way you do art?

Thank goodness for the internet! It allows like-minded people all around the world get together. A lot of what I do is international. And I’m always looking for a different way to reach out and to put artwork out there. And it gives me a way to meet other people. That’s actually how we (my wife and I) came across D Emptyspace, we were just browsing through new things.

One of the most powerful things about art is that it cuts through time, it cuts through borders, it cuts through language — everything.

Technology helps me a lot. In my studio, I have a massive 3D printer. I can print out statues, I can print all kinds of things. For example, I’m doing a commission that has the Statue of Liberty in it. I remember seeing that when I was a kid, but I can’t remember the exact details. But with my 3D printer, I can print it out and feel it. So with technology, I’m not limited anymore by what’s in front of me.

Symphony in Black

I’ve heard you run some pretty interesting workshops all over the place. Can you tell us about your experience with them?

Every workshop that I teach is free (unless we’re raising money for charity or nonprofit). And it’s because I want to include everyone. Even if you’re blind, even if you’re in a wheelchair, even if you speak a different language.

Everybody’s included. Everybody paints at the same time. Everybody goes on the museum tour. And it sounds like everything would be crazy. A helter-skelter mess of people of all ages and abilities… But it’s not, it’s actually brilliant! Everybody’s just laughing, we’re all having a great time. It’s hands-on art.

99% of the people I work with don’t have a disability, but it’s that 1% that I get to work with have Alzheimer’s, or PTSD, or are in wheelchairs, or blind… that 1% just makes me feel so great.

In any given workshop, you could have something like a professional artist sitting next to a child that’s never painted before or is visually impaired. And the child is asking questions that the professional artist has never thought to ask. And then the professional artist is coming up with ideas and helping that child formulate their own art. And it makes them both rethink.

Originals for Sale Gallery in D Emptyspace

My rule is if I’m doing a show somewhere, I’ve got to do workshops — we’ve got to go into a children’s hospital or a museum or a gallery, we’ve got to go somewhere, and it’s got to be free.

If I do an exhibition at a gallery, I want to do something in the community — it’s one of my rules. And a lot of galleries are hesitant and say, “Oh, I don’t know, we’re not charging anything?” But whatever we do turns out amazing for the gallery because we get publicity for doing crazy things. I mean, we’re blindfolding people to show them how to paint!

Bramblitt pictured at one of his workshops

Do you ever feel overwhelmed by your blindness or overcome by negative emotions? How did painting help you when you first became blind?

I do. And I used to be really nervous about talking about it. But something helped me change that. The first time I gave a talk at the Metropolitan Art Museum in New York, I wanted to mention a few famous artists that had a disability. So I tried to find artists represented in the museum that were depressed, autistic, epileptic or had a disability in some way. Then I realized that I had a hard time finding somebody in the museum that didn’t have a problem!

Lots of artists have been — and still are — separated from their society, by their beliefs, the way they live their lives or some other factor. It makes sense that most people who make art have gone through something. All art is, is communication. And people want to communicate when they’re in pain or they want to reach out.

Art’s a very healthy way to deal with depression, anger, and those problems. To reach out and try to communicate those feelings.

Park Melody

When I lost my eyesight, I was so depressed, I didn’t even realize that I was angry.

I was really nice to everybody. And I was doing everything that I was supposed to. I was still going to college as an English major… but I couldn’t read or write. I sat in class thinking stuff like, “well that sounds like a great book, wish I could read it”.

It’s really easy to focus on the things that are bad in your life, things that have been taken away. And I know whenever I first lost my sight, I was very depressed about that. But one of the things that I was given is painting. Because I did illustration all my life, (I didn’t paint, I didn’t think it’d be a good painter), my brain and my hands understood how to draw. And so I was able to make art.

Nowadays, I paint about 12 to 14 hours a day, 7 days a week. Except for the days when I travel. On those days it’s between 4 and 6 hours. I’m a little obsessed with it, but it’s my way of understanding the world. I need it. Recently I had back surgery and couldn’t paint for 2 weeks. And I was getting all jittery!

Painting makes me really happy. It’s my way of reaching out to the world.

You’re not sighted, but you can still paint amazing likenesses of real people — how do you do that? And what do you mean when you say that a work needs to ‘feel’ like that person?

If you’re painting a tree, a leaf can be off who’s going to know? But if a nose is crooked, everybody’s going to notice and it won’t be a very good likeness of the person. So I need to get that right, but it’s also about color. The colors have to match a person’s feel.

A while ago I did a painting for the Epilepsy Foundation. The model was an 11-year-old girl who has epilepsy and the painting was for an award she was winning. I read her biography, and all about her, and I thought “Oh, she’s amazing. She’s vibrant and busy, and energetic”. I had the entire color palette ready in my mind for the canvas. All I needed to do was feel her face real quick. I thought that was the last component.

But when I met her, the colors were completely wrong! She’s an amazing kid and she was vibrant and all, but she was also very stoic. She had this internal energy that was really funny and witty. And I realized that if I used the color palette I was thinking of, the painting wouldn’t really look like her. Because it wouldn’t feel like her.

Now I know that I actually need to get to know a person to paint them. It’s more than just touching their face.

You use raised lines to find your way around a canvas. How did you develop that technique?

The way I paint is just using basic cane skills. It’s the same skills you use with a guide dog. It doesn’t require expensive equipment or anything. Because if you can feel your way around a busy city with a cane and not get hit by a car (and you can), then you should be able to feel your way around a canvas with your fingers. It’s just smaller movements.

Thanks to my background in illustration, I was able to use compositional techniques that painters have used for centuries to break down a person’s face into smaller little areas to understand what they looked like. So when I started learning how to draw and paint again, I learned how to translate touch into images.

Any person that learns how to get around using a cane can learn to paint and vise versa.

I know it sounds crazy and ridiculous, but all you’re learning to do on a canvas is spatially orient yourself. You’re putting something in one place, and remember where something else is. For example, when you navigate around a room, you know where the door is, where you put your coffee cup, that kind of thing. It’s just basic orientating.

And it’s incredible. As visually impaired children learn to paint in the way I paint, their ability to get around just explodes. It’s just ridiculous. Suddenly they go from bumping into things to zooming around a room with their friends in just two weeks.

How do you tell colors apart when putting them on the canvas?

I map out every stroke of a painting in my mind before I even start. Of course, it changes while I’m painting. But I know every step I need to take in advance.

To tell colors apart, I change the way they feel. So that I can touch a paint, and know what color it is by how it feels. I do this by using different mediums that I mix in. So whether you’re sighted or blind, white feels like toothpaste and black feels like runny oil.

And of course, the big question… How can someone blind ‘see’ color?

For my whole life, whenever I hear music or sound, I see color. And when my eyesight went, that’s where a lot of my color came from. Music and sound, and a little bit of emotion.

I’m a huge color nerd. I’ve read every book on color theory that I can get my hands on. But it was 11 years ago, when my son was born, that I really started to understand color.

I didn’t know what color was until my son was born. When I felt his face and saw what he looked like, color changed for me. It just wrinkled my brain.

Morning Forest

Within moments of my son being born, I was able to feel his face when he took his first breath. I don’t think a visually impaired person has ever been able to see their child like that. It was such a special moment for me. When I felt his face, color just exploded.

I had this new understanding, an emotional level that I’d never experienced before.

The longer that I paint, the happier I am, and the brighter the colors become. When I first started, everything was very dark and very morose.

Escape by John Bramblitt

How do you navigate marketing your art and how did you get your name out there in the beginning?

I had a lot of seizures back when I started, and it was affecting my breathing and my heart. I honestly didn’t think I’d have that much time, so I did what made me feel good and what I thought was important. And then my health got better and it started to pay the bills! It all just kept going, and I kept doing it.

But I understand how hard it is to put your name out there when it comes to art. I know gallery owners love art. But a lot of young artists make the mistake of thinking ”Oh, they love artwork, so they’re just going to have me come in, maybe I’ll sell some pieces for the gallery, and it’s gonna be great.”

Nope, that’s not how it works — they need somebody that has a track record. Because if they don’t sell anything, they don’t make any money that month. And even though they love art, they have to pay the bills. So because of that, It makes sense that it’s hard to break into the gallery world.

I didn’t want to show my art in the beginning. It wasn’t even a thought. So I started working with nonprofits and charities, running workshops, doing shows and fundraisers and things like that.

Then I started to realize something, and I’ve been telling other artists this:

The people that fund charities, the people that help nonprofits, the people that have free time to go to these things, are also the people that support the arts because they have the time and money to be able to do it.

I didn’t think about that start. People would say “thank you so much for coming out for our cause” and then in the same breath they’re saying “hey, by the way, I like your art and I want to commission a piece”. I think that’s a great way to get started.

Wandering but never lost by John Bramblitt

I read that when you first exhibited, you didn’t tell people that you were blind. Why was that and do you ever still do it?

My blindness is still a very personal, private thing that I keep close to me.

Back then I thought being blind made me different than everyone else. But I started to realize it actually made me more alike.

We all have something in our lives at some point that just seems bigger than us, that seems insurmountable, that we don’t know how we’re going to do it. But we just have to have faith in ourselves and push ourselves through it.

When I realized that, I stopped hiding the fact that I was blind, and it made me a lot happier. I was able to work with charities and nonprofits, and that made me feel even better. Because it doesn’t matter where I travel in the world, when I do workshops, I get to be around the best people. I get to hang out with people that are doing art for all the right reasons, and it recharges my batteries.

What’s next for you?

The US state department has been sending me all over, to Brazil in September and Poland in October to name a few places. I’m going to be going to schools, museums, universities and children’s hospitals to run my free workshops and exhibitions — something I’m really looking forward to.

One of the biggest reasons why I love working with museums is that I get to make them more inclusive.

This year marks 10 years of partnership between me and the Dallas Museum of Art. And I’d like to continue doing that. Looking forward, I plan to work with more children who have disabilities, because that’s something I really love doing. Plus thicker paint. I think I’ll be experimenting with lots of thick paint in the near future. I’m talking inches and inches — it’s going to be crazy!

Learn more about John Bramblitt via his Website.

All artworks are for sale either as originals or limited edition prints. Click here to view the full range of originals and over here for the range of prints.

Get in contact with John for workshops, speaking engagements and commissions by emailing him here:

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Android version coming soon!

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Why Michael Dergar is Fighting For Inclusivity in Art

Why Michael Dergar is Fighting For Inclusivity in Art

Orgánico gallery in D Emptyspace by Michael Dergar

Michael Dergar is an impressionist modern artist, who’s made a significant impact on the lives of disabled artists in the US.

His passion for transformation and inclusivity are represented both by the work he does and the artwork he creates. Using colorful, rhythmic patterns, he creates impactful acrylic pieces that communicate his vibrant desire to create more inclusivity in the art world. His work truly is for the community he serves, with 50% of exhibition profits going back into creating more inclusivity.

“While I am painting, my textures, colors, and designs awaken another part of me that connects me with another world where time does not exist.”

This week, we chatted with Dergar about how he manages his art foundation work while simultaneously working as a commercial artist.

Explore Michael Dergar’s Art Galleries.

If you want to get a sense of how Dergar curates his galleries, you can now experience them virtually on D Emptyspace:

Orgánico / Vivo / Textures and Color / Beauty Collection / PERVAZ collection

Want to create your own galleries? Click here to download D Emptyspace for IOS from the app store.

How did art come into your life? And what made you decide to make a career from it?

Deep Blue Sea! by Michael Dergar.
“This is a representation of Nature and the opportunity of life! Dedicated to my dear collector MM”

I discovered my passion for the arts by helping artists with disabilities. I found my calling when I created the Academy of Special Dreams Foundation — a nonprofit who brings support, public awareness and recognition to artists with disabilities.

During my time helping artists, I became one myself. I painted privately from 2015 until recently for international art collectors. And after 10 years of providing services and financial support to artists through my foundation, I decided to go public with my art and launch into a fully-fledged career as an impressionist artist.

My personal motto is “I paint to help!” Most of my profits go towards the support of my foundation and other causes to create a more inclusive society within the art world. Being able to help others is something I’m deeply grateful for.

You founded the Academy of Special Dreams Foundation to help artists that have disabilities. What’s the easiest and the hardest thing about doing the work you do?

The most difficult thing in our able society, I find, is to bring people to understand that disabled artists exist and deserve to be included in society — regardless of our disability. As it stands, people (artists among them) with disabilities in our society don’t often enjoy equal opportunity, awareness or inclusion. And that’s at the core of what we aim to change.

Artist Michael Dergar pictured at an Academy of Special Dreams Foundation Art Event

The work that I do as an artist coupled with my volunteer work as a Founder/CEO of the Academy of Special Dreams Foundation keeps me humble and grateful. Without fail, it reminds me every single day that you don’t need to be rich or famous to make a difference in someone’s life.

I feel extremely fortunate that I have the ability to make a real difference in the world. To touch the lives of others. It brings peace to my heart! And it’s what I consider to be real wealth!!!

Beauty Collection by Michael Dergar

The textures you create are beautiful. What technique do you use to achieve the effect?

Ahh well, that’s my artist’s secret! Just kidding! As you’ve noticed, my signature technique is created through texture. Using multiple controlled layers of condensed acrylic paint and acrylic paste on canvas, I slowly build up a layered depth. To bring varied shapes and interlocking lines, I apply the paint emphatically with spatulas, spray cans and my hands.

I like to connect colors, movement, and textures to represent the individuality of the art collector that I am painting for.

My inspiration for my artwork comes from my fluid feelings. It is an interpretation of people’s energy and emotions.

When working with disabled individuals, do you find technology is changing the way we create art?

In part, yes, especially in photography and film. Personally, I think it’s a positive change. Technology provides many digital tools, venues to promote art and make opportunities reachable for many people with and without disabilities to be able to showcase their talents to the world. The D Emptyspace app is a great example of this.

Textures and Color by Michael Dergar

How do you set up an exhibition? Do you have any tips and tricks you can share?

Go out there and ask! You have to talk to people! Beyond that, it’s all about self-promotion and putting yourself out there.

Set up a portfolio, make postcards with your art and go to your local city hall to request public space. Donate art to benefit nonprofit organizations…

Use your art to make a difference! That’s something I’m very passionate about — it’s just a bonus that it also happens to be a great way to promote your work.

La Mexican by Michael Dergar. “This painting represents leadership and pride.”

Marketing your art is a vital part of making art financially viable. How do you market/sell your own art, and that of others (via your foundation)?

Our foundation does not sell art, instead, we enable artists to stand on their own two feet through our free services. For more than 250 artists, we provide a community, the chance to win scholarships or get financial support, and we connect them with buyers when requested.

Negotiation is between artists and buyers. We don’t require a commission or get involved in the transaction. The foundation simply provides an online presence and financial support so people get to know our artists for their talents and not for their disabilities.

In a personal capacity, I promote myself via social media. I do this by creating my own marketing videos. I’ve been lucky as an artist — people like what I create. I have several art collectors who buy my work regularly.

I also collaborate with organizations in the USA and Mexico who are interested in holding what I call “inclusive art exhibitions”. From those exhibits, I donate more than 50% of the total profits towards improving inclusivity in the arts as well as cultivating public awareness.

Reunite by Michael Dergar. “Reunite is an interpretation of waiting for a new beginning after a long and difficulty journey.”

When are your next show dates?

I’d like to extend an invitation to all readers to attend our next exhibition on October 10th, 2019 at the Los Ángeles City Hall in LA. We’ll be featuring some talented disabled artists who work with the foundation. You won’t want to miss it!

If you’re in Turkey this October to November, please join me for a personal exhibition for which the proceeds will benefit those living in the community with disabilities. Click here to contact me for more details.

And in Mexico for November 2019, we are sponsoring an inclusive art exhibition in Oaxaca. It’ll be in collaboration with the famous artist Maru Pombo and will be hosted by Hotel CasAntica.

These exhibitions are a testament that we all can make a difference. I repeat is again, I paint to help. If I can make a difference with my talent, I will. And I encourage you to do the same! Art has no borders! Art is a universal language that brings people together. Let’s use it.

Explore Michael Dergar’s Art Galleries.

If you want to get a sense of how Dergar curates his galleries, you can now experience them virtually on D Emptyspace:

Orgánico / Vivo / Textures and Color / Beauty Collection / PERVAZ collection

PERVAZ collection Michael Dergar

Download D Emptyspace for iOS:

Android version coming soon!

Follow D Emptyspace for more company updates and art-curated content!

Website | Twitter | Facebook | Instagram | Download