Art by Beth W. Stewart

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Online Art Galleries

Seawall Undulations 24x48 oil on canvas

Shop Luiza Vizoli Art

Fall Days

"Living inside Istanbul, it is easy to see only the crowd and the pace of the city. But when we stop for a moment and clear our heads, small details begin to appear: a building, a structure, a road we pass every day start to look different. These photographs were made from that feeling, a quiet shift in how a familiar place is seen."

Carlotta Gallery

"Kız Kulesi."

"I feel deeply bonded to the practice, especially when bringing prints into light, not having a preconceived idea of how it "should" look, then practicing curiosity as I retrace my steps and wonder how those outcomes could have come to be, never putting myself in a place of certainty in understanding. The new light that the memories are now displayed in, with imperfections and textures permeated through the imagery, creates a new beauty that is only genuinely present in film photography. My deep appreciation for this craft fostered its use in design and printed media."

"Peering Cat."

"My photographic practice explores identity, freedom, and the tensions between who we are, what society expects us to be, and what takes place within us. I use the body, fragmentation, movement, layering, and photographic staging to explore the boundaries between confinement and freedom, control and surrender, darkness and light. My work examines both the constraints imposed by the social gaze and those that emerge from within. Across my work, these tensions take different forms, moving between altered perception, social norms and power dynamics, struggle and emancipation, and the coexistence of darkness and light. My work therefore moves between the intimate and the social. The body becomes a territory where conflict, transformation, and the search for freedom take shape. Photography, however, is not merely the medium through which I represent these tensions. It is also the space in which I move through them."

"The Dissolution."

Untitled 36x36

TheShoppingTrip 18x18 2750

"I primarily work with film photography, at the intersection of street and landscape photography. Rather than documenting spaces in a literal or descriptive manner, I try to focus on two aspects. First, I see space as a material presence with its fragments, textures, and marks. Second, I see it as a metaphor for co-existence between people, natural and artificial objects, which create this space and are influenced by the space and each other. My second area of interest is experimenting with the film medium itself as something that captures fragments of life that may go unnoticed. I find film a very flexible medium that, at the same time, requires being very flexible while working with it, not controlling it to a great extent, but yielding to its qualities and accepting the process as a form of co-creation."

"Infinite."

"Veil."

"I photograph light as it transforms ordinary scenes into unfamiliar forms. By isolating fragments of light and shadow, I explore the boundary between recognition and abstraction. My work invites viewers to reconsider what they see and notice subtle changes in perception."

"Remnant."

"Scars Between Us." began during a solo trip to Sori, Italy. With no expectations, I wanted to disappear for a while and become unknown somewhere I had no roots. I eventually found myself at a local court, where I met a group of young men who gathered there regularly.
Through spending time with them and the conversations we shared, the series became a reflection on the marks we carry long before they become visible. Some are left on the body, while others are shaped by where we grow up, how we are perceived, and the assumptions made about us before we are given the chance to define ourselves."

"Shot entirely on 35mm film, the photographs hold onto an encounter that could only happen once. What began as a chance meeting became a personal reflection on recognition, belonging and the experience of being seen beyond the assumptions and social prejudice placed upon us."

"Scars Between Us."

Trevor de Silvia

Toronto Sunset

"Water makes the body appear luminous and weightless while also restricting movement, breath and voice. Refraction shifts the face and gestures, showing that visibility is not the same as understanding. Flowers, make-up and dress remain deliberately present because the project does not ask a woman to abandon femininity in order to prove her competence. They belong to her self-presentation and pleasure. The contradiction is that the same qualities praised as beautiful can later be used to dismiss the person who embodies them. As the sequence develops, the container moves between vase, display case and barrier. Attention shifts from the woman inside it to the system of looking around her. Misread asks whether it is the subject who has been misread, or the assumptions through which she is viewed. It refuses the idea that credibility must be purchased by becoming less feminine, less beautiful or less visible. Beauty is not the cage. The judgement attached to it is."

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