a colorful ferris wheel spinning in the dark

Welcome

Margueritte Tonbazian

Futuristic Surrealism · Toronto, Canada

Represented in the Artexpo New York 2026 Catalogue and exhibiting digitally at Milan Artboxy · Curatorial review by Despina Tunberg, World Wide Art Books & Artavita

My practice investigates the threshold between human consciousness and the cosmos, built through material chemistry, field research, and the mathematics of perception.

Gallery & Curator Enquiries → Hello@Margueritteart.com

Collector Enquiries → Hello@Margueritteart.com

Curatorial Review by Despina Tunberg, World Wide Art Books & Artavita :

ttps://margueritteart.com/curatorial-context

Bienvenue

Margueritte Tonbazian

Surréalisme Futuriste · Toronto, Canada

Présente dans le catalogue Artexpo New York 2026 et exposition numérique à Milan Artboxy · Revue curatoriale par Despina Tunberg, World Wide Art Books & Artavita

Ma pratique explore le seuil entre la conscience humaine et le cosmos, s'articulant à travers la chimie des matériaux, la recherche de terrain et les mathématiques de la perception.

Demandes Galeries & Curateurs → Hello@Margueritteart.com

Demandes Collectionneurs → Hello@Margueritteart.com

Margueritte Tonbazian: Futuristic Surrealism

The Convergence of Analytical Discipline & Artistic Vision

"My practice is a rigorous investigation into the intersection of human consciousness, physics, and the scientific imagination. Moving beyond traditional abstraction into Futuristic Surrealism, I explore the 'Shared Cognition' between our terrestrial origins and the emerging intelligence of the Artemis era."

The Masterclass Studio: Bespoke Material Chemistry

"Every canvas is a unique laboratory. Rejecting mass-production, I develop non-identical technical recipes for every story I tell. By layering Transparents, Oxides, Cadmiums, and Iridescents with structural marble dust and cold wax, I create archival-grade assets designed to endure as a dialogue with time."

2026 Strategy: A Global Inquiry

"Following field research at the Kennedy Space Center, my 2026 trajectory is defined by a singular niche: documenting the emotional and mathematical bridge ($1.618$) between the human observer and the infinite cosmos. I invite collectors to participate in a finite, evolving narrative—a documented inquiry into our cosmic future."

a close up of an open book on a table

Color is a language that carries emotion—an unspoken dialogue between the subject and the artist, and then between the art and its observer. In my practice, I view color as a vessel that stores action and reaction, holding the energy of the moment it captures. Through photography and the initial sketch, color freezes that emotion in time; through the painting process, it transforms into something deeper—something felt. What begins as a single instant becomes a lasting impression shaped by memory, sensation, and the shifting chemistry of our perception.

This is where the moment becomes art: through personalization. As an artist, I interpret these shared scenes through my own experiences, instincts, and emotional lens—filtering the 2026 zeitgeist into a unique visual expression. In my current work, I am exploring how iridescent pigments and interference layers can mimic the "forward energy" of the world in motion. This personal translation elevates color from something we see to something we feel, allowing the artwork to live beyond time and speak a different truth to every observer.

My concepts are born in the shift between dimensions. While in motion—driving through the rhythmic rise and fall of the Ontario landscape—the present moment suspends, and the world transforms. Whether it is the golden explosion of a sunflower field or the collective energy of geese rising from the water, these fragments of reality collide with speed to spark new narratives. My work captures these 'suspended moments,' where ordinary scenes are elevated into cosmic storytelling.

Futuristic Surrealism™ is a proprietary creative methodology and trademark of the

Margueritte Tonbazian Art Lab (CIPO App. No. 2,471,293).