Grey Cube Gallery proudly presents the sixth Floral show for the month of September 2026. The show encompassed a range of artistic styles and mediums (oil, acrylic,watercolor, colored pencil, charcoal, graphite, bronze, digital art, photography). Each submission has been judged based on the following elements of artistic expression: orginality and quality of art, overall design, creativity, interpretation of the theme, demonstration of artistic ability and usage of medium. Out of all entries, 92 artworks were shortlisted for inclusion in the show. The competition attracted entries from many countries across the world: USA, Poland, Israel, Germany, Italy, Canada, Switzerland, UK, Japan, Australia, Belgium and Taiwan. Enjoy the show and thank you for expressing an interest in our competition.

Guy-Anne Massicotte was born in 1968 in Nicolet, Quebec. She studied drawing, photography, painting, sculpture, and art history at the University of Sherbrooke and Bishop’s University, but considers herself primarily self-taught in oil painting techniques. She rigorously studied the craft of painting through specialized publications. By putting these writings into practice, along with carefully observing the works of masters such as Vermeer, Rembrandt, Leonardo da Vinci, Dalí, Bouguereau, and numerous historical and contemporary realist painters, she developed a highly personal painting technique and approach, making possible an exceptionally refined and nuanced execution. Guy-Anne Massicotte’s work is part of the international Contemporary Realist Painting Movement through her participation in numerous competitions and events.Constantly evolving, her work explores the three traditional pillars of realism: still life, interior and exterior scenes, and the human figure. Natural elements—organic, mineral, and living beings—appear throughout her compositions, demonstrating the importance of our connection to the earth and our animal nature, which does not disappear despite all the technologies that surround us. Although the starting point of a work lies in the observation of reality, the artist believes that the only way to achieve a “living” realist painting is to approach it as an abstraction—that is, to see its various elements as a coherent arrangement of forms, to find a unifying harmony in colors and values, and finally, to use the brushstroke for its own expressive richness, thereby creating a variety of refined textures. Each composition is a search for dynamic balance and harmony.

My love for photographing dandelions began quietly, almost accidentally—drawn in by a plant most people overlook or rush to remove. Up close, the dandelion reveals itself as something extraordinary: a universe of geometry, filaments, and fragile engineering, perfectly designed yet fleeting. Through macro photography, I slow time down, exploring the moment just before a seed drifts away or light catches the delicate structure of the pappus like a whispered secret. Dandelions embody resilience and impermanence at once. They thrive where they’re least invited, yet disappear with a single breath of wind. Photographing them has become a meditation—an exercise in patience, precision, and attention. Focus stacking allows me to honor their complexity, layer by layer, revealing details the naked eye never fully sees. What began as curiosity has turned into reverence: a commitment to showing that beauty doesn’t need permission to exist. Sometimes it just needs to be seen and appreciated.

There were a lot of modern movements in fine arts at the beginning of 20 century. I used the geometric abstraction which I applied in landscape paintings. I chose rings and dots to create an impression of the pond with waterlilies.

I make vibrant contemporary paintings that combine abstract and representational elements. I’m interested in an interplay between organic and built; a mix of the intentional and accidental; and an intersection of curiosity and tranquility. My motivation is the joy of the creative process: the desire to see a vague graphic concept evolve into a tangible piece of handmade artwork. For environmental and practical reasons, I use water-based media on panels I fabricate from recycled/repurposed building materials. This has the added benefit of freeing me from being locked into rectilinear forms. I approach artwork as a problem-solving process (although I usually invent the aesthetic problems). I believe in evaluation using the criteria of craftsmanship, composition, and creativity - following an initial emotional response.