Alexis Kharel

Genesis (Euler's Formula) (2026)
Selected for publication for the 2026 Atlas of Contemporary Women Artists| Vol I: North America, Genesis: Euler's Formula (Portals & Prophecies Series) explores the idea of conceptual energy forming a coherent consciousness into physical matter as an organic simulation through designated numbers, which give way to saturated color and fluid forms. In other words, the work celebrates creating life by design, a calculated blue print resulting in its nuance and splendor. Genesis (Euler's Formula) the painting does not explore the literal equations, as much as, it represents the idea behind its meaning and the fervor and feeling behind its inquiry.

Lands Forgotten (2025)
Recently featured in the International 2026 Art Catalog titled Earth & Creatures, Lands Forgotten (Portals & Prophecies Series) is inspired by the more recent breakthroughs in archeology that were explored during the pandemic in 2020 by archeologists using remote sensing technologies, satellites and drones. Using satellite data to find ancient Earth sites and LiDAR, infrared remote sensing, satellites use data across various light spectrums to detect subtle differences in dense foliage, vegetation and soil caused by buried structures. The focused use of these technologies correlated within this last decades newly proven theories in quantum entanglement, enticing the mind to question what answers may be hidden under the canopies of the forgotten.

So Below (from the diptych "As Above, So Below" the Portals & Prophecies Series) (2025)
Selected for the Kunstmatrix International Juried Selected book and virtual exhibition The Garden Within, So Below (from the diptych "As Above, So Below" the Portals & Prophecies Series), was inspired by the idea of the underworlds and tunnels under Las Vegas that have become home to lost souls and transients for decades. After spending time at the Bellagio Conservatory & Botanical Gardens, the idea that such beauty could be a gateway to a slippery and unsavory path to addiction and immoral descent if you stayed too long in the pleasure gardens, inspired and enticed me. In this piece, you only see a portal of civilization that seems distant in a very dark and imposing field of poisonous wild flowers, and like a Venus fly trap, once in the clutches of this dark garden of the senses, the way back appears elusive.