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Connectng Art Lovers and Artsts nline
#9 July 2020 #7 May 2020
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ArtBaazar's nline Monthly Magazine promotes both emerging and established artsts via their galleries on our online art platormm
Every month we feature interviews with our artstss as well as showcase artworks from various artsts galleries. If you have an interest in a partcular artsts work or want to submit your artwork for promoton on the platorms contact us at info@artbaazarmcom
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C NTENT Artst Interviews
• ‘Searching The Realm of Reality’ with Frank TS Tan • ‘What Becomes of the Broken Hearted’ with Lorete Cm Luzajic • ‘Art Is To Play As Life Unfolds’ with Gerardo Gomez
Featured Artworks •
scar Villalon Rios
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Rafa Lopez
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Eric De Becker
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Marianne Quinzin
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Jasper Zeeuw
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Joaquin Regalado
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Elena Petryk
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Roland Kaiser
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Beatrice Bedeur
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Magdalena ppelt
Cover Artwork • •
Front Cover - “Road Between Trees and Flowers” by Gerardo Gomea Back Cover - “Abstract Love” by David Beeri
“Inciom Part II”, scar Villalón Rios, il on Canvas, 2011
scar Villalon Rios is a Chilean-Spanish painters now living and working in Madrids Spain. His work has been acquired by diferent insttutonss private and public collectons in the European Unions The United States and South Americas his work is best placed inside the movement of New Spanish Realism.
“Red 500”, il on Canvas, 2015
“Blue 500”, il on Canvas, 2015
“Anyone, Anywhere”, Rafa Lopez, Mixed Media on Canvas, 2012
Spanish artsts Rafa Lopez’ artworks occasionallys merges mixes of Neo-expressionisms Surrealisms Pop Art and Abstracton among others. It shows certainly a distorted and fantastc vision of this worlds containing and suggestng deformed images of bodies which slither through the canvass organic fgures which writhe and geometric structures.
“Flamenco and a Lot of Sherry”, Rafa Lopez Mixed Media on Canvas, 2014
"Art is to Play As Life Unfolds� with Gerardo Gomez
"Road between Trees and Flowers", Gerardo Gomez, Acrylic on Canvas
"Art is to play as life unfolds, to queston traditon and the status quo, playing, always playing, the most revolutonary thing we can do nowadaysm" - Gerardo Gomez
Artst Gerardo Gomez at work on one of his large paintngs
Gerardo Gomea is an artst from El Salvadors whose paintngs are immediately recognisable due to their energetc nature and bold use of colour. His work ofen confronts the issues of everyday life both on a personal and social level. This is a richness of expression to his work. He has exhibited his artworks at home in El Salvador as well as in Europes the Middle East and the United States of America. He works mostly on fguratve paintngs with a lot of attenton to colours compositon and expression based in the observaton and appreciaton of our everyday lifes our societys politcss our experience as humans beings in this present moment. What initally drew your towards becoming an artstt Paintng and drawing has always been the thing I enjooy doing the most and I feel I have an innate desire to be creatve and it is something I want to commit to all my life.
How would you describe your own personal stylet In a way it is like that of a child playing with colours and paintng onto a canvass spontaneouss raws aanys wildly coloured. When it comes to describing my own personal styles looking back at the last ten years I can see how it has been infuenced by various elements such as street arts underground comicss surrealism and even the energy and colours of psychedelic art. But I don't want to be locked down into one partcular style. My creatve joourney to date has been one of evoluton and transformaton. We are all on a similar joourneys alive but working our way towards death. Life is about experience and learnings observing and feeling the world around us and encompassing all those elements into our own personal joourney.
"DJs and Vinyl", Gerardo Gomez, Ink on Paper
Everything changess everybody changes and it is through experimentaton and the willingness to play that my work contnues to evolve in a manner that mirrors my playful attitude towards life. To commit to a partcular style would be committing to a partcular moment in tme and never moving forwards never learning. Learning and experimentng is important if I want to keep evolving as an artst and person.
What pushed you in that directon and how can you see you work evolving in the futuret I don't believe society wants to make life a problems that saids we take life and our self too seriouslys I'm curious about lifes about this joourney towards deaths my paintngs will register that process.
"The Family Re-Union", Gerardo Gomez, Acrylic on Canvas
What inspires you in your work, is there a driving factor that draws you to the easelt Paintng is what I love to dos so is very easy to go and paint somethings life inspires mes love is the driving factor. Are there partcular individuals who have encouraged / inspired you along the way, friends, family, teachers, maybe even other artstst From a very young age I was drawn towards diferent forms of expression and communicatons creatve forms such as music and poetry appealed to mes but it was paintng and drawing that resonated most personally with me. My older sister helped forge this creatvity by encouraging it through elements of play where we would draws paints in facts anything that exercised my creatve nature. As I matured I began reading about art
and can remember some of the frst books were based on movements from the early 20th century such as Surrealisms Dadaism and the Avant Garde movement. This interest in exploring art through reading later led me down the path towards Art Bruts Street Art and the illustratve work of underground comicss spaces that do not necessarily fall within the category of Fine Arts but for me personally I see art as a sort of freedoms a platorm of free expression. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to uset My preferred medium is acrylic on canvas. Most of my work is based on that mediums even though I have made a lot of work with diferent mediumss spray paints collages oilss pastels. I use brushess sometmes I glue things.
"The Sense of Wonder", Gerardo Gomez, Acrylic on Canvas
When it comes to the subject mater of your work, what draws you to those themest There are a lot of diferent subjoect matterss sometmes inspired by the everyday lifes politcss things I've been thinking or discussing with friendss sometmes it comes from my
imaginaton. I very much feel that art is a games much like life. We were all born with a blank canvas to which we can apply the colour of our own lives. But as we grow and develop we can start putting up barriers to our own creatvitys creatng walls that hold us back as a result of educatons customs and traditonss family beliefs and societal pressure. I think all artsts are born with the belief that all outcomes are possibles seeing the world as a place of great discovery rather than as a series of problems. Life is to be marvelled at and despite all the trash that gets put into our head by the systems I feel a need to lives play and create on a daily basis. Could you describe the process behind your artt How do you get from concept to executont Most of the tmes in my most recent works I don't have a concept frsts not even a sketchs I joust start paintng directly onto the canvas and let the paintng start developing by itself and see if it suggests something. In older work at the beginning I did drew on the canvas frst or did a sketch or had a concept beforehand. Could you describe your normal day as an artstt Have you set routnes and rituals or is a more a case of when the moment is right you workt I don't really have any kind of ritualss sometmes I stay at homes might meet friends or even joust venture out alone to explore. I don't think an artsts day is any diferent to most peopless except maybe through the need for us to be mentally alert to our surroundingss awake in the moment to the sightss soundss smellss feelings and emotons that surround us. The key is to observes to take the events of everyday life without joudgement or preconceptons. We wake up and go to sleep pretty much like everyone elses although I tend to be more creatve at night tme. When you work, do you focus on one piece at a tme untl completon or are you working on multple pieces at the same tmet I start with several piecess doing brushstrokes and stains of paintng untl I see something in any of thems then I start developing and focusing on each one at a tme. Which of your artworks are you most proud oft I couldn't menton joust ones every single artwork has helped me to discover something new or diferent.
Is there a fellow artst alive today that you admiret If so, whyt I admire many of the older artst from my country El Salvadors they have had the courage to make art and contributed to create a legacy. I enjooy the excitement of fnding or discovering new artstss techniques or approaches. Whereass I may not always understand what I am looking at initallys and ofen don't like what I sees which is only natural as a persons the thing that excites me is that arts in a somewhat utopian manners goes beyond the personals the politcss the ideologies and contnuously helps create a new reality.
"Behead All Buddhas", Gerardo Gomez, Acrylic on Canvas
If you could travel back in tme, is there a partcular artstc period / era that you would like to have been involved int Just for the fun of travelling back in tme I would go to the prehistoric period to know what was their percepton of art. I'm happy in the tme in living and creatng art at this periods it is excitng to be involved in the creaton of the future. What challenges do you feel the 21st century artst has to overcomet To not lose the soul for the world. What advice would you give to a young aspiring artst currently studying artt Don't lose the enthusiasm if this is really the thing you want to do. Keep doing art.
"Man Asleep and Dreaming", Gerardo Gomez, Acrylic on Canvas
Despite having developed your own distnctve style, is there another style of art that you are immediately drawn towards and admiret Whyt Art Brut / Outsider Art because it is creatvity outside the norms of the established system of art. We have all heard of the unfnished masterpiece, even Da Vinci laboured away at the Mona Lisa for years and years, have you works that are in a contnual process of evolutont When working on an artwork do you fnd it hard to let got Knowing when enough is enought I generally know when enough is enoughs I have no problem in letting it go. Many people see artsts as storytellers or advocates for a cause, do you believe that it is an artst’s responsibility to shine a light on a partcular subject / theme, or do you create purely for the sake of expression your creatve naturet I think artst are free to do whatever they want to dos no one can dictate the rules in art so I feel artst can express anything from social subjoects to representatons of their own creatvity. Have you ever been part of an artstc group / movementt How did your work beneft from that experiencet I have never been part of any formal groups I joust have a group of artsts friends and I've been part of an art residency and is a great beneft for the work mainly because you discuss ideas that are totally opposite to yours.
Visit - The nline Art Gallery of Gerardo Gomez
"Civilizaton", Gerardo Gomez, Acrylic on Canvas
“Faces 002”, Eric De Becker, Mixed Media
“Faces 016”, Eric De Becker, Mixed Media
Eric De Becker’s 100 Faces Projoect shows 100 diferent and mostly distorted faces. Unmasking the subjoects in a provocatve and ruthless manner. Grimacing faces and the materiality of colour creates awareness of brutalitys existental abyssess and the fears of existence. The works are made with a specifc techniques the strokess brushess drawings rapidly applied onto the canvas or paper which express the dynamics borrowed from the Tachism-movement.
“Faces 001”, Eric De Becker, Mixed Media
“Faces 018”, Eric De Becker, Mixed Media
“Belles de Nuit”, Mixed Media
“Blue and Yellow Flowers in an range Pot”
Marianne Quinzin’s artstc infuences are varied and eclectc. The light in Turner's works the colourful vibratons of De Staël's compositonss the explosive freedom of Joan Mitchells the mastery and scope of Gerhard Richter's work. The artstc movements that infuence my paintng are mainly abstract expressionism and lyrical abstracton.
“Bleu Glacier”, Marianne Quinzin, Mixed Media on Canvas
SEARCHING THE REALM F REALITY with Frank TS Tan
“Cover”, Frank TS Tan, il on Canvas
Frank Ts Tan born in 1970s is an oil painter from Malaysia. He earned a Bachelor Degree of Fine Art in 1995 from the Natonal Taiwan Normal University where he majoored in Oil Paintng & Watercolour. Afer graduaton he began practsing and teaching art in his studios whilst also lecturing in art colleges for about 8 eight years. "When you get closer to a forests light and shadow castng out the shape of the treess the leaves and branches crossing between each others is hard to identfy who is whoms an image that is combined with abstract and real appears in our minds" Frank's artwork shares that image with you. "Through the extractng and the reinforcing from natures I reintegrated the image that I saw and painted it." The real world is full of informaton and messagess Frank picks out the parts he's inspirited by and visualiaes the image through his paintng.
Frank TS Tan at work in his studio
What initally drew you towards becoming an artstt Paintng is the most direct and efectve way to communicate. How would you describe your own personal stylet Searching the realm of realitys I consider my style as contemporary realism. Reality provides a richness of messages and informatons from which I select the image and colour that's touching me. Normally it exists in abstract forms then reshaping back to their appearancess sometmes it's not untl you see it at a distance that it conveys the reality of the images it releases the inner energy and merges the sense of reality.
"Guard", Frank TS Tan, il Paintng
What pushed you in that directon and how can you see your work evolving in the futuret The beauty of nature and reality provides the energy to push myself forward to create my works; I've strongly believe that my works will become better and better as tme passes.
What inspires you in your work, is there a driving factor that draws you to the easelt Informaton inspires the idea and the idea needs to be conveyeds then the act of paintng steps in to play its' role; It's fortunate to live in an era that's full of informatons all kinds of technology contnue to expand our vision and cognitons such as navigaton satellite systemss aerial photography technologys augmented reality technology and etc.; it's obvious that the new experience and feeling can draw me to the easel. Are there partcular individuals who have encouraged / inspired you along the way, friends, family, teachers, maybe even other artstst Paintng is a matter for the human beings and therefore the people that surround me have actually inspired me a lot in diferent aspects and ways along with my art lifes I'm grateful to all of them. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to uset The medium that I prefer to use is oil. Normally I use fat brushess fan brushes and round brushes a lot; If necessarys I will create some tools and brush for a partcular need.
"Crimson Sunbird", Frank TS Tan, Watercolour
When it comes to the subject mater of your work, what draws you to those themest When an image or an idea is matureds the theme is accompanied by its and it takes a lot of learning and practce to stmulate the touch. Could you describe the process behind your artt How do you get from concept to executont It all starts with a touch of feelings then by fguring out the shapes and the colours that inspire it leads me to create an abstract images before fnally reconstructng the appearance in reality that I want. Great ideas and concepts require a lot of hard work to cultvate thems afer that it needs a skilful technique to express the exact meaning. Could you describe your normal day as an artstt Have you set routnes and rituals or is a more a case of when the moment is right you workt Teaching and learning play a very important role in my daily life; It's always refreshing to exam to what I've learnt in the past by teaching students again and again. By learning and absorbing more informaton and knowledge such as historys cultures technologiess philosophiess techniques etc. it inspires mes and motvates me to create my works.
"Window", Frank TS Tan, il Paintng
When you work, do you focus on one piece at a tme untl completon or are you working on multple pieces at the same tmet
Acquiring the sensatons understanding the sensaton and controlling the sensaton is a routne part of the process of my studys this allows me to have the ability to pause and then contnue the process of my works; the advantage of that is to have more tme to exam and research the work that I'm working withs so working on multple pieces at the same tme is quite ofen the case for me. How has your art evolved to be where it is todayt It all happened in my university graduaton exhibitons one of my classmates felt that one of my paintngs was quite distnguished when compared with the other paintngss it stunned me at that moments for the paintng was quite diferent compared to my previous works in style; She said that it had a touch of 'being my work'; that led me in a new directon of ideas:i as long as you're yous the form may be diferent but the meaning and the touch are stll the same. Startng from that days not only do I try to establish my own style and techniques I also focus on understanding the truth of my existence. Which of your artworks are you most proudt Every artwork is proof of my work ethic and skills and as a result I'm always looking forward to the birth of my new creatons. Is there a fellow artst alive today that you admiret If so, whyt There are a lot of great artsts and works that I admires please forgive me in that I can't remember them all by names for most of the tme my attenton is focused on their actual work rather than the artst; As now the name of the artst I can recall in my memories is Richard Schmids as I feel that his artwork is pure. If you could travel back in tme, is there a partcular artstc period / era that you would like to have been involved int The Renaissance was an era full of great artstss it would have been very excitng to work during that partcular period.
"City Beat", Frank TS Tan, Watercolour, 2019
What challenges do you feel the 21st century artst has to overcomet At the beginning of the 21st century the new technologies such as virtual realitys augmented realitys artfcial intelligence technology will afect and change the cogitaton of tmes spaces axis etc.s even the existence of our-self that we've known in the past; it's excitng to be involved in these new issues. What advice would you give to a young aspiring artst currently studying artt Learning and study is the easy way to exam and knows our art is right. Despite having developed your own distnctve style, is there another style of art that you are immediately drawn towards and admiret Whyt I appreciate the style developed by the Italian painter Giuseppe Castglione. He merged the Italian paintng techniques and the Eastern paintngs techniques very wells that's amaaing. We have all heard of the unfnished masterpiece, even Da Vinci laboured away at the Mona Lisa for years and years, have you works that are in a contnual process of
evolutont When working on an artwork do you fnd it hard to let got Knowing when enough is enought There is a great possibility that we will have diferent ideas or thoughts as tme passes; wells to understand your own self:i the pasts the moment and that what lies ahead is very importants if you can fgure it out more clearlys you can manage it betters of courses that's not an easy matter. That's the way I think it should bes and that's the reason I know my work is done when is done.
"The riental Dwarf Kingfsher", Frank TS Tan, Watercolour, 2019
Many people see artsts as storytellers or advocates for a cause, do you believe that it is an artst’s responsibility to shine a light on a partcular subject / theme, or do you create purely for the sake of expression your creatve naturet Art could be considered as a way of communicaton with yourself or to the outside worlds we've got a lot of thoughts and need for expressions even joust a personal feelings I see no reason to limit our self. Some artsts are purers others are more complexs I belong to the last one. It might be easier to conclude that "I paint what I know and what I feel."
"Meet", Frank TS Tan, il Paintng
What are you working on at the momentt Afer fnishing the 50 pieces in my landscape seriess I'm planning to write somethings such as a book of the art I knows and draw a series of stll life; wells it stll joust a draf ideas I need more tme to fgure it out completely. Have you ever been part of an artstc group / movementt How did your work beneft from that experiencet Nos I have never been part of an artst group nor movement; It will be very interestng for me to have this kind of new experiences I look forward to it.
“Launch”, Frank TS Tan, il on Canvas
“Glory”, Frank TS Tan, Watercolour, 2019
Visit - The nline Art Gallery of Frank TS Tan
“Not Suitable for Love”
“Moonlight II”
Jasper Zeeuw is a self taught professional oil painter that focuses on fgure and fauvism. Everything is beautful and ugly. It all depends on the point of view. His paintngs represent the duality in all things. The images that are pretty have a sinister undertone and the darker images covey an elated message. Zeeuw paints with the aim of reconciling the two sides of the coin into one narratve.
“Medicaton”, Jasper Zeeuw
“Intellectual Conversaton”
“Make Up”
Joaquin Regalado's inspiraton has always been to follow surrealistc and fguratve art. Regalado has always admired the great Mexican artst Frida Kalhos Diego Rivera s Rufno Tamayo and Sergio Bustamante.
“Unttled”
“Lady”
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WHAT BEC MES F THE BR KEN HEARTED with Lorete Cm Luzajic
“What Becomes of the Broken Hearted�, Lorete Cm Luzajic, Mixed Media on Canvas, 2018
Lorette C. Luaajoic studied for and received a Bachelor of Applied Arts degree in joournalisms but went on to focus on creatve work in visual arts photographys poetrys and writng about art. She is the editor of The Ekphrasti Review at www.ekphrastc.nets a joournal dedicated exclusively to literature inspired by visual artworks and her own poems and stories have been published in around 200 magaainess joournals and blogs.
Lorette teaches workshops on ekphrastc writng and on art without drawing. Her art shows regularly at home in Torontos Canadas including at the Spoke Clubs the Gladstone Hotels Artusiasm Gallerys the Flying Pony Gallerys the Rita Carltons the Toronto Outdoor Art Exhibitons Scotabank Contact Photography Festvals the Toronto Artst Projoects Hashtag Gallerys Projoect Gallerys and more. She has also shown work further afelds including Brisbanes Bristols Edinburghs Los Angeless San Diegos Chicagos New Yorks and other American cites. She recently partcipated in an internatonal artsts symposium in Tunisias working to create paintngs for the Ministry of Culture and to show in two exhibitons in Tunis and Hammamet. She also visited Mexico recently for a duet exhibiton at Le Cirque Galeria in Meridas Yucatan and a number of group shows at other venues.
Artst Lorete Cm Luzijac in her studio in Toronto, Canada
"I am driven by eclectc curiositys and by the jooy of jouxtapositon. My work is a curiosity cabinet and an apothecary of magic potons and spells. It is poetrys and a surreal dream. It is the frantc pace of the city and the magnifcent silence of the night. It is about love and death and the sacred and inanes and the absurdity and beauty in all things." - Lorette C. Luaajoic
Compared to Rauschenbergs Schwitterss and Basquiats and inspired by Warhols Joseph Cornells Robert Motherwells and Antoni Tapiess Lorette C. Luaajoic wears her infuences on her sleeve. Appropriatng relentlessly from art historys advertsings musics poetrys fctons cultures religions and travels she plunders everything but creates work that is original and entrely her own.
“Bird Seed�, Lorete Cm Luzajic, Mixed Media on Canvas, 2020
Lorette's use of materials refects the same montage quality as the varied concepts that inspire her. She uses acrylic paints gouache paints watercolours spray paints inks fabric paints chalk pastels oil stcks oil pastels crayonss pencil crayonss graphites found paperss found
photographss found imagess house paints plasters silicones pens markerss cosmetcss gluess stckerss and any other media she can incorporate. "A collagist is always lookings always deconstructng and reconstructng. From dentst waitng room magaaines to church hymnals to art history masterpieces at the museum to nightclub fyerss my mind is constantly snippings jouxtaposings discoverings experimentngs replacings gluing overs scraping back layerss re-contextualiaing." - Lorette C. Luaajoic Her mixed media paintngs have found homes all over the worlds and hang in collectons alongside originals by Miros Ertes Dubufets Ellsworth Kellys Jim Dines Jane Ash Poitrass and Benjoamin Chee Chee.
"Asking for a Friend", Lorete Cm Luzajic, Mixed Media Collage, 2018
What initally drew you towards becoming an artstt I was always an unusually imaginatve and creatve thinkers and for as far back as I can remembers I knew it was my destny to have an unconventonal life. There was never a queston in my mind that I would be a writer. I started writng as soon as I could writes and began publishing poetry and short fcton while stll in elementary school. I used my creatvity in other wayss toos making all kinds of things like beads and teapots and collages. I loved art history and studied it throughout my lifes taking the bus into Toronto to visit the
Art Gallery of Ontario as a teen. But I didn't have much fare for drawings so I never considered using the word "artst" in my dreams. Life is full of surprisess howevers and fate has its own twists and turns you can't antcipate. I studied joournalism in order to fnd a "sensible" outlet for my writng. I'm grateful I didn't endure a "sensible" outlet for my visual gifs and contnued to study and experience art independently. I always loved cutting up images and composing them in diferent ways. One day I made a Tarot deck in order to better understand archetypal imagerys and because I couldn't draw the way I wanted tos I chose to use collage to create the 78 cards. Fate was unleashed then and there. I had joust graduated from joournalism school and never did use that degree except to start some creatve writng projoects- I was hooked instead on the thrill of jouxtaposing cut up imagess and wanted to develop my knack for colour and compositon. Because a few people asked to buy some of the cardss I foolishly thought art would be easy to sell and manically began creatng all kinds of works and hostng shows with other artsts. I've never looked back. How would you describe your own personal stylet Urban abstracts sometmess playful surrealism at other tmes. My styles change. What remains the same is the foundaton of collage. I want to explore all the ways in which one can use collage to create somethings and invent new ways. What inspires you in your work, is there a driving factor that draws you to the easelt
Eclectc curiosity. I want to know everything. I'm hungry for experience and amusement and mysterys and my nature is chaoss and to process all of that I need a lot of creatve outlets. My artwork and my writng are all inspired by other literature and arts as well as travels especially to Mexicos by the human religious imaginatons by musics by citess by technologys cinemas you name it. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to uset I am committed to mixed medias to using as much variety as I can. I view my materials and media as part of the concept of collage. I collage imagess I collage and remix themes and inspiratonss and I use a wide variety of media too. My staples are cut up imagery and text and acrylic paints but I also use spray paints gouaches watercolours pencil crayonss pencils
“All The Beauty�, Lorete Cm Luzajic, Mixed Media Collage Paintng on Canvas, 2018
inks powder pigments wax crayonss tapes contes oil stckss pastelss glaaess house paints and anything else I can get my hands on. Could you describe your normal day as an artstt Have you set routnes and rituals or is a more a case of when the moment is right you workt I rise and shine around six a.m. and begin work at my desk. I have a joournal called The Ekphrasti Review (www.ekphrastc.net) that needs constant administratve work and is also a source of inspiratons as it is focused on writng inspired by visual art. I respond to emails and other tasks of organiaatons toos such as proposals for shows or applicatons or submissions. I try to tend to deadlines and prioritae things I'm putting of.
Then I can get to the fun stuf for awhiles studio tme. I infuse my studio work with a lot of research on the felds in reading and studys in looking. So part of it is makings collectng collage imagerys playing with paints and penss and another part is visitng galleriess looking things up at the librarys attending festvals or experiences of sortss readings talking with people. There are errands every days toos picking up artworks from shows and delivering thems packaging things to ships this kind of thing. Meetngs with people I work with.
" h, Amy", Lorete Cm Luzajic , Collage Paintng on Canvas, 2020
In the eveningss I walk alones socialiae recreatonallys or spend tme with my boyfriend. Or sometmes evenings mean fun works attending an opening or event for myself or peers. If I'm lucky enough to have nothing pencilled ins then I might get some creatve writng done.
I like to have a glass of wine or two and be by myself at homes with my art books or poetrys thinking and writng. It's always Monday for mes regardless of the day of the week. There are exceptons for family visits or travel or lifes but the majoority of the tmes this is what it is. To allow the muses you have to give tme for her to appear. You also have to do grunt work like flling out applicatons and delivering works on the subway. I guard my solitude greedily because you need tme to explore the world and tme to allow ideas to percolate and incubates then come together. A canvas can sometmes come to life in a days but reallys it took a lifetme. When you work, do you focus on one piece at a tme untl completon or are you working on multple pieces at the same tmet I always have numerous pieces and projoects on the go. I move between multple works and multple projoects all the tme. The energy and creatvity and train of thought and research for one projoect fuels inspiraton and new ways of thinking for the others. They feed of of each other. I envy people who have great focus and a linear train of thought. The idea of methodically executng a task from beginning to end holds great appeal to me. But it's not how my brain works. The fall out for my kind of idea-generatve brain is how much tme gets wasted startng new things that never get fnisheds how many things get lost in the shufes and how difcult it is to focus and complete something. Startng is easy. I have thousands of fles of started storiess projoect ideass whole lists of possibilites for poetry or paintng. If I could put half of that open ended energy into completng difcult tasks or prioritaings I might have a more manageable life and be better able to keep track of my tasks and bank account. But I don't. I have a mind that can get totally spun out spinning of associatons. One thing leads to another and to another untl I'm completely gones spread so thins way out in the atmosphere. I have learned to rein some of this in. Just as methodical minds can learn to brainstorm and fnd new ideas and associatonss generatve brains like mine can learn a bit about organiaing our internal mess and fnishing some of what we start. We are all diferent and have challenges and gifs that our natural to our temperament. What challenges do you feel the 21st century artst has to overcomet There are too many of us now. While there are more opportunitess more buyerss more joobss more interest in arts more technology for self promotons than at any other tme in the history of the worlds we also get lost in the fow. When anyone can be an artsts then
everyone is. There are millions of us. This can be very intmidatng. I found it scary and difcult to ground myself at one points but I have changed my mind by believing there is room for all of us. My challenge is to set myself aparts and to be the most creatve I can be for its own sake. What advice would you give to a young aspiring artst currently studying artt Ditch all the theory crap about deconstructon and identty politcs and get a good educaton in art history. It teaches you more about politcss religions psychologys literatures geographys peoples philosophys the worlds and everything that happens and how people perceive it than anything else.
"The Middle of A Dream", Lorete Cm Luzajic, Collage Paintng on Canvas, 2019
And fnd your strength inside your shortcoming. Whatever it is that is "wrong" or "weak" or "difcult" about your work is where your gif iss too. For examples my weakness was the most important skill in art-drawing- it almost kept me from my fate. Thankfullys I wass by accident of fate reminded of my love of collages but that shortcoming has been why my
whole work has been about collages and why I've found such an unusual practce exploring the relatvely new in history media of collage cut and paste. By necessitys my focus wasn't on the usual skills but on inventng new paths in visual art. It takes some discernment to see how to turn your shortcoming into a strength. Don't assume that any critcism is because someone doesn't get your genius or understand you! But the answer to your uniqueness might be in developing what's diferent about your talent and skill sets and turning it around with persistence and intuiton.
"I Was Born with a Plastc Spoon in My Mouth", Lorete Cm Luzajic, Mixed Media, 2018
Despite having developed your own distnctve style, is there another style of art that you are immediately drawn towards and admiret Whyt Because I can't do it myselfs I admire the skill of rendering realistcally and drawing and paintng representatonally. I ofen jooke that I have "realist envy." We have all heard of the unfnished masterpiece, even Da Vinci laboured away at the Mona Lisa for years and years, have you works that are in a contnual process of evolutont When working on an artwork do you fnd it hard to let got Knowing when enough is enought
The strength and charm of my artwork is defnitely how "busy" it is and the element of "muchness" in it. But it's also the main drawback or downfall. I have destroyed a lot of images by overdoing it. They get so busy they are convoluted or there is nowhere to go. I have strengthened my compositons balances colours and emotonal impact by learning over the years to leave spaces or streamline to some degrees and my works have gotten much stronger by allowing some space for the mind and eye to wander in. A little restraint has gone a long way. I could use more of its though - I stll overdo it all the tme and sabotage perfectly inspired pieces. It's a joourney.
"Eye Candy", Lorete Cm Luzajic, Mixed Media on Gallery Canvas, 2020
What are you working on at the momentt Right now my focus is twofold:i my square foot product line of 12� x 12" collage paintngs on canvass which are all about the playful placement of imagess vignettes or surreal snippetss if you wills and also on epic wall siaed pieces with an urban or street aesthetcs on raw canvas. I'm making work that I couldn't ft through my door or in my elevator if it was stretched or mounted. The smaller pieces have always been something I love to do. It allows me such a range of possibilites with collages because most imagery comes from bookss newspaperss
magaaines or brochuress and smaller images and words can get lost in a massive piece. I'm able to explore a range of subjoects and ideas. Right now I'm working on a series inspired by poets and writerss as well as a few where I'm letting my darker imaginaton take over. I've always enjooyed cinema and stories that gave consideraton to our shadow sides because emotons like fears rages and grief are as essental to our being human as jooy and love. While I don't romantciae violence or agonys they are reals they are part of uss and I tend to use a kind of twisted sense of humour to deal with them. I also contnue my experiments with an urban abstract vibe in both large and small format. The impression you get of looking around a citys its energys its fragments of words and adss the movement of trafc and shapess the structures around yous the compositon of architecture and liness the peeling paint and textures of deconstructons all of this plays into my abstracts. I am sometmes but seldom inspired by nature- my abstracts come from the cites I love most:i like Torontos my homes and Mexico Citys the most colourful and chaotc place I've ever been.
“Elvis Has Lef The Building�, Lorete Cm Luzajic Mixed Media on Gallery Canvas, 2019
Visit - The nline Art Gallery of Lorete Cm Luzajic
“Moira, Lachesis”
“Moira, Atropos”
Elena Petryk paints in the style of esoteric practcalism. For a long tme she worked as an architects created various buildings. Elena realiaed what art is for her - the beauty of human nature. Afer alls wherever she wass people who spoke diferent languages lived in diferent countriess difered in their features - and yet were so similar to each others regardless of their diferences.
“Sleep – Mind Gives Rise to the Flight of the Soul”
“A”, Roland Kaiser
Roland Kaiser invented the Recycling-Art-Concepts which basically is founded on the principle to use only used and found material for creatng art and developing it to a better self - looking and feeling brand new. The idea was and stll is to create sustainable Art and at the same tme saving resources due to the responsibility modern man has with regards to material and nature; long before this was discovered by the public.
“C”, Roland Kaiser
“Cosmic Silks”, Beatrice Bedeur, il on Canvas
Beatrice Bedeur’s interestng and very original work mixing Cubist decompositons impressionistc lively touch and colorss close to the fauvism and to the Orphism. We could also speak about pointllism but only for the multtude of coloured touches and ""graphs"" which Béatrice spreads on her paintng. Taking inspiraton from photographic clichés she realiaes during her ballads in our countrysides she decomposes and styliaes then the image like an architect.
“Landscape and Trees in Purple”
“Landscape and Trees by Night”
“Sentero Sacro”, Andrea Bener
In additon to the museums of contemporary art in Italy and abroad and prestgious private collectonss including the United Natonss Andrea Bener works are present in the Quirinale (seat of the President of the Italian Republic)s in the Italian Parliaments in the Vatcans in various Embassies. For this reasons he was received at the Quirinale (seat of the President of the Italian Republic)s in the Chamber of Deputes (Italian Parliament) and in the Vatcans where he met Pope Benedict XVI and Pope Francis.
“Sinapsi”, Andrea Bener
“Boogie Woogie�, Magdalena ppelt, Mixed Media, 2017
Magdalena ppelt’s search is for the hidden images for structures that can be revealed everywhere:i when pourings buildings abradings layerings scratching aways glaaing and possibly when paintng over - when startng over again. The artwork is autonomous:i it communicates with her and outlines the ways it wants to go with her. Ideallys it also enters into this dialogue with the viewer. For Magdalenas art is to keep one's eyes open - to pay attenton and sensitvity to the unexpecteds the unexpected and the everyday.
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