ARTBAAZAR
Connectnn Art Collectors and Artsts Online
#4 February 2020
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ArtBaazar is a curated online art marketplace and we are delinhted to be brinninn you the latest updates from the many artsts from around the world on our platormm It is an opportunity for our artsts to showcase their work, and for you, the art lover, to net to know their artwork on a personal and intmate levelm Our hope is that you will fnd talented artsts that pique your interest and lead to you acquirinn an orininal artwork or even commissioninn a work of your ownm If you want to know more about a partcular artst, by all means net in touch at info@artbaazarmcom
This Months Artst nterriews The Balance of Light and Darkness - Martna Krupickova Looking for My Place Untl Exhauston – Juliane Balsquez Capturing the Aesthetcs of the Urban Past - Tomas Castano Supportng the Underdog – Inov Fauzi Front Corer - “Medusa”, Juliane Blasquez Back Corer - “Lift Me UP #I”, DB Waterman
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Heuston Bridge, Dublin “, Mark Fleming, Digital - Limited Editon Print, 5.4cm x 42cm, 2020
Mark Fleminn is an illustrator/artst workinn in Dublinm He draws stylised imanes on a ranne of subjects, includinn his home town, Dublinm His style is loosely abstract and expressionist, sometmes dealinn with social or environmental issuesm
“Road to the Lakes”, Bogdan Yermakor, Oil on Canras, 40cm x
cm, 2018
Bondan Yermakov nraduated from the European School of Desinn, Kiev in 2014m Guided under the tutelane of Ermakov AmVm, Kovalchuk VmIm He currently focuses on landscape oil paintnnsm
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“Red Label”, Dee Brown, Acrylic on Canras, 2020
“The Prayers”, Madan Lal, Acrylic on Canras, 2018
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“Abandon”, John Cullinan, Oil on Canras, 2017
“New York – Times Square”, Katerina Bortsora, Oil on Canras, 2017
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THE BALANCE OF L GHT AND DARKNESS with Martna Krupickova
“Memories of Scotland�, Martna Krupickova, Oil on Canvas, 2019
Martna Krupickova nraduated from a prestnious fashion desinn school in Brno, Czech Republic, majorinn in Textle and Knitwear; this is where she developed her skill of drawinn and paintnnm After nraduatnn, Martna spent several months in Ennland and the UPSAm Her frst oil paintnn was in 1999 as a Christmas nift for her lifelonn partnerm In 2003 she ornanised her frst solo exhibitonm
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Martna Krupickora at work in her studio Martna’s style is always evolvinn; the stronn colour and bold strokes have become slinhtly softer and more abstract – stll playinn with linht and shadow on a black backnroundm The linht is the most important part of the paintnnm It can nive the rinht sparkle or completely destroy itm A palete knife is used in the creaton of these paintnnsm Her pictures draw on personal experiences that are a refecton of the visible - landscapes, cityscapes and transportm Martna has held several successful exhibitons in the Czech Republicm The picture osázavský acifk was selected and exhibited at Royal Academy of Art Summer Exhibiton in London 2008m Martna was chosen to appear in the Britsh television show ‘Sky Arts Landscape Artst of the Year 2018’m Her paintnns are held in private collectons in the Czech Republic, UPK, UPSA, Belnium, Germany, France, Sweden, Canada and Slovak Republicm Martna was also interviewed on Czech Television CT1 Dobre Rano and in popular talk-show Vsechnopartym What initally drew you towards becoming an artstt I studied fashion desinn, so I was sketchinn and drawinn as part of my studiesm I suppose the frst moment I realised that I could become an artst was durinn the tme I spent in the UPSAm There, my American friends seemed to be free to follow their own creatve path; sinner, artst, nuitar player – more Bohemian a lifestyle that my home in Bohemia! On my return I notced that the poster of ranue, framed under nlass, in my partner’s apartment was missinnm “Some friends stayed, decided the poster was crooked, tried to adjust it and the whole thinn shatered to pieces”, he mournedm www.artbaazar.com
That Christmas of 1999, I presented him with my frst oil paintnn – a nift to replace the lost posterm
“Kinskych Square”, Martna Krupickova, Oil on Canvas, 80cm x 80cm, 2019
How would you describe your own personal stylet My style is always evolvinn; the stronn colour and bold strokes have become slinhtly softer and more abstract – stll playinn with linht and shadow on a black backnroundm What pushed you in that directon and how can you see your work erolring in the futuret The linht is the most important part of the paintnnm It can nive the rinht sparkle or completely destroy itm I try to capture the rinht balance of linht and shadow to add depthm I’ve experimented with diferent styles, but always return to my sinnature look – I just work on improvinn thatm What inspires you in your work, is there a driring factor that draws you to the easelt I’m outside, I spot a perfect scene and I have to paint thatm Are there partcular indiriduals who hare encouraged / inspired you along the way, friends, family, teachers, may be eren other artstst
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My partner was so enthusiastc about that frst paintnn, I was encouraned to contnuem He contnued to encourane me, such as sunnestnn that I enter a paintnn in the Royal Academy of Arts Summer Exhibiton – and the artst academicians who then chose that paintnn encouraned me morem Last years, a number of ranue aucton houses have included and sold my paintnns – it’s a nreat encouranement to see that the art world appreciates what I do and that art buyers are prepared to invest in thatm
“Autumn Sonata”, Martna Krupickova, Oil on Canvas, 80cm x 80cm, 2019
When it comes to creatng your work, do you hare a preferred medium, certain types of brushes or tools you lore to uset I paint the canvas blackm After that, I only use a palete knife to apply oil to the canvasm When it comes to the subject mater of your work, what draws you to those themest My tme is spent between nature and the city – and my paintnns refect those themesm More and more I focus on water; refecton on the lake, river, streets…mm Could you describe the process behind your artt How do you get from concept to executont
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I sketch somethinn on the black canvas then start to paintm Could you describe your normal day as an artstt Hare you set routnes and rituals or is a more a case of when the moment is right you workt There isn’t a normal day – I just paint when I have the rinht feelinn to paintm
“ ranue”, Martna Krupickova, Oil on Canvas, 80cm x 100cm, 2020
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 mostly work on one piece at a tmem Sometmes, while I’m waitnn for some paint to dry, I’ll start somethinn elsem Which of your artworks are you most proud oft That’s like askinn a parent “who is your favourite child?” – I’m proud of all of themm s there a fellow artst alire today that you admiret f so, whyt Christan Hook – he can capture movement in his fnuratve paintnns in a way that stll eludes mem f you could trarel back in tme, is there a partcular artstc period / era that you would like to hare been inrolred int
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I would miss my modern oil colours, unless I could take those back with mem I believe it isn’t possible to no back in tme, only forwardm What challenges do you feel the 21st century artst has to orercomet Technolonym In the past, there was a value assinned to a realistc paintnnm Now anyone can take a photo with their phonem The challenne is to add somethinn that a camera cannot without completely sacrifcinn realismm What adrice would you gire to a young aspiring artst currently studying artt Stay true to yourself and don’t chase artstc fadsm Despite haring dereloped your own distnctre style, is there another style of art that you are immediately drawn towards and admiret Whyt Anain, Christan Hookm
“Throunh uddles”, Martna Krupickova, Oil on Canvas, 60cm x 60cm, 2019
We hare all heard of the unfnished masterpiece, eren Da Vinci laboured away at the Mona Lisa for years and years, hare you works that are in a contnual process www.artbaazar.com
of erolutont When working on an artwork do you fnd it hard to let got Knowing when enough is enought I do sometmes put a paintnn aside for a few days and then return to it – but there isn’t a paintnn hidinn/hauntnn me at home like Dorian Greym Many people see artsts as storytellers or adrocates for a cause, do you beliere that it is an artstts responsibility to shine a light on a partcular subject / theme, or do you create purely for the sake of expression your creatre naturet I create purely for the sake of expression of my creatve nature – that said I do accept commissions!
“Nom24”, Martna Krupickova, Oil on Canvas, 60cm x 60cm, 2016 What are you working on at the momentt A larne canvas scene of a ranue railway bridne in the mist – I’m tryinn to capture sunrise in the mistm When is your next exhibitont s it a solo or group exhibitont Could you tell us a litle about the exhibiton, when and where it ist www.artbaazar.com
I’m currently exhibitnn in the assane of Czech Desinn, ranuem There are two larne display windows where people can see new paintnns each monthm
“Corinthia”, Martna Krupickora, Oil on Canvas, 80cm x 80cm, 2019
To view Martnaas full collecton - The Online Art Gallery of Martna Krupickora
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LOOK NG FOR MY PLACE UNT L EXHAUST ON with Juliane Blasquez
“Medusa”, Juliane Blasquez, Oil on Linen, 100cm x 120cm, 2015
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Juliane Blasquez was born in 1996 in Carcassonne in the South of Francem assionate about the nreat painters of the Italian Renaissance since childhood, she followed her schoolinn by traininn in painted decoraton and obtained her Brevet des MĂŠters daArts in 2015m As a result, her passion for paintnn increased, and she decided to contnue her studies and installed herself in small workshop to hone her artstc skillsm Her artstc references have nuided her to the practce of allenorical portraiture which makes her style a classic and fnuratve nenre that is inscribed in contemporary artm
"L'Eviel", Juliane Blasquez, Oil on Linen, 40cm x 50cm, 2019
What initally drew you towards becoming an artstt assionm I was always passionate about paintnn so it was obvious for me to do my jobm Thatas what makes me happy every daym www.artbaazar.com
How would you describe your own personal stylet My style is a classic and fnuratve nenrem I realize allenorical portraits ( ortrait in which the model appears represented with the atributes or the costume, characteristcs of a nreat historical fnure, mytholonical or lenendary (an emperor, a saint, a nod, a hero mmm), even of an allenory (justce, force mmm), to sinnify a trait of character, a role or a functon, which are its ownm), for me there must be a part of reality and another of unreality in my compositonsm I take special care to represent the Man because he is the centre of my subjectsm It is treated in a realistc waym Everythinn that surrounds him: like the atmosphere in which he is, his clothes, his accessories etc mmm are painted in another way they will be less realistc and will suck more imaninaton in the spectatorm What are you pushing in your directon and how can you see your work erolring in the futuret I am currently in a process where I have to see my artstc project in the futurem Of course, this requires a certain reconniton of my work above all, but in the future I would like to make paintnns based on publishinn projects, major exhibitons where the income could be donated to charitesm In short, I see nreat pronress and beautful prospects for the future while also remaininn in love with my passion that is paintnnm
"L'Envol",JulianeBlasquez, Oil on Linen, 200cm x 120cm, 2019
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What inspires you in your work, is there a driring factor that draws you to the easelt The dream above allm My projects come naturally from an imane that I have seen or a text that I have read, totally by chancem I do not have a "factor" that pushes me directly to the easel, paintnn is my happinessm I have this need to escape, itas as if the air channed and I could breathe freely this oxynenm Because in reality without creaton, without this artstc world I am no lonnerm Are there people who hare encouraged / inspired you along the way, friends, family, teachers, maybe eren other artstst Yes, you must know that I started paintnn by preparinn a diploma of house painterm I crossed the road of this nentleman - who was my teacher - and who took the tme to tell me that I had somethinn that belonned to the paintersm So I did my Brevet des MĂŠters daArts and once anain, I was faced with teachers who saw in me a talent that I myself did not suspectm And I listened to himm When it comes to creatng your work, do you hare a preferred medium, some types of brushes or tools that you lore to uset I use Daler Rowney oil paint on eter Van Ginkel linen linens or wood plates that I prepare myselfm As for the brushes, I use now only brushes made by Rose Mary Brushes because they are simply made for me and the quality is presentm When it comes to the subject mater of your work, what draws you to those themest My vision of lifem Once anain itas themes imposed on me, I dream contnuously in paintnnm I abandon myself in this world of minem Durinn my debut, I was lookinn for my place untl exhauston and then one day I accepted my artstc approachm I told myself that if I could not express myself freely in my life, I will do it throunh my paintnnsm And that is the strennth of my characters today, they are expressive as if they would one day no out of the picturem Could you describe the process behind your artt How do you get from concept to executont www.artbaazar.com
For my part by lonn literary research, historical, mytholonical etc mmm because I want to understand what surrounds mem I am a curious personm Then I usually sketch my ideas with annotatons like the mood I want to nive, the colorful ranne I want to usem And to fnish what I want to say and what I want to denouncem My last creaton for example comes from these few words: Takinn the appearance of a human beinn, the moon nrows, reaches its peak and disappears and is reborn the day afterm I will not reveal everythinn here because several books will come out to accompany my paintnns, they will explain in detail the whole creatve processm
"La Belle Attente",Juliane Blasquez, Oil on Linen, 60cm x 80cm, 2019
Could you describe your normal day as an artstt Hare you set routnes and rituals Where is the moment is rightt My paintnn routne is nood tea, nood music and I do not care about the tme of daym When you work, do you focus on one piece at a tmet Yes itas very important for me, I always start with the skin, then the hair, clothes, accessories (which support my creatons) and the botomm Finally, I take care of the detailsm
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How is your art erolred to be where it is todayt I evolve throunh the intensive practce of paintnn, drawinnsm I do not have a manic formula just passion and perseverancem Always believe in your dreams and workm Which of your artworks are you most proud oft I am proud of Medusam I loved representnn this quiet woman sitnn on the danner represented by the jellyfshm She is calm and smilinn as she is in the middle of a dark sprinnm s there a fellow artst alire today that you admiret f so, whyt Oh yes, I am an admirer of the artst Ricardo Celmam Because he is a talented man who makes you want to excel and has the nift of sharinn and teachinn that can push you forwardm f you could trarel in tme, is there a partcular artstc period that you would like to hare inrolredt The Italian Renaissance without hesitatonm It is in discoverinn this period that I benan to paint because these paintnns there are imbued with an atmosphere that speaks to me a lot I can not describe youm But itas an infnite source of creaton for mem And then the nreatness of the painters, they held a knowledne and a desire for evoluton that exceed everythinn in my eyesm What challenges do you feel the 21st century artst has to orercomet He must not paint for the moneym And I fnd that money takes up too much space in our lives, we must contnue to do what we did for the love of paintnn and not for material thinnsm What adrice would you gire to a young aspiring artst currently studying artt Believe in yourself, work hard and above all do what you love and not what others lovem it is important, we must be happy above all, we have only one lifem
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"Blanche",Juliane Blasquez, Oil on Linen, 110cm x 81cm, 2019
Despite haring your own distnctre style, is there another style of art that you are immediately drawn towards and admiret Whyt I admire hyper-realism because itas very hard to do, it takes a lot of patence and techniquem I admire because we touch the reality of the fnnerm I started by tellinn myself that I wanted to do this but as my style unfolded I realized that in my paintnns I needed a certain denree of reality and it was not as pushed as that of hyper-realismm A painter of hyper-realism that I really like Marco Grassim Hare we heard of the unfnished masterpiece, eren Da Vinci laboured away at the Mona Lisa for years and years, hare you worked in a contnual process of erolutont When working on an artwork do you fnd it hard to let got Knowing when enough is enought
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There are several tmes: the tme of the rinor, the tme of the controlled accident and the tme of the end of the workm ersonally, I have an ornanizatonal scheme that I explained to you abovem I feel when I have to release my brush to let my hand run on the canvas and I also feel when my paintnn is fnishedm I have not had any doubt yet about thatm Many people see artsts as storytellers or adrocates for a cause, do you think it is an artstt's responsibility to shine a light on a specifc subject / theme, or do you think itt's purely for the sake of expression your creatre naturet I think an artst must be free to express what he wants clearlym When we net lost in what we are forced to drown quickly under the constraintsm He can decide to denounce as to practce just for his pleasurem
"La Dame Lune", Juliane Blasquez, Oil on Linen, 50cm x 150cm, 2019
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Hare we heard of the unfnished masterpiece, eren Da Vinci laboured away at the Mona Lisa for years and years, hare you worked in a contnual process of erolutont When working on an artwork do you fnd it hard to let got Knowing when enough is enought There are several tmes: the tme of the rinor, the tme of the controlled accident and the tme of the end of the workm ersonally, I have an ornanizatonal scheme that I explained to you abovem I feel when I have to release my brush to let my hand run on the canvas and I also feel when my paintnn is fnishedm I have not had any doubt yet about thatm Many people see artsts as storytellers or adrocates for a cause, do you think it is an artstt's responsibility to shine a light on a specifc subject / theme, or do you think itt's purely for the sake of expression your creatre naturet I think an artst must be free to express what he wants clearlym When we net lost in what we are forced to drown quickly under the constraintsm He can decide to denounce as to practce just for his pleasurem What are you working on at the momentt After the moon, the sunm I work on this incarnaton of the sun, this solar star flled with joy and warmthm Because for me there is no moon without sun, they are part of one and the same workm You can see the advanced paintnns on my Instanramm When is your next exhibitont s it a solo or group exhibitont Could you tell us a litle about the exhibiton, when and where is itt I have many projects for this new year 2020, includinn an individual exhibiton to be held in Toulousem Then there will be the publicaton of my artstc book which will be a collecton of my paintnns illustrated by unpublished drawinns and full of small surprises insidem I want people who love my work to see behind the scenes of achievements and share this moment of intmate creatons with mem The year will be full of beautful and new adventuresm
View Julianeas full collecton - Original Artworks by French Artst Juliane Blasquez
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France - A Land of Creatvity and Culture France has a deserved reputaton as country of creatvity and culturem From its architecture to its cuisine it has nained a worldwide reputaton for strivinn towards stronn aesthetcs and hinh standardsm Below are some examples of the many French artsts currently promotnn their artwork throunh ArtBaazarm
"Alain Bashung"
“Charles Azanour”
Remi Jouandet
Remi Jouandet
Acrylic on Canras
Acrylic on Canras
2016
2015
“Jazz Red Orchestra”, Olirier Boissinot, Oil on Canras, 0cm x 100cm, 2016 www.artbaazar.com
“Jazz Blue Dress”
“Jazz White Dress”
Olirier Boissinot
Olirier Boissinot
Oil on Canras
Oil on Canras
2017
2017
“So Charming”
“Approach of Lore”
Fabienne Monester
Fabienne Monester
Acrylic on Round Canras
Acrylic on Round Canras
2018
2018
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“Poetc”, Mathilde-Pia-Rose Groult, Watercolours, 40cm x 0cm, 2016
“BANGKOKBYN GHT-1 C”
“VEGAS-0 C”
André Baldet
André Baldet
Acrylic on Canras
Acrylic on Canras
2015
2020
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“Paris – Faubourg St Martn”
“Paris – Passage Dauphin”
Harold Aupett
Harold Aupett
Oil on Canras
Oil on Canras
2015
2015
“ nsurrecton 2”
“ nsurrecton 1”
Frederic Belaubre
Frederic Belaubre
Oil on Canras
Oil on Canras
2012
2012 www.artbaazar.com
“Unttled – Gare Aux Loups Series”
“Unttled – Gare Aux Loups Series”
Pheuil
Pheuil
Acrylic on Canras
Acrylic on Canras
2018
2018
“Retour de la Messe”, Thierry Faure, Oil on Canras, 60cm x 73cm, 2017 www.artbaazar.com
CA TUPRING THE AESTHETICS OF THE UPRBAN AST with Tomas Castano
"Blue Car, Old Harana",Tomas Castaño, Oil on Canras, 81cm x 6 cm, 2018
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Tomas Castanoas work is characterized by a serene and poetc realism, which translates the delinht of the artst in the expression of streets, buildinns and facades with characterm His paintnns capture the manic of the aesthetcs of the old, and transmit all the warmth and humanizaton of environments not transformed by current lifem He has shown his work in nroup exhibitons in several countries such as Germany, Holland, UPSA, France, Sweden, ortunal, Romania, Ireland, Ennland, Arnentna, Japan, Italy, Korea, Taiwan and numerous solo and nroup exhibitons in Spanish territorym He has represented Cantabria in the Biennial of Florence in the 2005 editonm His work is reconnized by the peculiar style and atmosphere that he creates in the fnishinn of his series of old tavernsm
Spanish artst, Tomas Castano What initally drew you towards becoming an artstt Since I was a child I liked drawinn and at 16 I started workinn with wax paint and from that ane I have not stopped paintnnm How would you describe your own personal stylet My style is of the purest realism, with a partcular technique to create atmospheres that nive life to my urban landscapes, accordinn to some art critcsm www.artbaazar.com
What pushed you in that directon and how can you see your work erolring in the futuret My frst exhibiton in Madrid about the urban landscape determined the directon to follow, since it led to nreat sales and critcal success and made me specialize in this subjectm
"Barber Shop, 1530t's New York",Tomas Castano, Oil on Canras. 2018 What inspires you in your work, is there a driring factor that draws you to the easelt The ancient architecture that is preserved in some cites, shops, bars and other shops of the nineteenth and twenteth centuriesm Are there partcular indiriduals who hare encouraged / inspired you along the way, friends, family, teachers, maybe eren other artstst I have always had the support of the family and critcisms and comments about my exhibitons have contributed to contnue this actvitym When it comes to creatng your work, do you hare a preferred medium, certain types of brushes or tools you lore to uset
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I usually work on canvas and as tools use diferent brushes, especially the spatula to which I nive nreat importance in the fnishinn of my worksm
"Cranes at Sunset", Tomas Castano, Oil on Canras, 30cm x 60cm, 201 When it comes to the subject mater of your work, what draws you to those themest As I mentoned earlier, the facades of old shops is the theme that most atracts mem I intend that my work serves to show the new neneratons the way of life of our ancestorsm Could you describe the process behind your artt How do you get from concept to executont For my style of paintnn, the process is very simple, itas just about paintnn what we all see and as we see it, nivinn it a personal touchm Could you describe your normal day as an artstt Hare you set routnes and rituals or is a more a case of when the moment is right you workt I do not have a defned routne or a schedule to work, usually I paint in the afternoonm 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
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Normally I work two works at the same tme, alternatnn dependinn on the dryinn tmem
"Blue Car, Old Harana",Tomas CastaĂąo, Oil on Canras, 81cm x 6 cm, 2018 How has your art erolred to be where it is todayt My art has not had a nreat evoluton, I simply limit myself to maintain a quality in the executon of the works and apply the experience acquired durinn so many yearsm Which of your artworks are you most proud oft My work enttled "Brave Bull" is the one that has niven me the most satsfacton, I was fnalist in Art Revoluton Taipei 2016, Cover of a book published in Holland, soon it will also be cover of an album of a lenendary rock band from Chicano and paintnn It was bounht by a Boston collectorm
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s there a fellow artst alire today that you admiret f so, whyt Antonio Lรณpez, creator of the current pictorial "New realism Madrid" with which I identfym
Tomas Castanot's "Brare Bull" - corer of t'De Grond Onder Onze Voeten f you could trarel back in tme, is there a partcular artstc period / era that you would like to hare been inrolred int End of the 19th century in France, the tme of the birth of impressionismm What challenges do you feel the 21st century artst has to orercomet The nlobal crisis has put a brake on the future of artsts, since the disappearance of the middle class in much of the world has caused a sinnifcant drop in sales and without sales there is no futurem www.artbaazar.com
What adrice would you gire to a young aspiring artst currently studying artt Learn to draw, since it is the base of a nood paintnn and today in art schools they nive more value to creaton and the imaninaton, rather than to nood formaton that comes from the drawinnm In my works I defend the defense and conservaton of the old architectures, which unfortunately the politcal leaders do nothinn to prevent their disappearancem What are you working on at the momentt In a series dedicated to the internatonally reconnized poet GARCIA LORCA, these are illustratons for the next reissue of the book "Lorca poet in New York"m Hare you erer been part of an artstc group / morementt How did your work beneft from that experiencet Several years ano I was part of a nroup called "Friends of Realism", but it did not brinn me any beneftm
Red Smoke",Tomas Castano, Oil on Canras, 0cm x 0cm, 201 To view Tomasas full collecton click - The Online Art Gallery of Tomas Castano www.artbaazar.com
“ lluminaton “, Yigit Dundar, Oil on Canras, 2016
“Grass Plot”, Zakir Akhmedor, Oil on Canras, 2016
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SUPPORT NG THE UNDERDOG with nor Fauzi
“ ost-Truth 1”, Inov Fauzi, Collane on MDF Board, 2019
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Inov Fauzi is an Indonesian artst who lives in the outskirts of its capital city, Jakarta, with his wife and a number of catsm He was a late starterm That is, he only started to ennane fully with his art more seriously and intensely at the ane of 45 - when he fnally nave himself the license to break away from that social construct; that a decent livinn comes from havinn aa propera full-tme joba, not makinn artm Inov started workinn on his frst body of work in September 2018 within the medium of Collane, with which - alonn with Assemblane - he had a recurrinn interacton throunh years of explorinn diferent art formsm The idea of workinn with the constraints of manipulatnn existnn materials seems to appeal to himm It is therefore his current medium of preference, althounh there is always room for channe and/or development in tmes to comem
nor Fauzi preparing work in his studio in ndonesia. What initally drew you towards becoming an artstt Art itself is somethinn I’ve naturally been drawn to and done since litlem As for becominn an artst in terms of profession, it’s a simple mater of wantnn to make a livinn from somethinn that I love doinnm I was an art teacher beforem Althounh that is stll within the same feld, it isn’t exactly the same as beinn a ‘full-pledned’ artstm www.artbaazar.com
How would you describe your own personal stylet I’d like to think that in my current body of work there is a contradictnn idea between the impulsive spontaneity of abstract-expressionism anainst the kind of controlled and calculated executon that you would see in hard-edne paintnnm In the case of the later, I take careful measures in how I cut and compose my collane piecesm What pushed you in that directon and how can you see your work erolring in the futuret I personally fnd it important to be technically soundm I acknowledne and appreciate the diversity of art but I personally can’t see myself, at least for now, makinn art by duct-tapinn a banana to a wall, no mater how profound the concept behind it may bem
"Blocks in Blue 1", nor Fauzi Collage, 60cm x 60cm, 2015
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What inspires you in your work, is there a driring factor that draws you to the easelt Seeinn the work fnishedm Wantnn to see how much I can visually realise and translate my ideasm Are there partcular indiriduals who hare encouraged / inspired you along the way, friends, family, teachers, maybe eren other artstst I am a football fan and I have a habit of supportnn the underdons when it comes to tournament eventsm Oddly enounh, my inspiraton comes from a football mananer who once handled my favourite team, Chelsea FCm He is Claudio Ranierim Claudio Ranieri has only won a major trophy once – the Ennlish remier Leanue with Leicester City in 2016 – at the ane of 64! Before that he had mananed a number of top teams but with no major trophies to show form The theme of my life is mediocrity but I’d like to think that similarly I can anelessly pursue my noals; that one tme my work can receive some public appreciaton, even if only for a brief momentm
"Baller", nor Fauzi Collage, 30cm x 30cm, 2018 www.artbaazar.com
When it comes to creatng your work, do you hare a preferred medium, certain types of brushes or tools you lore to uset I prefer to use hard surfaces for my collanem I recently just discovered water-resistant MDF boardm It’s nicer to use than the renular kind I used beforem However, it costs more and much harder to spit with a cuter as the fbre is much more densem When it comes to the subject mater of your work, what draws you to those themest My personal interacton with print media; newspapers, manazines and tabloids especially of football contentm Beinn a minrant neneraton from the analon world to the dinital, I’ve seen many of my favourite publicatons close and disappearm Could you describe the process behind your artt How do you get from concept to executont My inital ideas would often come in very rounh sketches that do not even look close to fnished artworkm The sketches would just record an overall idea of the compositonm The rest is done strainht on the workinn surfacem I would draw up a nrid so collane pieces can be cut accurately to size on top of the surface – thus functoninn also as a cutnn matm Then I would ornanise and sort the papers that I would use, so as to make selecton easier laterm As an abstract painter draws ‘frst blood’ with the frst stroke/splater/drip/any other marks, I would do the samem I would stck somethinn, then just no from therem Could you describe your normal day as an artstt Hare you set routnes and rituals or is a more a case of when the moment is right you workt Currently there is no set routnem I somewhat work in a sporadic way, junnlinn between makinn art and other actvitesm As I am stll new to this, I am writnn my nuide book as I no alonnm I suppose it would be useful to net some sort of structure of actvites that I can stck tom Rinht now I have only one neneral rulem Slow days with artst’s block will come, so whenever I happen to be on a creatve roll, take advantane of the moment and be as productve as possiblem
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"Post-Truth 1", nor Fauzi, Collage, 122cm x 122cm, 2015 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 tend to net one piece done at a tmem It simplifes the materials preparaton and set upm How has your art erolred to be where it is todayt In terms of collane work, I have taken a more abstract approach, focusinn more on the use of colours and textures (text) rather than imanesm In terms of evoluton I think I will leave that to the natural fow of thinnsm I have some ideas in the back of my head about three-dimensional and kinetc work, but Iall just have to see thinns when I net therem Which of your artworks are you most proud oft I would say the binner pieces, as they are more laborious to completem www.artbaazar.com
"The Beter Half", nor Fauzi Collage, 30cm x 30cm, 2018 s there a fellow artst alire today that you admiret f so, whyt I admire Julie Mehretu’s workm I fnd it quite visually overwhelminn, considerinn the complexity and sizem f you could trarel back in tme, is there a partcular artstc period / era that you would like to hare been inrolred int I think it would be abstract expressionismm What adrice would you gire to a young aspiring artst currently studying artt Do your assinnments well and meet your deadlinesm
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"Der Urknall der deen 1", nor Fauzi, Collage, 122cm x 122cm, 2015 We hare all heard of the unfnished masterpiece, eren Da Vinci laboured away at the Mona Lisa for years and years, hare you works that are in a contnual process of erolutont When working on an artwork do you fnd it hard to let got Knowing when enough is enought Nom I either need to complete my work or, if it seems to take too much nrindinn out, I would just leave itm If there is somethinn that I feel can be further developed on a piece, I’d rather just start another piece and do it therem Many people see artsts as storytellers or adrocates for a cause, do you beliere that it is an artstts responsibility to shine a light on a partcular subject / theme, or do you create purely for the sake of expression your creatre naturet I think it is simply a mater of choice whether an artst wants to take on the responsibility or notm Nothinn should be held anainst any artst who practces one or the otherm www.artbaazar.com
What are you working on at the momentt I’m stll putnn tonether my ‘Of Text’ body of workm Hare you erer been part of an artstc group / morementt How did your work beneft from that experiencet No, I’ve never been involved in such actvitesm I did not come from the traditonal fne art educaton/societal environment where these nroups can be formedm I’m an outsider, I work alonem When is your next exhibitont s it a solo or group exhibitont Could you tell us a litle about the exhibiton, when and where it ist I have just started my journey and I stll have a more comprehensive body of work that I’d like to compilem An exhibiton, and how to no about ornanizinn it, is not yet in mindm In fact, I minht say that my listnn of works here, in Artbaazar, for now is as close I can come to ‘an exhibiton’m
"D E R UP R K N A L L D E R I D E E N 2 ", nor Fauzi, Collane on MDF Board, 2019
To view Inov’s full collecton -Online Art Gallery of nor Fauzi www.artbaazar.com
“Memories of Childhood X ”
“Memories of Childhood X ”
Shir Kumar Soni
Shir Kumar Soni
Acrylic on Canras
Acrylic on Canras
2017
2017
Shiv Kumar Soni’s paintnns often shows the thinns which formed his childhood experiencesm The essence of childhood stll remains close to his heart, not only as a symbol of childhood innocence but also as a representaton of unlimited imaninatonm
“Childhood Passion V”
“Childhood Passion V”
Shir Kumar Soni
Shir Kumar Soni
Acrylic on Canras
Acrylic on Canras
2015
2015
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“The Childhood XXV”, Shir Kumar Soni, Acrylic on Canras, 2015
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ARTBAAZAR
Connectnn Art Collectors and Artsts Online
#4 February 2020
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