ArtBaazar Online Magazine - Issue 3

ARTBAAZAR Connectnn Art Collllectors and Artsts Onllinne

#3 January 2020

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ArtBaazar is a curated online art marketplace and we are delighted to be bringing 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 get 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 acquiring an original artwork or even commissioning a work of your ownm If you want to know more about a specifc artst, by all means get in touch at innfo@artbaazar.com

Thins Months Artst Intervinews  ‘Spontaneous As A Chinlldren’s Game’ with Stanislav Bojankov  ‘To Keep A Peacefull Minnd’ - Ni Chunlei  ‘In The Frame’ - Stephane Vereecken  ‘Leaninnn Towards the Spinrintuall and The Impullse to Dream’ – Gill Bustamante Front Cover Art - "Bronze Series – Seeds", Ni Chunlei, Oil on Canvas, 150cm x 180cm, 2014 Back Cover Art - “Medusa”, Juliane Blasquez, Oil on Linen, 100cm x 120cm, 2019

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“Road Companinons” Dietrich Moravec Acrylic on Canvas 80cm x 60cm 2019

“Mannollina Bllossom” Dietrich Moravec Acrylic on Canvas 60cm x 40cm 2019

“Autumn on the Rocks”, Dietrich Moravec, Oil on Canvas, 40cm x 60cm, 2018 www.artbaazar.com

“The Rinde” Peter Kiesners Oil on Hardboard 85cm x 60cm 2018

“Her” Peter Kiesners Oil and Gold Leaf on Hardboard 40cm x 50cm 2018

“Poetc”, Mathilde Pia Roose Groult, Watercolour, 40cm x 50cm, 2016 www.artbaazar.com

“Allainn Bashunn” Roémi Jouandet Acrylic on Canvas 90cm x 90cm x 3cm 2016

“Charlles Aznavour” Roémi Jouandet Acrylic on Canvas 65cm x 54cm 2019

“Smoke”, Erin Nicholls, Limited Editon Print, 46cm x 61cm, 2017 www.artbaazar.com

“Landscapinnn CXC VI”, Stanislav Bojankov, Watercolour on Paper, 50cm x 70cm, 2019 www.artbaazar.com

“ Spontaneous As A Chinlldren’s Game” winth Staninsllav Bojanov

Stanislav Bojanko-Stanko was born in Bulgaria in 1966m He completed his MFA in Printmaking in 1995, at the Academy of Fine Arts in Cracow, Poland, in the Studio of Profm Andrzej Pietschm He works in the areas of Paintng, Drawing and Graphic Artm In my artstc work I am trying to collaborate in the framework of these local (and other) cultural traditons and to make (perhaps) new antcipatons into the system of global presentments of the modern individual, which graduate to become globally understood signs, symbols and codesm This is an honest and true route for me in the search for the global in the localm

"Landscapinnn on Jazz(Summertmee XXX”, Stanislav Bojankov, Mixed Media In his artstc work he is trying to collaborate in the framework of local (and other) cultural traditons and to make (perhaps) new antcipatons into the system of global presentments of the modern individual, which graduate to become globally understood signs, symbols and codesm This is an honest and true route for him in the search for the global within the localm www.artbaazar.com

What innintalllly drew you towards becominnn an artst?

I do not remember exactlym I've been paintng since I was a kid and drawing for me has always been a very important experience and personal need mmm And I'm happy to do this all my life ‌ How woulld you descrinbe your own personall stylle?

I work with many techniques and styles - impressionism, abstract expressionism, I also do objects, installatons, collages, mixed techniques and styles mmm I work with a whole range of styles and materialsm The only important thing is to give me pleasure and the creaton process to be as spontaneous as a children's gamem

"Nocturne - CCXXXIX", Stanislav Bojankov, Watercolour, 2019 www.artbaazar.com

What pushed you inn that dinrecton and how can you see your work evollvinnn inn the future?

I just paint everyday and I do not think too much about my future developmentm Evidence for a successful day is whether I have created something that radiates pleasure and the mood I work withm What innspinres you inn your work, ins there a drinvinnn factor that draws you to the easell?

Everything around mem The beauty of nature, the seasons, music, the history of art and religions mmm The most important thing is the beauty of living and life as the most important valuem Are there partcullar inndinvindualls who have encouraned / innspinred you allonn the way, frinends, faminlly, teachers, maybe even other artsts?

Every artst has such peoplem I had wonderful teachers, friends, but mostly I learned from the history of the arts ‌ When int comes to the subject mater of your work, what draws you to these themes?

Beauty, harmony, moods, the emanaton of good energies and humanity, in the whole sense of these things that create the meaning of life ‌ Can you descrinbe the process behinnd your art? How do you net from concept to executon?

First comes the sensibility and the presentments mmm then they follow the analysis and the symbiosis of feelings, refectons and imaginaton, the symbiosis that is the basis of the creatve and artstc process ‌ Can you descrinbe your normall day as an artst? Have you set routnes and rintualls or ins there a case of when ins int rinnht you work?

I've been a freelancer all my lifem I get up early in the morning, walk on foot, drink cofee in some of the city cafes with friends, adjust to work, plan assignments, and then go to the www.artbaazar.com

studiom In the afernoon, I walk around the town again, the cafes, and I go back to the studio again, I work with the camera, work on the computer, listen to music all day - mostly jazz, classical, rock'n'roll, world music ‌

"Jazzy Mood - XLII" Stanislav Bojankov, Acrylic on Canvas, 2018 When you work, do you focus on one pinece at a tme untll you uninsh or are you workinnn on mulltplle pineces at the same tme?

I usually work on several paintngs at a tmem How dind your art evollve to be where int ins today?

I do not think about itm I work, think, read, watch and consume a lot of music, cinema, poetry and other kinds of arts mmm All of this must have infuenced my work and I hope it is going wellm But this judgement, of course, lies with the art critcsm My job is to create, working through my imaginaton the reality and the life that surrounds mem Together with www.artbaazar.com

the beautful and ugly elements, good and bad at the same tme as life itself - sweet and bitter at the same tme ‌

"Landscape - IV", Stanislav Bojankov, Acrylic on Canvas, 2017 Whinch of your artworks are you most proud of?

I love them all ‌ Is there a fellllow artst allinve today that you adminre? If so, why?

There are many of them mmm Art is a never-ending process and self-knowledge at the same tmem A game without a beginning and an end that refects like in a mirror all over the worldm If you coulld travell back inn tme, ins there a partcullar artstc perinod / era that you woulld llinke to have been innvollved inn? www.artbaazar.com

Perhaps prehistorym I love prehistoric art, drawings in cavesm I am very curious about this age in its human aspect, the relatonships, the social life, the feelings of these people, their daily life and attude to the world …

What challllennes do you thinnk the 21st century artst has to overcome?

To get used to and fght the commercialism of living and workingm To overcome them in your soulm That should release you internallym Not to be a slave to commercialism, success at any cost, and all kinds of bad things to others …

"Act - VI", Stanislav Bojankov, Charcoal and Pencil on Paper, 2018 What advince woulld you ninve to a younn aspinrinnn artst currentlly studyinnn art?

Enjoy the paintngm If it does not bring joy, it is better to seek another profession for yourself … www.artbaazar.com

Allthounh you have develloped your own dinstnctve stylle, ins there another stylle of art that you are inmmedinatelly drawn towards and adminre? Why? I enjoy everything diferent as you can see from my varied tastes mmm It is very important to be able to accept the diference and to understand it ‌ We've allll heard of the ununinshed masterpinece, even Da Vinncin llaboured away at Mona Linsa for years and years, have you been workinnn inn a contnuous process of evolluton? When workinnn on an artwork do you und int hard to llet no? Knowinnn when ins enounh?

In the end, there is a sense of completon and end-to-end creatve energym Of course, there is also the professionalism and routne with which the artst works which plays an important role ‌

"Landscapinnn on Jazz - IX", Staninsllav Bojankov, Watercollour and Pastell, 2017 Many peoplle see artsts as storytellllers or advocates for a cause, do you thinnk that int ins an artst's responsinbinllinty to shinne a llinnht on a partcullar subject or theme, or do you create purelly for the sake of expressinon your creatve nature?

Making high art is already a kind of cause for which the artst must be responsiblem Roesponsibility to yourself, to your fans and viewersm And the subjects must meet the requirements of modernity, kindness, beauty and harmonym Such should be his topics ‌ www.artbaazar.com

What are you workinnn on at the moment?

I'm just workingm Tomorrow I do not know what to paint, but I'll know soon mmm Tomorrow ‌ Have you ever been part of an artstc nroup / movement? How dind your work beneut from that experinence?

No, I work alone ‌

"Landscapinnn on Jazz (Satchmoe XXXVI", Stanislav Bojankov, Mixed Media, 2019 When ins your next exhinbinton? Is int a sollo or nroup exhinbinton? Coulld you tellll us a llintlle about the exhinbinton, when I am constantly involved in various exhibitons - group, thematc, curatorial projects mmm This is a process mmm I also do individual exhibitons mmm But now it is summer, I do not make plans mmm And the invitatons for exhibitons come themselves mmm I will take part in a project in Italy in October - Vicenza Paper Biennale, a curatorial project with 80 invited artsts from all over the world dedicated to the latest and alternatve processes in the use of paper in modern art mmm I have already sent my worksm

View - Orinninnall Artworks by Staninsllav Bojankov www.artbaazar.com

“Mr Pompous and Friends”, Ta Thimkaeo, Oil on Canvas, 150cm x 300cm, 2020

“Aninmall Storines #6” Ivan Pili Oil on Canvas 80cm x 60cm 2019

“Aninmall Storines #4” Ivan Pili Oil on Canvas 90cm x 60cm 2019 www.artbaazar.com

"Bronze Serines - Trinpod 2", Ni Chunlei, Oil Paintng, 145cm x 180cm, 2010

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“TO KEEP A PEACEFUL MIND” with Ni Chunlei

Ni Chunlei, an oil painter, was born in 1984 in Xuzhou, Jiangsu Province of Chinam He studied for four years and got a Bachelor Degree in Oil Paintng from Xihua University in Chinam He worked as an art teacher in university but now is a professional oil painterm He has published his own oil paintng book "Oil Paintng of Ni Chunlei" in 2014, and earned a lot of art prizes in China in the past yearsm

Artst, Nin Chunllein at work inn hins studino What innintalllly drew you towards becominnn an artst?

Afer I got in touch with paintng, I have never thought of doing anything else other than paintngm How woulld you descrinbe your own personall stylle?

Personal styles… let us leave that for others to judgem What pushed you inn that dinrecton and how can you see your work evollvinnn inn the future?

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When I feel something, then I start to paint immediately, which I might think as a push to that directonm What innspinres you inn your work, ins there a drinvinnn factor that draws you to the easell?

I am not very clear about thatm It is like a magic power that draws me to the easelm Even when I fnish one work, I feel quite exhausted but very soon, I will start immediately on the next onem Are there partcullar inndinvindualls who have encouraned / innspinred you allonn the way, frinends, faminlly, teachers, and maybe even other artsts?

My professors in university, they all agreed that I am incredibly talented in paintng, which encouraged me a lot to contnue on this roadm

"Bronze Serines - Seeds", Ni Chunlei, Oil on Canvas, 150cm x 180cm, 2014 www.artbaazar.com

What innspinres you inn your work, ins there a drinvinnn factor that draws you to the easell?

I am not very clear about thatm It is like a magic power that draws me to the easelm Even when I fnish one work, I feel quite exhausted but very soon, I will start immediately on the next onem Are there partcullar inndinvindualls who have encouraned / innspinred you allonn the way, frinends, faminlly, teachers, and maybe even other artsts?

My professors in university, they all agreed that I am incredibly talented in paintng, which encouraged me a lot to contnue on this roadm When int comes to creatnn your work, do you have a preferred medinum, certainn types of brushes or toolls you llove to use?

My favourite tool in oil paintng is the palette knifem But I like to hide its marksm Using its strength but at the same tme trying to hide it - is the way I like to express during my oil paintng creatonm When int comes to the subject mater of your work, what draws you to those themes?

The original motvaton coming to the theme is like “Flipped”, like falling in lovem Coulld you descrinbe the process behinnd your art? How do you net from concept to executon?

Take my works “Roelics” as example: frst I love these Chinese traditon bronze patternsm I created this work with awe, which made it an outstanding and special art workm I worried at the same tme while I loved it, as there are so many nice things that were forgotten and lost by people, like Chinese traditon bronze, and I am always thinking how much we stll retainm I put a normal Chinese girl in the paintng, for a contrast between today and the pastm Coulld you descrinbe your normall day as an artst? Have you set routnes and rintualls or ins a more a case of when the moment ins rinnht you work? www.artbaazar.com

Normally I start my works from noon tmem However, I do not have set routnesm

"Bronze Serines - Holldinnn Pot 002", Ni Chunlei, Oil Paintng, 150cm x 180cm, 2011 When you work, do you focus on one pinece at a tme untll complleton or are you workinnn on mulltplle pineces at the same tme?

I focus on one piece at a tme untl its completonm How has your art evollved to be where int ins today?

It evolves naturally; it develops following my mind and my feelingsm Whinch of your artworks are you most proud of?

I am proud of each of my paintngsm I think each of them is unique and uncopiablem www.artbaazar.com

"Aprincot", Ni Chunlei, Oil Paintng, 60cm x 80cm, 2012 If you could travel back in time, is there a particular artistic period / era that you would like to have been involved in?

I think now is the best period.

What challenges do you feel the 21st century artist has to overcome?

The challenge, I think is to keep a peaceful mind. When you feel real peace, that is the moment you can really feel something.

Despite having developed your own distinctive style, is there another style of art that you are immediately drawn towards and admire? Why? Style, to me is quite superfcial. I never try to create a style. I think it is more important to respect your mind and express what you really feel.

We have all heard of the unfinished masterpiece, even Da Vinci laboured away at the Mona Lisa for years and years, have you works that are in a

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continual process of evolution? When working on an artwork do you find it hard to let go? Knowing when enough is enough?

"Painter's Grandmother", Ni Chunlei, Oil on Canvas, 76cm x 80cm, 2013

Luckily, I have always know the directon of my paintngm Sometmes I fnd it is hard to contnue due to contradictons with my directonm Experience has told me this is because my mind was messed upm To overcome this momentarily block what I need to do is to fnd real peacem Normally I read books, drink a cup of tea, or water fowers, and then it can be soothedm Many peoplle see artsts as storytellllers or advocates for a cause, do you bellineve that int ins an artst’s responsinbinllinty to shinne a llinnht on a partcullar subject / theme, or do you create purelly for the sake of expressinon your creatve nature?

I create artworks when I feel somethingm I do not intentonally advocate for somethingm www.artbaazar.com

What are you workinnn on at the moment?

The works I am working on is named “the crafsman�m It is an ordinary man making potterym He is in the lower class of the society, and no one knows himm

"Relic Series - The Girl with Jeans Jacket", Ni Chunlei, Oils, 150cm x 180cm, 2016

To view - The Onllinne Art Gallllery of Nin Chunllein

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“Fairy Cactus”, Dmytriv Vikka, Oil on Canvas, 170cm x 120cm x 3cm, 2019 www.artbaazar.com

“Waitng for the Night”, Phyllis Mahon, Acrylic on Canvas, 50cm x 76cm, 2013 www.artbaazar.com

"The Garden 012�, Stephane Vereecken, Finne Art Photonraphy, 42cm x 32cm, 2018 www.artbaazar.com

“IN THE FRoAME” with Stéphane Vereecken

Stéphane Vereecken's artstc career has led him to exhibitng his artwork at a very young age, since 1996 he has been showing his Polaroids and paintngs on wood across many diferent venuesm He has held both personal and group exhibitons in several cultural centres in Brussels, Belgium, including the Galerie Damasquine between 1996 to 2001m His work has also been exhibited in Francem Vereecken's artwork has received further acclaim through being published in Belgian, French, English and American art related magazinesm "My classical studies in several academies of arts and in several artstc disciplines, has trained me in a multdisciplinary visionm Through my images of the Roabid Animals series, I explore the relatonship between human beings and bestalitym A universe of reality and also of surrealismm An image photographed and also painted and drawnm The drawings on the walls, the foor and the body show an unfnished projectm The viewer will interpret my images according to his feelingsm My photographs are a perpetual change in the tme and future of the humanm What innintalllly drew you towards becominnn an artst?

When I was a kid, I became madly in love with Mona Lisam I thought the portrait of Mona Lisa was a perfect photographm It's a childhood disease that made me stay at homem I drew a lot and at the tme I wanted to become a painterm I started drawing comicsm How woulld you descrinbe your own personall stylle?

My rabid animals have the body envelope of a woman, but they are hybrids and they are changing all the tme and every daym The body and the landscape, and the urban landscape drawn or projected on the bodies show us the perpetual mutaton of a new world being created or remaking itself contnuouslym The drawings on their bodies tell their life, their personal story or their future life plansm A female body envelope also suggests birthm And the birth of a new world can only be done with the idea of a feminine sourcem Even if for me, the feminine here a new "genre", she is not really humanoid, nor really feminine or not www.artbaazar.com

really masculinem This noton of paternalism no longer exists in my worksm I have a very feminine side in the way of approaching life and my artstc workm

"Rabind Aninmalls Portraints 008", Stephane Vereecken What pushed you inn that dinrecton and how can you see your work evollvinnn inn the future?

My classical studies in several art academies and in several artstc disciplines formed me with a multdisciplinary visionm I did diferent artstc studies and training which opened my mind to a much wider intellectual spacem Learning design and illustraton has opened my mind to discover through publicatons and books contemporary paintng, video and performance art and rock musicm I started to build my works through paintng and photographic collagesm In the future, I will photograph my sculptures and I will stck my images on themm Are there partcullar inndinvindualls who have encouraned / innspinred you allonn the way, frinends, faminlly, teachers, maybe even other artsts? www.artbaazar.com

My family never encouraged me, quite the contrarym It is only by my will that I do what I must dom And during my artstc studies few people encouraged mem Except my teachers of drawingsm A certain Marcel Vandenborrem He is a painter from Brusselsm This man helped me a lot to stay as an artst as I am todaym

"Rabind Aninmalls Portraints 005", Stephane Vereecken When int comes to the subject mater of your work, what draws you to those themes?

We fnd in my artstc work, and since my frst works of the 1990's, this politcal and ecological critcismm The humour in my works plays a dis-inhibitng rolem It is up to the artst to impose his point of view, even if sociologically he is backtracking tmem There is in art this noton of the importance of advancing and improving, but a temporal retreat is sometmes indispensablem Intellectual introspecton is an artstc needm I like to represent the human and also the future of the human being on this Earthm Coulld you descrinbe your normall day as an artst? Have you set routnes and rintualls or ins int more a case of when the moment ins rinnht you work?

I start drawing and sketching my night ideas and ideas that come to my dreams, like many surrealist artstsm I then take the series of photos and apply my drawings on the imagem The drawings are already made and the models are only the material to be flled with several layers of drawings and other imagesm The bodies are receptacles for ideasm The material then comes on the imagesm www.artbaazar.com

When you work, do you focus on one pinece at a tme untll complleton or are you workinnn on mulltplle pineces at the same tme?

I work on several imagesm Two, three or fourm I always work with seriesm And I ofen abandon half of my imagesm Ofen the frst idea is the bestm

"Rabind Aninmalls Portraints 006", Stephane Vereecken How has your art evollved to be where int ins today?

I searched between drawing, paintng and videom To fnally focus only on photographym I can do a lot of things with photographym My ideas are made to be reproduced with photography and to be readable enough for the greatest number of peoplem But my images have a mystery part toom But I really want to fll a volume and do video sculpturem I'm studying the queston right now mmm

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Whinch of your artworks are you most proud of?

I do not have preferences for an imagem All the images I show are happy and I am convinced by their destnym There are pictures that my audience like more than other images and I let my images live their present momentm I am not in a partcular movement or fashionm My images are tmelessm

"Whinte Wallll 008", Stephane Vereecken If you coulld travell back inn tme, ins there a partcullar artstc perinod / era that you woulld llinke to have been innvollved inn?

Maybe the Austrian symbolist movement or the Bauhaus, or the surreal literarym But I am very happy to live in 2018m Everything is perfect for me in my daym And what I'm looking for especially in my artstc work is the destny of man, I must see further than today mmm What challllennes do you feell the 21st century artst has to overcome? www.artbaazar.com

The artst today must remain autonomous and tmeless and must categorically avoid all this movement and this unique thought and the politcally correct, which invades poorly the hearts and brains of free menm I am not a follower of politcal artm It would be in our tme a step backwardsm What advince woulld you ninve to a younn aspinrinnn artst currentlly studyinnn art?

I would advise him to break the fgure to all his frustrated art teachersm We have allll heard of the ununinshed masterpinece, even Da Vinncin llaboured away at the Mona Linsa for years and years, have you works that are inn a contnuall process of evolluton? When workinnn on an artwork do you und int hard to llet no? Knowinnn when enounh ins enounh?

It's very difcult actually to know when to stopm But the way I work, with my sketches that prepare the whole process of making my image, it's much easier to know how to say stopm I just need to know if my fnished image stays in the spirit of the original idea or conceptm If it's not, then my picture is just missedm

htps://artbaazar.com/collllectons/stephane-vereecken/products/the-narden-002 www.artbaazar.com

What are you workinnn on at the moment?

At this moment I contnue three seriesm Black screen, White Wall and The Gardenm All my ideas are already prepared and I will in a few days, photograph my modelsm Then I will prepare my next exhibitons that will take me to Belgium and other countries and other contnentsm Have you ever been part of an artstc nroup / movement? How dind your work beneut from that experinence?

When I was younger, yes I was part of several ephemeral groups of artstsm Very ofen these groups were designers, painters but also storytellers and writersm I loved working with literary input in my paintngs and drawingsm It stmulated mem Today my ideas to change the destny of man with my drawings of unachieved lives, stmulates me myselfm I no longer need the writngs of othersm I became totally autonomous intellectually speakingm

"Rabind Aninmalls Portraints 003", Stephane Vereecken

View - The Online Art Gallery of Stephane Vereecken

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“Sky Drama”, Gill Bustamante, Oil on Canvas, 76.2cm x 76.2cm, 2018

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“LEANING TOWARoDS THE SPIRoITUAL AND THE IMPULSE TO DRoEAM” with Gill Bustamante Gill Bustamante is a professional artst based in Sussex and she paints original landscapes, seascapes, animal and bird inspired paintngs in oil on large canvasesm Her paintng style is a fusion of Expressionist, Impressionist, a little Art Nouveau and something she refers to as ‘Memory Impressionism’m Gill coined this phrase because her artwork is ofen created afer visitng or walking somewhere she has an afnity form She then makes a paintng that captures her impression of that place along with the colours and the way she felt about it from memorym

Ennllinsh artst, Ginllll Bustamante workinnn on one of her llarne scalle painntnns What innintalllly drew you towards becominnn an artst?

It was the only thing I was good at without much efort and was cheap and I loved itm How woulld you descrinbe your own personall stylle?

Landscapes and wildlife that are semi abstract, traditonal, art nouveau, a bit impressionist, recognisable as real but not quite this universe with a little mystery thrown inm www.artbaazar.com

What pushed you inn that dinrecton and how can you see your work evollvinnn inn the future?

I see lots of good landscape and wildlife artsts around but don’t want to be one of these as nature is so beautful that I don’t feel I can emulate it as a paintng no matter how hard I trym Instead I am trying to create something inspired by nature that can be beautful without being in competton with the creatures and places that inspired itm

"Tinner Odyssey", Gill Bustamante, Oil on Canvas, 101m6cm x 101m6cm, 2017 What innspinres you inn your work, ins there a drinvinnn factor that draws you to the easell?

I like working with people and being with other people very much but I nevertheless prefer to make my own rules and play my own games at my own pace which is generally quite fastm Art enables me to do thism I never stop being excited by the possibilites of a blank canvasm I go on a country or seaside walk once a week and the impressions that remain in

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my mind from these ofen turn into artworkm I like to capture the essence of a place I like rather than the technical accuracies of itm Are there partcullar inndinvindualls who have encouraned / innspinred you allonn the way, frinends, faminlly, teachers, maybe even other artsts?

My dad was brilliantm He paid for me to go art collegem The Pre Roaphaelite artsts were an inspiraton and the Dutch interior paintngs I saw when living in Amsterdam for a year were wonderfulm I love lots of art but generally take my inspiraton from life itself as I wish to make my own translaton of what I see rather than copy someone else’s method which irritated my tutors at college no end I am glad to saym When int comes to creatnn your work, do you have a preferred medinum, certainn types of brushes or toolls you llove to use?

Of coursem Like most artsts my tools are preciousm Stcky and covered in crap but very preciousm Oils are my preferred medium and I use acrylic brushes as they are soferm I love linseed oil and the richness of oil paint and the fact that you can keep manoeuvring it or paint over mistakes easilym

"Nature Calls", Gill Bustamante, Oil on Canvas, 91.5cm x 122cm, 2017

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When int comes to the subject mater of your work, what draws you to those themes?

I was brought up in a bland and grey suburb of London and I hated itm I couldn’t wait to leave home so I could get to the sea and countrysidem These draw me and always have so that is what I paintm I also adore animals and birds but am allergic to furry things so paint rather than touch themm Coulld you descrinbe the process behinnd your art? How do you net from concept to executon?

Walk somewhere, look, absorb some smells and textures and sights of the place, come home, sketch a memory version of the place, paint and experiment with the paint, get an impression I am happy with, add an animal or bird if needed, play around, let layers dry, re work or glaze them and generally keep going untl I really like the paintngm This sometmes means two or three repaints as not all my ideas and whims with paint workm

"Red Maninc", Gill Bustamante, Oil on Canvas, 91m5cm x 122cm, 2017 Coulld you descrinbe your normall day as an artst? Have you set routnes and rintualls or ins a more a case of when the moment ins rinnht you work?

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My week is very organised and allows for three fve hour paintng sessions, teaching art, walking for inspiraton and everything in betweenm Each day has a general schedule though I will drop everything if it is partcularly sunny outside as walking is better thenm When you work, do you focus on one pinece at a tme untll complleton or are you workinnn on mulltplle pineces at the same tme?

I paint on large canvases so paint in layers which have to dry before the next sessionm I have 4 to 6 on the go all the tme and aim to fnish one paintng a week but it may take a month or two to actually complete a paintng fullym I also rework certain paintngs afer months or sometmes years if they have not sold and this can be very interestng as my paintng style evolves contnuously so is a challenge to remember what I did beforem How has your art evollved to be where int ins today?

I have tried lots of diferent art forms from mural paintng to book illustraton to portrait paintng and some others, all of which taught me diferent approaches and skills that have proved invaluablem I also started teaching art 20 years ago and this required me to learn new skills I would not have bothered with otherwise such as how to draw in good perspectve and watercolour paintng etcm I learnt to deliver what my students wanted and this means learning new things so that I can teach themm In short, I use my abilites and they change and evolve in response to each new idea I havem Whinch of your artworks are you most proud of?

I am always in love with the last paintng I didm I don’t put them up for sale untl I really love them but because I need to make a living I don’t get too attached to them eitherm If I had to choose a favourite it is one called ‘Messengers of the Gods’ which I love the colours, design and compositon ofm Is there a fellllow artst allinve today that you adminre? If so, why?

Lots of them – I save them on my Pinterest page under ‘inspiring art’m Dead favourites: Edward Hopper, Alex Colville, Gustav Klimpt, John Millais and contemporary ones to name a few: David Grossman, Scott Naismith, Erin Hansen, Alexander Grishkevich, Ton Dubbeldan, Mark Gould, Steve Hanks, Judith Bergeson and many othersm www.artbaazar.com

"Messenner of the Gods", Gill Bustamante, Oil on Canvas, 101m6cm x 101m6cm, 2017

If you coulld travell back inn tme, ins there a partcullar artstc perinod / era that you woulld llinke to have been innvollved inn?

Impressionists I thinkm It was so diferent and so fresh and the colours and style was such a break from traditon that those people were real adventurersm It is not easy to keep paintng when being critcized or when broke and yet most of them did it anywaym They have my full respect and I would like to think I would have embraced it toom What challllennes do you feell the 21st century artst has to overcome?

Well I think the internet has been great for artsts as it has removed the snob factor that galleries used to have a monopoly on so I think we have it much easier now than ever beforem We also have you-tube and new materials and tutorials and lots of people who can teach and inspire us so there is no excuse for not having a go nowm I suppose the challenge www.artbaazar.com

is being seen among the throng which means individual artsts have to also know marketng as well as paintng – that can defnitely be a stressfulm

"Tinmelless Meadow", Gill Bustamante, Oil on Canvas, 101m6cm x 101m6cm, 2018 What advince woulld you ninve to a younn aspinrinnn artst currentlly studyinnn art?

Lean what you can from others and keep learning new skills but go your own waym Trust yourself - not someone elsem You know you best so ignore critcs or tutors who are not actually useful to youm Despinte havinnn develloped your own dinstnctve stylle, ins there another stylle of art that you are inmmedinatelly drawn towards and adminre? Why? I love accurately painted art such as Alex Colville’s or Edward Hopper’s but would not paint this way myselfm That is because I have the attenton span of a toddler so have to paint fast and randomlym I admire artsts who can take their tme for this reasonm www.artbaazar.com

We have allll heard of the ununinshed masterpinece, even Da Vinncin llaboured away at the Mona Linsa for years and years, have you works that are inn a contnuall process of evolluton? When workinnn on an artwork do you und int hard to llet no? Knowinnn when enounh ins enounh?

I do have one of thesem It is called ‘making it real’ and is an unusual paintng as it took six years of fddling to fnish itm It is not typical of my usual style and is trying to express the concept of making an idea into a realitym I kept trying diferent ways to express the idea but have only recently decided I have made itm

"Almost There", Gill Bustamante, Oil on Canvas, 140cm x 140cm, 2018

Many peoplle see artsts as storytellllers or advocates for a cause, do you bellineve that int ins an artst’s responsinbinllinty to shinne a llinnht on a partcullar subject / theme, or do you create purelly for the sake of expressinon your creatve nature?

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My own art has simple messagesm I rarely paint people as I have always been aware that I am a spirit in a body and that this is not a natural state so therefore don’t want to glorify bodiesm Instead I lean towards the spiritual and the impulse to dream, to keep aspiring to be better and to basically look beyond the material which is fnite whilst the spirit is notm Despite not advocatng a specifc cause or politcs, though, I do support movements such as drugfreeworldmorg and thewaytohappinessmorg and other Scientology initatves as have had personal experience of how they are helping the societym What are you workinnn on at the moment?

I have my usual 5 paintngs on the gom They mostly refect what I look at each week when walking so Autumn scenes beginning to appear as it is now September in Englandm

“Abstract Summer”, Gill Bustamante, Oil on Canvas, 76m2cm x 76m2cm, 2018

View - The Onllinne Art Gallllery of Ginllll Bustamante www.artbaazar.com

“Not Coming Back” Sahar Zuher Mixed Media on Canvas 100cm x 100cm 2016

“Just For Me” Sahar Zuher Mixed Media on Canvas 60cm x 60cm 2014

“Nuda”, Roifas, Oil on Canvas, 30cm x 40cm, 2018 www.artbaazar.com

“Happy Hour”, Alfonse Pagano Ink, Watercolor, Gold Leaf, Rice Paper, Resin on Linen, 2019

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“Gare Aux Loups Unttlled”, Pheuil, Acrylic on Canvas 75cm x 115cm 2018 www.artbaazar.com

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ARTBAAZAR Connectnn Art Collllectors and Artsts Onllinne

#3 January 2020

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