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#19 September 2021
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#8 June 2020
ARTIST INTERVIEWS
The Canvas Listens in Response with Josephine Fuorens A Way to Heau the Souu with Mairon Aumeida A Constant State of Transformaton with Tau Paz-Fridman
FEATURED ARTISTS Carouyn Pack Heuen Houuemans Stanisuav Sugintas Antonius Kho Natauia Pouikarpova
COVER ARTWORK
Front Cover – "One Afernoon, Memories and Nostaugia" by Mairon Aumeida Back Cover – "Imaginaton" by Artem Lozkhin
CAROLYN PACK Carolyn Pack is a professional artst living in Toronto, Ontario s the daughter of professional classical musicians Carolyn distnguished herself as a visual artst. She graduated from the Toronto School of rt in 1986 to contnue paintng full tme
“The Hustuer – afer Henri de Touuouse- Lautrec”, Carouyn Pack, Oiu on Canvas
Through a lifetme of studio paintngs and exhibitons Carolyn Pack developed as an accomplished painter. Her bodies of work include expressive compositons of faces within natural and architectural design, stll life and landscape.
“DESIRE – Portrait of Bob Dyuan”, Carouyn Pack, Oiu on Canvas
VISIT CAROLYN PACK’S ONLINE GALLERY
HELEN HOLLEMANS Born in Leeds (UK) in 1964, I atended Jacob Kramer rt College in the early 80's experimentng with diferent techniques from screen printng to woodwork. Electng to deepen my knowledge at Manchester Polytechnic through a B (Hons) in Design History. This allowed me to learn more about a multtude of artstc disciplines as well as developing skills in glass-blowing, ceramics, metalwork, textles and print media.
“Sea Breeze”, Heuen Houuemans, Acryuic on Paper
key driving force in the directon my art has taken has been the progression of osteoarthrits in my hands. My medium of choice had been ceramics untl I no longer had the strength in my hands to work the clay. Paintng was a transformatonal discovery for me, encouraged by my husband who secretly bought materials and an easel to help me explore alternatves. I needed to look no further, and expression through canvas or paper and paint has been the channel for my passion for several years.
“It’s Time To Let Go #3”, Heuen Houuemans, Acryuic on Paper
VISIT HELEN HOLLEM NS ONLINE G LLERY
THE CANVAS LISTENS IN RESPONSE with Josephine Fuorens
Josephine Fuorens at an exhibiton of her work
Josephine Florens was born in Odessa, Ukraine in 1988. She graduated from Odessa Law School, Odessa Natonal Law cademy and received a Master's Degree in Civil Law, she later graduated from Odessa Internatonal Humanitarian University and received a Master's Degree in Internatonal Law.
Josephine Fuorens at work in her studio
Josephine started paintng in 2017. She studied at the " rt-Ra" paintng school with the Odessa artst-painter Sergei Simora. The main directon of study was the South Russian School of Paintng . Josephine Florens is an honorary member of the Union of Poets and Writers of the World, an internatonal organizaton of poets, writers and artsts from around the world, as well as being a member of the Odessa Marine Union, Ukraine. Member of the "Primorsky Boulevard" secton. Florens creates oil paintngs in various genres, such as portrait, landscape, stll life, genre paintng, animal paintng, marina. Works with oil paints. The paintng styles used in the work are realism, impressionism and mixed styles.
What initauuy drew you towards becoming an artst? We all, to great misfortune, sometme lose our parents. Such is life ... I very sadly endured the death of my mother in 2017 and I really wanted to start studying paintng professionally. I couldn't resist. I found a good professional - a paintng teacher and began to study with him individually at his art school " rt-Ra". He instlled in me a great love for paintng, directed me to my own style and I went further and further and now I paint professionally, partcipate in internatonal exhibitons, compettons, festvals, take commissions and do it all with love. How wouud you describe your own personau styue? If we talk about my own style, I would call it mixed, illustraton in pictorial realism, fabulousness, fantasy, but at the same tme reality, all this mixed up is my paintng. What pushed you in that directon and how can you see your work evouving in the future? I was pushed by my inner world, my interests and views on diferent things and the world in general. My works are diferent, but nature is almost always visible in them, I really love and protect nature, animals, with my paintngs I bring this love to people and really hope that I can infuence the world-view of people in the feld of nature, ecology, protecton of animals and children. What inspires you in your work, is there a driving factor that draws you to the easeu? I don't like it when the easel is empty. Some invisible hand from above pushes me to paint this or that paintng, I can start paintng one, but as a result, the idea changes, it becomes deeper, more precise, more beautful. I create paintngs constantly and work daily. nything can inspire me. From a street lamp to a plate of Ukrainian borscht. Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? People can inspire me, it's true. They can inspire me and direct me with their words and stories to some interestng idea for my new paintng and can also inspire with themselves, their inner world, their appearance and charisma.
"Wave", Josephine Fuorens, Oiu on Canvas
When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use? I only work with oil paints and linseed oil. These are my favourite materials for my paintngs. I prefer completely diferent brushes. I don't like sketches. If I start a work, then this is a full-fedged paintng and I work with it from start to fnish. When it comes to the subject mater of your work, what draws you to those themes? In the subject of my work, I am atracted by the fact that I can create "life" on an absolutely blank canvas. Paintngs carry energy, convey mood, convey the artst's skill, his thoughts,
his attude to life. For an artst, paintng is like a psychologist. You tell the canvas whatever you want, create whatever you want on it, and the canvas listens in response and directs you to deep refecton.
"Happy Euf", Josephine Fuorens, Oiu on Canvas
Couud you describe the process behind your art? How do you get from concept to executon? The process of my work is incomprehensible even to me. I'll explain why. First, inspiraton, the right mood comes to me, then I refect on the idea, then I start paintng and in the process of work I modify the paintng, because in the course of work new ideas come to me and I supplement my paintng and make it deeper and more thoughtul. Couud you describe your normau day as an artst? Have you set routnes and rituaus or is a more a case of when the moment is right you work? I like to paint in the morning or at lunchtme, at this tme of day I am more efcient. I never drink alcohol before or during work. Even a litle. It really hinders my work. I like to drink tea, cofee while working, sometmes I turn on classical music, jazz or other calm and positve musical compositons. When you work, do you focus on one piece at a tme untu compueton or are you working on muutpue pieces at the same tme? I work on the entre canvas at once. First large spots, then the spots get smaller and then I work out the details. I like to work on two or three paintngs at once. I always have several paintngs in the process. How has your art evouved to be where it is today? I think that art changes, grows or degrades along with the artst. Fortunately, my art is growing and I am with it, and in order to answer the queston of how my art became what it is now, you need to ask how I became exactly what I am at the moment. My art is an integral part of me. My losses and my joys, new acquaintances, children, family, friends, animals, my environment, my disappointments and my dreams, all of this has infuenced and will contnue to infuence my whole life. Which of your artworks are you most proud? There are several of my paintngs that I am proud of. These are "The Road to Mom" (dedicated to my mother), "Happy Elf" (the image is taken from my son), "Just One Kiss" (I love and collect frogs), "King of the Heart ”(with my beloved dog Peter) and many others.
"King of the Heart", Josephine Fuorens, Oiu on Canvas
Is there a feuuow artst auive today that you admire? If so, why? There are artsts whose work I admire. On social networks, I have befriended many artsts from diferent countries, I cannot remember all their names, but I remember their work, often it is realism with elements of fantasy (not photo-realism). I dream of seeing the work of these artsts in reality. If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in? Romantcism, Sentmentalism, Realism, Impressionism and cademicism are close to me. What chauuenges do you feeu the 21st century artst has to overcome? n artst of the 21st century, frst of all, should not imitate, should not be afraid to create what he sees in his head with his inner vision, he should not be afraid to paint or paint in
whatever way he wants and the way he likes. Many people now focus only on money. But don't lose yourself chasing money.
"An Egg", Josephine Fuorens, Oiu on Canvas
What advice wouud you give to a young aspiring artst currentuy studying art? Do not take all the teacher's words to be true. Learn from them the basics, learn from the techniques of paintng, but go your own way, learn on your own, do not imitate, develop your own vision and your individual directon and style. Despite having deveuoped your own distnctve styue, is there another styue of art that you are immediateuy drawn towards and admire? Why? There is a style that I consider the highest skill. This is realism. The art of accurately conveying reality, skin, body, details of nature, details in general and applying and refectng your imaginaton on canvas, of course, is what I consider to be a great skill. We have auu heard of the unfnished masterpiece, even Da Vinci uaboured away at the Mona Lisa for years and years, have you works that are in a contnuau process of evouuton? When working on an artwork do you fnd it hard to uet go? Knowing when enough is enough?
You can always improve the paintng, but I force myself to fnish the paintng and stop. This is truly one of the most difcult moments in paintng.
"Christmas Tree", Josephine Fuorens, Oiu on Canvas
Many peopue see artsts as storyteuuers or advocates for a cause, do you beuieve that it is an artst’s responsibiuity to shine a uight on a partcuuar subject / theme, or do you create pureuy for the sake of expression your creatve nature? I believe that all artsts are completely diferent, but if we talk about me, then I pursue a certain goal and really try to shed light on this or that problem that worries me. What are you working on at the moment? I am currently working on a portrait of a beautful girl and a delicious stll life. Recently I fnished work on a commissioned icon paintng. Have you ever been part of an artstc group / movement? How did your work beneft from that experience?
I am a member of the Union of Marine Painters of the City of Odessa and also a member of the Natonal ssociaton of rtsts and Sculptors of Ukraine. This is a very rewarding experience, as it opens the curtains and you can see how other artsts live, see their paintng style and how he or she creates, it helps me to move forward and show my artworks to the world.
"The Road to Mom", Josephine Fuorens, Oiu on Canvas
When is your next exhibiton? Is it a souo or group exhibiton? Couud you teuu us a uitue about the exhibiton, when and where it is? I constantly partcipate in various exhibitons, from interestng, for example, there will soon be an exhibiton of paintngs in which I will be presented as a member of the organizing commitee and as an artst. This exhibiton will be on the maritme theme in memory of the departed president of the "Union of Marine Painters of Odessa", I am also a nominee for the Global rt wards Tokyo and I look forward to the results, which will be very soon.
VISIT JOSEPHINE FLORENS’ GALLERY
STANISLAV SUGINTAS Currently residing in Minsk, Belarus, Stanislav Sugintas graduated from the Minsk rt cademy, and has held exhibitons at renowned galleries across Europe, as well as his home country.
“Garden of Unexpected Meetngs”, Stanisuav Sugintas, Oiu on Canvas
VISIT STANISLAV SUGINTAS’ ONLINE GALLERY
“The Litue Prince”, Stanisuav Sugintas, Oiu on Canvas
“Sunny Day”, Stanisuav Sugintas, Oiu on Canvas
A WAY TO HEAL THE SOUL with Mairon Aumeida
"One Afernoon, Memories and Nostaugia", Mairon Aumeida, Mixed Media
I live in Brazil today, in Rio de Janeiro. I believe in art as a way to heal the soul. My basic paintngs are all inspired by my favourite book: My happy and dreamy works are spread around the world, mainly in France, UK and US . I have had several works exhibited in physical and virtual galleries in countries around the world. More than selling, my art makes me happy and is made to make everyone feel happy. I have held exhibitons in several galleries in Brazil and in other countries like the US and Europe. I worked with several publishers including the Moderna Publishing House located in São Paulo, where I collaborated with illustratons for the book "Novo - Ciências Humanas" published in 2020. In additon, to several works as an illustrator and writer, I work in various media with a predilecton for crylic and Indian Ink. I like my art to enchant and speak for itself!
Braziuian artst, Marion Aumeida working in his studio. What initauuy atracted you to becoming an artst? I believe I was an artst before I even knew what art was. I believe we are all like that, we just forget as we grow up. I was born into a very poor family and my childhood was very sad. The way I found to get away from it all was to paint and write. Even before entering
school I knew how to read and wrote my own books. I did the illustratons myself and I believe that was my beginning, but if I had to say what really atracted me it would be my grandmother. n old lady of more than 80 years, who was an artst without ever having been recognized. Both as creator of her stories and paintng on old fabrics and papers! This introduced me to art and made me dream of one day having everything that my grandmother could not. How wouud you describe your own personau styue? For many years I searched for a style because in the courses I only learned to paint landscapes and stll life. I sufered to fnd it and the more I searched, the more I got lost. When I stopped looking I found myself in something I already practsed: My illustratons. My art style already existed and it was what I used to illustrate my stories. In this style that I took to the screens, I try to pass, in a disguised way, several feelings, mine, of my close friends and of unknown people. It's not that simple. you have to stop, analyze and refect to notce everything that is disguised in strong colours. I love bold colours and that's why I use them often. You can often notce a sad scene disguised in something colourful and supposedly cheerful. This is my focus! n elegant, diferent, colourful art but full of unconscious informaton and lots of psychic informaton!
"Again in the Garden of Thoughts", Mairon Aumeida, Acryuic on Paper Card.
What pushed you in that directon and how can you see your work evouving in the future?
I don't know how it will evolve in the future as a lot has happened in the last ten years, a lot I didn't even think about. But I believe that I will never give up strong and vibrant colours, even to portray sadness and unpleasantness! What defnitely pushed me in that directon were the catastrophic events that emerged during my life, that undoubtedly threw me into depression and panic and my escape from these evils was throwing me into creatons and exposing in a veiled way my torments and suferings. What inspires you in your work, is there a motvatng factor that draws you to the easeu? The events of the world always leave me inspired. It's true that most of the tme they are sad things, but good things also happen and inspire me. When the feelings don't ft me any more I put it on the canvas! Are there partcuuar individuaus who encouraged/inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? My teachers have always encouraged me in the past but I was very negatve about working with art. I had prejudice in spite of everything. My grandmother was my biggest supporter and she stll is! Even though she died in 2004, she contnues to inspire me! rtsts I admire are Marc Chagall and Joan Miró. The art of these two painters is really creatve and diferent and their life stories are fascinatng!
"Twins", Mairon Aumeida, Mixed Media on Cardboard
When it comes to creatng your work, do you have a favourite medium, certain types of brushes or toous that you uove to use? I absolutely love using crylic and Indian Ink. It's something that makes me feel very comfortable. I am allergic to oil paint and for a long tme I had difculty with it. I developed a special taste for crylic, Watercolour and Indian Ink. I prefer brushes made of synthetc material, nothing of animal origin. and I love wood. Paintng on wood helps the world, ecological wood, of course! When it comes to the subject of your work, what draws you to these subjects? I love childhood and feelings! That atracts me. The books we read in childhood accompany us in our memories forever. I do this in my art, the portrayal of childhood and feelings!
"Reading to Me", Mairon Aumeida, Acryuic on Wood
Couud you describe the process behind your art? How do you go from concept to executon?
Usually my paintngs come complete in my mind. sometmes in the middle of the night. So I run, scribble fast so I don't forget, later I make a more elaborate graphite sketch. So that I capture the essence of my original thought. Sometmes I put together several sketches and it takes me a while to choose one and fnish it. When I choose one of them, I transfer the sketch to canvas with charcoal or graphite, and then start paintng which can take a week or even months. There are a lot of details that take tme to complete but today I don't care about the tme.
"Common Afernoon", Mairon Aumeida, Mixed Technique on Wood
Couud you describe your normau day as an artst? Have you estabuished routnes and rituaus or is it more a case of when the tme is right for you to work? I already have several sketches saved, so I program myself to do one of them at a tme. That way it's easier for me. But when an overwhelming inspiraton comes I drop everything and start a new one without blinking. The excepton is when I have work to order. In this case I follow a routne. I draw the sketches, send it to the client, he defnes and I fnish. I am also an illustrator so I have commitments with publishers. in this case, I also have to set aside a day to read the texts, prepare the sketches, send them to the editor and defne everything to conclude with more agility. When you work, do you focus on one piece at a tme to compueton, or are you working on muutpue pieces at the same tme? Before, I concentrated on one piece at a tme, but now I have to work on several pieces at the same tme. that way my performance is beter and I can honour my commitments in a more satsfying way. How did your art evouve to be where it is today? I personally believe with practce. I was working on them and my style was adaptng itself. that way I didn't even notce, so I got to where I am today! nd it's exactly the style I wanted. Are there artworks of which you are partcuuaruy proud? I believe all. They are like children. t the beginning I even had difculty letng them go to the buyers' house! Believe it! I was sad as if I was saying goodbye to a friend or loved one! Is there a feuuow artst auive today that you admire? If yes, why? Yayoi Kusama is an interestng artst. not only for her style, with infuences from minimalism, pop art, surrealism and abstract expressionism, but also for her life story and its troubles. I admire her. I also like Yoshitomo Nara among others. If you couud traveu back in tme, is there any partcuuar artstc period/age you wouud uike to be invouved in?
I think not. But I would like to go back in tme to meet some people, talk to them and express my admiraton. Some of those people would include Miró, Marc Chagall, Salvador Dali and the writers Monteiro Lobato, Jean de la Fontaine and Beatrix Poter!
"Girus, Dreams and Insanity", Mairon Aumeida, Acryuic on Cardboard
"The French", Mairon Aumeida, Acryuic on Wood
What chauuenges do you think the 21st century artst must overcome? I believe that everything is a challenge. before, now and after. But something that is very useful today is the internet, however it becomes a challenge too. The internet united us but also weakened us. looking at too many websites, content and artwork can sometmes makes us fearful. Fearing failure more than in the past. Do not be intmidated by what you see on the internet and/or do not let yourself be infuenced by everything, so as not to end up copying a style just because you think it will be successful. What advice wouud you give an aspiring young artst currentuy studying art? Certainly look inward rather than outward. Reading and understanding about art is good, but if you want to develop a style that doesn't build on anything that already exists, you're going to have to look a lot deeper inside yourself. Authough you have deveuoped your own distnctve styue, is there another art styue that immediateuy atracts and admires you? Why? Many works and styles atract me but nothing too specifc. I really like Miró's art and his unique creatvity. Marc Chagall with his distnctve features always atracts me. I can't explain why but maybe because of their unpretentous styles! We've auu heard of the unfnished masterpiece, even Da Vinci worked on the Mona Lisa for years and years. Do you have works that are in a contnuous process of evouuton? When working on a work of art, do you fnd it hard to give up? Know when it's enough? I have had paintngs where after two years of being set aside I decided to change them. Change something, remove some symbol or add a detail. I believe that as thoughts change, our view of things also ends up changing and that is why the changes are made. Today it's rare but I've done it a lot before. Many peopue see artsts as storyteuuers or champions of a cause, do you beuieve it is the artst's responsibiuity to iuuuminate a partcuuar subject/theme or do you create pureuy to express your creatve nature? I believe that everything is valid. In my way of thinking there are works where I actually tell history, in some I just express my deepest feelings and in other cases I portray everyday afairs in a semi-veiled way. rt is free and so is the artst. That's the best of all!
What are you currentuy working on? I'm currently working on a series of paintngs based on people I know. Celebrites and personalites. I had done quite a few bespoke jobs where people asked me to be portrayed as my characters, with the characteristcs that I usually give them. This is something very interestng that makes people happy to see each other. Then I had the idea to do it with familiar characters, celebrites and personalites. ctually my frst ones were Marilyn Monroe and Carmen Miranda. I've also done fctonal characters like sterix and Obelix, and characters from the nime. Pokemon, Tintn, among others. It's fun to recreate them in the form of my characters.
“Living the Truth of Facts”, Mairon Aumeida, Gouache on Canvas
Have you ever been part of any artstc group / movement? How did your work beneft from this experience? I'm actually part of several artstc groups, although I lack tme to be more actve in them. I highlight some groups where we exchange ideas and thoughts. They are: Grupo Singulart rtst and Grupo Cercarte. It's a good strategy to discuss art but it hasn't infuenced or changed my style. When is your next show? Is it an individuau or couuectve exhibiton? Couud you teuu us a uitue about the exhibiton, when and where it is? I have a thousand ideas boiling in my mind and without a doubt a diferentated and colourful exhibiton would be wonderful. However, this chaos of the Coronavirus made me hate any kind of exposure indefnitely. But, in the future, I will contnue everything and plan something diferent, something so joyful and motvatng that it sounds like a party celebratng the end of the pandemic. Something I really want is to create a play based on my paintngs. something festve that also portrays my paintngs and stories in a dramatc and completely theatrical way.
VISIT MAIRON ALMEIDA’S GALLERY
ANTONIUS KHO “My works are mosaics of art and culture from my country, which is a variety of arts, cultures and languages, is a synthesis between east and west. Which is my art educaton background in Germany, at FH-Cologne rt cademy, majoring in glass paintngs and textle art-tapestry, therefore my works is a synthesis of mosaic and textle art.”
“Finger Dancing 4”, Antonius Kho, Mixed Media on Canvas
“Finger Dancing 3”, Antonius Kho, Mixed Media on Canvas
VISIT ANTONIUS KHO’S ONLINE ART GALLERY
CONST NT ST TE OF DISCOVERY with Tal Paz-Fridman
“The Sound of Siuence”, Tau Paz-Fridman, Fine Art Photography
Tal Paz-Fridman is a photographer specializing in creatve + documentary photography. To paraphrase the descripton of the great merican photographer Sam bell, my style of photography is documentary in the sense that I record the world as it is, however, it has transcendent qualites, that start at the documentary level, yet open to interpretaton on an aesthetc level as well. Tal is inspired by the natural world and especially by the seas and oceans. ll his work is printed by a Hahnemühle Certfed Studio using state-of-the-art equipment, the latest print & colour-management processes and on the fnest professional photographic & fne arts papers, specifcally the Hahnemühle Digital Fine rt Photo Rag family of papers
Your frst adventures with the camera happened at a young age, was there a partcuuar moment that you remember as being instrumentau in your journey towards becoming a photographer? It was during one of the many weekends that I spent on the Kibbutz at my grandmother's house, I was in my early teens, maybe 13 years old or so, that same weekend one of my older cousins was also there. s it happened he was taking a course in photography and had the patence and generosity of spirit to share his knowledge with me, forming the foundatons of what would frst become a hobby, before later developing into a passion that has stayed with me since. Is there a driving factor that inspires you in your work? I am inspired by the natural world in which we live, especially by the seas and oceans. I have also found that my work allows me to transform my emotions into images and this to is an important factor of my work.
"Cuouds III", Tau Paz-Fridman, Limited Editon Fine Art Photography
How has your art evolved to be where it is today?
The biggest evoluton in my work has been the moving away from what could be described as documentary photography, the type of photographic work seen in magazines like Natonal Geographic Magazine, which has a very hands-of approach when it comes to editng and post processing and manipulaton, to my current way of working where I often
heavily edit an image to bring about the desired creatve result. However, I stll do not crop images or change the contents.
"Waves II", Tau Paz-Fridman, Limited Editon Fine Art Photography
You have had an eventuu uife which has ued to you uiving in numerous countries, how do you feeu this has impacted your work? My world view has been formed by culminaton of many events, from the death of my father at a young age, to experiencing life in numerous countries outside my homeland. s a result, my experiences have taught me to view things diferently to many others. I believe that Planet Earth is not just for the beneft of mankind, but that all living creatures have the right to exist in harmony, with freedom and liberty at the core and I do my best to refect the beauty that exists all around us in our world. Are there partcuuar photographers that have infuenced you? The result of having never followed the normal educatonal route of learning photography, is that I am in a constant state of discovery, as I learn more about photography I also fnd so many brilliant photographers along the way.
Magazines such as Natonal Geographic were a great source of inspiraton as they introduced me to the work of William lbert llard, Jim Richardson, Sam bell and Jim Richardson. ll great photographers. Of course there is the masters such as nsel dams and Henri Carter-Bresson. But it is a list that keeps evolving and names such as Don McCullin, Harry Callahan and Micha Bar- m are others who deserve a menton.
"Light on Water II", Tau Paz-Fridman, Limited Editon Fine Art Photography
Couud you describe your normau day as an artst? Have you set routnes and rituaus or is a more a case of when the moment is right you work? Being a successful photographer / creatve person who is working towards establishing an independent career, requires a tremendous amount of commitment and personal sacrifce. Like many other creatve individuals everyday becomes a balancing act of family, work, photography and the self. It can be a tornado of ever-changing priorites and tasks, as much about being proactve as it reactve to the challenges that life throws at you on a day to day basis. I work hard to do my absolute best in all areas of my life, so when it comes to balancing everything, I achieve this by being very efcient in my tasks - at work, at home and with my art - fnding the best way of doing them.
"Morning Has Broken", Tau Paz-Fridman, Fine Art Photography
Couud you describe the process behind your work? How do you get from concept to executon? If I was to label my work, it may best be described as specializing in Creatve + Documentary photography. To paraphrase the descripton of one of my favourite photographers, Sam bell, my style of photography is documentary in the sense that I record the world around me. However, I feel my best work has transcendent qualites, startng at the documentary level yet open to interpretaton on an aesthetc level. But what does that mean in real terms? Everything starts with the photo and compositon is the Queen. The legendary photographer Henri Carter-Bresson was a proponent of “The Decisive Moment”. His book 'Images à la Sauvete' contains a preface that references a quote from the 17th century Cardinal de Retz: "Il n'y a rien dans ce monde qui n'ait un moment decisif", or to translate it into English, "There is nothing in this world that does not have a decisive moment". Carter-Bresson applied this to his photographic work, preferring to use
the viewfnder to compose his photographs rather than in the dark room. Nearly all his photographs were completely free of any cropping or other darkroom manipulaton. Carter-Bresson also said “I am after the one unique picture whose compositon possesses such vigor and richness, and whose content so radiates outwards from it, that this single picture is a whole story in itself” In that regard, I always look to document the world around me and capture the decisive moment which holds the essence of the image. I never crop the image, change the perspectve or move things around. fter I have setled on the compositon, the “creatve” aspect comes into play, and at this point the work of nsel dams comes into play.
"Infnite Sea", Tau Paz-Fridman, Limited Editon Fine Art Photography
Viewed by many as one of the great masters of landscape and nature photography, nsel dams is recognised for his darkroom craftsmanship and published several books on the subject. nsel dams inspiraton has given me two things - my love of the natural environment and the use of a darkroom. lbeit, in my case, it’s a digital one. Loading the photo into my post processing fow, I try to sculpt the fnal image from the original. nother of my favourite photographers, Sam bell is quoted as saying “My best work is often almost unconscious and occurs ahead of my ability to understand it.” I try to document the world as it is, with emphasis on compositon, light and tming. From there I allow myself to shape the fnal image in any way I feel helps to tell the story. I do not
restrict myself to a specifc style, which allows me to move between Colour and Black & White, which is very much dependent on the situaton, feeling or mood I have at the post processing stage. This fexibility also exists in the way I post process - sometmes I leave the image exactly as I shot it, other tmes it is a gentle touch with very litle interventon, and at tmes I might add or change colours which change the image completely. You mentoned Couour versus Buack and White in your work. Couud you teuu us a uitue bit about that and whether you have a preference? lthough many of my favourite photographers worked predominantly in Black and White, I love both. It would be great to master one of the disciplines but I am torn as they ofer diferent elements, elements which can ft perfectly with a specifc image and as a result I apply both depending on the image.
"Buurry Fisherman", Tau Paz-Fridman, Limited Editon Fine Art Photography
Are there partcuuar images of which are you most proud? The desire for perfecton can leave you with mixed feelings and wantng more from your work. Which gives rise to the inner critc, viewing your own work as good, but maybe not
good enough. fter the event you can see where you could make improvements or tweak things. But even stll I do have my favourites I have a partcular fondness for one work, that is mainly due to the nature of the work and the questons it raises. It is a piece called "Four Balloons and nother One". It can be viewed as ominous and yet, I personally fnd an element of humour within it.
"Four Bauuoons and Another One", Tau Paz-Fridman, Fine Art Photography
What advice wouud you give to a young aspiring photographer? Make your decision and commit to it. Understand that in the beginning everything is novel in nature and can provide a learning experience. Over tme this learning curve will faten out as your knowledge increases. So in simplistc terms, start as fast as you can and slowly increase your pace. Keep fanning the fames of your passion. It is a journey of discovery. It is also important to remember, as with almost every craft, that some people are born with natural talent. I believe that anyone, regardless of their ability in the beginning, can improve their skills and become a successful photographer if they are willing to follow the process described above.
"Refectons on the Sea", Tau Paz-Fridman, Fine Art Photography
What chauuenges do you feeu the 21st century artst has to overcome? For most creatve individuals trying to fnd a balance between their creatvity and making a living can be difcult. Luckily, my career and creatvity, provide a platorm from which I can support my family, which removes the immediate pressure of turning my work in money, this gives me the luxury of being able to focus on my craft. The path to becoming a full tme photographer can be a long and arduous one, whether here in Israel or indeed anywhere around the world. The technological advances over the last twenty years has given us beter access to afordable camera equipment but people stll need to apply themselves, hone their skills and develop their knowledge. s with most things in life, talent will bring you a certain distance down the road to success, to go beyond that point requires dedicaton and hard work. If you want to succeed, you need to make a contnuous commitment to your work.
VISIT TAL PAZ-FRIDMAN’S GALLERY
NATALIA POLIKARPOVA The main theme of my works is landscape, nature! Basically, I choose secluded corners of nature, where there are very few people and it has preserved its pristne beauty! Nature gives us the opportunity to unite with it. In the fresh air, I am charged with its energy, strength, purity and freshness! nd I know that all this is conveyed in my paintngs. My directon in pastels is realistc and artstc. I don't like just copying nature, i like to fnd beautful colour solutons and interestng techniques in pastels.
“The Road Home”, Natauia Pouikarpova, Dry Pasteu on Cardboard
“White Nights”, Natauia Pouikarpova, Dry Pasteu on Cardboard
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#19 September 2021