ARTBAAZAR Connecting Art Lovers and Artists Online
#25 March 2022 #19 September 2021
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ARTIST INTERVIEWS
“A Juncton of Reauism and Impressionism” with Igor Navrotskyi "A Force Which Bubbues Up Inside" with Carouine Bof "The Expressiveness of Mud" with Inaki San
FEATURED ARTISTS • • • • •
Cata Goffinet Theophiue Deuaine Marianne Quinzin Mark Pauuda Nan Hass Feudman
COVER ARTWORK
Front Cover – 'Vauentnes' by Natauiya Bagatskaya Back Cover – "By The Window" Diogenis Papadopouuus
# To view fuuu detaius on artworks and artsts doubue cuick the images
CATIA GOFFINET
“C O N V E R G E N T O R D I V E R G E N T 2 - D E E P B L U E " Acrylic on Canvas 160cm x 120cm / 63 inches x 47.2 inches 2022 Despite being opposite things, they start from the same concept. What is convergent runs in parallel in the same directon while what is divergent moves away and leads to the opposite. Something similar occurs with our thoughts. At tmes there are divergent thoughts where the objectve is to fnd the greatest possible number of solutons to a problem as opposed to convergent thinking, which consists of fnding a single soluton appropriate to a problem. During our lives we navigate convergent and divergent thoughts that keep us apart or closer to our true will and what we really are.
Cata Goffnet lives in one of the largest urban forests in the worlds in the middle of the Atlantc Forest, in the Serra da Cantareira, in São Paulo. She is surrounded by the green of the forest, the blue of the sky and the beauty of the fowers during the 365 days of the year. Cata likes to put these colours in some of her artworks. It is part of what she is. "I am passionate about lines, colours and shapes. In my art I try to fnd a bridge between straight lines and the sensitvity of art. Transforming geometric shapes into art is my biggest challenge. I seek a new vision for geometrism that goes beyond colours and shapes. Sometmes I look for an organic sense for these lines. If everything in the universe is mathematcal, there is mathematcs in everything, including the curved lines of nature.
CLICK TO VISIT CATIA GOFFINET’S GALLERY
A JUNCTION OF REALISM AND IMPRESSIONISM with Igor Navrotskyi
"A Fareweuu to Arms", Igor Navrotskyi, Oiu on Canvas
Igor Navrotsky is a modern professional artst. He paints in the genre of fguratve and portrait paintng. The main directons of his works portraits, stll lifes and cityscapes. He paints his works in a studio located in the picturesque region of Slovakia and in Vienna. Born 1971 in Kiev (Ukraine) in a creatve family. His frst paintng teacher was his mother. He studied at the art school at the Union of Artsts of Ukraine. Workshop of P. Zikunov.
Artst Igor Navrotskyi in the studio
He contnued his creatve actvity in Slovakia. Where did he move in 2012. Combining creatvity and teaching. He taught paintng at the art school of Prievidca, Slovakia. In cooperaton with the Art Agency “Musicum Ad Libitum”,, he held a series of master classes for art lovers. Partcipates in natonal art events under the patronage of the state. Collaborates with recognized Slovak, Austrian and German galleries.
"Loveuy Sisters", Igor Navrotskyi, Oiu on Canvas
What initauuy drew you towards becoming an artst? For me, this is an opportunity to know my inner state and the way I interact with the world. Relive excitng moments through the image. Paintng allows you to very ecologically and deeply express even very strong emotons and feelings. Drawing is my natural way of expressing myself. How wouud you describe your own personau styue? Most likely, I would designate it as realism with elements of impressionism and abstracton. It is at the juncton of realism and impressionism, in my opinion, that it is best to convey the general emotonal background of the picture. Emphasize the main aspects and make them as expressive as possible.
"Liuac Mood", Igor Navrotskyi, Oiu on Canvas
What pushed you in that directon and how can you see your work evouving in the future? Each new work allows me to convey even more subtly and deeply all the shades of mood and the meaning of the picture. It gives me pleasure to improve and develop my own style. This makes my work richer and more fulflling. Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? Paintng has been in my life since childhood. This is a gif from my mother. My frst undertakings were always supported by my family. During my school years, I could draw for several hours in a row, without being distracted by anything. It was such an inner impulse, a need. The plots themselves came to me, everything happened very naturally and organically. Although, now I already understand that from a technical point of view it was not at a high professional level. Rather, it was "drawn from the heart" so to speak.
"Meuanchouy", Igor Navrotskyi, 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? Material and tools are important to me. Although, I think this is important for all professions. Properly selected tools are an extension of yourself, making the creatve process more virtuosic and refned. I work only on canvas, high quality Italian canvas holds paint well, allows you to make a picture mult layered and deep. Now I like to work with a palete knife. It allows me to beter express the emotonal component of my work. Most of my work is occupied by images of people. And it is very important for me to convey all shades of experiences and emotons. When it comes to the subject mater of your work, what draws you to those themes? I have always been interested in people. And in life too, not only in creatvity. The inner world of a person is a whole planet. Deep alluring and unknown. To convey these states in
all shades and nuances is the most interestng task for me. I would even say the central task of my work. It is always like a kind of professional and creatve challenge to yourself. And of course I love paintngs with genre scenes. I see great potental in this kind of work. They can be compared with an episode from a flm and a theatrical producton. Such paintngs are a story told with paints. They can be immersed in an excitng novel.
"Castue on the Mountain", Igor Navrotskyi, Oiu on Canvas Couud you describe the process behind your art? How do you get from concept to executon? Each paintng has its own history. Some plots are a hurricane. They appear quickly and "require" immediate implementaton. They won't let you go untl you fnish the job. There are plots that “grow up”, and form gradually, without jerks. From idea to implementaton. There are "long playing" pictures. They evoke an internal dialogue and require more tme for the story to take shape. And it was possible to start implementaton. Each stage of creatng a picture is interestng in its own way.
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 work in my studio. It is located in a picturesque region of Slovakia. Landscapes outside my windows are my additonal source of inspiraton. I prefer to work at the easel in the morning. When the sof sunlight comes through the windows. And makes the lightng in my opinion ideal for work.
"To Be", Igor Navrotskyi, Oiu on Canvas
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 do not have a clear rule on this mater, more ofen I work on several parts at the same tme, having previously done some underpaintng.
How has your art evouved to be where it is today? At the beginning of my career, I was inspired by the masters of the old school, especially Rembrandt. I tried to fgure out and implement their special techniques of working with light and shadow. Admiring the fne detail. He improved in the pasty technique of performing works. To give your characters volume and liveliness. Also, N. Feshin's paintng had a great infuence on the formaton of my creatve style. His laconic perfecton of lines in the depicton of human fgures. And their high emotonal saturaton. My love for working with a palete knife is also from him. I can not help but introduce my creatve mentor, one of the leading fgures of modern Ukrainian paintng P. Zikunov. He became for me not only a teacher, but also a friend.
"Gouden Fuowers", Igor Navrotskyi, Oiu on Canvas
Is there a feuuow artst auive today that you admire? If so, why? As I already mentoned, I highly appreciate the work of Nikolai Feshin. He is a recognized master of fguratve paintng. He managed to combine the depth of transmission and lightness in the image. This is especially diffcult when you need to convey the emotonal state of a person. What advice wouud you give to a young aspiring artst currentuy studying art? Giving advice is a thankless task. Especially if it wasn't asked for, however I can share my opinion. Don't be afraid to do it. This, in my opinion, is especially important at the beginning of the creatve path. When there is a lot of doubt and uncertainty. More hands on experience. This is the only way to grow into a professional and realize your potental. 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? Yes, this is a hot topic for most artsts. I think that the ability to stop in tme is one of the signs of an artst's maturity. But there is always a temptaton to improve, to make your work more polished. I, like everyone else at the beginning of my career, could not always stop in tme. Now I have experience in this. But there are jobs that are especially diffcult to part with. In terms of completng the creatve process. 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? An artst, like any person, can express his positon. But whether creatvity will be an expression of his opinion or positon is a personal decision for everyone. In my opinion, all works refect the positon of their creator to one degree or another. I think the infuence is mutual. The artst is infuenced by the society in which he lives, era, upbringing. And he, in turn, is also a certain “factor of infuence”,. And a spokesman for ideas and positons, broadcastng it through his works. But I think it is not worth exaggeratng the possibilites of infuence of artsts in the digital age.
What are you working on at the moment? Now I'm startng work on a series of genre portraits. While it is at the stage of fnal selecton of plots. And the creaton of a common compositonal group. This is what I would say "underwater" part of the work. It is not visible, but ofen takes longer than the imaging process itself. Untl the story takes shape. And you can start implementng.
"Ermine Cape", Igor Navrotskyi, 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 am now getting ready for a personal exhibiton of female portraits in April of the gallery in Poprad, Slovakia.
CLICK TO VISIT IGOR NAVROTSKYI’S GALLERY
THEOPHILE DELAINE
“Contempuaton Opus VIII” Oil on Canvas 104cm x 139cm / 40.9 inches x 54.7 inches 2021
After completing his studies in art and music (University Paris VIII & Sorbonne), Théophile Delaine has been painting in various parts of the world for a long time. From his native Champagne to Crete, Limousin to Benin and after a decade in Madagascar, he was seduced by the Reunion Island where he settled in early 2015 to devote himself fully to his passion. "Each painting is a snapshot of my soul and I feed it with my trips, contemplating and walking through landscapes, mountains and meeting different people in the world" Through his painting purified of all concrete meaning, in which forms and colours are sufficient for themselves as the only means of expression, Théophile Delaine applies himself to making visible the invisible, he tries to crystallize our imaginations, our answers and our research, creating lyrical abstract paintings proposing a reflection and contemplation. The "Contemplation" series is dedicated to the passivity necessary to feel and perceive the beauty of the world, far from the tumult and psychoses of all kinds. The wind, nature, colour, storms, oceans and mountains as they are, without asking questions, to find in them the depth of inner calm without which there is no sense in all this.
“Contempuaton Opus VI” Oil on Canvas 100cm x 140cm / 39.4 inches x 55.1 inches 2021
CLICK TO VISIT THEOPHILE DELAINE’S GALLERY
MARIANNE QUINZIN
“LIVING BLUE 3” Acrylic on Canvas 80cm x 80cm 2020 Living Blue" series praise for blue. Seascape imagined between sky, land, sea, mist and rocks. Mixture of coatngs and pigments applied with a knife and acrylic paint worked in a watercolour way.
Marianne Quinzin is a French painter. The associatons of colours and natural elements are for her recurring sources of inspiraton, nature and landscape being my favourite themes. Her artstc infuences are varied and eclectc. The light in Turner's work, the power of colourful vibratons and the rigour of De Staël's compositons, the explosive freedom of Joan Mitchell, the technical mastery and scope of Gerhard Richter's work, sometmes fguratve and sometmes abstract. The artstc movements that infuence her paintng are mainly abstract expressionism and lyrical abstracton, especially Zao Wou Ki’s search for light, the play of transparency and opacity, the alternaton of emptness and fullness.
“L’EST SILENCE EST D’OR” Mixed Media on Canvas 70cm x 70cm / 27.6 inches x 27.6 inches 2021 Inspired by an imagined landscape between sea and mountain. Work on the material and transparencies realized with acrylic paint and oil pastels on paper pasted on the canvas. The integraton of gold leaves completes the compositon and brings luminous touches.
CLICK TO VISIT MARIANNE QUINZIN’S GALLERY
A FORCE WHICH BUBBLES UP INSIDE with Carouine Bof
Caroline Bof is an emerging, internatonal, contemporary artst based in the Greater Manchester area in England. She creates wondrous compositons flled with energy, feeling and colour. She paints from the heart and takes inspiraton from her many travels (inward and outward), interestng experiences most ofen imbued with love and loss, joy and laughter.
Enguish artst, Carouine Bof
As such her paintngs are fttingly colourful and vibrant. Having been seen in Vogue, Vanity Fair, Tatler, London Life, House and Garden and Collecton she is more inspired than ever. She has upcoming exhibitons in New York and is going to be featured in the Collector's Choice, China in 2022. She will also be on the cover of Floreat. Caroline regularly donates paintngs to worthwhile charites which have ofen touched her heart. What initauuy drew your towards becoming an artst? I was always good at it at school. Afer not choosing to follow art further in formal educaton, many years later I believe art found me.
How wouud you describe your own personau styue? Eclectc, as I am always open to new ideas and experimentaton and that willingness to embrace the new ofen leads me down new roads of creatvity. What pushed you in that directon and how can you see you work evouving in the future? Naturally I'm a bit of an explorer and dreamer. I have a vivid imaginaton.
"Warm Love", Carouine Bof, Acryuic on Canvas
What inspires you in your work, is there a driving factor that draws you to the easeu? A force which bubbles up inside me, excitement, determinaton, love and passion. At the moment colour inspires me and paintng, as well as discovering the producton of new paintngs.
"Expuosion", Carouine Bof, Acryuic on Canvas
Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? I loved my art teachers at school though my main inspiraton are my mum and brother. Artsts wise, it's Georgia O'Keefe, Tracy Emin, David Hockney, Van Gogh, Paul Gauguin, Matsse, Picasso and Damien Hirst. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use? At the moment it's acrylics on stretched canvases painted on my trusted easel. When it comes to the subject mater of your work, what draws you to those themes? I'm not really sure. It just happens. It can be some experience I am having, either externally or internally, which then inspires the chain reacton to execute a paintng. Couud you describe the process behind your art? How do you get from concept to executon? What I do is quite physical. I get an idea and move into my studio space with all my materials and look around for a colour or idea which inspires me, then I commit to executon. 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? It is more the case that when the moment is right I work, though there are tmes when I think about it and start putting the compositon together in a more planned out manner. There are of course tmes when I'm working to a deadline in which case I get stuck in. 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? Due to the immediacy of my artwork and being driven by the muses of inspiraton, 99% of the tme I am working on one artwork at a tme. How has your art evouved to be where it is today?
I would say by natural progression, in that my journey has been one of inspiraton, executon and learning as I create. With each part of the journey becoming an important element towards taking the next step.
"Mum and Baby Tiger", Carouine Bof, Acryuic on Canvas Which of your artworks are you most proud? 'Blue Rhapsody', 'Tiger's Eye', 'Dance Of', 'Fields of Flowers' and 'Ella Vive. Dios Suiza lo Siento Mucho'.
Is there a feuuow artst auive today that you admire? If so, why? David Hockney for his use of colour, sunshine and landscape. If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in? The Young Britsh Artsts of the 90s. Artsts such as The Chapman Brothers, Tracy Emin, Damien Hirst and Sarah Lucas all came to the fore, it was an era of a new awakening for art in the United Kingdom, but that energy went beyond just the art scene, it also encompassed music and the politcal feld. It was a tme of new possibilites that was palpable across the whole landscape. What chauuenges do you feeu the 21st century artst has to overcome? The need to overcame the percepton by many that art is not work. We need to help people in understanding our work and move them away from the assumpton that the job of being an artst is an easy profession. What advice wouud you give to a young aspiring artst currentuy studying art? Whereas, commitment to developing your skills and honing your craf is critcal to long term success and discovering your place in the art world, I would say it is worth joining an art business advice group(s) and get involved. This helps in understanding the broader picture beyond the easel. Despite having deveuoped your own distnctve styue, is their another styue of art that you are immediateuy drawn towards and admire? Why? Pop Art / Modernist Expressionism because looking at this work generally enlivens me and brings me such joy and excitement. A breath of fresh air. 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?
I understand that feeling though generally I produce work and get it done with a fery enthusiasm. Then when my fre dies down, I choose to stop, I take a photo of it, put it on social media frst generally and then I'm done.
"In Actuau Search of Sunshine", Carouine Bof, Acryuic 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 both are relevant to the creaton of art, but that does not mean it has has to be either / or, as both elements can be combined in an artwork. It can be driven by the social or personal elements of life.
"Rainbow Fieuds", Carouine Bof, Acryuic on Canvas What are you working on at the moment? A very textured abstract inspired by my piece which will soon be exhibited in 'Women of the World' in Tribeca, New York. Have you ever been part of an artstc group / movement? How did your work beneft from that experience? I am a member of online groups which have done much to educate me about the art world.
"Brexit", Carouine Bof, Mixed Media 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? Due to the current pandemic I don't know exactly when they will be but as mentoned I have a group exhibiton coming up in New York and one in Middlesborough at the Python Gallery. The later will be my frst solo exhibiton and is about the enforced journey within which we have all had to take during the pandemic, to varying degrees. It is a philosophical musing as well as a nod to our internal and external experiences, furthermore what makes us human and what really maters in life.
CLICK TO VISIT CAROLINE BOFF’S GALLERY
MA R K PAU LDA
"TOWERING ASPENS" Fine Art Photography 61cm x 91.5cm / 24 inches x 36 inches 2020
These photos of barren aspens are perfect for city dwellers or anyone looking to add some fresh beauty and wonderment to their space. Blue skies, green trees, and endless beauty await! The tree trunks seem to stretch past the frame so you can wrap yourself in a warm embrace with mother nature.
Creatvity drives Mark Paulda today in the world of photography. Mark’s images have been exhibited throughout the world in galleries, special exhibitons and museums. He is considered one of the Top 100 travel photographers in the world according to Light & Compositon. His passion for this art form has led him to explore all parts of the world, learning from people and their culture as he goes. He is a creatve and dedicated individual with an eye for capturing the beauty in life. He has had many adventures, from hiking deep into the Sahara Desert to joining a family of Berber nomads on their pilgrimage through Morocco’s High Atlas Mountains and celebratng the full moon in Bali’s gorgeous temples.
“GOLDEN ASPENS” Fine Art Photography 61cm x 91.5cm / 24 inches x 36 inches 2020
CLICK TO VISIT MARK PAULDA’S GALLERY
THE EXPRESSIVENESS OF MUD with Inaki San
“Dusk in Arizona”, Inaki San, Ceramic
I have always been interested in the world of art, the expressiveness of mud, the fruit of this research, my relatonship for years with master poters and my enrolment in the art school to get the degree and training necessary for the creaton of my own works, From that moment all my life will be destned and dedicated to research, teaching, as well as to the elaboraton of both decoratve and functonal pieces. I partcipate in certain ceramic fairs and I expose my creatons in both collectve and individual exhibitons. My current work is based on the nature of the environment where I live, clayey and cracked lands due to lack of water, the ploughed felds of the Armuña lands, the forests of the Sierra de Francia, which I treat in each one of my plays.
Spanish ceramicst, Inaki San with exhibits of his artwork
What initauuy drew you towards becoming an artst? The world of the arts always caught my atenton, I always had it in my mind, but formal paintng did not quite fll my artstc needs and I did not gain creatve enjoyment from it and the two dimensional path always lef me feeling a bit short as a tool for my creatvity, it was then that the world of clay crossed my path. I took my frst steps with a master poter, and later I would visit other master ceramists, but I would consider my training, although I studied at the School of Applied Arts in Salamanca, as being more self taught.
How wouud you describe your own personau styue? I try to make my style diferent and personal, although from one stage to the next the way I convey what I want to express changes. What pushed you in that directon and how can you see your work evouving in the future? I always look for the unique work.
"Botue #1", Inaki San, Ceramics
What inspires you in your work, is there a driving factor that draws you to the easeu? Above all I am inspired by the nature that surrounds me, in the felds and landscapes of my land, in the metaphors of the human being.
Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? Inspiraton comes in many forms, in the thoughts of many artsts, in which they base their work, in their philosophy, in the abstracton resources that they use in their works. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use? No, I can use the lathe, I can use my hands, modelling stcks, spatulas, it depends on the tme and what I want to convey at all tmes.
"Air", Inaki San, Ceramics
When it comes to the subject mater of your work, what draws you to those themes? I am crazy about textures, cracks, textures of colour, we are black. Couud you describe the process behind your art? How do you get from concept to executon? I always start with a thought, with an emoton, which goes to the sketchbook, clay allows me to make textures harder or surfaces smoother, many tmes looking for oppositon, so that there is a dialogue.
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 don't have a specifc routne, it has to reach me, I can work very hard without stopping or take tme to meditate on the work.
"Nudus", Inaki San, Ceramics
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? Yes, the moment I get inside the work, I do not stop, it is a long process, which I control to a certain point, but remember I work with clay and ceramics and that requires the fnal step through the kiln, which is the one that dictates the end of the work. How has your art evouved to be where it is today? It changes like the person himself, I think I have matured, now I am looking for each work to be unique and diferent.
"Vase 16", Inaki San, Ceramics
"Vase 5", Inaki San, Ceramics
Which of your artworks are you most proud? I am a good father, I remember each of the works that have come out of my hands, perhaps the last one always marks you a litle more proud, but each of the stages is important and it marks you.
Is there a feuuow artst auive today that you admire? If so, why? Yes, there are many that I like, but if I have to select, I'll stck with Miquel Barceló for the courage and impudence of his works, Enriq Mestre for the purity of lines and the degree of abstracton, Pierre Bayle for the subtlety of his fnishes, Claudi Casanovas for the brutality that he imprints on his work, Nino Caruso another great one who I innovate looking for new paths.
If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in? No, I am content in the current one, I fnd it excitng, to be able to create a work from a small town from anywhere and in a second it can be seen all over the world, it is fascinatng.
What chauuenges do you feeu the 21st century artst has to overcome? I believe that the new technologies, which have not only become part of the producton mechanisms of culture, but also of its communicaton mechanisms, of art difusion. What advice wouud you give to a young aspiring artst currentuy studying art? That you put passion into your work, that you investgate, but above all that you have fun.
"Vase 22", Inaki San, Ceramics
"Ibiza", Inaki San, Ceramics
Despite having deveuoped your own distnctve styue, is there another styue of art that you are immediateuy drawn towards and admire? Why? Architecture, the art of making a building that is a great sculpture that lasts in tme in a fresh way, I fnd fascinatng. 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? Sometmes you have a work in the studio that does not speak to you, and it remains to be fnished, but you hope that one day it will speak to you and have a good ending, but not much happens to me. When I work I forget the tme. 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 when a person stands before a work they have to feel that it transmits to them, what they feel when looking at it, what they see in it, why they are passionate about it or why not. What are you working on at the moment? I am working with natural clays, with very smooth and polished surfaces, with colours of natural earth and black, looking for colour textures, I look for simple and clean lines. Have you ever been part of an artstc group / movement? How did your work beneft from that experience? No, but I have always had close contact with fellow artsts from my city and my region.
"Arribes", Inaki San, Ceramics
CLICK TO VISIT INAKI SAN’S GALLERY
NAN HASS FELDMAN
“Ouiver Sings to the Trees” Nan Hass Feldman Oil on Canvas 50.8cm x 61cm / 20 inches x 24 inches 2021 "Oliver Sings the Trees" is a landscape inspired by a beautful garden in Morocco. It was lovely and I imagined the birds as characters. This horizontal work has the main colours of salmons, pinks, blues, and greens.
“Believing that “more is more”, I delight in making my work overflow with luscious, colour-laden content to project a joyful and complex enthusiasm for life, my everyday surroundings, and my experiences abroad. My own work reflects my love of art history and my direct response to, and interpretation of the culture, architecture, landscape, objects, and aesthetics of each new trip and teaching experience.”
“Terrace Above the Harbour” Oil on Canvas 76.2cm x 101.6cm / 30 inches x 40 inches 2012 "Terrace Above the Harbor"is a very bright, cheerful scene reminiscent of boats on the Mediterranean. The colours are mainly blues, reds, and yellows.
CLICK TO VISIT NAN HASS FELDMAN’S GALLERY
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ARTBAAZAR Connecting Art Lovers and Artists Online
#25 March 2022