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Art Reveal Magazine

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Art Reveal Magazine

BEC BIGG-WITHER 4

ILARIO CALIENDO 10

KARIMA DAOUD 16

GREGORY T. DAVIS 22

CHRISTINE LUCY LATIMER 28

JENNIFER C. MCCARTHY 34


Art Reveal Magazine

NAOMI MIDDELMANN 40

JOSEPH O’NEILL 46

MICHELE SENESI 52

STRAW-K 58

TUO WANG 64

DENNIS WILDER 70

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BEC BIGG-WITHER Canberra, Australia


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ASTRONAUT BUZZ ALDRIN


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ASTRONAUT FRANK BORMAN

2014

Portrayal (Group Show) – Brunswick Street Gallery, Melbourne, Australia

2014

Gallery Finalist, Lethbridge 10000 Art Prize, Brisbane, Australia

2015

The 2013Lost/Found/Re-Use (Group Show) – Brunswick Street Gallery, Melbourne, Australia.

2013

Gallery Finalist, Lethbridge 10000 Art Prize, Brisbane, Australia Collections: Artbank Australia; Canberra School of Art

I make highly-crafted hand-cut collages from National Geographics and early NASA photographs. National Geographic has published for over a century in support of research projects "adding to knowledge of earth, sea and sky". Early NASA programs did the same for worlds beyond our own. The certainties that inspired these projects have dimmed. Some of their flowerings have not aged well: scientific hubris; cold-war propaganda; white male crews. Others are still beautiful: faith in rational progress; concern for democratic decencies; joy in bold adventure. Either way, they shine as talismans of belief in an age of relativism.


Art Reveal Magazine

ASTRONAUT CHARLIE DUKE

Briefly describe the work you do I make highly-crafted handmade collages from National Geographic magazines and early NASA images with a recent focus on Apollo astronaut portraits.

horribly unforgiving – one slip-up and hours of cutting and assembly are lost. But it sure does guarantee a wrinkle-free finish.

What is the best part about working with collage What is your creative process like I start with an astronaut or space story that I'm finding particularly interesting. I assemble whatever characters I need to make the underlying narrative before setting to work on the background. There's always a lengthy struggle between combinations that look good but confuse the narrative, and those that carry the narrative but look shite. Once that's resolved, I might treat myself to a smattering of shiny orbs or some magnified bloodcells. I don't start glueing until I know exactly where every last piece is going. I use spray adhesive which is

Immersing myself in images that were inspired by and represent shared traditions, beliefs and experiences. This helps remind me of my place in the grand scheme of things. It's a bit like trying to channel the voices of the ancestors which is more interesting to me than trying to say something wildly original. The materials also speak of a time when people were more appreciative of things - my mother wasn't allowed to touch her father's collection of National Geographics unless she put a special pair of gloves on first. Those images were scarce and treasured. Part of me still feels guilty about cutting them up

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ASTRONAUT NEIL ARMSTRONG

Who or what has a lasting influence on your art practice? I took up art again after reading a book about the Apollo astronauts and how they managed the transition back to earthly life. Their stories were epic, romantic and utterly compelling - post-space vocations included artist, preacher, and founder of an institute for the study of consciousness. I couldn't talk about anything else for months. Around the same time, my mind was further blown by a television documentary on the early US space programmes which included the most stunning visuals of human might and contrasting vulnerability I've ever seen. I've been artistically obsessed with this big, beautiful, morally ambiguous story ever since.

What advice can you give to those who are just starting out in the arts? Do good work.

How would you describe the art scene in your area? I'm not too good at scenes, but Canberra does well for a young, relatively small city. It was purpose-built as Australia's seat of government and prides itself on being 'the Bush Capital'. It's also located between the two much older, larger and sexier cities of Sydney and Melbourne. So we get to live in an architect-designed nature park and do good local stuff while still being close to things happening in the bigger centres.

What are you working on right now? Some pieces about former Honeysuckle Creek Tracking Station, which was located about an hour's drive from Canberra. This little patch of earth beamed the very first television images of Neil Armstrong's moonwalk to the world. The station was dismantled years ago but the site is still eerily beautiful. You can tell something really good happened there.


Art Reveal Magazine

ASTRONAUT FRED HAISE

www.inertialart.com

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JUNK WITH ART

ILARIO CALIENDO Carrara, Italy


Art Reveal Magazine

Ilario Caliendo tries to analyze the quirks and phobias of contemporary social life, with an 'eye to the abuse of the network and the addiction on social media. His works investigate various areas such as copyright, new art forms, trash, strange things and visual hallucinations. His approach recalls the poetic and activist hacker traditional attitude using irony as a means of reflection.

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JUNK WITH ART

When, how and why started you creating art? I became interested in the net art and conceptual art in general during my course of study in media arts, thanks to the teachings of the professors Domenico Quaranta, Clemente Pestelli and Alessandro Ludovico. Thanks to them I discovered artistic experiences closer to my way of thinking about art and I was fascinated by the work of artists such as Jodi, The Yes Man and Etoy. I started my artistic experience with the one and only purpose of analyzing the quirks and phobias of

contemporary social life, with an eye to the abuse of the network and the dependence on social networks. Who or what has a lasting influence on your art practice? My works range in various areas such as copyright, new art forms, trash, quirks and visual hallucinations. If I were to name some names that have influenced me in these my choices, certainly I would mention artists like Paolo Cirio, Eva and Franco Mattes and Guido Segni.


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JUNK WITH ART

How has your work changed in the past years?

How would you describe the art scene in your area?

In recent years I have moved mainly in the audiovisual field, with the realization of some short films, but key was the internship made earlier this year with the conceptual artist Guido Segni. This period gave me the opportunity to better understand the creative process in all its stages, from concept to exposure museum through physical creation of the work, and this has reinforced in me the desire to be able to express myself artistically.

In my town, Carrara, there are some very interesting artistic experiences as a creative laboratory Fitz, but certainly not would argue that the city is experiencing a cultural and artistic important, despite its illustrious past in traditional, favored also by the production of marble that makes it famous worldwide. Mirror of this lack of interest of the local administration to the culture is, for example, the almost complete disappearance of theaters and cinemas.


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JUNK WITH ART

What advice can you give to those who are just starting out in the arts? Do plenty of research, experience and above all experience art as an outlet for their thoughts, working with the right ambition, but always keeping his feet firmly on the ground and not becoming discouraged if at first you do not meet positive feedback. What are your future plans as an artist? Soon will come out my latest project "just five seconds", for more on this project and others visit my personal website: www.ilariocaliendo.com


Art Reveal Magazine

www.ilariocaliendo.com

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KARIMA DAOUD Dubai, United Arab Emirates 2015

Nation Galleria, Nation Towers Art Gallery Abu Dhabi, United Arab Emirates

2014

The Space Art Gallery, Abu Dhabi, United Arab Emiartes

2013

The National newspaper of Abu Dhabi, publication, United Arab Emiartes

2013

Exhibition at Al Ghaf Gallery Abu Dhabi, United Arab Emirates

2012

Group exhibition at Heritage Village, Al Shindagha, Dubai, United Arab Emirates

Dubai based Karima is a French Algerian artist. She has studied English and American Literature at l'Universite de la Sorbonne, and Fine Arts training at L’Ecole Nationale des Beaux-Arts in Paris. She is especially fascinated by both the Impressionist and Orientalist Artistic Movements. Her artwork combines the duality of realistic paintings that are abstract at near view, eliminating all non-essential forms and details. Karima’s paintings contain no limitations, just impressions and emotions inspired from her cultural background and experiences in Europe, America, North Africa and the Middle East. Karima’s favorite artist painters are Henri Matisse and Claude Monet.

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Karima believes that an artist is a product of his time and brings that culture to his work of art. Painting is the way Karima chose to express her deep concern, worry and anger, about what is going on in the world today. Why are some hundreds dirtying the reputation of millions with their foolish and bloody behaviors? We are better than that and we don’t deserve that you ruin our faith worldwide. We are peaceful and kind people, we don’t want anybody to tarnish our ancestors’ grandeur. Stop at once, you are wrong and doing wrong to innocent people. Enough of wars, enough of blood, enough of deaths. Everyone wants to live in peace and quiet, in security. My mosques are for peace and for respect of all faiths, letting each one of us free to choose his believes and his life according to his own free choice, in mutual understanding, respect and consideration. Everyone wants to live free to be himself, allowing everyone to be who he really is, with his differences, without killing him. You stupid brainless human beings, wasting your time in wars and conflicts, thirsty of blood games, killing women, children and old people gratuitously. My mosques are for love, compassion and mutual respect, which are the basis for our true happiness.

A TRIP TO FUJAIRAH


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When did you start to paint? I started to paint as early as at primary school. I was not very comfortable with drawing, coloring and painting simply because I thought that I have to exact duplicate and honestly I have never been able to copy anything. I was probably already good in Expressionism as I would always go abstracting upside down, following my own perception of the object, without obeying to the teacher’s instructions. I was not at ease because my class mates would laugh at me. I grew up resenting the academic strictness of art lessons. In my twenties, I met my future husband, we got married and we started a family. Fever of painting got me back only when I finished raising my four children and when they were big enough to allow me to paint without interruption. It was seven years ago, in 2008. How did you start to paint? When I met my husband, he claimed that he used to paint before. I was secretly expecting that he would paint something for me. I have been waiting for several years, time by time challenging his creativity but nothing came. I even bought canvases, brushes and acrylic paint tubes, just to push him to paint something. That’s why one day I decided to take the matter further and to paint something by myself, just to make him feel envious. Surprisingly, I really enjoyed it. As I am a secretive person, it was the first time that I felt free to express my mind without fear. I began to enjoy this acrylic game more and more and decided to spend the whole next summer in Paris and to enroll into a professional training with the true masters at the Ecole Nationale des Beaux-Arts. The technical equipment you use? I use any sort of tools and brushes: paintbrushes or toothbrushes, hair combs, but also kitchen tools (forks, knives, spoons, glasses, bowls…), and papers, cartons, tissues, my own fingers, even my nails. I also like to mix and use sand with acrylic to give some volume and substance to my artwork. My favorite size of canvas is 60x50cm. I paint in acrylic because it has more flexibility. My favorite colors are warm: yellows, oranges, browns, ochres, coppers and bronzes, all the colors of the Arabian landscape, the desert dunes, the sunsets, the tints and shades that I can see daily in Dubai.

SAFA PARK

Who or what has a lasting influence on your art practice? I am especially fascinated by both the Impressionist (Claude Monet, Henri Matisse), and Orientalist (Etienne Dinet) Artistic movements. I love everything in Matisse’s paintings, the warmth of the colors used, and the positive emotions that exudes from his artwork. “The Algerian Woman” (1909) is my foremost influence because Matisse depicts a realistic situation (the portrait of a woman) imprinted with his joyful feelings towards it, making it become a pleasant powerful exotic scene by the right choice of colors. Pablo Picasso said one day that a good artist copy, but a great artist steals, which means that he takes possession of a special moment and makes it his by expressing it through his eyes and emotions. That means that the painter has the gift to animate what he sees. The belief that real art is listening to the soul’s expression rather than simply replicating a portrait, a still life, a bouquet, a tea pot or a landscape was crucial in liberating my reluctance and also in finding my own style. A camera can shoot a realistic image, but a work of art should have the capacity to capture and respect the emotional impact it had on the artist. How would you describe the art scene in your area? In the United Arab Emirates, the art scene is effervescent but it is still developing. There are around a hundred art galleries in Dubai, located in three main art areas, in the Al Bastakiya historical area, in Al Qoz industrial area, on Al Serkal Avenue, and in Dubai International Financial Centre (DIFC Gate Village). In Abu Dhabi, Manara Al Saadiyat Island has an art gallery and a museum, but there are not too many galleries in the city. The Abu Dhabi Guggenheim Museum is scheduled to open in 2017 and Louvre Abu Dhabi is due to open in 2015. Art fairs take place every year, Abu Dhabi Art on November, Art Dubai and Sharjah International Art Biennale, both on March. In the region, their primary focus is on helping local artists, which is a genuine initiative. Unfortunately for this emerging market, artworks are still viewed and approached as potential financial investment which does not help the emerging artists. We hope that the cultural environment will mature enough in the future to help more and more the required transformation in emotional investment, this sooner than later.

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IN THE RAIN

What are your future plans as a painter? An artist always paints his feelings through his daily experiences. I live in the United Arab Emirates and I share the values of this hospitable country where more than two hundred nationalities live together respectfully. I have now strong ties with this land that I consider to be my home. It is naturally that I came to paint mosques, Arabian horses, camels, sand dunes, palm trees, sunsets and incense burners with bright warm colors depicting my joy to live in this peaceful multicultural environment, where races, languages, faiths and traditions mingle together without any tension. My future plan would be to paint Arab women and their gracious seductive expressions, kindly and patiently working on trying to get more emancipation, gaining more deserved respect and consideration, to broaden their perimeter, extend their knowledge and enhance their entrepreneurial skills. It seems that it is already the plan for the UAE and hopefully will spread out in the region.

What’s the best art tip you’ve ever received? Firstly to never give up! Secondly the best art tip I have ever received is to be natural and to be myself, to take total freedom to try, to experiment, to feel free to be who I am. When I paint, I am in a timeless dimension, with no limitations and no boundaries. I break my walls, my inner prison bars and just let my subconscious mind liberate itself and influence my brushstrokes. I lay down images in my unique way, my purpose being to enjoy art and to make it an enjoyable experience. Most people like a piece of art “which has a soul”, it means that it has a character and in which we still feel the circumstances and the emotion of the timeless moment, many decades or centuries after.


Art Reveal Magazine

SANDSTORM

karima-bekhite-daoud.artistwebsites.com

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GREGORY T. DAVIS Nicholasville, Kentucky, USA

2014

Grant from Society for Photographic Education

2015

Solo Exhibition tAD Galleries, Denton, Texas, USA

2016

Solo Exhibition Tony Hungerford Gallery, Baltimore, Maryland, USA (upcoming)

2015

Two Person Exhibition Landmark Gallery, Lubbock, Texas, USA

FLOPPY DISK CONVERSION


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AUDIOTAPE PLAYER

My photographs examine issues of information and knowledge, exploring the decay of access that comes from the inherently temporary nature of the vessel in which it is contained, or the manner in which it is conveyed. Information surrounds us, and changes in technology, information destruction, and neglect alter our connection to the data. Information is moving from the printed book, to digital hard drives, to mere ether with the exodus towards the cloud. As we move further into the Information Age, how we store, secure and retrieve it is of greater concern.

Photographs are another type of information, records of something that existed or occurred in space and time. The digital era is transforming photographic image making removing the photographer from the darkroom. Film and darkroom knowledge have become almost endangered species. Printing with an analogue medium, the work clings to a process on the verge of being lost to explore capturing informational decay and fractured knowledge.


Art Reveal Magazine When, how and why started you photographing? I began my university career as a musician, majoring in piano performance. I have always loved the combination of emotional expression and technical proficiency, but I felt music was too limiting for adequately expressing my creativity. While exploring other avenues, I came across photography and immediately fell in love with the creative possibilities while also satisfying my technical appetite through darkroom work and view cameras. Photography gives us such a tremendous amount of creative latitude, we can show others the world we see or create entirely new ones through inclusion and exclusion. What is the most challenging part about being photographer? The most difficult part is being heard above the noise. Photography is such a saturated market that getting noticed in the art market is extremely challenging. Tell us more about “Impermanence of Knowledge" series This is a body of work that contains many smaller series. The underlying theme is the temporary nature of knowledge and the loss of information. The work presented here is a look at how we have stored information in a medium that has become obsolete. That information is essentially lost, but I am trying to retrieve it through machines that combine the old

technology with new in impossible ways. I have set up the scene to appear as though someone has just left a workbench with the tools and spare parts still lying around. It is an image of creative desperation. Other series have explored this basic idea through images of erased chalkboards in classrooms that still show a ghost of the knowledge that was written upon them before being wiped out of existence, and a series showing information being destroyed through fire, paper shredding, etc. What’s the best art tip you’ve ever received? When I was in graduate school, I had a professor that told us that being an artist was a full time job, but that only half, at best, is creating new work. The other half (or more) is getting your work out there, networking, writing, and documentation. I hadn't heard that before from anyone else. I, and my classmates, thought art making was where our time was to be spent. I have since learned that he was absolutely right. What are your future plans as an artist? I feel there is still a lot to explore in my "Impermanence of Knowledge" series. I am applying to grants to travel to Rochester, New York, the home of Kodak, to do a portrait series of the last remaining engineers of photographic film. I have also been working on a series about cryptology, the science of code making and breaking to keep information secret.

VHS TAPE

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ASCII PRINTER

www.gregorytdavis.com

1GB=1GB

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CHRISTINE LUCY LATIMER Toronto, Ontario, Canada

2015

DIGITAL GRAFFITI Projection Art Festival, Alys Beach, FL, USA

2015

INTERNATIONAL VIDEO ART HOUSE MADRID, Madrid, Spain

2015

“The Open West”, Installation – THE WILSON, CHELTENHAM ART GALLERY & MUSEUM, Cheltenham, UK

2015

“Protecht”, Photo Installation – BANK GALLERY/WHITECHAPEL GALLERY London, UK

2014

“Viewfinders”, Multimedia Installation – ROBERT MCLAUGHLIN GALLERY, Oshawa, ON, Canada

SPACE

LAMP, MONTREAL


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When, how and why did you start photographing? I grew up in the suburbs of Toronto, Canada. My Mother is an artist, and always kept her finger on the pulse of what was happening creatively in our community. At least a couple of times a month (for my entire childhood), my family would attend art exhibitions/openings on the weekends. Through these exhibitions, I was exposed to photography, painting, sculpture and installation work at a very young age. My very first camera was a Kodak 126 Instamatic X-15, inherited from some long-forgotten place. It had a plastic lens and took horrible pictures, but my 10-yearold self still loved using it. That camera, reductive as it was, actualized my appreciation for the photo-taking process. I learned the limitations and latitudes of various film speeds, and how to trust my own eye over a nonreflex viewfinder. I quickly graduated to shooting on the family Polaroid SX-70 and my Dad’s Pentax SLR. In my early teens, I attended a summer camp at a nearby art gallery housed in a converted Victorian barley mill. I learned traditional photographic processing, printing and mounting in the gallery basement in a tiny darkroom with stone walls and a dirt floor. I then continued my studies at the Ontario College of Art & Design in Toronto, graduating with a double-major in photography and film/video in 2002. By the time I left art school, lens-based image making had become a core part of my identity. To this day, I maintain a keen interest in both the mechanics and chemistry of traditional photography, rooting my practice in historic techniques.

Regardless of this shift, be it mediated by capitalism, or tectonic/paradigmatic cultural change, I am dedicated to continuing my work with analog formats. I am interested in exploring the particular aesthetic possibilities within them that have been passed over by commercial and consumer interests. It is my hope that, alongside many other terrific contemporary lens-based artists, maintaining a practice of traditional techniques will give support to dwindling institutions and inspire greater curiosity towards the history of photography.

What themes do you pursue? My experimental practice addresses the changing dynamics of the photographic medium. Using source images depicting unremarkable moments (obtained either with my own analog cameras, or found as abandoned slides and negatives at estate sales), my processes further explore the aesthetics of underexamined historic photo-forms. My work is keenly inspired by an instinct to deconstruct. I want to know the mechanisms behind forms, what generates them and what enables them to be. The evolution of photography and its tools are particularly compelling, in that their invention is governed equally by necessity and industry. These equal realms of influence and their corresponding intentions allow for cracks in each photographic process that enable it to be uniquely bent, shifted and used outside of its intended purpose. This drive to unravel systems leads me to dwell in places of experimentation. I want to explore the image beyond simple notions of documentation, creating works that speak unmistakably to photography itself.

What is the most challenging part about being photographer? Working predominantly with antiquated/historic photographic processes, the greatest challenges I face in my practice have to do with an erosion of resources, and therefore also an erosion of awareness. Born in 1980, I have existed within an ongoing technological shift from analog to digital, and seen significant changes in the terminologies of photography as a result. As such, even when I am able to find the specific film formats, chemistry or paper to facilitate the making of a project, it is increasingly difficult to find an audience that appreciates the prioritization of these processes as an intrinsic part of the work itself. Lens-based tools have become so subsumed by evidence-based and documentary imperatives in contemporary culture that their very form is reduced to only a fleeting concern.

How would you describe the art scene in your area? Toronto is one of the most culturally diverse places on the planet, and the art scene is as massive and multifaceted as the city itself. There are art exhibitions and film screenings every night, and production facilities available for every art form imaginable (my favorite is the darkroom at Gallery 44 Centre for Contemporary Photography). One would think that with the number of happenings in Toronto, there would be plenty of opportunities for its local artists. Unfortunately though, Toronto can sometimes suffer from a preoccupation with what is outside of itself. Curators and programmers encourage Toronto’s “international destination” status by vying to exhibit established artists


Art Reveal Magazine from farther afield, leaving Toronto artists scrambling for opportunities. There are emerging movements popping up that are attempting to subvert this though. Toronto’s artists (particularly those who have difficulty finding places to exhibit within their community), are exceedingly innovative. If they encounter difficulty finding local support, they make their own opportunities in alternative spaces as a means to getting their work out there.

darkroom (frequently using alternative chemistry recipes that I have prepared), making my own film/video transfers at home, archivally finishing/ toning my films and prints, and self-distributing my own moving-image works. Being a Toronto artist, I am no stranger to the agency that it takes to get my work out there. By making opportunities for myself, not just at the exhibition stage, but within the creative act as well, I can stay productive, which is tremendously important to me.

What’s the best art tip you’ve ever received? My favorite piece of advice came to me in art school from one of my instructors, Canadian experimental filmmaker Wrik Mead. Wrik told me that if ever I feel stifled by a dependency on external institutions, there is always a way to be more autonomous. One just has to be committed to learning how to do everything for oneself at every step. This advice instilled in me a DIY determination that I still carry with me to this day. I am always hungry to unravel systems and learn how to take greater control over each step in the creative process. This practice has me hand-making my own negatives, hand-processing my own film, printing by myself in the

What are your future plans as an artist? I will continue to mine cultural photographic remnants (found negatives, slides, cameras, film prints) and combine them with historic processes. As the commercial availability of these forms slowly erodes, I feel a greater sense of urgency to use them before they disappear. What I find along the way ultimately inspires what I make. It’s an incredibly open-ended practice, rooted in chance and accidental discovery. I’m happy to just stay as open as I possibly can and welcome what comes.

TIGER

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CHANDELIER, WOODSTOCK


Art Reveal Magazine

My experimental photographic practice is an ongoing adventure in the revitalization of aging materials, exploring the aesthetic potential of antiquated and historic lens-based forms. Fascinated by film obsolescence, the archive and changing notions of preservation, my photographic works hybridize found detritus and analog processes in a heteroclitic blending of technologies. I approach the photo in an attempt to collapse the systems of our shared cultural history of watching. Using source images depicting unremarkable moments from life or within the home (obtained either with my own analog cameras, or found as abandoned slides and negatives at estate sales), my processes further depict under-examined historic photo-forms.

Christine Lucy Latimer is an experimental filmmaker and photographer who combines found and expired film materials with historic and alternative chemical processes. Her work in the past decade has been featured across 5 continents in over 150 film festivals and gallery exhibitions. She currently lives and works in Toronto, Canada.

http://christinelucylatimer.tumblr.com /

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JENNIFER C. MCCARTHY Santa Fe, USA

2015

ArtVenice Biennale 3 Roadshow, May 2015, Italy

2015

Contemporary Woman Juried Exhibit, Chico Art Center, Chico California, USA

2015

Women's Work -Juried Show, Anna Maria Saroni Gallary, Tarnoff Art Center, Rowe, USA

2013

http://www.combustus.com/13/jennifer-c-mccarthy-outsider-artist/

2012

Visiting Artist-Santa Fe Public School District, Gonzalez Community School, USA

HOW DO YOU BREATHE


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“I think of all the rocks I've seen or found since I was very young when my imagination would get lost in the swirls of surface color and pattern that reminded me of things like storm clouds or the landscapes of exotic places or of the organs and tissue of living things. I had a hunch that if you studied a rock long enough you would understand everything. I'm guessing what drives me to make this work has little to do with making "art but with with what I saw and felt in the surfaces of those stones from the El Paso desert where I grew up.�.

FIRE DOG

Jennifer McCarthy is a self-taught artist who spent most of her childhood and adult life in El Paso, Texas where her only son was born. Although currently she lives in Santa Fe, New Mexico, the border town and its landscape continue to permeate her memories, daydreams and longings.

Jennifer approaches her work in a way that mirrors her experience of the Chihuahuan Desert in West Texas: from abstract to details. In the evenings, she used to gaze out across a landscape where everything looked repetitive and generally defined. However, the longer she looked, the sharper her focus would grow and finer details slowly emerged. Eventually, mini-dramas could be seen enacted in small discreet subsections of the vast expanse of the desert that were completely invisible just a few minutes earlier, dramas like a swarm of fire ants cleaning the corpse of dead rabbit or a coyote trotting off with a rat hanging from its mouth.

SOLO


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Briefly describe the work you do. I really appreciate how my friend the artist Ian Pyper explains it: “There’s a deep spirituality of nature in Jennifer’s art and it’s somehow embedded and contained within the landscape of her drawings – she almost seems to be producing a kind of spiritual archaeology…I see it as a kind of peeling away of the layers of nature – the trees, the plants, and the animals all live and eventually die, and their life force is absorbed by the earth and the rocks; and I can see in Jennifer’s art a rediscovery and unearthing of that spirit energy. And delving down into ‘primitive’ prehistory – the place where imaginations are formed, and where dream archetypes come from. It seems almost aboriginal in the truest sense of the word (ab-origine: from the beginning). I have a deep love of Australian Aboriginal art, and of the idea that everything that has been is contained in the landscape – the energy of our ancestors then comes alive again through us; and I can see that coming through in Jennifer’s art. She has a very poetic vision.” What’s your background? I am a self-taught artist who spent most of my childhood and adult life in El Paso, Texas where my son was born. Although currently I live in Santa Fe, New Mexico, the El Paso culture and landscape continues to permeate my memories, daydreams and longings.

I tend to approach my work in a way that mirrors my experience of the Chihuahuan Desert in West Texas: from abstract to particular. In the evenings, I used to gaze out across a desert that, at first glance, looked dry and barren. Minutes would pass, and finer details, color and movement would come into focus. Eventually, I’d see mini-dramas playing out in discreet shadows of the desert. What had been invisible a few minutes earlier took the shape of a swarm of fire ants cleaning the corpse of dead rabbit or a coyote trotting off with a rat hanging from its mouth. This phenomenon reminded me of the teeming commotion of beetles, ants and worms one finds when lifting a large rock from a moist forest floor.

What themes do you pursue? Truthfully, when I find myself pursuing any themes or entertaining any notions about my work, I stop what I’m doing and dump a bowl of paint on the piece or leave it and start something new. It may be impossible to completely remove oneself from one’s work, but I want to eliminate as much as I can of my ego from the process of work, otherwise it looks contrived. But for a flicker in time and space everything that has ever existed or occurred in the universe has done so without the consent or control of humans. It seems to me as if every single bit of it is part of an infinite complex adaptive system, and it’s much more beautiful than

anything I could conceive. I just need to keep moving, keep working, keep keeping on. What is the most challenging part about being an artist? For me, the most challenging part of being an artist occurs when I have to stop working…to go to the bathroom, to pay the electric bill, to feed the people I love. What art do you most identify with? I am in awe of musicians and composers. The painter Paul Klee is a favorite as is the sculptor Ronaldo Pomodoro. I have great respect and admiration for the Canadian artist Donna May Balma. The writing of John Keats, Paul Celan and Zora Neale Thurston are exciting, too. What’s the best art tip you’ve ever received? Probably the best art tip I ever received was that I should become a lawyer. Oh well. What are your future plans as an artist? I just turned 50. I’d like to live at least another 50 years and work every day, and on my 100th birthday, I would like put the final touch on a painting and hold it up next to one I’ve completed this 50th year and see just what has happened during the half century in between.


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I HEARD HIM PLAYING THIS TONIGHT

www.jennifercmccarthy.com

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NAOMI MIDDELMANN Lausanne, Switzerland 2012-2015

Gallery Edouard Roch, Switzerland

2015

Art Fair Art Athina, Special Curator’s prize, Greece

2015

Node Gallery, Helsinki, Finland

2014, 2015 2015

Saatchi art semi-finalist

Tina Prize Finalist

PAINTING DECONSTRUCTED


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Naomi Middelmann’s work explores the question of identity, personal history and overall artistic conventions. Middelmann is working on a series called *painting deconstructed,” in which she disassembles and then reassembles canvasses and frames in an exploration of the relevancy of painting and artistic conventions. Middelmann has also transformed over 200 of her primary and secondary school notebooks and textbooks into sculptures and installations. Turning them back to their natural state of seeds, sticks and logs is an attempt to explore the question of education and knowledge, the weight of history and the ambiguity of education both opening doors, but also demanding responsibility. With her interest in the ambiguity of our perceptions, she is actively collaborating and designing research projects with various leading neuroscientists at top universities in the USA, Germany and Switzerland. She will be presenting her work and process at the Brain Institute of Vanderbilt University, USA. Her work will also be featured on the cover of Neuropsychologia in June.

PAINTING DECONSTRUCTED

Born in Switzerland, Middelmann moved to New York in 1989. After earning a degree in Creative writing and International Relations from the prestigious Johns Hopkins University, she worked in publishing in New York. In 2002, she moved back to Switzerland and studied first stained glass at the Ecole Supérieure de Création et de Vitrail in Monthey and then earned a visual art degree from the Visual Art School in Basel in 2009. She is a member of the Swiss Artist Association, VISARTE. She is an American/Swiss citizen and currently lives and works in Lausanne, Switzerland.I'm guessing what drives me to make this work has little to do with making "art but with with what I saw and felt in the surfaces of those stones from the El Paso desert where I grew up.”.


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Art Reveal Magazine Tell us a little about your background and how that influences you as an artist. I come from a mixed cultural background. I am Swiss, German and American and grew up between Switzerland and the USA. I studied International Relations and Creative Writing at Johns Hopkins University (Baltimore, MD, USA) and for a long while thought I would become a writer. I worked in publishing in New York for several years before moving back to Switzerland, where I attended art school. I have always been unsure as to where home is and in what language to best express myself. The visual arts to me are a way of filling that void. My interest in materials and raw textures comes from growing up in the mountains and as an adult exploring the urbanscapes of New York City. My pluri-cultural background influences my work as well in that I get bored from things that seem too easy or rote. When my work seems to be a repetition of someplace I have already been, I push myself to explore something new whether it be a new language in painting, drawing, sculpture, etc. My work stems from the compulsion to create. I constantly challenge myself to not become repetitive or stuck in a pattern of creating the same thing over and over. What is the most challenging part about being an artist? I once had a gallery owner tell me that as artists we produce nothing useful. He meant it admiringly of artists, who against all odds go to their studios to create. Some people see artists as not contributing to society; artists don’t produce anything of material use and open themselves up constantly to criticism and misunderstanding.

How would you describe the art scene in your area? Despite being such a small country, Switzerland has a fairly vibrant art scene with the Basel Art Fair and the Geneva Art Fair. The Frenchspeaking part of Switzerland, however, is fairly traditional in what is exhibited or expected from artists. The German-speaking part of Switzerland is more contemporary and conceptual in its vision. That being said, if you actually want an art career you have to exhibit abroad as Switzerland is too small. In my city of Lausanne, Switzerland, I am on the committee for Aperti (the once a year open house of artist studios in the city of Lausanne) where we promote a variety of artists and their work who may or may not be off the main art circuit. I find it an interesting way to promote one’s work to a public that is not necessarily a public who goes to galleries and it’s an interesting way as an artist to show what one wants to show and not what has been vetted by a gallery. What is the most challenging part about working with traditional media nowadays? I think traditional media does not mean that what is expressed through it has to be traditional. But I think that is the general problem with art whether it uses traditional or non traditional media. How can one still surprise, challenge, make people think in a world that has access to so many visual images? My recent work “Painting Deconstructed” deals precisely with the challenge of the relevancy of art. I’ve stuck to traditional media (paint, canvas, paper, frames) only to then

deconstruct my own art into pieces and and then reconstruct them into a new form. Other paintings in a series called “silenced,“ I have turned over to show the flip side of the canvas in protest of those who denigrate the use of traditional media and the relevance of arts to society.

What are your future plans as an artist? I have a show coming up at Vanderbilt University in 2016, and I plan to continue collaborating with neuroscientists in the USA and Europe on the question of how people perceive and appreciate art. I likewise have several exhibits coming up in Europe and Switzerland. And I will continue finding new artistic explorations, new questions I will want to answer through my work. My latest work has been around the theme “reclaim”, which means to salvage, bring back to the natural state and to repossess. In this series, I have transformed books, notebooks, recycled papers, string, plaster and wire to create a variety of sculptures. I plan to push this series even further. What advice can you give to those who are just starting out in the arts? Look at other artists work (and not the ones who are the big sellers). Challenge yourself to explore different media, and find your own voice.


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PAINTING DECONSTRUCTED

www.naomimiddelmann.com


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A TENDER SPOT


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JOSEPH O’NEILL New York City, USA


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Art Reveal Magazine Alfred Eisenstaedt proclaimed: "The important thing is not the camera, but the eye." Reflecting this bold credo, my innovative "Third Eye" photography skillfully illuminates sites and scenes that the normal vision easily overlooks. Across a monochrome arcade of life, my masterful black and white urban photography encapsulates the aesthetics of a modern romantic and mirrors the irrepressible energy of the world as I celebrate the possibility of the unexpected in urban life. Urban and industrial in tone, I begin with a nocturnal photograph of an ordinary building or street scene or beach scene and offers a close-range, almost intimate view of scenes of the environment. Rather than offering a wider view of an entire edifice, my sharp lens synthesizes every detail and is unerring – the work constantly demands that the viewer go outside and see their “ordinary” surroundings with better eyes A master at manipulating the lens, my intuitive vision shines the spotlight on often overlooked urban beauties such as alleyways or tops of buildings, and showcases details of these edifices where there are often no people or even animals, only the living, breathing city. With a sense of drama, my photography's powerful oeuvre offers the sites and scenes of the world, dramatically highlighting in sharp black and white architectural forms with a clean and sharp visions. Employing dazzling dark and shimmering light contrasts, I brings dynamic movement and a sense of shifting light as I offers each locale a life of its own, offering a close, almost confrontational range. The sharpness of my nocturnal images best illustrates the skilled photographer’s finely developed sense of light and composition. With an intuitive vision, my oeuvre vividly envelopes the senses, inviting the viewer to re-think the images of the world as his film sees it, encouraging them to enter this environment and experience the view. Regarded as a master of the black and white photography medium, my clear, elegantly composed black and white photography expresses both my experiences and personal vision.

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why

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you

I come from a family that encouraged me to be creative. I was alway being taken to museums, Broadway shows and concerts. My favorite classes in school were always the creative ones ie; woodworking, metal work, culinary or creative arts. I studied at a culinary school and pursued that career for fifteen years. It was after five years of not being creative that I gave my girlfriend a Canon digital camera for her birthday in 2005, that I started taking photographs. I then co-opted the camera from her and realized I had an eye for photography. I had always been interested in photography as a young man, being a fan of Manray's photographs. Its was four years ago when my friends encouraged my to pursue my passion that I starting exposing the world to my art. What is the most challenging part about being photographer? For me its taking the ordinary and making it unique and captivating to the viewer. How would you describe the art scene in your area? I was born and live in New York City which has a vibrant commercial and home grown art scene. I work in a sing-a-long piano bar and I am surrounded by very

talented singers, musicians, performers and artists. Most of my friends are in any of the above mentioned categories. The other love of my life is Suzanne Pilzer. She's is a very funny talented singer and performer. Then of course there is the cultural aspect of New York, all the art museums, from modern to the classic, galleries, from small to large commercial ones, music venues, restaurants, Broadway, architecture and high art. The diversity of New York's ethnic, minority and immigrant populations is an inspiration to me. What’s the best art tip you’ve ever received? My good friend and world renowned photographer, Rick Guidotti, once told me early on in my career, to decide wether to be a color or black and white photographer. Another friend of mine Ruth Kuzub said to me "never stop being creative". What are your future plans as an artist? I am currently working on two art projects. One is a photo travel log of New York City thru my friends' experiences, stories or incidents that have occurred to them. The second project is a recreation of famous artworks in my photographic style with a twist. I also want to expand my craft into portrait photography. And in thirty to forty years down the road I want someone to have a retrospective of my work.

www.jotog.nyc


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MICHELE SENESI Pisa, Italy

2015

Quantum Gravity Marzia Frozen Gallerie, Berlin, Germany

2014

Works in the vein of “De Stijl” Saatchiart Gallery, Curator: Bridget Carron

2013

World Wide Wall Saatchiart Gallery, Curator: Kirstine Roepstorff

2011

Say it…Don’t Spray it! Parlor Gallery, New Jersey, USA

2010

Do Not Cross The Line PARATISSIMA 5.2, Torino, Italy

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My research is a continuous mixing of materials shapes and colors. I start from digital studio or sketching on paper to material composition of the work, using all that is necessary for its realization.

My work is the expression of myself窶馬ot for ego, but by necessity. Each of us, in our own way of life, accumulates experiences, sorrows, joys, and fantasies. I try to throw all this on the canvas. Sometimes I learn something new about myself in the process.

In my opinion painting will never die. I think that in the history of the world, painting is the ultimate expression of humanity and its passage on the earth. Painting is the highest form of art, the oldest and the most modern. You can find an entire universe within each a single image or discover many others at the same time.

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Tell us a little about your background and how that influences you as an artist. I mainly started out as a musician although he has always had a great love for the visual arts. 10 years ago, I have begun to work with painting, becoming increasingly dependent, because the music is not enough for me anymore, but I also do filmmaking. I must say that the union music-painting helped me a lot as both artistic growth and influence. For as I did, when I took the creative phase, I immerse myself totally in one of the two subjects on which I can stay for months, in a kind of full immertion, forgetting the other. In reality it is a purification system. When then maybe are saturated painting, I go back to making music, doing the same thing, that is, totally immersing myself again, and here unconsciously work I go to do is influenced by the previous and at the same time it purifies me, giving me new life for new paintings.

What is the most challenging part about being an artist? It depends what you mean by most challenging part and what is the ultimate goal. I always tend to think that others will, one day, if they want, to call myself an artist. It is a conventional definition, the term artist. When I work on my works I do it mainly to an inner necessity that I overthrow

outside my emotions, which are often concerns and that I can not contain. It is a kind of defense weapon. I chose painting as a means of expression, but I also musician. I do not have a final goal, also because now I know that what you do, you do it in a sincere way the journey of your research can be endless. But it is good for this.

is a double edged sword, that while it allows you to make yourself known around the world, on the other hand also offers a multitude of choices from which is not easy to emerge. In this sense it is also necessary to be good at being manager of themselves.

What are your future plans as an artist? How would you describe the art scene in your area? Not very active, but just go very far to find what you need. Italy not being a big country you can move anywhere and be submerged and great works of art. Perhaps what is lacking is some push contemporary and modern. It is a country that lives a bit 'too much to remember and does not pay much attention to the artistic movements of today (except for the big names) traveling instead in the basement of the city.

What is the most challenging part about working nowadays with traditional media - like painting? Surely the hard part is to live, especially for emerging. In Italy unfortunately, contrary to what one might think, today there is little investment in art by the people, and also the public authorities do little in this regard. You all know where there are economic problems today. Fortunately, there is internet and my work is appreciated abroad. Internet

As I said before I do not have a particular goal or even future projects. What project is always the next work I do not know where it will take me because I get carried away by what my artistic research. If you ask me what I would like in the future is certainly recognition of the value of what you do. I love museums, their smell, their silence, one day I'd come to visit one of my works.

What advice can you give to those who are just starting out in the arts? To have the humility to learn from anyone. Being curious, see exhibits and works of the great masters live. To do this job with love, with sincerity and not speculatively. People sooner or later realize it. Painting for me is the greatest artistic expression of the passage of man on earth. We must not be afraid to experiment. Masterpieces are born from experience and others will come.

WWW.MISENART.COM

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STRAW-K Alexandra Singer-Bieder & Sofia Bennani Paris, France

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The Straw-k is an innovative process where plastic drinking straws are melted together on the surface to create a very structural homogeneous material with strong aesthetic qualities and surprising interaction with light. The process is High Tech and artisanal at the same time. Indeed, every piece is modeled in 3D and the molds are manufactured with lasercut wood and CNC milled foam. However, each piece is unique, being filled and melted by hand. The process is as important as the result because it represents our statement as artists, designers and architects. Today we should use new technologies to manufacture or ideas and still keep the singularity of the craftsman work because even though people are buying the same things in their daily life, they are always seeking for something different, original. Our art pieces are a mix of our social lives, our favorite human or fictive references, humor and caricature but most of all they are created to make people happy!

Alexandra Singer-Bieder is French; she met Sofia Bennani, originally from Morocco, in Paris during their studies at the Ecole Spéciale d’Architecture where they received their Master of Architecture in June 2013 and their Architectural License in December 2014. At school, they work on diverse architectural and urban projects, in France, Germany and Mongolia. Their studies are punctuated by internships and exchange programs, in France, Morocco, United States and United Kingdom. In 2012 they start developing an innovative process currently in a patent filing, surrounded by professional engineers, lighting experts and specialists in robotic: the Straw-k was born! Passionate by Architecture but also design, they are interested in the essence of any project: matter. Through advanced experimentations in terms of structure, fabrication tools and light, they imagine an assembling process able to transform plastic pipes to create diverse shapes. They are improving the process since then, in the field of interior architecture, furniture design and recently, Art. In June 2013 they won the Special Prize from the Ecole Spéciale d’Architecture for the singularity of their innovative process, advanced research and the ephemeral architectural installation they built on the school bleachers. In 2014 they won the Young Talent Prize for the Africa Design Award and their innovative process was finalist for the international Tex-Fab Plasticity competition and exhibited during Acadia 2014 in Los Angeles in October 2014 and in Houston in April 2015. Together, Sofia and Alexandra are Straw-k and they created the Straw-k’Art, a brand new concept in the art field.


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TUO WANG New York, USA 015

Bromfield Gallery, A Study for Human Opera: Prelude, Boston, MA, USA

2015

Tirana International Film Festival, Tirana, Albania

2014

Award of Merit: Experimental, The Accolade Global Film Competition, CA, USA

2013

Howard Gotlieb Archival Research Center Prize, Boston University, Winner, Boston, USA

2012

Bronze Award “2012 Annual Nomination Exhibition for Young Contemporary Artists”, Today Art Museum, Beijing, China


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PROJECT READING


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THE TRINITY, PART 1

When, how and why started you work with painting and performance? I came into art as a painter after years of career as a researcher in Biology in China. I’d been painting for about three years then I started to do performance. In China, if you study in a painting department, that means you’ll need to have a pretty high level of skill which requires a long process of practice. This repeating, boring and dreadful process is more like a process of performance to me, which also reveals a dominant philosophy for performance. So I naturally tried to make a visible connection between painting process and performance. How has your work changed in the past years? My practice used to involve my body a lot. I realized that issue of exploring the boundary of human body was not that breaking through after most of performance artists have been still playing with a similar methodology for decades. So I think maybe I should use something else as material. I then developed my process combining interview, reality

show and the theatre of absurd to construct a maze of melodrama. I interview people with carefully predesigned questions based on intellectual legacies such as literature and art. This manipulation secretly directs the responses of interviewees’ into a situation where they use their real lived experiences, intimate relationship and traumas to reiterate the cultural archive that I choose as narrative structure. So my practice has changed from using my body to using other people’s lived experience. What is your favorite experience as an artist? My favorite experience as an artist is, I can do everything I want and that experience would be a part of me and would benefit my research somehow in the future. For instance, I love music, films and theatre, and I used to be in science, so I still have some interest in what is going on in science world. I spend a lot of time in those other fields, and that knowledge I’ve gained would not be a conflict with my art. I’m a type of person who is curious about everything, I can go chasing all of my curiosities and all that would be my artistic resource when I make art.


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PAYING HOMAGE TO BUDDHA FOR THREE INCENSES

If you had an occupation outside of being an artist, what would that be and why? I wish to be a comedian if I have the gift to perform on a stand-up stage. When I’m doing art, I always feel it’s tough to be seriously humorous. Wonderful humor is something I always want to chase in my work. How would you describe the art scene in your area? In May I did a performance named A Portrait of the Artist as A Young Man in Philadelphia. This piece is I let a friend of mine who is totally an amateur in art world to state all his understanding as 8 principles of what makes a good performance art. Meanwhile, he translated all his principles

into action when he shared a very personal story of his to the audience. Everyone loved it because it had all the points of a good performance, which are a understanding of an amateur and even of professional performance artists and audience as well. So in a way, I’m criticizing all those clichés about performance by letting an amateur do a performance full of the clichés to receive a wonderful reception. This is also kind of describing the art scene in performance. Nowadays the situation of performance needs to be broken through. What’s the best art tip you’ve ever received? Work with people!

_______________________________________________________________________________________________ Tuo Wang employs various mediums to create multi-narrative spectacles, whilst layering painting, photography, sculptural objects and text amongst video installations. Through the elaboration of a visual language akin to documentary genre, Wang's video installations alternate between performance and feature-length films, Tuo Wang's video works serve as the core of his narrative. The artist has developed a process that combines interview, reality show style montage and he Theatre of the Absurd to construct a maze of melodramas. Through the manipulation of individuals’ experiences and intervention in intellectual legacies, Wang's work attempts to examine the unreliable relationship between the contemporary human status, myth and cultural archive. By constructing self-referential environments where fiction and reality interweave, dramatic and often humorous as well as absurd aspects of the concept of society are exposed.


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http://tuo-wang.com/


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DENNISWILDER (Dennis Marinov) Sofia, Bulgaria

2015

the Jury Award at the International Olympia Art contest granted by the Director of the 21st Century Contemporary Art Museum Yuji Akimoto, Japan

2014

Second solo exhibition “caught in sane frenzy�, Finesse Gallery, Sofia, Bulgaria

2012

2nd Award at the Contemporary Balkan Graphic Arts Exhibition held in Sofia, Bulgaria and Nish, Serbia

2012 Special Contribution Award for the Popularization of Modern Bulgarian Art _______________________________________________________________________________________________ Each human face encompasses the entire Universe. My artistic credo is to peel off the layers of cultivated thoughts and learned emotions and thus expose the bare essence of the eternally enchanting human being. To me, the portrait painting process is an intuitive exchange of energies, a symbiosis between my model and myself. An almost mystical, utterly gratifying experience.

HTTPS://WWW.FACEBOOK.COM/PAGES/URBAN-CULTURE-IN-QUEUE/163049663707359?REF=HL


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When, how and why did you start creating? I must've been around 3 when I started doodling, same as all kids. Around this time, I drew my first grotesque 'portrait', one of a dog doing what dogs usually do in the park, yet mine was balancing on its front feet :) If you ask my mom though, she already knew that I'd be an artist when she was 4 months pregnant with me, because she suddenly felt compelled to draw huge mandalas on the walls at home - her first and only art experiment.

How has your style changed over the years? My teenage influence was Lucian Freud. I was very impressed with the astounding psychological depth of his works and this is what tempted me to become a portrait artist. Currently, I am most influenced by German expressionism and symbolism and am starting to be interested in Gustav Klimt, Kokoshka, Schielle, George Grosz, Emil Nolde, to name a few. To me, painting is the supreme artistic expression of ideas. I constantly seek new provocation; I like the thrill, the newness. Being a solipsist, I reckon that portraiture is an inexhaustible genre - each of us is a small enchanting universe, a bearer of unique energy, yet representative of the Zeitgeist. As for my preferred medium, I think that by combining two seemingly incompatible things - classical expression via digital medium - I entered a rich and unexplored area. Digital painting is representative of me, insofar as one deals in pure information, instead of matter.

RAYDEN AINAKOV


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What is your favourite experience as an artist? The moment of conception - it's like a faint tickle in the back of my mind, which gradually engulfs me, fascinates me and seems to assume a life of its own, because no matter how attentively I've built it in my mind, when the actual work process begins, it turns out different from the initial ideas that first took shape in my imagination. In a nutshell, it is an Akashic experience. I always listen to music while I paint; it is a great source of inspiration. Also, I'm interested in indigenous cultures and different alphabets, as I believe that they are the most concise visual depiction of ancient ideas. If you had an occupation outside of being an artist, what would that be and why? I would be interested in philosophy, aesthetics and cultural anthropology. Why? Well, my utter fascination with the human mind, I guess. How would you describe the art scene in your area? I wish I could say "flourishing', but the apt word is 'promising'. Sofia has been catching up with the global trends lately. There are various festivals and initiatives and art finally gets more visible and broadly accessible. What’s the best art tip you’ve ever received? "Let your hand be guided by an angel" - Salvador Dali

EVE

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KARLA


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UTAGAWA HIROSHIGE

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Profile for Art Reveal Magazine

Art Reveal Magazine no. 6  

Artists: Bec Bigg-Wither, Ilario Caliendo, Karima Daoud, Gregory T. Davis, Christine Lucy Latimer, Jennifer C. Mccarthy, Naomi Middelmann, J...

Art Reveal Magazine no. 6  

Artists: Bec Bigg-Wither, Ilario Caliendo, Karima Daoud, Gregory T. Davis, Christine Lucy Latimer, Jennifer C. Mccarthy, Naomi Middelmann, J...

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