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DENIS BERNIER 4 ALANN DE VUYST 10 ANDREA GROTTICK 16 LORENA HERRERO 22 MARTA IVANOVA 28 MARIA KJARTANS 34


MARIA LOMHOLDT 40 KRYSTEL MAROIS 46 BENOIT MAUBREY 52 PAUL MCCLOSKEY 58 LINDSAY PICKETT 64 RACHAEL WALKER 70


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Art Reveal Magazine

MEXICO


Art Reveal Magazine

Denis Bernier Paris, France

Focus Photography Festival, Mumbay, India 2015

Biennale Internationale de l’Image, Nancy, France 2014

Festival Arts Souterrains – Montréal, Québec 2013

Photo Festival - Galleri Nabolos, Copenhagen, Denmark 2012

Issue in Hesa Inprint, January 2012, Helsinki, Finland 2012

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EEL

Once, the content of some of the many spam that ends up in my mailbox caught my eyes. They were composed of amazing text fragments, some of them issued out of the Mahabharata, others out of Agatha Christie’s novels. The whole appeared to me in a surrealistic mood. So, seduced by the accidental poetry of spam, I undertook to give them a cohesion conducive to their staging, while hoping that the viewer continues the pending action, upstream and downstream, according its wish. To that end, I turn my imagery into the style of photographs of old movie theaters. Thus, where Marshall McLuhan sketched the information highways of the global cybervillage, I there explore the sewers of the web.


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Briefly describe the work you do. Strange story. Among the many dozens of spams that daily invade mymailbox, a hundred of them awakened my artistic intention. These spams, like many others, boasted to me the benefits of Viagra, luxury replica watches, and other booby-traps. But their shape caught my attention: to get through servers firewalls, they were often randomly built with text fragments extracted out of the Mahabaratha or Agatha Christie’s novels. So I decided to stage this unsuspected poetry, these surrealistic amalgams.

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What themes do you pursue? Since that first series “Spams� and through other ones, I explore the incongruities of the Internet as a new reality, and the shifting edge between the private area and the public area. What is the most challenging part about being an artist? In the current facility to produce images, the most exciting is to go beyond the vacuous aesthetics, and to approach experiment. How would you describe the art scene in your area? Paris is not the first place in contemporary art, but this city mixes history, consecrated contemporary artists, an innovative street-art and a teeming wealth of other emerging forms. What art do you most identify with? Some new artistic forms use humor. I find there a fresh new iconoclasm, and the way to reach new audiences, in line with Pierrick Sorin, Les Krims, Joan Fontcuberta, Wim Delvoye, Francois Curlet...

ORCHIDS


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www.denisbernier.com

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Alann De Vuyst Aalst, Belgium 1988

Olivier Strelli prize for cartoons and painting in Brussels, Belgium

1996

Tribal Connection in Kolkatta, India

1994

In Colombo Sri Lanka

2012

In Juan Parras del Riego Barancas, Lima, Peru

2006

At Qoricancha, the Inca Sun Temple, in Cusco, Peru

Today it occurred to me that something is at stake. Something very important to me: art produced in a shamanic way. There was a gallery in Spain that I was negotiating with, that decided not to exhibit my works because a French agency that curates the artists and artworks for the gallery would not choose an artist if he or she would consume substances that are prohibited in the EU or classified as class A drugs. I have produced and accomplished works from the mid 80s until 2005, without ever touching such a drug and create works that now people interpret as works made under the influence of entheogens. However, now I know that the natural DMT in my body helps me in creating lucid dreams out of which I pour fragments consciously or unconsciously onto the canvas, paper or whatever carrier I can find. The medicine has always been in me, eons before I even ingested a drop of external DMT… It never occurred to me that this is how it works; I was not conscious … you just let it flow and let the Eensy Weensy spider out of the spout and let him weave his web. Still, I realise that I made at least two dozen pieces of artwork when slightly tripping on Mary Jane and sketches during my first San Pedro (South American (mescaline) cactus) ingestion in Bolivia in 2005. Fifty years on, the war on drugs has ruined many lives and keeps ruining them, and still, those who have been intimidated long enough and scared, prefer to keep the doors of perception permanently closed. As an artist I will not cower or double back for those evil forces at work. As a human I will fight for the right to use whatever means I need to see the light.” Alann De Vuyst THE GODS WERE PAGANS



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When, how and why started your art Tell us something about the lucid practice? dreams in your art practice. According to my dad (RIP) I was only three when I wanted a pencil from my dad when i saw him drawing on the table. My dad started as a self-taught artist, then by correspondence, and then later , when I was barely nine, he took me and my eldest sister to the Academy of fine Arts Sunday lessons (4 hours in the morning and that for four years!) What is your creative process like? Oh, that is a difficult one. I think anything can trigger off a bulk load of ideas. Sometimes I bottle them up, sometimes I set myself at the table and try to work out an idea I had the month before or just after I had a vision or a dream. Sometimes it is the jitterbug in me, the restlessness that makes me want to create. Compulsion, if I do not have canvas, paper or a brush, I’ll take the tablet. I am super productive and I will seek the means to express myself in any which way possible within the capacities I have in new or traditional media. I have traveled 30 years and been to forty-two countries; now this life is paying off in just picking from my baggage that I have carried with me for so long. Some things are created when they need to be created. Like for installations or objet trouvé, I am collecting stuff I find here and there on the streets in the nature and when the time is ripe, everything fits together like a jigsaw. I have lots of premonitions that make me create works as if I pluck them from the air with my gut antennae. But basically, I just sit, retrieve a few lines or ideas from my head and let it run. I seem to have a natural talent for colours. I tap into previous lives. Yes, in my visions, I have been confirmed that I had several in Central America. Once I asked Mother Ayahuasca (the entheogenic vine from the Amazon) why I should continue to paint while I see the best and finest artwork when I travel on her. She answered that it was my duty, my assignment to be a storyteller through my artwork and that I should continue to do so and paint.

This is much connected to intuition, telepathy, which seems to develop to higher levels as I get older and get more aware about those talents. I have been an atheist for 37 years, and have spent ten years of my life in India as such. Just imagine… an atheist in a country with thousands of gods and demigods. It was but in 2005 when I took my first San Pedro (a mescaline cactus available in Bolivia, Peru, Chile, and Argentina) potion, alone in a hotel. The first time alone, and eating it instead of drinking, as there was no way of boiling it in my room. My first visions were impressive and I tried to make drawings, sketches in which I wanted to control the colour choosing (red only) but I failed in controlling that. My latest works have been made this year in Peru. Three months before I was told my mum was diagnosed with an aggressive breast tumor, I had a dream of how my mum stood by (see it at www.saatchiart.com/art/Drawing-WATCH-OUT-MUM-FOR-THE-PAPER-SNAKE/26453/2http://www.saatchiart.com/Alann557675/view) my side, and how a paper snake with jaguar spots moved toward us from a shelf filled with erect phalli. My mum reached out to touch the snake, I screamed “NOOOOO” but it was too late. The snake bit her in her fingers, and I woke up. As a shaman (some believe I am one) I must interpret my own dreams and visions. I had many more; also after the first time in La Paz, I had several on the Island of the Sun, on the Lake Titicaca. After that I could never return to the atheist belief. I channel different entities and speak in tongues when I am on a high. Those trances (with San Pedro, ayahuasca, marihuana, chicha de jorra (a fermented maize drink from the Incas), sometimes have been the root and cause to make videos, songs, poetry, sketches, and paintings.

AMARU YAGE


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If you had an occupation outside of being an artist, what would that be and why? Throughout my whole life, always have been connected to the arts, close to nature, connected with the ecstatic way of living, what life should have been. As a twenty-something I won the second prize in designing a new poster for the 50th anniversary of Lintas Worldwide SSC&B Lintas Worldwide Brussels. As a result of that I earned a two weeks stint of apprenticeship at their agency in Brussels. When I worked there, in plain summer holidays, I did nothing but stare through the window and literally looked at the green lawns outside. I thought it was not a job for me, to be a creative director. Instead I began hitchhiking, for three months through Spain and then on to Morocco. When I came back I was contracted for six months for the agency. I was told that if got hired I would have to work in weekends, unpaid, for a few years, but that I would be able buy myself a Porsche with my salary. The dangling carrot meant nothing to me. I am a dreamer, literally! I used to dream in the classroom much to the annoyance to the teacher, and to my peers who always thought I was staring at them; they bullied me and resented me. I was all a society, built on consumerism, did not want! I did not pursue a career where I would have to design advertisements for Monsanto, Volvo, and what have you. Art is ecstasy, so I was a Bohemian to begin with, and I could only find solace in a Bohemian lifestyle. So, choosing a profession (being an artist is a calling, not a profession)… when I was seven years old, I told everyone I was going to work for Walt Disney, I was going to go to school on the back of an elephant, I would drive my mother around the world in a Roman or Greek chariot. The closest thing to an artist is being a shaman; Joseph Beuys already said that. We artists conjure, mesmerise, and we heal with art. Just look at the Hopis, or the Navahos with their healing sand rugs. And reflecting on my intuition that I got to heed more, as I got older, is a proof of my shamanic identity. I would have loved to be dancer, a singer, I do both very well, but I chose painting. I would not have endured to get famous and be on world tours with roadies! I do miss the ecstasy in the painting activity; it is very introvert as an activity, whereas dancing and singing is ecstatic. The energies are unleashed, the DMT and adrenaline unlocked. But then a shaman is an artist and an artist is in a true and deep sense a shaman. They live on and create with and through ecstasy…we process our own demons, art has a function, a catalyst, it is a healing factor. The shaman in every child is killed, smothered at school. More and more parents are guilty of that, as they send them as early as three years old!! Everything comes from within and we are telling them to look for themselves outside of themselves. What do you like/dislike about the art world? The artist has become a product like the art he/she produces. There is a demand, a market, a financial market on which galleries play like the Wall Street guys. It has become a game of them and us. Money destroyed it basically, has sickened it. People get into it like in any business, for the wrong reasons-to become famous or to get rich. What is the good thing about art? Art brings back childhood memories, rekindles our soul and conscience; it brings back the child in us, but mine has never left me. Just being able to sit still and color, create a world out of nothing. Like music it unites people, it is universal, it is human soul searching and healing. What’s the best piece of advice you’ve been given? -Not to get married -Carpe Diem -However, the best advice comes from within, follow your own compass, don’t look over your shoulder and never look back either. Be proud of being the non-conformist, a teacher, a storyteller, a guru, and a shaman!


Art Reveal Magazine

FLOWERY DEATH

www.alann.exto.org

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Andrea Grottick Cardiff, Wales, UK 2012

The Sketchbook Project. Brooklyn Art Library, New York.

2011

Visual Arts Centre, Romford, Essex. ‘B.A.S.H’

2011

Oh! Gallery, Oxford House, Bethnal Green, London. ‘State Of Mind’

2010

Itch Magazine, Issue 06. (http://www.itch.co.za/?article=373)

GIRL WAITING



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The current collection of paintings and prints, ‘Asian Highway’, focuses on themes of cultural identity and tradition in a developing society; encouraging critique on a romanticised viewpoint of Eastern culture versus the bleak representation of Westernisation. The work evolved from discussions with Karenni refugees and Thai nationals in the hilltop villages of northern Thailand, near the border of Myanmar. Rumours of an extension of the Asian highway into the North (and as far west as Europe) were spreading excitement and hope among the poor communities who presently survive off the land and from small incomes from make-shift shops along the dirt roads of Ban Nai Soi village. The highway connects 32 Asian countries, easing transport of goods and passage for tourism. Naturally, the villagers hoped that the proposed extension – which would traverse directly through the Ban Nai Soi village – would bring increased tourism, trade and financial prosperity. The villagers spoke of opening shops and restaurants and improved employment opportunities and a more secure future for their families. However, the highway will also irrevocably change the character of the community; their traditional way of life would soon become obsolete. The natural environment destroyed to make way for tarmacked roads, enabling a flow of vehicles to destroy the once peaceful landscape. In time, noise and pollution would replace the starry skies, peace and clean mountain air. This collection of work seeks to capture the identity and traditions of the Thai and Karenni communities of Ban Nai Soi in the midst of change. Paintings, such as ‘Identity’, seek to convey an eerie sense of loss. Layers of oils and acrylics are stripped away with paint thinners and rags, to represent the stripping away of customs and traditions. The modern media of spray paint is used to reflect new ways of working and faster results – indicative of Western culture. Charcoal is used in the paintings to resonate with the viewer the impermanence of a changing society, giving the work a feeling of being temporary and incomplete. The prints combine media in similar ways to the paintings – using the traditional methods of dry-point with modernized alternatives, such as collagraph and photopolymer. These images romanticise the culture of the villagers, evoking feelings of nostalgia and an idealistic, peaceful existence, by using pure, simple lines and attention to detail and aesthetics. LONGNECK MOTHERS


Art Reveal Magazine

TRADITION

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Tell us a little about your background and how that influences you as an artist. Growing up, I had two loves: art and music. My early years as an artist were heavily influenced by rock and metal; I admired the artwork on the album covers and the gothic imagery that influenced them. Whilst my artwork today has less of the literal and illustrative references to that genre, it definitely maintains the expressive and often dark undertones. In later years, at art college, I was introduced to the surrealist and abstract expressionist work of Dorothea Tanning and Mark Rothko, which influenced my use of colour and tone. I am now very interested in the work of contemporary street artists, such as Banksy, Vhils and Roa. I love drawing and the human form, so this is a strong feature to my work, along with themes of identity, culture, tradition and nostalgia. What is the most challenging part about being an artist? For me, the most challenging part about being an artist is self-promotion: having the courage to show my work and allow it to be viewed and critiqued. Creating is a very personal process and is an expression of who I am, to allow others to view the results is almost like allowing them a glimpse of my soul. It’s a very humbling experience. How would you describe the art scene in your area?

is overcoming learnt behaviours with the materials. It’s very easy to slip in to routines and preferred ways of working that are taught in schools and other institutions. For example, thinking: it’s paint, therefore I must use a paintbrush; you must apply it evenly to a smooth surface. Why not challenge it’s uses and think less of the outcomes? To fund myself as an artist (another challenge!), I have another job – working as a Playworker for Cardiff Council. During arts and crafts sessions, the children are free to experiment and play with art materials. With no previous knowledge to guide them, it always pleases me to see the unusual and creative ways they choose to use the art materials. I try to remember this in my own work and use unusual, experimental methods of applying paint. I mix printmaking techniques and apply these to canvas. I use traditional oil paints, then strip them away with thinners and rags. I then apply more contemporary materials – using acrylics and spray paints. I also experiment with textures and varnishes, letting my own inner child come out to ‘play’. What are your future plans as an artist? My future plans as an artist are to continue recording and commenting on the world as I see it. I would like to travel more and gain inspiration from the places and people I visit. I would also like to collaborate with other artists and return to my musical routes – perhaps illustrate some album covers and inspire a new generation of art/music lovers.

What’s the best piece of art advice you’ve been The art scene in my area (I am currently residing in given? Cardiff, Wales), seems to be suffering due to the current economic climate. Many good arts venues have The best piece of advice I’ve been given was from a closed in recent years and there are fewer opportuni- tutor on an Art Therapy Course I completed in Lonties to exhibit. However, there is still a creative vibe don: ‘be true to yourself, create from your heart and about the city and an artistic community centred in don’t worry about the final outcome.’ This resonated places such as Chapter Arts and The Gate. There with me, as I do believe that my art is about expresare regular arts and crafts events, such as ‘Made In sion and the act of creation, rather than the finished Roath’, that give new and established artists the op- product. I think this can be seen in my work, some of portunity to showcase their work. which looks unfinished, or paused mid flow to reveal the creative process in action. What is the most challenging part about working nowadays with traditional media - like painting or printmaking? The most challenging part about working nowadays with traditional media like painting and printmaking,


Art Reveal Magazine

IDENTITY

www.andreagrottick.moonfruit.com

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Lorena Herrero London, England, UK Affordable Art Fair 2015 Affordable Art Fair 2014 The Mall Galleries Publish by Art Habens (14 pages) ELP Annual Exhibition SUPPOSE THERE’S SOME CONNECTION



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HIGH EXPECTATIONS

My first approach to Intaglio, and more specifically Etching, started over five years ago. Fascinated by the scope and the potential of the medium, I was immediately addicted. At first I was more focused on the learning of the more traditional techniques: hard ground, soft ground, etching, dry point, aquatint. For me knowing the basics was essential to be able to move forward. Etching is the medium that I feel most comfortable with and I love it for the tones, textures and the quietness of it. The influences in my work come from various sources and often represent a mixture between a realistic world and a fantastic dimension where nature and urban spaces come together. My current source of inspiration is geometry and concepts such as lines, forms, symmetry and asymmetry, radial symmetry, shapes and dimensions. What fascinates me about it is the use of a single unit, a line or a circle, to create complex compositions. Study the repetition of lines in regular or irregular intervals. How to find order, balance and harmony in each composition, how to break the balance, how to play with perspectives and create forms and dimensions. All these ideas are always in my mind when I start a new project, but there is also an element of unpredictability and randomness present in each work which adds flexibility and, to certain extend, loss of control over the composition.

DEEP SEA IN A GLASS


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When, how and why started you creating? I always had an interest in art and I always felt inclined to create, but it wasn’t until 2010 when I enrolled in an etching course that I really explored this side of me. There I’ve learnt the basic of etching and intaglio, the preparation of the plates, the different methods to transferee marks onto the plate: working with acid, drypoint, photoetching etc. I loved it so much that, that I haven’t stopped ever since!. I go often to this space studios shared with other artists where everyone works on their own project but we all share our techniques and we all learn from each other, It’s a fantastic way of working. How has your style changed over the years? When I first started years ago I was more concentrated in learning, when I grew on confidence my work developed into a more figurative style. I was very much inspired by nature and its relationship with urban ecosystems. The prints I produced at that time probably represent that duality. Last year, my style changed quite a lot, now I more focused on geometrical compositions, on perspectives, shapes and dimensions. My work has turned a lot more abstract and I love the freedom that comes with it. These prints are much more personal and intimate than the previous. What is your favourite experience as an artist? The creating process is for me the most challenging and therefore the most satisfying part of being an artist. Art is a very vast area where there’s always much more to learn, where you can experiment as much or as little as you want. I still find that I don’t know anything about it so you can never be bored of it. Then, the recognition of your work, the exhibitions, publications or the actual sales are, of course, important too and it always encourage me to keep going. If you had an occupation outside of being an artist, what would that be and why? I actually have an occupation aside of being an artist, I work in media, which gives me the financial stability to carry on with my prints. It’s not always easy to make a living out of art and if you do it would probably require a very different approach to the one I have, to begin with, I would need to be much more disciplined. How would you describe the art scene in your area? I live in Hoxton, which is a very artistic area in East London. Years ago used to be a very exciting place to be, full of creativity and an ever-changing art scene. To some extent, it still is, but personally I think the area has lost the appealing for many artist, everything now resemble the same and it has become a bit pretentious, probably the outrageous prices of everything around there has made the area more like an extension of The City than an artistic neighbourhood. What’s the best art tip you’ve ever received? I owe a lot of who I’m as an artist to John Roberts, who has been a sort of mentor for me. He’s a very experience printmaker, with years working in the studio and I have learnt a lot from him.


Art Reveal Magazine

LESS THAN YOU HAD IMAGINED

www.lorenaherrero.com

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Marta Ivanova Vilinus, Lithuania 2012

3rd place in “Waterpieces” for Best Baltic audio-visual artwork, Riga, Latvia

2014

Group exhibition “Unanswered Q”, Contemporary Art Centre, Vilnius, Lithuania

2014

Group exhibition “STATE ABED”, Gallery of Fine Arts Split, Croatia

2013

Group exhibition “MOLT! Speculative Identities”, Berlin, Germany

TRIBUTE TO MAPPLETHORPE


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TULIPS

Marta Ivanova is an interdisciplinary artist. Her creative field is like an ocean of feelings, which is emotional, vast and constantly alive, as “in some places a swaying lyric, shortness of air, and in other places, beating of waves”. Artist constantly experienced high and low tides had “rinsed” the boundaries between art and life: in Marta’s creative work stories, language of the routine, active moments of personal, marginal and self-acting experiences, narrative, and objectivity all act, being visually told through the artist’s body and physical surroundings.

O


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www.marrr.net THE SEAT



Maria Kjartans Reykjavik, Iceland 2013

“Betur sjá augu en auga”, Reykjavik Museum of Photography, Reykjavik, Iceland

2011

“2nd Roma Pavilion” - Media archive, Venice Biennale, Venice, Italy

2011

“1st price Signature Art Awards” – Photography category, London, England, UK

2011

“1st price IdeasTap / Magnum Photographic awards” - Landscape category, London, England, UK

2007

“2nd price The Scottish press awards”, Glasgow, Scotland, UK

SPIRITUAL LANDSCAPES



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SPIRITUAL LANDSCAPES

Icelandic born artist Marí Kjartans graduated with her BA from The Icelandic Art Academy in 2005 & MFA from Glasgow School of Art in 2007. Since then she has been living & working in London, Paris & Reykjavik, exhibiting her photography & films around the world. María was rewarded Signature Art Awards in London & deasTap / Magnum Photographic Award for her photography in 2011. María is one of the co-founder at Vinnslan, which focuses on mixed media performances & filmmaking. The group’s debut film was recently nominated as best short film at Bornshorts Film Festival in Denmark (2014), which María co-wrote & co-directed, as well as being director of photography. María´s work is currently presented by “DegreeArt Gallery” in London & “Labworlds Fine Art Gallery” in Paris.


Art Reveal Magazine

SPIRITUAL LANDSCAPES

When, how and why started your art practice?

Do you think of yourself as a conceptual artist?

I started photography at the age of 14. I was working at a remote country hotel, Budir in Iceland. The chef had made a darkroom in a tiny vine cellar and it’s where I developed my first film. After that night it was no return. Seeing the picture appear on the paper, was such a magic. The rest of the summer I didn’t sleep much as I spent most of the nights in this tiny cellar, I just loved it.

Not sure if that is what I want to call it, but my travelling, connections and research make a big part in the final outcome. For me the creative process is all about the journey, literally and metaphorically as I am curious about all aspects of human life. I try to works very much intuitively and with sensitivity and respect to my subjects. But maybe even trying to explain my photography undermines the feeling or true sense of the spirituality that lies beneath the surface. To give meaning is also to determine it.

What is the most challenging part about working with photography? Photography is in a way an introduction into the photographer himself – the artist, his or her inner-being or soul. Therefore I suppose the most challenging part is how to choose the subjects as the photograph is in essence a statement – not written – but captured in a much more understanding or descriptive manner.

Tell us a little about your background and how that influences you as an artist. Iceland is known to be quite an energetic place with all it´s magnificent forms of nature. One of the people that played a big role in my childhood was my grandmother. She is really talented and creative, but she

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SPIRITUAL LANDSCAPES

devoted her life to my grandfather’s dream being a retailer. She used to tell us stories about here life and her dreams. All the things she wished she had done and experienced but never did. It made me realize how important it was for me to live my life, truly feel it and to follow my dreams.

How would you describe the art scene in your area?

Icelanders are generally writing, acting, composing, designing, painting, sculpting, and all-round creating bunch. Many locals have a “creative” profession and of those who don’t find another vent for their creative energy. Reykjavik has developed an international repAfter my graduation from the Iceland Academy of utation as a growing creative hub for both emerging the Arts in 2005, I literally took my camera under my and established visual artists. There are innovative arms and sailed the ocean. I had this desperate need contemporary art galleries in all shapes and sizes, and to know what was on the other side, what it is that edgy new experimentations sit alongside works in tragives people a real satisfaction and a true happiness ditional media. out of life. Witch I didn’t believe I could find on this tiny island. But also to make sure I was not going What are your future plans as an artist? to end up like my beautiful grandmother with all the physical fortune in the world but no experience and If I stay happy I still got approximately 60 years to live, unfulfilled dreams. When I then finished my Masters which I definitely enough time to feel, create and have degree from Glasgow school of Art in 2007 I had fun. I was young when I left Iceland, I didn’t appreciquite a ride in Europe, living with gypsies in caves, ate the magnificence from my surroundings. Recently in the forest with hippies among other places. I even after 10 years abroad, I am back to this beautiful istraveled to Greenland a few times to understand the land, hopefully it will connect me to new energy and Eskimos who live even more remotely than I used to continue to inspire me. All I know is that nature is a surprising and an exciting place. Anything can hapdo in Iceland. pen


Art Reveal Magazine

SPIRITUAL LANDSCAPES

www.mariakjartans.net

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Maria Lomholdt Petmonkey Copenhagen, Denmark Petmonkey is a new branch in the work of the artist Maria Lomholdt. The pictures are airy and quirky, with the aim of making you smile or wonder or both. The image’s are somewhere in between reality and fiction. Educated as an photographer in England (Blackpool )

SNEAK OUT


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Briefly describe the work you do. I work with photography and my images are mostly a kind of collage consisting of maybe 10-50 images. It expresses a certain thought or feeling. What themes do you pursue? In general I use whatever come across my mind, my daily thought’s and challenges. I don’t think there is a thought I wouldn’t pursue. It’s only fun if there is an underline in an image that provokes the viewer a bit, or contains a twist of sarcasme. What is the most challenging part about being an artist? I don’t see it as a challenge to be an artist. For me it is an opportunity to play, to crawll into a small cave where everything is possible. So for me it’s more an escape from a world that is challenging, than challenging being an artist. To create is for me a place where you can keep on exploring and playing, and always keep searching for new ways to express and develop techniques and through this, to reach new levels. Total freedom and no rules. How would you describe the art scene in your area? The art scene in Copenhagen has a lot of new upcoming artists, but it is still held down a bit. A small big city, sometimes afraid of new things and sometimes way behind the rest of the world. What art do you most identify with? Most of my inspiration comes from talking with, thinking about and watching other people live, I don’t really spend a lot of time watching other artists. If I would have to identify myself with another artist area, I would have to look into the music industry. A lot of my images comes from this. Music is a big part of my working process, great musicians as Bowie, Kim Larsen (danish folk singer) Stacey kent. Etc. What’s the best art tip you’ve ever received? Always listen to the “Boss” (the little man who lives in your stomach who always know what’s right. If you dare to listen to him) What are your future plans as an artist? To keep developing myself as an artist. Think even bigger, dream wider, fly higher…

ATTACHED

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I SEE IT


Art Reveal Magazine

MY DEAR COWBOY

www.petmonkey.dk

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BABY GECKO

Krystel Marois Montreal, Canada Solo exhibition FOFA Gallery, Montreal, Canada Travelling group exhibition ‘Everything Will Turn Out All Right’ in Sheffield, UK &Cleveland, USA Publication in EnRoute Magazine (Air Canada’s inflight magazine) OBRAS Art Residency, Evoramonte, Portugal Portfolio Review in Arles, France


FERN

The majority of my portfolio focuses on capturing traces of human presence reflecting the duality between absence and presence, notion that I investigate through various photographic formats such as still lifes, interiors, landscapes and occasional portraits. Guided by a soft, natural colour palette, my images seek to document the fleeting essence of everyday life, with sentiment, nostalgia and memories dominating my scope. Having spent years living abroad, my photographs reflect identity matters as well as a need for relieve of an incessant restlessness. I then respond to my environment by seeking relevance in the solitude of the inanimate. Hence, the notion of home is often questioned and challenged in my works, whereby personal artifacts and the intimacy of one’s surround are used as landmarks and question our relationship to materiality. In my landscapes, I seek comfort and relish the constancy of nature, in all its greatness. This quiet space in between moments allows me freedom to overlook, while at the same time grab hold of my own existence. Mixing familiarity with the unknown, my photographs provide an introspective backdrop, whereby still lifes, inanimate objects or natural, geographical landscapes reflect emotional, private ones. My images often act as a deconstruction of the human experience, in the manner of a stream of consciousness, resulting in an evocative yet sober imagery.


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Art Reveal Magazine

GONE

How and why started you creating?

changed a lot. Not knowing anyone there, I naturally turned to the inanimate: still lifes, interiors and After studying sciences in college and no particular landscapes, and a few portraits here and there. Livinterest in pursuing it, so I took a year of random ing abroad brought up identity questions; the notion classes at the university of my hometown (Sherbrooke, of home and intimacy became central themes in my Canada). One of the classes was photography, which work. actually holds a good deal of chemistry and optical physics. I bought a 35mm Ricoh camera and I immediately fell in love with the medium. My teacher What is the most challenging part about working was a Concordia (Montreal, Canada) graduate and with photography? she helped me build a portfolio during her class so I could apply. I never thought I would get it, but I did. For me, it is the editing of a series: making choices, And that’s how it all started. selecting which images work best together and make more sense. It’s the part where I am constantly in my head and I second-guess every decision. It takes me How has your work changed in the past years? ages to come up with the final series and I find myself making slight changes even when I’m supposedly finI did a lot of portraiture in school. After graduating, I ished… moved to Berlin (Germany) and that’s when my work


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SOEUR

Do you think of yourself as a conceptual artist? I feel quite the opposite of a conceptual artist. Taking photographs is a very instinctive process and I accumulate images and eventually, a body of work emerges. I rarely have a clear idea of what I will work on. It depends a lot on the city I live in, the people I spend time with, my home and my mood. The concept behind the images comes afterwards.

where it leads. I collect images, reflect upon them and eventually find out what the work is about. What are your future plans as an artist?

I moved back to Montreal a year ago and ever since, I have been flirting with portraiture again. I am also working on a performance piece that will culminate in a site-specific installation. It’s about endurance and ephemerality. This is a totally new direction I’m Tell us a little about your background and how exploring and I’m very excited about it. Also a little that influences you as an artist. nervous, as I have never done this before… but it feels very natural as it ties in well with the rest of my work. Stumbling upon photography changed my path in a It’s always good to get out of your comfort zone. very unexpected direction. I am happy to have made this choice based on what I really wanted to do, versus what I was supposed to do. In my work, I have the same frame of mind, I follow my intuition and see

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ASCESION


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ERIN

www.krystelmarois.com

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Benoit Maubrey Berlin, Germany Ars Electronica (1985), SONAMBIENTE/ Academy of Arts Berlin(1996), Tokyo City Opera/ NTT-ICC (1997), International Symposium of Electronic Arts/Chicago (1997), The Kitchen /NYC, (2000), Seoul Performing Arts Festival, Location One/NYC, Gracia Territoria Sonor/Barcelona, (2003) , Sitelines Festival/NYC (2006), Schloss Moyland/ Joseph Beuys Archive. (2007), Mostra des Artes/ Sao Paulo (2008), Zero1 Festival/San Jose, (2012) ZKM/Karlsruhe, SOUND ART , 2014 MaerMusik/ Berliner Festspiele. Awards: Prix Ars Electronica 1991, European Award for Street Theatre/Holzminden 1995, Franklin Furnace Fund for Performance NYC 2006, Palmarès du 35e Concours Internationaux de Musique et d’Art Sonore Electroacoustiques de Bourges 2004 (the LINE) and 2009 (CyberBirds), Grand Prix International Video Danse 2002 (Mention Speciale). Marler Video Installations Prize 2008, Skulpturenmuseum Glaskasten Marl. THE CUBE


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How and why started you creating? I was always creative first as a writer in high school and college until 1975 then as a painter in NYC late 70s then as a conceptual artist and sound artist in West Berlin until now You start creating because you want to interpret your environment and receive social recognition by doing it How has your work changed in the past years? As a sound artist (mainly performance) since the early 80 with mobile sound sculptures and electro-acoustic clothes here a text I wrote about Audio Clothes a while back for Leonardo: http://www.benoitmaubrey.com/wp-content/uploads/2011/11/Audio-Clothes.pdf in the last ten years I have moved additionally into the field of non-mobile public sound sculptures: http://www.benoitmaubrey.com/wp-content/uploads/2013/12/SPEAKER_SCULPTURES_2014.pdf If you had an occupation outside of being an artist, what would that be and why? I cant imagine doing anything else and its too late to change my profession What is your creative process like? My artwork mainly deals with public spaces and how to intervene in them using electroacoustic waves (sound) I first consider a space before I intervene What is the most challenging part about working with Mixed Media? My decision in the early 1980s to stop working with pigments and canvas came from a desire to interact directly with public spaces. This is why I decided to work with loudspeakers and media. Loudspeakers have long been integrated into modern life inside our homes, mass transportation, and public spaces -- wherever you find people, you‘ll find loudspeakers. The art I make is not “high tech“, it‘s normal. Speakers are cheap and commonplace: they can be found at flea markets, second-hand stores, recycling centers or in garbage bins. I use loudspeakers much in the same way that a sculptor uses clay or wood: as a modern medium to create artworks with the added attraction that they can make the air vibrate (“sound”) around them and create a public “hotspot”. How would you describe the art scene in your area? Berlin is pretty hot right now What are your future plans as an artist? Audio Ballerinas, Feedback Fred, Audio Peacock, and Electronic Guy are regularly on tour IGLOO


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Participative and site-specific Electroacoustic Sculptures created from active recycled electronics, electromagnetic sound waves, and spectators’s voices. Mainly I use loudspeakers (also tuners, amplifiers) as “building blocks” to create monumental sculptures in public spaces. The sculptures allow the public to express themselves via Bluetooth receivers by playing messages and music or “live” via microphones and musical instruments. At the same time the Sculptures amplify “recycled“ (invisible) electromagnetic waves (white noise) that are produced by the incorporated receivers: the white noise sounds are low volume and are permanently hearable as a “background” sound that changes throughout the day: this is the “pulse” of the sculpture. The sculpture itself functions as one single multi-channel loudspeaker system, all the loudspeakers are connected (soldered together). However it is remarkable that the sound is different according to the position of the listener. Each loudspeaker emits a unique sound. As a music composer I allow the public and electroacoustic sound waves to occur by themselves, although I do allow myself to “edit” them via channel arrangements within the sculpture itself. Additionally the sculptures are available as PA systems for other public events and concerts. As an artist I use electronic waste as the “clay“ for my artwork: these materials are cheap and obtainable from local recycling companies. The form (architecture) of the sculpture itself is dependant on the site and situation and sometimes directly integrated into local buildings and structures.

TEMPLE


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www.benoitmaubrey.com

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Paul McCloskey Gorey, Ireland De Montfort University UK Masters Degree in Fine art painting (MFA) in 2010 Creative Quarterly 35, The Journal of Art & Design, New York - Fine Art Professional - winner Monaghan County Council, percent for art scheme. Selected to be featured in two ‘THE STATE OF ART’ Art Books (Bare Hill Publishing, UK) ‘THE OMEGA 3d’- (Solo exhibition) - The Alley Theatre/Arts Centre, Strabane, Co. Tyrone, NI


MY EYES HURT AS IF NEVER USED


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Irish painter Paul McCloskey was born in Carrickmacross, Co. Monaghan and is now living and working in Gorey Co. Wexford. Paul attended the National College of Art and Design (N.C.A.D) Dublin from 1981 and graduated in 1986. Paul also attended De Montfort University UK and was awarded a Masters Degree in Fine art painting (MFA) in 2010. He has exhibited extensively both nationally and internationally throughout the UK, London, Venice, Paris and New York and he has received multiple awards for his work, which can be seen in numerous collections. “My visual influence is determined by the surrounding landscape, but its intention is primarily as a catalyst in expressing divinity and is therefore secondary to this expression, the primary purpose being process, allowing, presence and place. The varied and stunning Irish landscape, coupled with our unsettled weather and therefore often fleeting and mottled light, inspires me greatly. Often a view will change or an area will be illuminated by a simple break in the clouds, highlighting as if a shimmering treasure or jewel, a corner of a field, the side of some rocky cliff or the dynamic sweeping curves of a valley reminding us that we are an integral part of and connected to a whole. Effectively, this encourages us to see and most importantly feel its beauty and spirit therefore reconnecting to this vital part of us. The suggestion of heaven and earth in constant struggle, merging yet separable, solid yet amorphous all suggest the multidimensional nature of the spiritual, the beginning and the end, the alpha and omega, the struggle within, between the conditioned self and the divine/spiritual self�.

AND I SAW A NEW HEAVEN AND A NEW EARTH


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Tell us a little about your background and how that influences you as an artist. For as long as I can remember art has been integral part of who I am, there was never any question as to which path I would pursue, painting has given me purpose, it has helped me explore my essence, my place and the greater questions of being. In the search for answers to the meaning of existence a number of years ago I began a spiritual journey guided by people like Anthony De Mello and Eckhart Tolle which profoundly changed the narrative of my work, process became primary, thus began the ‘Awakening’ series ‘The Alpha’ ‘Reloaded’ and ‘The Omega’ trilogy. My works are often considered abstract yet they are based on the Irish landscape, they are reminders/ pointers to the truth, which can only be found in the present moment, reminders to allow ourselves to not just see but to feel and connect on a higher level to the world around us.

What is your favourite experience as an artist? It’s that process I just mentioned, when I’m lost in action, when there are no expectations, only this moment exists, this place of harmony between me and creation, it’s a place of great peace and joy. What are your future plans as an artist? To continue to cultivate this creative process through my painting, to further learn about and experience this place of connection and hopefully inspire others through my work to explore their place in the greater picture of spirit, connection and concord. What do you like/dislike about the art world? I like the potential it has to inspire for the greater good, however unfortunately many younger artists seem more concerned with making a name at whatever cost than the pursuit of substance and the art world which has become increasingly more commercial and greedy, encourages this, frequently at the expense of the artist for its own gain. What’s the best piece of advice you’ve been given? To remain true to yourself, to paint with no purpose other than to allow creation to work through you.

What is your creative process like? There can be no art of merit if its purpose is other than allowing. The creative process for me is something that happens through me, once a subject is chosen then it becomes secondary to that process, when there’s a stillness and a silencing of the mind, with no purpose but to allow, then the paint just seems to ebb and flow on the canvas, the more I can remain present the more fluid the process becomes for me, bringing my painting to places I couldn’t possibly otherwise have envisaged.


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AT LAST MY THOUGHTS LAY SILENT

www.paulmccloskeyart.com

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Lindsay Pickett London, England, UK My main practice involves painting with oils on canvas, linen and board. I start with a basic study of a composition idea, take it further as a small watercolour painting as a final idea and then develop it more as the finished oil painting. I also use photographs to create a visual reality that can be convincing at times and especially if I want to get the likeness of a person’s face. It has also been good for me in the fact that it has taught me to use observational skills a lot. A lot of what I now paint is something that I have mainly taught myself. I enjoy painting a lot because it gives the imagery more colour and character as well as being hands on. LAND OF BEN


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I’M NOT MATTHEW WICKENS


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When, how and why did you start painting? I started painting seriously in 2007 after trying other things that dud not work out, I had graduated in 1999 and realised I had a talent for it. It also helps me to convey what I call dreams down onto canvas. I know it’s the one thing I was born to do. Tell me something about the technical equipment you use? I start my ideas as drawings and develop them more as a watercolour usually a4 size and then finally paint the study to a much larger scale as oil on canvas usually linen. I use cooking oil and soap to clean brushes so as not to leave an odour. Who or what has a lasting influence on your art practice? Salvador Dali has been a lasting influence and many other surrealists such as Rene Magritte and Romantic painters such as Thomas Cole and Frederick Edwin Church. How would you describe the art scene in your area? I live where there is little in terms of art scene whatever that may mean so I tend to go to Central London or brick lane in East London . I also tend to go to Sci Fi conventions too. What are your future plans as a painter? I would ultimately like to sell my work and make a living doing that. In this current climate it’s very hard to do this unless your known by royalty or something! What’s the best art tip you’ve ever received? Cleaning my brunches with cooking oil as this doesn’t damage brush hairs like white spirit can.

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BIG BEN ROLLERCOASTER


Art Reveal Magazine

TOWER BRIDGE IS BUILDING UP

www.lindsaypickett.co.uk

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Rachael Walker Holmfirth, England, UK MA Textiles (Distinction) Published work in book “The State of Art – Installation and Site Specific” Gane Trust Bursary award My work focuses on the re-invention of our traditional notion of landscape art by taking imagery from film footage of natural and urban landscapes and and using it to create dynamic and interactive sculptural textiles. The landscape images are digitally printed onto cotton and heat bonded onto aluminium and the surface worked into using a variety of textile techniques to create three dimensional landscapes that represent the physicality of the landscape. The work aims to capture not only landscape in a visual sense but the atmosphere, light, excitement, shadow, movement and shapes, creating a sense of empathy with our favourite spaces, childhood memories and dreams. It also explores the notion that we are shaped by our surroundings, how they influence the way we live, grow and see life and the influence we have on shaping our surroundings to fit our needs and needs of others. Designed to be touched and sculpted by the viewer, each person who interacts with the work creates their own narrative, experiencing interaction with art on a deeper level and creating connections between ourselves and our surroundings. VIEW FROM HOME



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late to our surroundings on a more physical level. So I started creating three dimensional landscapes using film footage printed onto cloth and shaping it using aluminium. This allowed the work to have more impact as the work became sculptural. Using still images from film footage is a fantastic way to capture movement and spontaneity as opposed to using planned shots from a stills camera. I add filters to the film footage to make the images more ambiguous and dream like. Film footage is also a good way to capture light as you can use the movement of the camera to create streaks and lines of light which look great when made into imagery. There is also a haptic element to my work. I am interested in how we use touch to ground ourselves in reality, to bond with our surroundings and other people and how children use touch to learn. To use this sense to appreciate art is vital in allowing us to understand how an artist works. Touch is also vitally important to those of us who can’t rely on our sight through disability. I feel that relationship that sculpture and textiles have in common is that they offer more than just a visual element but have a tactile quality

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When, how and why started you working with sculpture? I have only recently started to think of myself as a sculptor, particularly as I studied textiles at University and always described myself as a textile artist. The three dimensional aspect to my work has been a gradual process through research and experimentation of materials and subject matter, although I have always taken a cross-disciplinary approach to my practice. I am really interested in the per-

ceived idea of textiles being more than just decorative or traditional and thought of as just a craft by pushing the boundaries of what it is possible to do with cloth. I wanted to create textile sculptures that are both craft based and high art. My current work has led me to redefining how we recreate landscape imagery. I wanted to create images of landscapes that captured more than just a visual sense but incorporated atmosphere, light, how it links to memory and a sense of place and how we re-

Tell us something about the technical equipment you use. I use a variety of equipment from fabric printers, soldering irons to a sewing machine to stitch into the aluminium. I am a real believer in working organically and although I have a rough plan of what I want to achieve I often make decisions as I go along and experiment with stitch, paint and wire which can be woven into the work. It’s quite an intuitive way of working, but it is the only way I know.


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Who or what has a lasting influence on your art practice? That’s a difficult question for me as I feel I have been inspired and influenced by many people throughout my career. My mother is a very creative person and so practical that I am sure that had an effect on me growing up. Both my mother and my nan were very able sewers but I never had an interest in that until I went to college but it meant I was always around fabric, sewing machines and various projects each of them were taking on. Thinking about it now perhaps my interest in three dimensional art and constructed textiles comes from my father who is an architect. I am hugely influenced by the designer Petra Blaisse and her company Inside Outside, based in Holland. Her projects fuse architecture, interior and landscape design to create spaces that are sensory and interactive and she is re-defining how we use our buildings and interior spaces. Growing up in West Yorkshire has definitely had an effect on how I see the world. I live surrounded by the imposing and undulating hills of the Pennines and Peak District which are reference points for my life and work. When visiting the city, I come to miss the countryside, the hills and the vast openness of the landscape and this realisation informs my work on how our surroundings influence how we live, think and feel and in return how we shape and change our surroundings to suit our own needs. How has your work changed in the past years? Working with a mixed range of materials has had an impact on what I create. Materials are a big source of inspiration for me and I

can be inspired just by using a particular material. Using aluminium has had a big impact on my work. It is such a great material to work with and lends itself to sculpture beautifully. As I have become older I have also become much more confident and have started to work to a much larger scale. My latest three-dimensional landscape is 4 metres long. What advice can you give to those who are just starting out in the arts? Fundamentally, you should believe in yourself, ideas and talent. Making a living from being an artist is tough, so it’s vital to be proactive, seek out and create opportunities to be recognised through marketing your work, entering competitions, networking and exhibiting and learn to be confident about getting your ideas across and people will believe in you. What are your future plans as an artist? I am planning to exhibit a new body of work I am creating as part of an artists group I am part of. Working in a collective makes it much easier to approach galleries and you can offer a diverse range of work that can fill a gallery space. I have been creating a collection of sculptural vessels using digital print and aluminium sheets combined with a multitude of materials including stitch, varnish, paint amongst many more. I wanted to explore the interconnection of craft and conceptual art. I hope to continue to push my work in new directions and keep on experimenting and trying new things. I am excited about all possibilities and opportunities that may come my way.


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www.rachaelwalkerartist.com

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