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Issue #11 Spring 2021

Pierre | Painting | W:40.64 H:50.80 D:2.54 cm | AW184594525

by Manon Germain

published by

a contemporary art magazine providing art critiques, interviews, news, events, calls, artist presentations, articles and ads

OBSERVICA Magazine

Issue #11 Spring 2021 June - 2021

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15-Jun-2021

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Discover the Artist

Observica is a Canadian contemporary art magazine published by "Discover the Artist” media holding. It focuses on telling the compelling story of significant arts created by brilliant artists from all around the world. Our publications are available to millions of art lovers, experts, collectors and enthusiasts in both digital and print format and reaches readers in over 100 countries.

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No part of this publication may be reproduced in whole or part without written permission from the publishers.

The magazine can assume no responsibilities for unsolicited manuscripts, photographs or illustrations.

Paul Dettwiler Chan Suk On Cher Pruys Elzbieta Zdunek Joanna Jass Hairuo Ding Patrick Joosten Youyou Hu Ladka Kurzrock Jane Baldridge Anthony Santomauro

Rajul Shah Manon Germain Barbara Bose Nora Komoroczki Lindsey Grant Cap Pannell Lon Levin Ronnie Jiang Linda Storm Maria Ruenes Nimisha Doongarwal

Break at St Nicholas Church Copenhagen Painting, Chiaroscuro on Canvas W:60 H:60 D:2 cm 2020 Paul Dettwiler

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Paul Dettwiler Drawing, Illustration, Painting

Paul Dettwiler, Swiss and Swedish citizen, PhD,researcher, restorer, architect and since 1980 fine art painter.

Specialised in art on urban environments and surrealism. Exhibitions, training and work in Switzerland and Sweden (Chalmers university of technology and at various studios of painters and restorers in Sweden and Switzerland). Numerous exhibitions on internet and art magazine publications.

biafarin.com/artist?name=paul-dettwiler

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Bredgade and churches Copenhagen

Painting, Chiaroscuro on Canvas | W:100 H:75 D:3 cm | 2020 | AW127137214

Paul Dettwiler: Cityscapes that swallow us Marian White Interviewer

Hi Paul. Thank you for accepting our invitation. This is going to be a great artistic talk having you here. Please start by telling our readers about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?

I was born 1961 in a family of craftsmen, restorers, architects and artists where it was high interests in particularly ancient buildings and fine art; certainly that was a significant influence in my childhood. I had my first exhibition of paintings with cityscapes of my hometown, in Karlshamn in Sweden in 1980. At that time, I also co-worked with restorers of fine art and made backdrops for a theatre; also with motives of the city. In 1983 I enrolled as a student at Chalmers University of technology (Gothenburg). Meanwhile, from 1984 I focused on drawing, painting and sculpture at the Visualisation group at the School of Architecture. Worth to mention among my teachers that influenced me were the professors Arne Branzell, Hans Nordenström, Akke Jansson, Graham Stacy, Pål Svensson and Bror Stawe. In 1985 I was selected for a spring exhibition in Lausanne in Switzerland with three surrealist paintings.

Great, what an artistic family and what an interesting background! It seems that you were determined and motivated enough to pursue your art career, considering your fabulous teachers. But even so, was there ever a moment of doubt to question your art career entirely?

Yes, in about 1982 I had doubts about my approach to city painting and gradually I turned more to surrealism where the Italian painter di Chirico influenced me. When I studied at the School of Architecture at Chalmers I did not feel motivated to create paintings with cities since that was a part of my profession as an architect.

During that time, I intensely participated in fine art courses in watercolour compositions (often abstract), building mock-ups and to study human anatomy at the art courses. As a post-graduate candidate and a researcher of philosophy I returned gradually to paintings of the city.

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Very well explained your professional challenge during your career. Now, after those ups and downs and practices, as an established artist, what is your daily routine when working in your studio?

The main time of my creation is the thinking phase, not the action itself to paint on the canvas. I need to have time to decide the next steps; recognise wrong steps and to correct them. I have about seven to ten paintings simultaneously in work and each painting requires about 4 to 6 months to be finished. I work with ancient painting technique of multiple layers which requires time to dry between layers; so-called glazing. Since I live in Sweden the day-light varies from winter to summer. Therefore, when the daylight is advantageous I prioritise sensitive parts of colouring than should be painted.

How interesting, working simultaneously on seven to ten paintings is not easy at all and needs a great motivation and parallel processing ability. So, please take us a bit more through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

When I work with cityscapes I prefer to be initially acquainted with the surroundings and must visit the place several times. Frequently I begin with maps of the city and try to find plans of the various buildings. I collect material in form of many photography and pen sketches made in situ. I never use a single image from photography because I feel I must dissect and reinterpret the streets and buildings in my cityscapes.

Purportedly I must distort the traditional rules of perspectives in order to render the motive “paintable”. It means that often a façade is two dimensional as it were an architectural elevation. Such step requires a well that the horizontal line must be above the normal height of figures in the painting. Similar technique I used for my backdrops for theatre in the early 1980s. In order to achieve a desired composition that is understandable with the building volumes, I must sometimes adjust placement of building. The differences between reality and the motives of my paintings are made by purpose. The result of the perspective would be similar as to take photography with a zoom objective from a very large distance and at a level about four meter above the ground or street level. Certainly this is not possible to do in reality due to all hindering structures in between.

❝I feel very satisfied to find a work form that unifies my two backgrounds as architect an as fine art painter.❞ Painting the cityscapes with such an architectural mind can be an adventurous journey and it’s like you almost re-engineer the city in your brilliant paintings. Very impressive. Now, from another viewpoint, Is there a central concept connecting all your works together or each series or artwork is unique?

When I work with urban cityscapes I use the same methodology. I select well-known city cores where I give my reinterpretation. It is the same approach as for example a musician who interprets a work of another composer; the notes are there and for me the buildings and urban spaces are also there that I interpret. Apart from paintings with cityscapes I also do experiments with series of minor paintings on corrugated cardboard.

These are very creative points that need a motivated mind to explore them in your deep and meaningful paintings as a visitor. Normally, would you like to give some particular interpretation of your work to your audience or you prefer to leave the whole interpretation to them?

Good question! Similarly, as we walk in the city various things happens; a window open, a dog stops to walk, the owner waits, a bird flies away but the spectator do not have an explanation. The street is a theatre without a script. I let the spectator guess and speculate what happens. Sometimes I include transparent shapes that could interpret as ghosts. In fact we use the same buildings as a human have done several centuries ago and gives me the temptation to regard a building and all human activities in a timeframe as one entity.

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A theatre without a script! What a thoughtful expression! It is clear that an important part of your inspiration comes from your family and childhood artistic experience. Other than that, how do you seek and use inspiration for your works?

My inspiration for my works is not the buildings and streets themselves but in fact the created space between objects. Therefor it is necessary to be acquainted with the surrounding and urban spaces.

Yes, like the music which some say it is about the silence between notes as well as the tune itself. In terms of the choice of the artwork subjects, how do you select your cities, scenes and streets? How do they relate to your intended message?

I find it very interesting to use parts of cities that are well-known. The motive becomes a kind of communication. For example, if I paint Bredgade in Copenhagen; every local habitant knows this place and then is the factor of location pre-defined. The remaining features are lightning and all the independent events that belongs to a city core. I hope it can give initiative at the spectator to guess and to question what is happening.

Even sometimes giving a new look to popular places in your paintings can fascinate the viewers as well. It is obvious that there are plenty of your artworks that you might point out, however, is there an artwork or series that you would like to be remembered for? And if yes, what is it?

I am the architect who paints motives of buildings and cities with an own interpretation. I also use ancient painting technique with oil and tempera, multiple layers and glazing.

In your prominent career, what have been your art influences? Who has been your favourite contemporary or historical artists and why?

Currently I do not seek influence by other artist. However, in my youth in the 1970s the Venetian painters from 1500s to 1700s influenced me strongly like Tiziano, Giorgione, Tiepolo (both), Francesco Guardi, Canaletto, Nogari. In the 1980s I was influenced by modern painters especially di Chirico Later on the British painters Hogarth and Laurence Stephen Lowry gave me a new approach: art must not be deadly serious but can also contain a slice of irony and humor.

What a nice tip! So, you might have read a lot about Tiziano or Laurence Stephen Lowry, however, if you could meet one of them from the past, who would it be and what will you ask about?

Certainly it would be an honor to meet the great Tiziano and hopefully he would reveal more of his layer technique. For example, what kind of resins he used.

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Most of your submitted artworks display ancient, tall buildings in narrow streets. It is a sign of architectural expertise combined with an artistic vision that has accepted a very risky perspective challenge. According to our readers, they have enjoyed looking at them a lot. As you mentioned, the ancient buildings have been one of your lines of work from the past. Please describe the reasons behind choosing these specific buildings. Was it only artistic reasons or maybe historical or even personal values?

Good and difficult questions. An art professor at Chalmers, Graham Stacy, told me once when we students had the exercise to portray assembled rubbish as still life; “paint whatever you want as long as you create art, nobody checks if you have painted the rubbish correctly” He also referred to anatomic illustrations that have to be simplified and sometimes must “lie” in order to make an image understandable. These two approaches have influenced me. In my case I feel the architecture of the buildings and dimensions must be portrayed more or less correctly in terms of proportion and architecture. In the same time, I feel tempted to create views not seen before; perhaps by extending the view around a corner or to place the horizon line on five meters above the ground.

Ancient buildings have to me a charisma that younger buildings seldom have. Modern buildings have however very interesting role in painting larger cityscapes like São Paulo, whereas ancient building with ornaments and details I find more interesting in a narrow scale. I do not only choose interesting buildings but also the surrounding space which I find more significant. Consequently I do seldom portray the entire building. The words face and façade has the same origin. On portraits of e.g. Rubens, and Rembrandt the focus is mastering the human faces with its multitude of nuances. My challenge is the portraying of facades of buildings and their surrounding space. Human activities between the buildings become thus a secondary element in my paintings; as we live the actions are not understandable or rational. Things happen in the street that becomes a thousand year old theatre. Often I find a symmetric building is not worth to paint on its entire length (even historic) because studying the surrounding space is more relevant for me. I find it is a significant part of the composition to be able to cut the building in a motivated way. My Copenhagen paintings have its practical reason because I live a couple of hours away from this splendid historic metropole and during the pandemic travels abroad was/is limited.

Let’s get to the lighting, very mysterious lighting in some of your works. For instance, an eye-catching game of shadow and light waves has been emphasized in “Break at St Nicholas Church Copenhagen” and “Knabrostraede Copenhagen,” where the daytime lighting and the sun waves have been artistically painted.

Our readers would like to know if you have deliberately chosen that time of the day to unite the lighting and the buildings together? Maybe to increase the livelihood? Any particular reason?

Painting is often called a silent art. I was told that professor at the Architecture school at Chalmers once have said that some facades are mute, some facades speak and still some facades sing. I interpret works of other architects and builders that have created our historic cities. When I paint I can sometimes feel that I am the “chef d’orchestre” who interprets works of composers i.e. the architects. I search for cityscapes that have history, rhythm and charisma and where I feel a mutual communication. When I paint a cityscape I feel that I am the owner of the motive, streets and properties. Still, perhaps audaciously said, I am per happens more an owner that the real estate owners of the properties themselves. When I paint, I feel as if I am present on the place. I experience the bricks and mortar and the mouth blown window glass panes that reflect the light. I feel I am within the painting myself. If the walls could speak they would reverberate the human sounds of activities and events that have taken place through the ages. I would like to put the question: To what extent is it possible to own a property? You cannot physically be in all spaces simultaneously; you cannot grasp with your hands all the bricks and windows. When you pass away you cannot bring the property with you. The notion and idea of the cityscape with its properties would possible remain on equal psychologic value and level as the notion of my painting. The paintings are my given “concerts” where I hope the audience will be able to consume at least some part of what I wish to communicate.

According to our readers’ observation, you haven’t focused much on humans inside the paintings and painted them like shadows or ghosts. This gets interesting in “Brolaeggerstraede Copenhagen,” where a group of people are painted like ghosts on the left side. What was your purpose for such a decision?

I think most activities what is happening in a street or a market place are insignificant. I have heard that Canaletto had a specialized painter who painted only the people in his Venetian paintings. What are the portrayed figures doing? Not very remarkable things I presume; quite ordinary and normal activities. If there were no people at all, how would we experience the paintings of Canaletto? Compared to music, some concertos could favourably be played without some instruments in the orchestra.

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Some superfluous instrument may destroy the concerto. As a comparison, If you cook some spices may enhance the dish and in the same way also capable to destroy the dish. The appropriate dosage of humans, dogs and activities etc. in my painting is always a challenge. If you walk in a street, to what degree you observe surroundings, houses and activities? I think it is very individual and dependent on the circumstances. I do not think we always try to understand everything what is happening in the street. Why do they need to inspect the waste water on Knabrostraede? Why is a man crossing the street and talking to a dog? These activities are a part of our human civilization in the cities. We know intrinsically what normal and extraordinary events in the city are. Similar to a still life painting that represents materials in a meditative way, I feel sometimes that buildings and street do not need any particular figure whereby the street paving or the brick walls are able to speak for themselves. Sometimes I feel I would like to create a painting as a catalyst for story telling or even a thriller that occurs in the mind of the spectator.

The brick walls are carefully painted and look very realistic in “Break at St Nicholas Church Copenhagen.” In addition, some of our readers were curious about a couple of details such as the dog collar in a man’s hand in “Nikolajgade,” or the people repairing a car at the left side of the street in “Knabrostraede Copenhagen,” while as mentioned before, humans have been painted almost transparent. Was painting such details intentional in some of your paintings? Why? Perhaps I answered a bit of that question above. I find it interesting to portray buildings and spaces that have hosted humans and animals for a long time. Similarly as today, people 200 years ago had also the everyday life problems and must-does that had be dealt with. There problems disappeared when the inhabitants passed away. The cityscapes become some kind of a time machine. We can imagine that the walls have recorded all events in time. An everyday issue in 1721 has possibly the same value as an every issue of today since we all sooner or later leave the present dimension. Inevitably our everyday must-do’s fade way in time but the scene is still there. Still, as I am a scientist I confess that I am a bit contradictory; I do not state that there are necessarily ghosts however we have all the notion of ghosts which give me a reason to include other possible dimensions in my paintings. There are three main elements in my paintings (1) tangible constructions; street, houses, squares, (2) air, space and ether and (3) beings in some extent that perform some activity. In Northern Europe in particular it is regarded as a bit strange to stand still on a street. Interestingly a street can be regarded as a transportation tube where you feel forced to move either upwards or downwards in two dimensions. However we need additionally the street as a an intrinsic experience of city where the space of the streets has a value of its own as described by both e.g. Jan Gehl and Camillo Sitte.

Selecting the artistic scenes is one of the cornerstones of cityscapes art. Please describe to our readers how you find the best and most relevant scenes from urban areas, cities, streets, and buildings in terms of lighting, angle, objects, and the crowd (if not trade secrets). What do you recommend to those who love to paint cityscapes and want to follow this path?

There are two relevant distinctions of communication of my paintings: (1) ubiquitously well-known cityscapes like old city core of Europe and (2) unknown cityscapes. The former distinction can be compared to another concerto in a row of thousands of given concert of a well-known composer (or here a well-known motive), just with an individual interpretation that somehow challenges the former interpretations. Certainly when painting a well-known cityscape you must be the composer as well. My approach is to paint the buildings but primarily the spaces between and around buildings. A challenge is to make the appropriate cut that permits description of appropriate amount of the architecture of each relevant building that is partially portrayed.

The second distinction is freer; nobody else has earlier painted this cityscape. The composition with light and colour might be a pioneering work without comparison to other interpretations. Here I am more both the composer and the interpreter.

The audience give the grades if it was worth consuming or if it was an interesting and new approach. Will they come back for another look and will the painting give rise to another question in the minds? If yes, I feel that I have achieved something.

My recommendations are: never take a single photo and paint after it because then it is a risk of misinterpreting the structures and spaces. Take multiple photos and draw sketches in situ. Study maps to see and analyse the surroundings. Often I have to construct the lightning angle of the sun. It is important to be sure about where the directions of points of compass are. I do not find it necessary to portray the photographic reality per se but rather to create art, in order to communicate my ideas and explain structures that I want to express.

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Based on research I find it motivated to adjust the motive; for example the painting “Rosenborg castle” has today a brick walled door opening where it was once upon a time a real door. Here I permitted myself to reinsert the door opening (the lighted opening).

I must acknowledge that most of the facades I have painted I have also been physically close to and touched with my hands. When painting a cityscape of especially buildings with dense ornamentation, the challenge is to simplify according to your honest personal painting manner. For me the lightning and reflections are more important than ornaments. Here I may be more influenced by the Venetian motives painted by Guardi, Renoir and Monet who omitted details. In my paintings I use mostly layer technique and very rarely alla prima. This gives the effect that there are multiple nuances and colours in every square centimetre and renders the painting somehow to vibrate. Additionally free hand painting is preferred; I rarely use a ruler to make strokes.

The structure of design and proportions of the buildings must not be neglected. Does the pillar carry the upper levels appropriately? Does this part protrude from the main façade? When I discover a major error of proportions or structure I never hesitate to make radical corrections even if it may be very time consuming.

Frequent visits in studied places are important for me. It is especially an interesting and mixed feeling to visit a place after finishing the painting.

Surely our readers will become even more interested in your work after reading your viewpoints here. And they might ask for more! Any upcoming works or future projects that you would like to share with our readers?

At the moment I work with a series of three paintings of São Paulo which has only modern buildings. I do not feel obliged to select only ancient city cores of the old world. The importance is the activities, the lightning and the space between buildings.

I would like to thank the reviewers for the thorough and interesting questions. It gave me undoubtedly reason to reflect on raison d’être of my approach. I diverted perhaps away a bit when I searched to answer the questions; however I hope I have succeeded in some extent to convey my approach on painting and architecture.

(Worth to mention here, since I hold a PhD, I am occasionally invited as a reviewer for the scientific journal "Journal of Cultural Heritage Management and Sustainable Development") Well, very happy to hear that Paul. That was a very inspiring talk and once again, I would like to thank you for your time and kindness to accept our invitation. I hope to hear more about you in the future. Good luck and best wishes.

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That's it!

We hope that this interview answered a considerable part of your questions about Paul's artistic mind.

If you want to ask your own question, please scan the QR code and proceed.

Paul Dettwiler

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Brolaeggerstraede Copenhagen Painting, Chiaroscuro on Canvas W:75 H:75 D:3 cm 2020 Paul Dettwiler

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Knabrostraede Copenhagen Painting, Chiaroscuro on Canvas W:75 H:75 D:3 cm 2020 Paul Dettwiler

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Magstraede Copenhagen Painting, Chiaroscuro on Canvas W:60 H:60 D:2 cm 2020 Paul Dettwiler

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A Midsummer night dream Rosenborg castle Painting, Chiaroscuro on Canvas W:75 H:75 D:2 cm 2020 Paul Dettwiler

nb, the open door in the castle has been covered with a wall since hundreds of years. The walls speak to us.

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Chan Suk On Photography

Chan Suk On was born and lives in Hong Kong. She graduated from the Hong Kong Polytechnic University with a Bachelor of Photographic Design. She gained her Masters of Arts in Fine Arts at the Chinese University of Hong Kong. On is an editor, photographer and artist. She is inspired by everyday life experiences. Her journey is going from documentary photography to conceptual art. She has participated in expos in Hong Kong, Taiwan, Japan, China and United States.

biafarin.com/artist?name=chan-suk

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Art Manual 02 Photography, Digital Photography on Paper W:50 H:50 cm 2018 Chan Suk On

My artwork is “Art Manual”, I used an expired camera manual to create a new life. Does art need to be explained? I picked up the sundries in the room. Time passed, the thick camera manual was outdated, and the camera model was constantly updated. In the consumerism, people always chase the updated model.

Everything can be changed. I tried to fold different sculptural forms. The texts were about photography randomly distributed. It is a poetic process.

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Boo Painting, Acrylic on Paper - Cotton W:23 H:31 cm 2021 Cher Pruys

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Cher Pruys Photography, Painting, Drawing

Cher Pruys, ASAA SCA, IGOR, AAPL, CSAA, AMS, LMS, OSA, MAA, CFA, NOAPS. "To take my inner visions with my hands and create a work of art for you the viewer .... That is the ultimate in self expression."

Cher Pruys was born in Regina. Over the years she lived in many places including Saskatoon, Calgary, Edmonton, Ottawa, Fort Frances, settling into her present home in Devlin, on the banks of the Rainy River with her husband Mark, 4 dogs and 2 cats.

By age three, Cher was seldom found without a drawing tool in hand. She worked in pencil, charcoal and ink over the years, until, she picked up a paintbrush at the age of 35. Beginning with oil paints, she found her chosen mediums in acrylic, water color and gouache.

Although self taught, her dedication and talent has seen her work juried into 160 International exhibits, as well as exhibits in numerous non juried shows. She has 153 awards for her work in the International Juried Exhibits. Included in these awards, the first recipient of a major Canadian National Award, The Mary Pratt Crystal Award of Excellence at the 2014 SCA Open Juried Exhibition, The SCA 1st place award of distinction twice respectively, 2016, and 2017 at The Canada’s 150 show. The SCA 2nd place Award of Distinction in the 2021 Elected Members Show. October 2021 Winner of The Exclusive Harmony of The Arts Contest by The Blue Blood Gallery in Prague. The Gold Medal recipient for Figurative Painting in The Mondial Art Academia’s International 2018 Competition. The Silver Medal for Portrait Painting in The 2020 International Art Professional World Art Acadamia Competition. The Aviation Week & Space Technology Award Best of the Best, and the ASAA Award of Distinction for the best painting in the ASAA International Space & Technology Exhibit & Competition, consecutively for 2 years. In 2020 she was awarded with the most wins in The American Art International Awards. She has had 14 solo exhibits. Cher is also an avid fused glass artist, and a certified teacher of piano and guitar. Her painting "The Bubble" had the honour of being part of the Masterworks from The International Guild of Realism Tour. Her work has graced the covers of 3 books, 26 magazines, the latest being The Best Of Acrylic Fall 2021, and has-been featured in over 106 international publications. Cher's works have found a permanent home in private and public collections worldwide.

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Carousel Painting, Acrylic on Paper - Cotton W:28 H:20 cm 2020 - 2021 The workmanship on this carousel in the beautiful city of Paris is superb!

Cher Pruys

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Heritage Softail Classic Painting, Acrylic on Paper - Cotton W:31 H:23 cm 2021 What a beautiful machine this Heritage Softail Classic is.

Cher Pruys

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Snow Much Fun Painting, Acrylic on Paper - Cotton W:23 H:31 cm 2021 These two cousins are having so much fun enjoying the last few days of winter sledding!

Cher Pruys

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Unforgettable Painting, Acrylic on Paper - Cotton W:38 H:46 cm 2021 Cher Pruys

Sammy was a ray of sunshine and positivity to everyone who was blessed enough to have known her...always in our thoughts.

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Families Are Forever or the Source Digital Arts W:16 H:16 in 2021 Elzbieta Zdunek

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Elzbieta Zdunek Digital Arts, Collage, Mixed Media, Photography

Elzbieta “Ela” Zdunek is a photographer and collagist based in Helsinki, Finland. While art has always been present in her life, it was the pandemic and the lockdown when collaging became her main form of expression.

Collaging is like life. What we encounter is not always of our choice, people, events, shapes; it is up to us to decide how do we combine and interpret those elements. Collaging is taking and reclaiming agency, telling a story instead of allowing it to be told.

Ela’s works focus on humanity and personality. The mannequins, so scarily human and devoid of humanity at the same time, they're portrayed in the moment of change, the moment when the reality happens and comes to live. The style resembling movies from the silent era indicates how patterns and history repeat, and yet we keep on being surprised with the local and global events. I like to think that we are again in the roaring twenties, equally tired, broken, and full of hope as hundred years ago.

Publications and Exhibitions: August 2021: CONNECTION Exhibition, Art Fluent (US) April 2021: Award of Merit, “Anything” Exhibition, Gallery Ring (US) April 2021: NYC ArtWalk, Art Fair, Brooklyn (US) March 2021: Artist of the Week, Oddball Space (UK) March 2021: Women in Art Exhibition, Las Laguna Art Gallery (US) February 2021: The Working Artist Magazine (UK) February 2021: Art Hole Magazine (UK) January-February 2021: Body-Mind-Spirit Exhibition, JMane Gallery (US) January-February 2021: RE:INVENT Exhibition, GalleryA118 (US) October 2020: First Prize Photography Competition “Monochrome”, Photographers in Finland September 2020: Feature, Gallery Dreaming in Collages (online) November 2019: Our Amazing Planet Photography Exhibition (IL) October 2019: Amazing Architecture Photography Exhibition, Art Market Budapest (HU) August 2019: Borders Photography Exhibition, Hinterland Gallery (AT)

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Citizen Erased

Digital Arts | W:16 H:16 in | 2021 | AW127015956

Elzbieta Zdunek: Melancholic, Nostalgic Nancy Krüger Interviewer

Elizbetia, we appreciate the time you take to answer our questions through this interview. Our readers would like to know you more, so, please go through your artistic history and let them know how you decided to become a visual artist?

I loved painting, drawing, and crafting as a kid. I remember imagining a fantasy world and stories and bringing what I was seeing in life on paper. My biggest source of inspiration was the Brothers’ Grimm Fairy Tales, both the princesses and the macabre. Like many young children, I listened to others and chose a “reasonable” study and career path. I always missed art. After some time, that door opened for me again when I got interested in photography. When photographing, from the beginning I’ve been drowned in shadows and reflection. Often, it is not about the object as such, but about how it is perceived. I like asking the question “what is real?”.

It was in the moments of change and stress when art became my solace and escapism. Just like when I was a kid, imaginary worlds and stories helped me to cope. This happened with heartbreaks, relocations, layoffs due to Covid… The creative process helped me express and soothe my emotions, talk in a language different than verbal.

I was lucky to discover United Art Space, a place for artists at different stages of their careers. The group gave me both confidence and motivation – I have always been competitive! – to share my work and approach galleries. Seeing my works exhibited – even virtually – gives me an additional fuel to be bold.

What an enjoyable story! Your childhood interest in art resurfaced a short time later, and this time it peaked.

Was there ever a moment of doubt to question your art career entirely?

Oh yes! I am constantly in discussion with myself, can my works be even considered art. The biggest source of my doubts is the medium,. Does putting various elements together require any skill? Intellectually, I realize that art is a broad term and that different forms of creative expression resonate with different audiences; emotions, however, have their own logic. When interacting with amazing art I feel a mixture of admiration, envy, anxiety, but also motivation to practice and develop. I’ve been lucky to receive tiny nudges to go on whenever I was feeling doubts, and I still have many stories to tell.

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Take us to your studio, Elzbieta, and tell our readers, What is your daily routine when working in your studio?

I started seriously practicing when I was laid off from my professional job during the pandemic. It was important for me to have a fixed schedule to create the habit to focus and create, even when ideas weren’t flowing. After going back to the full-time job, I had to become more flexible and create whenever I can.

My favorite time for work is morning and early afternoon. Often I have a detailed vision or a general idea, what do I want to express or what elements do I want to include, but sometimes, I just go with the flow and try to mix and match various elements on the go.

And now the exciting part of the interview from our readers’ viewpoint. About artist’s artworks. Take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

Often, I have a detailed vision or a general idea, but sometimes, I need to improvise, and combine different elements until something clicks and a story appears. Usually, I start with the background. This way, I can visualize all the layers, the composition, the contrast. The minimalist, geometric backgrounds play a crucial part in the stories I tells, and many works suddenly got a completely new meaning when I moved the elements to a different background.

One of my favorite activities and something that usually brings a lot of inspiration is looking for new elements to incorporate. Mannequins are a common theme in my works, and new images open doors to new stories.

Suddenly, the characters interact in a completely new way and invoke completely new feelings.

Great job. Some artists make connections between the ideas of their artworks by using commonly related concepts. Is there a central concept connecting all your works together or each series or artwork is unique?

Mannequins are a common theme in my current work. They represent us, both me, personally, and us, the society. Them being so eerily alive and dead at the same time, I can address dark, uncomfortable, and sad topics, like fear, the romanticization of death and suicide, mental health, impossible standards. Mannequins allow us to portray the issues with a human in mind, and at the same time, how dehumanizing many concepts are.

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I am fascinated with the topic of nature versus nurture and how we and our environment influence and impact each other. I find incredible all the layers we have inside and how interconnected they are. I look at repeating patterns in the history of humanity, how often what we are free to choose has been chosen for us beforehand, at all our biases, etc. I am really interested in education and other forms of impact and influence. They’re extremely powerful tools; done well, they can change the world; done badly, they stifle and destroy. The making and breaking, are the juxtapositions I want to show.

The style, with the art deco frames, is a nod towards the movies from the silent era. We are now yet again in the roaring twenties and the world – and us – has changed a lot, but many things, like hopes, fears, anxieties, needs, and wants, remained the same.

Your mannequins are portrayed, in the moment of change, the moment when the reality is formed and comes to life within your artwork. Now, which one? Providing a clear artwork description for the viewers or letting them blaze their own conceptual trail? Would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience?

Each artwork is telling a story, but I like when the audience gives their interpretation. The same topic might mean and trigger different emotions, and it’s the beauty of art. Interpretation is also a type of feedback: do many stories, symbols, and metaphors resonate?

The things that artists hear, see, or even read, inspires them and gives them a new idea for creating. How do you seek and use inspiration for your works?

I have both internal and external sources of inspiration. Many of my works portray my own fears and anxieties.

External sources are songs, films, stories, other artworks. Usually, it’s a tiny piece that stays with me and that I later interpret in my own way, a word, an expression. Often the thread that links the original work with mine is extremely thin in the end. I like looking at those artworks and trying to reconstruct the thought process, how did I get from THIS to THAT. Once I had an opposite case. Without thinking of anything I created a collage that suddenly reminded me of a song, and the connection was uncanny!

And, when you work through these inspirations, you actually turn them into an artwork. What about the subjects? How do you select your artworks subjects? Where they come from?

My topics are very closely linked to my interests. I am fascinated with the concept of nature versus nurture, as well as connections between the people in society. There are endless angles they can be approached and endless conditions to take into consideration. I believe that mannequins perfectly portray those concepts. I used them for the first time in a work about anonymity in the crowd. They allowed me to show how we are so alike and yet different, the lifelessness and apathy, the visible and invisible wounds. They became my go-to characters.

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Actually, you are genuinely interested and engaged in the subjects you use in your artworks. Is there an artwork or series that you would like to be remembered for? And if yes, what is it?

My favorite artwork is Tomorrow Belongs To Me. It very clearly marks the beginning of my current style. What I particularly like about it is the ambiguity. The title comes from the famous song from the movie Cabaret. The figure in my Collage has just severed the ties with the hand that manipulates it, it is tired and broken. It is impossible to say, has it been defeated or has it won; due to the association with the song, it is impossible to say, is the result a blessing or a curse. I am happy with how I captured the exact moment of a crucial change, when anything can happen. This piece seems to resonate the most with the audience and it was my first artwork ever exhibited.

What are your art influences? Who are your favorite contemporary or historical artists, and why?

I discovered digital collages through the works of Russian collagists, Julia Malkova and Serg Nehaev. I am still hoping that one day I will be able to create such masterpieces myself.

Probably I will not be original when I say that I admire artists like Hieronymus Bosch and Salvador Dali. Besides ultimate creativity and astonishing skills, I admire their storytelling. Elements aren’t there for the surreal effect or shock, each one of them matters and is coherent.

Stylistically, I absolutely love works by Man Ray. The minimalist, black-and-white concept is something I try to emulate in my works.

Elzbieta, if you could meet one of your ideal artists from the past, who would it be and what will you ask about?

I would really like to talk to Jackson Pollock. He was considered to have a little natural talent for art, but his love, dedication, and persistence made him learn a lot and become one of the greatest painters of the twentieth century. I would like to ask him about his mentors, the most valuable lessons, how did he deal with disappointment and discouragement. Doubt is what all the artists have in common; I want to know about the moments when Jackson Pollock inevitably thought of giving up and what made him persist. I would also ask about the methods he used to learn. “Practice” is a broad term, one method might work but another, not at all.

What I find extremely fascinating is the effort and I want to know the thought process behind it.

We have some avid readers waiting for your future works. Any upcoming works or future projects that you would like to share with our readers?

After having focused so much on the dark side, I am working on letting more light in. I will not share details at this moment, though!

So, let it be an Elzbieta's secret. Maybe it's more exciting that way. We are grateful for your time and the way you brought up your story for our readers. Thank you again for accepting our invitation. I hope to hear more about you in the future.

❇

Here is the end of this interview with Elzbieta's. We hope that you enjoyed it and if you want to ask your own question from her, please scan the QR code and proceed.

Elzbieta Zdunek

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Re-Birth Digital Arts W:16 H:16 in 2021 Elzbieta Zdunek

Digital Collage

A digital collage showing the hopes and fears we are facing, and the constant need to improve.

The closed door symbolizes loneliness and lack of connection. The style is both a homage to the movies from the silent era, as well as a bitter-sweet celebration of the anniversary of the roaring twenties,

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Reigning Monarchy Digital Arts W:16 H:16 in 2021 Digital Collage Elzbieta Zdunek

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The Feast/The Lust Digital Arts W:16 H:16 in 2021 Elzbieta Zdunek

Digital Collage

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Tomorrow Belongs To Me Digital Arts W:16 H:16 in 2020 Digital Collage Elzbieta Zdunek

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Lioness Drawing, Ink on Canvas W:54 H:75 cm 2021 Joanna Jass

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Joanna Jass Drawing, Painting

From a young age, Joanna knew, in some form, art would be a huge part of her life. She was born in London, England 1984. Both her parents are hugely creative. Growing up in such an environment, naturally led her, to drift down an artistic avenue and career path.

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Down the Rabbit Hole Drawing, Ink on Canvas W:123 H:33 cm 2020 Joanna Jass

Snakes and Rabbits: with the idea of a snake pit in mind, I wanted to create a fully loaded 2D surface. That exudes chaos. The fact that the snakes and rabbits are cut off at the edges, suggests that this image continues infinitely. Each creature is different and unique, much like us.

My graphic style is drawn from my interests in comics and anime. A subject I did a paper on in university. Graphic novels are methodical and organised. They have to be to tell the story. I find it interesting to completely break those barriers and deliver an antonym to that notion. I use excessive detail on my drawings, which helps to form dimension but also questions the viewing distance.

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Ramblar the Tiger Drawing, Ink on Leather W:50 H:50 cm 2021 Joanna Jass

Tattoo: A tattoo is a firm of body modification where a design is made by inserting ink dyes and/or pigments, either indelible or temporary into the dermis layer of the skinI believe a tattoo should reflect the wearer’s individual taste and style as well as displaying the skill-set and artistic outlook of the tattooist. Through delicate application and artistic vision the art of tattoo enables skin to be a form of canvas, allowing a collaboration that produces a unique and meaningful result. Mixing design motifs, whether contemporary or traditional with the historical art of tattoo, artists of today are continuing to push boundaries. Through individual flare and will to master the craft.&nb...

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Snakepit Drawing, Ink on Canvas W:33 H:23 cm 2020 Joanna Jass

Snakes and Rabbits: with the idea of a snake pit in mind, I wanted to create a fully loaded 2D surface. That exudes chaos. The fact that the snakes and rabbits are cut off at the edges, suggests that this image continues infinitely. Each creature is different and unique, much like us.

My graphic style is drawn from my interests in comics and anime. A subject I did a paper on in university. Graphic novels are methodical and organised. They have to be to tell the story. I find it interesting to completely break those barriers and deliver an antonym to that notion. I use excessive detail on my drawings, which helps to form dimension but also questions the viewing distance.

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Tiger 1 Painting, Ink on Paper W:69 H:50 cm 2021 Joanna Jass

Using the eggshell paper here i wanted to create a dreamlike, serene moment if a tiger in it’s element, sleak, beautiful, radiant.

The problems I faced using a brush and ink. The highly absorbsnt surface extended the time to create. The loosely mixed paint created areas that have a different texture, therefore changing the behaviour of the ink. Surprisingly, these works helped me beyond belief when I transferred to a tattoo gun as seen in my most recent work. #Ramblar

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Viacera Sensus Installation, Mixed Media on Fabric W:11 H:7 D:3 in 2020 Hairuo Ding

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Hairuo Ding Painting, Mixed Media

Hairuo Ding is a prominent contemporary jewelry artist. For her, art is the interpretation of the world and she expresses her findings through her jewelry creations. Her reputation is revived in recent years by the invitation to participate in numerous countries all over the world .She loves to exploring the infinite possibilities of various materials and breaking the normal size and wearing style of traditional art jewelry. Her mixed media artworks wrestle with notions of introspection and the artist’s place facing life’s surrealistic journeys. She focus on the question “ what do I look for?” Ultimately it’s these elusive notions that fuel the artist’s sense of urgency to explore more and create a practice that reflects something tangible in the world.

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Abandoned

Jewelry | W:2 H:3 D:2 in | 2021 | AW127624220

Hairuo Ding: Intense Clashing Marian White Interviewer

Hairuo, thank you for accepting our invitation to talk about your artistic life and your impressive art of jewelry through this interview. Tell us about your artistic background story line and key moments which made you decided to follow your career as a visual artist?

Since the first time I made handmade stuff in my childhood, my entertainment activities have been almost handmade and painting. I have an almost persistent obsession with artistic creation, although I didn't know it was art at that time.

All I know was that it made me feel really happy to keep achieving the ideas that pop up in my head. Like when I finished with the school day, or when I was in a bad mood, it calmed me down and relieved stress by staying alone to create artwork. Therefore, I chose to major in jewelry design when I was an undergraduate, I love seeing people wear my designs, and that connection between art and the human body. After finishing my studies, based on my obsession with contemporary jewelry art, I came to America to continue my postgraduate study. During this period, I became more and more inspired and integrated into this field. It confirmed to me that this is what I love to do and that this is the path I want to spend my life on.

“A connection between art and the human body”, what an impressive interpretation! We know you started this art enthusiastically and continued this way willingly, but was there ever a moment of doubt to question your art career entirely?

The writer, Jonathan Lethem, has said that when people call something “original”, nine out of ten times they just don’t know the references or the original sources involved. So it's like nothing comes from nowhere, at some time in the past, I began to doubt the nature of art, what is art, that we are just transforming what we see, that there is no clear boundary to the value of art, so all of this can be meaningless in some sense, and felt that maybe I was just pretending to be an artist, “there is nothing new under the sun.” Then I've been discussing this with a lot of artists, and I find that they both have similar feelings at some points, that made me felt very interesting, and it's still a question worth discussing.

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That’s true. People may have this challenge with themselves in everything they create. Hairuo, do you paint every day? What is your daily routine when working in your studio?

I tend to be more active and creative thinking at night, so during the day, I prefer to do a lot of “non-thinking” things, like testing materials, making models, soldering and polishing, etc., I also go to other people's benches to discuss their artwork and exchange ideas. I think it's important to keep the conversation going between artists, and they can often bring perspectives that you don't see, this can elevate your work or inspire new ideas, so when I’m working on something, I might be like to stay alone, and don't like to be disturbed, but in my breaks, I enjoy going around and talk to people. After dinner, I'll get into the thinking parts, such as sketching, researching and researching new ideas, I feel like the world is quieter and my mind is much clearer than during the day.

It’s so great that you have a sense of curiosity and you are constantly researching and experimenting during the day to do your best. Now, take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

There is no set process because sometimes my inspiration come from a thought or a book; sometimes it doesn't even have a concept at first, it could come from a material or an object. Such as before I have a set of works from my interest in bamboo, so it took me a long time to study and research the bamboo material, and with hundreds of ways to test it, cutting, coloring, burning... then I did records, models, to compare and thinking, according to the effect of the material, I would constantly generate new ideas. The final work and the real concept are often produced in the process of the experiment. However, if my inspiration comes from a specific thought or a topic, then the process will be reversed. I would do some research on this concept first and then look for appropriate materials. I would try different materials to find the one that best fits the concept I want to express.

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Good job! You try your best to convey the feeling you really want. Do you seek a relevant and identical concept or style in your artworks? In other words, is there a central concept connecting all your works together or each series or artwork is unique?

I like to keep trying on a different concept, and also challenge completely different styles. Sometimes they even could be two extremes. I think I just enjoy looking for the possibility of my creation. I hope there is no end to this possibility, which is also the reason why I have always been passionate about creation. Art just has infinite possibilities. When I create a concept, in the process of thinking and testing, I would often trigger other thoughts or discover new materials, and I would record them, all of which will become the possibility of my next concept.

You mentioned about the challenge. Do you want to invite your audience to a challenge as well? Would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience?

I think it depends on a different concept and the size of the work. If it is a large installation, I tend to give the audience the most striking and pure visual experience. The moment they see, their feeling is what I want to learn about. But for a few topics, I also wanted to let the audience think about the metaphor behind the work, such as one of my works about mental disease, I chose very bright colors, made of the brain electronic activity mapping of 96 patients who have a mental illness. They look very beautiful and bright, it seems like a very positive and cheerful work, but the real implication is very heavy. This sense of contrast, sometimes, is also what I hope to bring to the audience. Leave the room for thinking can also enable the audience to have a deeper understanding of the work.

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Very well. Apart from inspiring the audience, how do you seek and use inspiration for your works? Do you discover it inwards and towards yourself or outward to the rest of the world?

My inspiration can be from everywhere, I'm not trying to find them. They are always like something that aroused my resonance. Such as I have a period of time in high pressure, the mood is very bad, I will go to study the negative emotions, and made relevant work, my work "Soaking and Silence" was after I quarreled with a friend, then my thinking and exploration was about the electrostatic instability of emotions and interaction between human being and the perspective of self-consciousness. Sometimes just a book, like after I read “Life After Life” by Kate Atkinson. It made me thinking about life. I produced a question: if you could repeat your life constantly until you were satisfied, would you dare do so? According to this question and thinking, I made the series of works of "Equinox Flower".

What an interesting question! And what about the subjects? How do you select your artworks subjects? Where they come from?

Art comes from life. My works always come from my life experiences, setbacks, or things that happened around me. I think there is no need to select the subjects deliberately. Most of the time, it comes from my passion for an object or material, or a certain stage in the life of doubt, think, or a social phenomenon that really interests me, the behavior of people, etc. From my perspective, sometimes your love for material or even just a flower on the side of the road, both can be the reason for your subject. There is no “better” here. What you want to do most, what you want to express most, is the best. After I was attracted by things, I would like to further explore, research and think, and then hope to need to think about by themselves share the results of my thinking with everyone through my artworks. Or sometimes these subjects of works don’t have an answer, I'm just throwing out a question or the ironic contrast.

Your final presentations are meticulously created using the finest materials, resulting in thoughtful, phenomenal designs that will last a lifetime. Is there an artwork or series that you would like to be remembered for? And if yes, what is it?

My favorite series is "Voice of Bamboo", not because of how good it is. On the contrary, it has many deficiencies compared with other works. However, it was my first work of contemporary art jewelry, so it means a lot and worth remembering. The series of designs come from my love of China’s bamboo culture. I worried this aspect is fading from people’s lives, which is why I chose to review and reconsider the meaning of bamboo in a contemporary context. I went to the place where the bamboo had the most, there has a factory that was responsible for creating and processing the bamboo production, and I studied there for three months, trying to study the material as much as possible. Therefore, this experience was very special for me, and also gave me a preliminary change in my thinking from traditional art jewelry to contemporary art jewelry.

What a valuable source of inspiration! Now, what are your art influences? Who are your favorite contemporary or historical artists and why?

There are a lot of great artists there, but the one who influenced me the most was Francesco Albano. When I first saw his works "The Age of Games Has Gone" and "On The Eve", I still remember the shock of my heart. I couldn't even find words to describe it, I’ve never seen anything like that, I was both amazed and disturbed by his work, I felt the life and soul of it, like an instant connection. Because most of my works in the past two years focused on the unavoidable decay of the body. His bold style and deformed body shape have brought great influence and impact to me. It turned out that terror and beauty, disturbed and serenity, really can exist at the same time.

Francesco Albano is known as an a courageous artist. If you could meet one of your ideal artists from the past, would it be him or others and what will you ask about?

Roger Ballen is one of my favorite artists, "if you see my work feel uncomfortable, it may be they opened the part that you don't want to face". All the people, as anyone who had seen his work, it is impossible to forget it.

I would like to ask him, after finished his Ph.D. degree, what made him determined to remote villages in South Africa. Settled in there, to insist on record and create the presence of those who fight for the humble greatness, especially during that period. His village had experienced great unrest in South Africa, under the apartheid policy of immigrants. It wasn't easy living in South Africa for a long time under the worst public security, mortality rates are the highest in slums, facing the change every day, fear, alienation and exclusion.

But under this kind of circumstance, everything he created was breathtaking.

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Sure it is. So is your art of jewelry, your installations, and clay sculptures are very eye-catching and popular among our readers. All of us are looking forward to seeing your upcoming series impatiently. Any upcoming works or future projects that you would like to share with our readers?

The series that I'm going to be working on is about all the different aspects of life, people with different identities struggle in society, as well as the inner pain that people hide behind the mask of a smile. We are fed on a daily banquet of stress and pressure. We imprison our spirit and take on the mantle. I want to show the unavoidable decaying of the body in its inhuman attempt to survive life. Also, I have become obsessed with clay sculpture lately, which is very patient and meticulous work. I'm trying to do this with a more subtle expression technique than something abstract. But I do not want to use traditional clay sculpture materials. I may try new materials, but use sculpture techniques to carve different figures in combination with my concept. They will also be wearable, I want them to have a connection with the human body.

Well, very happy to hear that Hairuo. That was a very deep and inspiring. Once again, I would like to thank you for your time and to accept our invitation. I hope to hear more about you in the future. Good luck and best wishes.

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Thanks for reading this interview. We hope that it answered a considerable part of your questions about Hairuo's art. If you want to ask more questions, please scan the QR code and proceed.

Hairuo Ding

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Breath Jewelry, Clay, Enameling W:5 H:6 D:1 in 2021 Silicone，Clay，Paper，Enamel，Chicken Wire，Steel Hairuo Ding

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Decay Jewelry, Clay W:40 H:82 D:3 in 2019 Silicone, Clay, Chicken Wire, Pigment, Beads, Thread, br Hairuo Ding

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Half Human Jewelry, Clay W:1 H:1 D:3 in 2021 Silver, Clay, Pigment Hairuo Ding

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Invisible Pain Installation W:46 H:33 D:1 in Hairuo Ding

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Memory III Jewelry, Clay W:4 H:11 D:1 in 2021 Nylon, Silver, Clay, Paper, Breads, Thread, Pearl Hairuo Ding

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Black and White Part II Painting, Acrylic on Canvas W:80 H:115 cm 2021 Patrick Joosten

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Patrick Joosten Painting

" L'essence de la couleur et de l'imaginaire - The essence of color and imagination" French Painter, born in Paris, France.

- Collector's Vision International Art Award - May 2021 - Winner Award "Artist of the Future" - Contemporary Art Curator - 14/11/2020 - Merit Prize Art show International 2021 I am predominantly a self-taught artist, and i am not following any particular artistic movement. I paint, draw for the pleasure of creation, hoping to share moments of emotion with those who appreciate modern art. I offer energetic, powerful abstract works, often inspired by nature, with the constant search to bring emotions and pleasure.

Influences: Picasso, Klimt, Egon Schiele, Basquiat, Richter, Rothko, Modigliani, Monet, Van Gogh, Kees Van Dongen.

Certified artist rating By A. Akoun.

Artistic representation: Sonia Monti Gallery Paris - Gallery Crillon Tokyo Patrick Joosten’s flowing gestures are full of emotional dedication. His artworks convince predominantly with the pathos of their colors. With his acrylic paintings, Joosten takes observers to a new reality, created by his wide brush stroke, and his way of scraping one color across the next to create unique transitions.

The traces of his tools bear witness to his process-oriented way of working.The texture of colored spaces is a special focus in his work. The resulting stretches of painting become screens of projection for the observer’s thoughts, emotions and dreams.

Abstraction seems to have grown a soul. At times, a deep Sky blue starts a conversation with bright red structures, or an immaterial lemon-yellow run into a figure sporting a gray design.”

biafarin.com/artist?name=patrick-joosten

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Extavaganza Painting, Acrylic on Canvas W:70 H:90 cm 2019 Trilogy of colors enhanced by a blue cross.

Patrick Joosten

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Glee Painting, Acrylic on Canvas W:80 H:115 cm 2021 Patrick Joosten

In this gloomy period of the pandemic, I wanted to make a sparkling canvas, colorful and full of gaiety and pleasant to watch. I have for that to use a palette of frank and vivid colors allowing to create I hope a pleasure to the person who will look at it.

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Galactica Painting, Acrylic on Canvas W:170 H:100 cm 2020 Patrick Joosten

Artistic vision of a planet and a hostile world, where the winds charged with toxic gases sweep sulfurous oceans and rock masses from previous fusion. Let's keep and maintain our planet Earth for the well being of humanity.

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Summer Dreams Painting, Acrylic on Canvas W:80 H:60 cm 2020 Patrick Joosten

The magnificent beauty of the colors of summer with an azure sky and the multitudes of iridescent colors of nature and the sea.

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Day N Night – Burying Time (The Daylight Deity) Sculpture, Mixed Media on Bronze W:20 H:45 D:15 in 2020 Youyou Hu

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Youyou Hu Sculpture

Youyou Hu was born and raised in Chongqing, China. No one in her family is engaged in the art industry, but she has been passionate about her art since she was a little child. After studying drawing for nearly 8 years, Youyou decided to enter the Sichuan Fine Arts Institute to study oil painting. However, after two more years of oil painting, she found that she could not fully resonate with that craft. Thus, she began to explore sculpture by herself, and after graduating from undergraduate studies, she came to the United States to deeply investigate her artistic expression in sculpture. After years of focused hard work at the Academy of Art University, Youyou became determined to become an expert sculptor. She knows that she still has a long way to go in pursuit of her art, but she also knows that making sculptures is where she belongs. She is home.

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Day N Night – Burying Time (The Moonlight)

Sculpture, Mixed Media on Ceramic | W:10 H:30 D:10 in | 2021 | AW127658546

Youyou Hu: Mysterious and Poetic Robin Weißbach Interviewer

Youyou, we really appreciate your taking the time out of your schedule to participate in this casual talk. Would you brief us about your artistic background and the story behind following your path as a visual artist?

I was born and raised in Chongqing, China. No one in my family is engaged in the art industry, but I have been passionate about art since I was a little child. When I was about the age to go to school, my parents sent me to an art class at a local elementary school to study drawing. I didn't draw well at that time, but I persisted with the support of my parents. Gradually, I started showing my talent in art. With more than six years of drawing and painting practice, I entered Sichuan’s Fine Arts Institute to study oil painting. However, after undergraduate studies, I decided to focus on creating sculptures and came to the United States to deeply investigate my artistic expression in sculpture, and after years of focused hard work at the Academy of Art University, I became determined to become an expert sculptor. I know I still have a long way to go in pursuit of my art, but I also know that creating art is where I belong.

And your unique sculptures that dazzle the eyes are pure proofs of your skill and creativity. Was there ever a moment of doubt to question and rethink your art career?

Materials and media are very important to artists. I think every artist's creation will go through a process of continuous exploration of materials and media. During my undergraduate study of oil painting, I had doubts about my own artistic career, because I still couldn't find a strong resonance with this medium. So I started to try to make sculptures. Gradually, I found that making sculptures can give full play to my talent. During the time of studying sculpture in the United States, I tried various materials and made various attempts. Maybe I will make more attempts in the future, but for now, I have gradually formed this creative form of mixed materials mainly composed of ceramics and copper.

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So, it seems when the artist knows how to mix various strong materials together and add a little bit of creativity, the work will continue with more confidence. How about a daily routine? What daily routine you choose when working in your studio?

Currently, I mainly work at both home and studio. Generally, where I work depends on my work progress.

Normally, if I need to use a computer to do digital sculpting I would work at home. I don't really have a regular routine, so I take a rest when I get tired, and I usually work before bed. I will go to the studio for remodeling and hand-sculpting. I usually go to the studio around 11 AM, and then work until dark and go home.

Very well. You spend most of your time working, both at home and in the studio. Now, take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

I usually spend a lot of time thinking about new projects, but my drafts are usually sloppy because my creative process is always full of changes anyway, such as material application and detailed design. I usually start making directly with familiar materials and thinking about the next steps. It's like climbing, I usually climb to a position and then think about where to climb next. When I was making the two main figures of Day N Night, I was going to turn them into ceramics, but I made the crowns before I cast the figures. However, I didn't take into account the shrinkage of the size of the ceramic figures, so I changed my plan and cast new ones to bronze. My creative process may be unplanned, but I enjoy the unexpected effects of this uncertainty. Many times, new solutions may be found.

This can be a time consuming process, but the result is worth following. In some artworks, you have established different kinds of relationships between concepts. Please elaborate if there is a central concept connecting all your works together or each series or artwork is separately created?

There is a central concept in each of my series, but each of my series may contain a different set of works. For example, my series sculpture project Day N Night-Burying time includes The Daylight, The Night, The Ghost and Monsters, and The Moonlight. The whole project is based on a mythical story from my imagination, which is the world of gods, ghosts, and monsters. This story is based on my own beliefs and concerns about the quick elapsing of time. Our lives are made up of countless days and nights. In this series, each different set I create by shaping different characters, giving them different characteristics, and creating different atmospheres. It's actually a bit like a character design. My new series may still be linked to this series, but I'll try new forms of creation.

It seems to be a very unique world you created! Some artworks have the ability to stand on their own with little need for description. They can have a direct impact on the viewer, while others may need a more detailed explanation. Generally, would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience?

I don't usually leave the audience with a very detailed interpretation of the work, but if there are multiple angles of concepts in a work I will show it all to the audience. I think everyone has a different understanding of a work, I don't like a too detailed description of the work to limit the audience's own understanding. Day N Night, for example, is an expression of my personal feelings about day and night, but perhaps the audience has their own interpretation. I think it's interesting to learn what the audience thinks.

True. Although a description is an essential part of formal analysis, it’s not enough on its own. audiences sometimes can surprise artists by their own inspirational versions of the story. Youyou, how do you seek and use inspiration for your works?

Most of the time, my work is inspired by Chinese culture and my personal experience and imagination. Ancient Chinese ghost literature, ancient art relics, museum, and nature are all places where I seek inspiration. I usually play some audio lectures about history while working, and I like to get some thoughts from the stories of the ancestors. I want to explore the relationship between the individual and the world. In my view, we are just like the sand in an hourglass, but each individual's life has its significance, and our stories are the proof of our existence. Even though we might not be that unique, we inherit and build upon our culture and history. Time, the passing is one of my moral inspiration from history, and thus want to create this series of Day N Night project. And for example, in ancient China, the golden three-legged crow represented the sun, so I took this as a symbol of The Daylight.

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It is a rich and great ancient source you utilize. What about your subjects? How do you select your artworks subjects? Where they come from?

Usually, the subject matter of my work comes from random sources, most of the time from a certain feeling at some point. Just like The Moonlight project is a striking expression of quiet beauty. In my childhood, I would return to the countryside for fun during every winter and summer vacation. The night was dark, and the moon is extraordinarily bright in the night sky. The night was quiet, and only the sound of insects accompanied into the dreamland. As I got older, so does it. But those childhood memories have always been with me, affecting me. Most children today have lost such an experience of being close to nature. So I wanted to convey to the audience, in the form of an artwork, how I felt about such a quiet night with a bright moon.

Naturally, artists want their artwork to be remembered, but they think about some of them more concretely. Is there an artwork or series that you would like to be remembered for? And if yes, what is it?

As for the work that I will always remember must be the Day N Night. First of all, the work took me three years to complete, and every detail was done through myself and all the skills I learned in the United States. Second of all, this period of living in the US is worth remembering, this is the first time I left home and my parents in a foreign country across the ocean to live alone. All of this is on my own, is my real growth time. The whole creation of this work reminds me to reflect on whether I am wasted every day or is meaningful. Another big thing about this series of works is that it gives me a taste of success, and I feel like I'm doing what I want to do and I'm becoming a real artist.

I'm sure the journey worth the growth you mentioned. Let's talk about your key influences. What are your art influences? Who are your favorite contemporary or historical artists and why?

My personal favorite and influenced artist is Cai Guoqiang. When I saw his work Ladder to The Haven for the first time, although it was only a video, I was still greatly shocked. Even if the work itself is fleeting, I will remember it forever. Cai once emphasized the importance of materials to artists, and he used gunpowder as a unique material to create. Gunpowder is more meaningful to Chinese people than foreigners, because gunpowder is one of the four great inventions of Chinese people. Although gunpowder was invented, the Chinese did not use it as a weapon, but were obsessed with the fleeting beauty of fireworks exploding and burning. What a poetic and romantic obsession, and Cai Guoqiang took this obsession to the extreme. Even if it takes a few years of preparation, this short-lived brilliance must be left to the audience. Although my creative form and medium are different from Cai, I also hope to bring a brilliance to my audience in my own way.

❝Creating satisfactory works can bring more happiness and a sense of fulfillment and satisfaction.❞ A nice historical fact and you surely are impressing your audience. Youyou, if you could meet one of your ideal artists from the past, who would it be and what will you ask about?

I don't really want to meet any of my ideal artists from the past. Those artists who have stayed in history only need to look at their works, and all words are superfluous. Instead, I prefer to travel thousands of years ago to see those who built the Great Wall. While lamenting the creation of such a magnificent human treasure, I also regret the sacrifices they made under the lust of the ruler. They left no names, many of them were even buried under the Great Wall. They are the people who made history, but no one remembers them. Those creators like the Great Wall, the Pyramids, and the Colosseum are groups of anonymous people, and they didn't have the chance to speak for themselves. I prefer to meet them, with my deepest respect.

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❝If I can't turn my thoughts into reality, I will feel regretful in my life.❞ Very well-prepared smart viewpoint! Youyou, Our readers have a special connection with your sculptures and are waiting for your new projects. Any upcoming works or future projects that you would like to share with our readers?

I temporarily named my new series of works that I have conceived as Buried in Time. I have my own unique perspective on history, life, and other things. I think history is important evidence to witness the development of mankind. History is a book, and each of us corresponds to every word in the book. It is the words that make up the book, and it is an individual who made history. It is impossible for us to remember everyone who has passed away, and we will one day be buried in time. I hope to express a sad but poetic feeling through the new works. I will probably combine sculpture and painting together to express and tell stories with a visual experience of traditional Chinese art. Of course, I'm still in the experimental stage, and it takes some time to experiment.

That's a very great news! This inspiring talk has come to its end and once again, I would like to thank you for your time and kind attention to accept our invitation. We will stay in touch to hear more about you in the future. Good luck with your creations!

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We hope all of you have been excited to read this interview by which we tried to answer a part of your questions about Youyou's artistic story behind the sculptures. If you want to ask your own question, please scan the QR code and proceed.

Youyou Hu

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Day N Night – Burying Time (The Night Deity) Sculpture, Mixed Media on Bronze W:20 H:45 D:15 in 2020 Day N Night – burying time (The Night Deity) Youyou Hu

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Day N Night – Burying Time (the Night Ghost and Monsters) Sculpture, Mixed Media on Bronze W:20 H:26 D:15 in 2020 Day N Night – burying time (The Night Ghost and Monsters) Youyou Hu

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Under Masks _ Anger Mixed Media, Mixed Media W:13 H:13 in 2021 Youyou Hu

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Day N Night – Burying Time Sculpture, Mixed Media on Bronze W:40 H:45 D:15 in 2020 Youyou Hu

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A Morning Bush Walk Photography, Color Photography on Photo Paper W:35 H:35 cm 2019 Ladka Kurzrock

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Ladka Kurzrock Photography, Print - Limited

My name is Ladka Kurzrock, I'm originally from Prague, the Czech Republic. I have left Europe 14 years ago, majority of the time I spent in Asia and I'm currently based in Sydney, Australia. I've started with photography 3 years ago, my photos have been exhibited couple of times in the US, Europe and also in BBC in the category in pictures.

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Bird Cages Photography, Digital Photography on Photo Paper W:35 H:46 cm 2021 Ladka Kurzrock

This photo is being taken in the Business District of Sydney. The bird cages commemorate all different species of birds which disappeared from Sydney during the urbanization.

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Face to Face Photography, Digital Photography on Paper W:13 H:9 in 2020 Ladka Kurzrock

My name is Ladka Kurzrock, I live in Australia, Sydney. My hobby and passion is photography and I'd love to be part of this very interesting and unique show. My photos have been shown in the US and Europe.

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Cape San Blas Painting on Canvas W:34 H:49 in 2020 Jane Baldridge

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Jane Baldridge Painting

Jane Lawton Baldridge, ASMA artwork has been exhibited in numerous solo and group juried exhibitions in galleries and museums. The most notable include Times Square, The Musée du Louvre, Lincoln Center (2x), the Museum of Computer Art, Mint Museum, Elliott Museum, Cameron Museum of Art, Fayetteville Museum of Art and World Festival of Art on Paper (Slovenia). She has won competitions at local, regional and international levels. She has been published and also has a print of “We the People,” her 911 Tribute, in the Library of Congress. Jane was taught by John Mandel and influenced by Douglas Huebler and John Baldessari, all at California Institute of the Arts, to never repeat what has been done, to do new art. Arthur Turner at the Glassell School of Art, Museum of Fine Arts, Houston, taught her to work in multiple media at the same time, to keep the creative ideas flowing. Jane has worked three-dimensionally in found objects, clay and sculptural stained glass as well as two-dimensionally in drawing, painting and groundbreaking digital media. She now mixes all of that experience into rich visual stories about things she is passionate about. Her newest works are represented in the Reflection, Erosion and Alchemy series. She has been painting moving water for decades using various media. She utilizes viscosity and alchemy to get the outcome she wants and feels these current paintings are the closest she has come to eliciting the paint to tell her story. She has a deep respect for the ocean, tides, currents and wind. Sometimes you may not know if she is offering those up in her images as literal or metaphorical forces. When asked why there is so much blue in her works she explained, “when you are offshore out of sight of land, you spend days if not weeks looking at blue sky and blue water. I am not sure why it is not everyone’s favorite color.” She is a licensed boat captain and lived on boats for 10 years with her husband and their dog. They have settled in Stuart where she now has a beautiful studio. She has a profound respect for water. She watches how the water moves, how it sculpts shorelines as well as deposits sand or takes it away.

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Memories of East Beach and Long Bay

Painting, Acrylic on Canvas | W:40 H:30 in | 2021 | AW127384648

Jane Baldridge: Oceans of Love Marian White Interviewer

Jane, we are so glad that you accept our invitation to talk about your artistic life and artworks through this interview. Let's start with your early days. Tell us about your artistic background story and how you started to think about and follow your path as a visual artist?

Two things struck me as magical since I was small. Making a sailboat that moved with only the wind and creating visual stories. So, I wanted to be a sailor and a painter. The magic of making an object looked 3dimensional on a 2-dimensional surface, mixing color to recreate a feeling, and telling stories without words seemed important. Making a sailboat go upwind was like having mystical power. Needing an escape from my daily existence, I became super focused on art and sailing. Needing salve for an honest inferiority complex – I needed to excel at both art and sailing. At 14, I left home and moved to Houston to attend the High School for Performing and Visual Arts. At 15, I was awarded the National Scholastic Gold Medal for drawing published on the cover of the national magazine. At 17, I won a gold medal in sailing. And so it goes.

What a beautiful marine life story made of gold! There was obviously a good chance for you to experience emotions in a very strong way, so much that your emotions could flood your teenage years. Nevertheless, was there ever a moment of doubt to question your art career entirely?

Of course, self-doubt is never far away, the questioning of my skills, the depth of my message, my vision for things never created before have been a constant ebb and flow to my patterns. Maybe it is drowning out the demon insecurity and other people’s questioning the validity of methods they do not understand that begins the drumbeat to conjure up the courage to break barriers and do new bold things. It has led to my musician drawings in the 70s, socially relevant computer collages in the 90s, my mixed media works from the early 2000s, and my current abstract seascapes “Sea Stories.” A spiteful devil may care attitude can help get me past the negative voices, both actual and imagined, and there is always a reward on the other side.

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That’s right. The ups and downs of our souls, the positives and negatives that go around us, and the different kinds of perspectives can carry various messages. Jane, What is your daily routine when working in your studio, despite those ups and downs?

The best days are enjoying iced coffee and the garden early, followed by working in the studio. I usually have two easels going plus at least one mannequin. That way I can let things dry and keep working. Tuesday mornings I volunteer at The House of Refuge, a lifesaving station built in 1876, so I am guaranteed 3 hours next to one of the prettiest beaches in the continental US. Then, barring anything else it is back to the studio to paint some more. Of course, some time has to be spent on the computer doing research, answering emails, looking for grants and opportunities.

So interesting! You do everything at the right time, even charity works. Let’s back to your studio when you are creating your artwork. Take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

I start with the size canvas I want to control. Then I move to the under-painting. Sometimes it is color and texture to contrast the main story that is then painted over, sometimes it is a secret story that may or may not get completely covered up by the rest of the layers. The idea, or story will decide the palette and whether it is a peaceful day on tranquil waters or a stormy night fraught with danger.

In fact, you set your feelings and senses free and they land on the canvas as they are. Given that the main theme of your work is the sea, the ocean and the various states of water, are you seeking a homologous concept or style in your artworks? Meaning that, is there a central concept connecting all your works together or each series or artwork is separately developed?

My mother stuffed my bassinette under the seat of her sailboat 62 years ago. I have been on the water ever since. Sailed through my first hurricane at 13. So many of my series for the past five decades have been about the water. I approach it in different ways using a plethora of media, but they are abstract sea stories nonetheless. So, the “story” is in me. Whether the story that gets told is prompted by a memory or a current event depends on how powerful the current events are. For instance, my painting "Undertow" was being painted while my son suffered an extreme bout with COVID. Given the damage to his lungs as a child, I feared the worst. That was worse than sailing through a hurricane. It must be what it is like being sucked out to sea by an undertow, helpless to save anyone. Sometimes I have painted boats, flowers, or social justice statements, but in every decade, I have at least one, if not multiple, series dedicated to abstract seascapes and moving water.

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That's true, Jane. Sometimes it is not possible to overcome the life’s storms and whirlpools at all, and control the rudder of the ship of life. Having such meaningful artworks, would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience?

I often include a quote by well-known figures or by me, that speaks to the energy or spirit of the piece. But I do not want to take away the personal relationship some of my patrons make with my work. So, I leave it up to them, how much I give away. I have had patrons that like to bring people to my work just to hear what they see.

This is delightful and fun.

Very good to have such opportunity to talk directly to your audience. Some of our readers have said that they have been able to get a sense of the severity of storms, turmoil and even the calm of the sea in your paintings.

How do you seek and use inspiration for your works?

The ocean has been my lifelong inspiration. But that alone might leave a shallow mark. I think every book and paper I have read, every song I have heard, every thoughtful conversation, even news and documentaries leave a mark on me. At the California Institute of the Arts, I was pushed to look beyond what everyone else is looking at and talking about. Kind of a “do something new or don’t bother doing at all” philosophy. So, though I do approach it as a daily practice what come out of the studio better be original and meaningful.

What an inspiring concept! What about the subjects? How do you select your artworks subjects? Where they come from?

Since the 1990s it has been mostly boats, water and flowers. More water than anything but boats have been my cure, my whole life and they are sexy and make me happy so sometimes I stop and paint them. Flowers have some primeval curative power, maybe the memories of being five years old and walking hand and hand with my grandfather, Olin Tally McIntosh, through his amazing gardens sandwiched in the apex between the Wilmington River and the Skidaway River. The occasional social rant does come out especially in the 90s with the advent of computer collage art. But I still can come up with social commentary art when angry enough.

The way you use and paint the subjects and create remarkable artworks in the mind of our readers has made a lasting impression. Is there an artwork or series that you would like to be remembered for? And if yes, what is it?

Hmmm, my first response is the bashful dog in the comic strips. But, then my new work, bringing attention to the plight of the oceans under attack from pollution and plastics via my sea story paintings and my mannequins bringing attention to Sea Level Rise.

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So great. With such works powered by those interesting ideas, what are your art influences? Who are your favorite contemporary or historical artists and why?

Willard Bond, for watercolor sailboats. Capturing the magic and sexiness with the chaos of mark roundings and other sailboat racing aspects. Georgia O’Keefe for her bravery and ability to turn a flower into a provocative statement about the sexes. Judy Chicago for sheer bravery and creative new work. Vincent VanGogh for his persistent passion without financial or critical reward. His reward had to be 100% internal with his creations.

His brushwork and choice of subject are remarkable. Monet and Degas. I always thought I liked Monet more because of my love of the water lilies but when I went to the Degas room in the Musée d'Orsay, I wept it was so moving. Winslow Home for obvious reasons. His paintings sing to me. John Baldessari for his outside-the-box vision. There are many more, too many to list.

Obviously, great art masters have had an invaluable impact on many artists’ career success to date. If you could meet one of your ideal artists from the past, who would it be and what will you ask about?

Frida Kahlo, how much inspiration and or help came from having male artist friends such as Andre Breton, Marc Chagall, Piet Mondrian, and her husband Diego Rivera? If any.

Those of our readers who follow your work are looking forward to visiting your future artwork. Any upcoming works or future projects that you would like to share with our readers?

The Ocean Phenomena project involves covering many mannequins with recycled navigational charts of areas at risk for permanent inundation by sea-level rise and pollution. These are then introduced to the public through a number of exhibitions. So far I have only “done” south Florida, but next up is Annapolis, MD, then Southport, NC, Charleston, SC, Seabrook, TX, New Orleans, LA and Manhattan, NY. From there we will see where we end up. Corporate Commercial over-fishing is a big pisser of mine, so I suspect it will be a focus in the future.

We look forward with great interest. Very grateful to have such an inspiring conversation with you and thank you for your time and attention. I hope to hear more about you in the future. Good luck and all the best.

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Thank you for reviewing this interview that reflected an important part of your questions about Jane's artistic mind. If you want to ask your own question, please scan the QR code and proceed.

Jane Baldridge

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Into the Abyss Painting, Acrylic on Canvas W:40 H:30 in 2020 Jane Baldridge

"When you look into an abyss, the abyss also looks into you.

—Friedrich Nietzsche" AW127427412

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June 2020 Painting on Canvas W:40 H:30 in 2020 Jane Baldridge

Water-Based Media on canvas

The gravest error a thinking person can make is to believe that one particular version of history is absolute fact...The wise person, then, views history as a set of lessons to be learned, choices and ramifications to be considered and mistakes that should never again be made. —Frank Herbert

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I Can't Stop the Rain Painting on Canvas W:40 H:40 in 2020 Jane Baldridge

Water-Based Media on Canvas

The single raindrop never feels responsible for the flood.

—Douglas Adams

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Prop Wash Painting, Acrylic on Canvas W:60 H:36 D:3 in 2021 Running in the ocean fast, I love the water color as the props churn and aerate.

Jane Baldridge

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Brothers in the Hermitage Drawing, Pastel on Paper W:22 H:18 in 2006 Anthony Santomauro

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Anthony Santomauro Painting, Drawing, Graphics

Anthony Santomauro is an American artist who works in in pastel, charcoal, and acrylic. His career began in 1975with 1st Prize in the Juried Annual Exhibit The Sumter S. C. Artist Guild with “Massimo” followed be a One Man Exhibition and prizes in the Annual Exhibit S.C. State Fair, Sumter S.C. Iris Festival, 9th Young Artist Association of Fairfield Exhibit, and several CT Classic Artists Annual Exhibits.

Studying drawing at Silvermine, he won 1st Prize drawing - Annual Juried Student Exhibition Silvermine School of Arts 1998, 2000and 2001. He has received an Honorable mention and a Certificate of Artistic Excellence from CFA, Lyons, France. He is currently a member of the Salmagundi Club NYC, Circle Foundation for the Arts (CFA –Lyons, France), Easton Arts Council, Easton, Fairfield County Arts Association, Artist Collective of Westport (CT),and The Art/Place , Fairfield, CT. In 2009 he became Artist Member Salmagundi Club, NYC and exhibits annually in juried shows. He served on Salmagundi Club Board of Directors, as Corresponding Secretary of its Executive Council and on its Admissions Committee . Salmagundi awards -2009 Mortimer H. Freehof Award - “Japanese Girl” (pastel) , 126th Annual Members’ Exhibition; 2010 Honorable Mention - “Moon Fall” (pastel) , Historic Black and White Exhibition: 2014 Hugh P. Botts Award "Massimo" (pastel), Historic Black and White Exhibition.

Major exhibitions -1975 - Sumter Art Gallery; 2004 -Artist of the Month St. Joseph’s Manor;2011 - Directors Choice Walsh Gallery, Quick Center Fairfield University; 2014- - Salmagundi Patron’s Gallery ; 2017 –Solo Exhibit ‘Master Works” Salmagundi Main Gallery. Publications - Artistonish March, April, May 2021, Observica 2020, Spotlight 20 & 22.

Anthony is a realistic artist whose works merge feelings with visual reality. He uses portraits of humans and animals to explore the variety and intensity of human emotion. Observers are engaged by the beautiful realistic details, but eventually are involved in an intense relationship, whether beauty, rage, melancholy, malevolence or goodness, which draws them into the domain and creativity of the artist’s mind.

biafarin.com/artist?name=anthony-santomauro

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Contemplating Snow Painting, Acrylic on Canvas W:24 H:30 in 2021 Anthony Santomauro

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Norwegian Store Clerk Painting, Acrylic on Canvas W:24 H:24 in 2015 Anthony Santomauro

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Healing the Heart, Anahata I Painting, Oil Color on Canvas W:73 H:100 cm 2021 Rajul Shah

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Rajul Shah Painting

I moved to Japan in 2012 after retiring from my first career in healthcare; and trained extensively across Oil, Sumi-E/Nihonga, and Acrylic for 7 years between the Tokyo Campus of Temple’s Tyler School of Art and Professional/Studio workshops. I moved to Singapore in 2019 and continue to train at LaSalle College of the Arts.

Major shows/exhibitions include the ION Orchard Gallery in Singapore, the Ueno No Mori Art Museum (Royal Art Museum), the National Art Gallery and the Tokyo Metropolitan Art Museum in Tokyo; the Intercontinental Hotel In Osaka and ANA Crowne Plaza hotel in Kobe.

"Anahata I Healing the Heart" and “Muladhara I Roots” were artistic excellence awards by the Circle Foundation of the Arts in '21 and '20, respectively. “Kintsugi Earth II” was selected as part of the 29th Annual International Society of Experimental Artists (ISEA) Exhibition and won 5th place in Abstract Expressionism with the American Art Awards in Fall 2020.

“Water Lillies” was selected as part of the 32nd Annual Japanese Exhibition of Nature (Ueno No Mori Museum) in August, 2019. “Earth & Sky” was chosen as part of the 82nd Annual Shinseisaku Exhibition (National Art Gallery in Tokyo). “Earth & Sky II” was juried into the 49th Annual Genyouten Exhibition (Tokyo Metropolitan Museum of Art in Ueno); and also received an honorary award from KusaKabe Paints.

My works “Twin Journeys”, “The Shack”, “Memories of Hokusai II”, “Memories of Hokusai VI”, “Waters’ Gentle Weave” and “Water Lillies III” have been featured in online exhibitions presented by Manhattan Arts International New York, New York.

My artworks reside among private collections in the USA, Singapore, Japan, India, Hong Kong and Australia.

Paintings have also been publicly displayed in the corporate offices of Metlife Japan, Blue Bay Consulting in Tokyo, and San Mina Corp. in the Shizuoka Prefecture of Japan.

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Vishudha I Hear Us Rise

Painting, Acrylic on Board - Wood | W:50 H:40 cm | 2020 | AW127920994

Rajul Shah: Healing Colors Nancy Krüger Interviewer

Rajul, we appreciate the time you spend with us to answer our questions and get more familiar with your art through this interview. We would like to start from your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?

Being an artist is my second career. Prior to this, I spent 20 years in Healthcare Marketing. After retiring in 2012 and moving to Japan, I trained extensively for 7.5 years across Oil, Nihonga (Japanese brush), Acrylic, Drawing, and Photography. Growing up, photography and vocal music were my major hobbies, as were sketching and writing. I have always been creative. I even sang in high school and college! After taking classes in art, I fell in love with painting.

So, in addition to painting, you have a background in photography and music. During your artistic journey, was there ever a moment of doubt to question your artistic path and how did you deal with it?

This may have happened for every artist, even if she or he has been full of ideas and passions. Most of the time, new trends can come out of such moments. I have many moments like this, especially when I am in the middle of a series or a painting. I go through this brief time where I become lost and think “who do you think you are??” and “there is so much artistic talent around, what makes my art special and unique?” This is the signal for me to take a breath and I go exploring for a couple of days. This also gives me the opportunity to think through my paintings and what am I trying to express. After some silence and reflection, I am inspired again to return to the studio.

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In fact, you are looking for a way to make your work unique and different from other works, and this challenge keeps you going on dynamically. How do you spend your time for art and what is your daily routine when working in your studio? Has establishing a routine helped you at all?

I don’t know that I have a “routine”. Aside from family (I am a wife, daughter, sister, and mother of 3 children), I work out at least 3 days per week, come home and spend the rest of the day in my studio. One day every week, I devote myself to the “business” side of my Art – planning workshops, recording invoices, updating my website, etc. I spend 10 minutes every day updating my social media accounts, so people know I am always creating. I also do write in a journal 2 to 3 days per week. This allows me to rid myself of the “extras” that don’t need to take primary focus in my thoughts. When I am in the studio I light incense, put on music, inhale and exhale deeply for a few minutes. This helps me to clear my head and awake my right brain to get me ready for my creative immersion.

Great job! Such preparations can result in highly creative works. Now take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork start to get shaped for you?

I love experimenting and putting different materials together, and seeing how it works. I get excited looking at a piece of Washi paper, canvas or wood panel and imagine what I’m going to do with it. I love using gold, silver leaf, metallic pigments. I love to combine different mediums, oil on acrylic, acrylic on Nihonga, pastels on acrylic, etc. I scour YouTube to watch various artists talking about their artworks and demonstrate how they use various techniques. And then I go into my own “cave” and “tinker” like a mad scientist. Recently, I attended a workshop where we used resin – this is my next area of experimentation.

Very efficient! We will talk about your future project a bit later. Now, some artists highlight commonalities in their artworks to show viewers how elements or ideas are serving the same function. In your case, is there a central concept connecting all your works together or each series or artwork is unique?

My first show drew upon my culture and love of color and Indian textile. I moved into landscapes and now my art has evolved in a more conceptual manner; rather than tactically looking at different subject areas, I communicate across abstract and semi-abstract. Today, (other than commissions) all my work centers around “healing”. My culture, life in Japan and my prior career in healthcare give me a lot to draw from. I worked across several therapeutic areas, including Epilepsy, Pain, ADHD, Oncology (Cancer), Pain, Incontinence, and Sexual Dysfunction.

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What a productive fusion! How do you prefer to guide your audience to receive the hidden message in your artworks? Would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience?

I like to give a brief description just to put the artwork into context. Most people who love art are not professional collectors, nor are they curatorial experts. They respond to a piece of art because it communicates an idea or emotion with which there is a strong connection. I feel the description helps to address the visual and the intellectual, thereby making a strong emotional connection possible.

Understandable. Providing descriptions can also inspire the audience more effectively to get the right message.

As of inspiration, it is evoked from a source, an artist then transmits an idea and is driven to produce some creative outcome as a result. How do you seek and use inspiration for your works?

I read an article about the impact of silence on creativity. When we sit in silence, our brain actually regenerates.

When I sit in silence, I have no choice but to think about different ideas and reflect. Much of my inspiration comes from this exercise. Another major source of inspiration, aside from my prior career in healthcare, is a book called “Anatomy of the Spirit” by Dr. Carolyn Myss. It is the first resource to make the connection between emotional well-being and physical health, to link the spiritual with our daily life.

I am also a wanderlust at heart. I love to travel and learn about different cultures. This is what brought me a love of photography when I was growing up. I love to capture the uniqueness of a sunset, the flavors of the mountains, and the peaceful of historical structures and land where spiritual connections are specific to the culture. I realize these seem like two unique approaches – but if you think about it – “Healing” and the way we heal are also specific to a culture and/or tribal identity.

Silence and creativity, nice combination towards healing! What about your subjects? How do you select your artworks subjects? Where they come from?

This is a difficult question for me to answer. I find that this is always evolving (as evidenced by my evolution in the previous question!). I think the best way for me to answer this is: I am a wanderlust. I love to travel and to learn about different cultures. The specific approaches to “Healing” have been very interesting to me of late.

So, I start with the two cultures I am most familiar with – India and Japan. I apply these concepts to our physical well-being on a personal level as well as those that affect us externally, such as climate change.

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Some artworks by artists may be more memorable to the audience than others. As a curious wanderlust creator of cultural and healing oriented art, is there an artwork or series that you would like to be remembered for? And if yes, what is it?

My favorite pieces are the ones that, when I look at the image, still affect me emotionally in a hopeful, calming and spiritual way. From my Indian Icons collection, it was a small work entitled “Surya’s Dream”. From my Visions of Fuji collection it was a larger work “Memories of Hokusai V”. From my most recent collections: “Anahata I: Healing the Heart” from my Chakras series and “Anahata Healing: The Kintsugi Body” from the Kintsugi Body series.

Very well. In your artistic journey, some artists or maybe some artworks might have been the key influences.

What are your art fundamental influences? Who are your favorite contemporary or historical artists and why?

Monet, his use of color, and the impressionists inspired me to learn to paint in oils. As an avid collector of Indian Art, Nitin Ganghrekar and G.A. Dandekar inspire my use of color. I am part of a global network of artists who have learned Painting Excellence from Nancy Reyner of Santa Fe, NM. Her artwork and my time in Japan learning Nihonga from my Japanese Senseis (Shoko and Suiko Ohta) inspire my use of metallics, my selfcritique, and the emotional connections I strive for in my artwork.

Quite a few! Then Rajul, if you could meet one of your ideal artists from the past, who would it be and what will you ask about?

I would love to spend time with Van Gogh. He was consistently wrestling with mental illness. An Art Therapist friend of mine once told me that “broken color” is an indication that mental illness could be a concern. Van Gogh suffered from Depression and Anxiety. It is also suspected he suffered from BiPolar Disorder. Painting, I believe, was his way of coping. My question to Van Gogh “Would you allow me to invisibly walk beside you, so I may learn how you see the world and translate your surroundings to your canvas?” If I could live in any artist’s paintings, it would be his, which I am so happy to say that I will have the opportunity to do this at the upcoming Van Gogh Immersive exhibition in NYC! That's great and you might have already influenced others about by your artworks emphasizing the healing concept. So, those of our readers who follow your work want to know about your future artworks. Any upcoming works or future projects that you would like to share with our readers?

In addition to starting up workshops in my studio in Singapore, I am very excited about how my Kintsugiinspired works will evolve. Currently, I’m applying this inspiration as two-dimensional depictions of climate change and physical illness and recovery. The Kintsugi Body is my newest bunch of works – and it is the first series where I am bridging healing concepts behind the Chakras and the Kintsugi series, overall.

Great news and we look forward to hear more from you in the future Rajul. That was a very thoughtful talk and we appreciate your time and truthfulness for this interview. Whishing you all the health in the world!

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We hope that this interview answered a considerable part of your questions about Rajul's artistic world. If you want to ask your own question, please scan the QR code and proceed.

Rajul Shah

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Muladhara I: Roots Painting, Acrylic on Canvas W:80 H:120 cm 2020 Rajul Shah

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Kintsugi Sky I Painting, Oil Color on Canvas W:10 H:20 in 2021 Rajul Shah

Inspired by the Japanese Art of Kintsugi - mending broken pottery with gold/silver splicing to repair and create a new work of art to be cherished - Kintsugi Sky I is a representation of an Earth mended after climate change. Lightning serves to mend the sky.

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Kintsugi Sky II Painting, Oil Color on Canvas W:10 H:20 in 2021 Rajul Shah

Inspired by the Japanese Art of Kintsugi - mending broken pottery with gold/silver splicing to repair and create a new work of art to be cherished - Kintsugi Sky II is a representation of an Earth mended after climate change. Lightning serves to mend the sky.

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Kintsugi Sky III Painting, Oil Color on Canvas W:10 H:20 in 2021 Rajul Shah

Inspired by the Japanese Art of Kintsugi - mending broken pottery with gold/silver splicing to repair and create a new work of art to be cherished - Kintsugi Sky III is a representation of an Earth mended after climate change. Lightning serves to mend the sky.

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Lionel Painting, Oil Color on Canvas W:16 H:20 in 2021 Manon Germain

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Manon Germain Painting

Manon Germain was born in 1959 in Montreal. She studied Ceramic Plastic Arts at Cégep du Vieux- Montréal.

During her studies she works on weekends and during the summer in the pottery workshop that her parents own. She therefore participates in the design and finishing off pieces of stoneware pottery. Her learning takes place quickly in the pottery workshop. She then goes on pottery turning technique. She creates different useful pieces in pottery: pots, cups, bottles, etc. In her experimentation process, she touches on the art of Raku and high temperature cooking. When her two daughters were born, the artist must find a stable job to support his family. She returned to province of Quebec, Canada to Prévost in the Laurentians in 1991 after being living in British Columbia for 9 years. Then she worked in a notary's office. Her children grow up and she naturally returns to her former love: art. The artist chooses animal painting at the beginning with acrylic then after a years or two she decided to jump into portraits painting with oil. In the meanwhile she is trying still life from time to time, just to see if she can feel something new and different. She gets into reading to learn painting techniques to learn more. YouTube helps her to see how to do . She bought video lessons from artists to learn more . Fascinated by details, portraiture is now her passion - realism is important to her - in order to capture a person's gaze, its mystery and its history as best as possible. Since 2013, she has exhibited her works in Canada, France, Romania. Manon Germain is also part of several artistic associations including The association of artists of Sainte-Anne-des-Lacs. 2019 She just won an Excellence Award winner: Frida Khalo The Healing Power of Art & Artists 2020-2021 she is a new member of " federation of Canadian artists". 2020 She received a Certificate of Achievement from Portrait

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Louis Painting, Oil Color on Paper - Cotton W:10 H:12 in 2021 Manon Germain

Louis is the grand-son of my husband.

His brother has a painting I did when he was little. His mother wanted another painting of her other son so is not to make anyone jealous.

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Pierre Painting, Oil Color on Canvas W:40.64 H:50.80 D:2.54 cm 2020 Manon Germain

Durand the pandemic, the Association in my village decided to take portraits of elderly people to honour them during this confinement.

I painted Monsieur Pierre and later I entered The Portrait of Society of Canada competition and had a Certificate of Achievement for this painting, I was very happy with the result and very proud.

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Diane Painting, Oil Color on Canvas W:16 H:20 cm 2021 Barbara Bose

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Barbara Bose Painting, Drawing, Illustration, Graphics, Photography

I have been an artist since childhood. My career was as a graphic artist and a publication illustrator and art director since the 1970s in Boston, DC and Miami. I feel very fortunate to have had a fun career in art doing what I love. I am painting a lot more these days and finally presenting my artwork to the world via competitions, shows and through volunteering. I also wrote an autobiographical novel, Tree of Lives, which is illustrated with my work. My design work has won over 45 awards and my book has also won awards. My website is bosearts.com.

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Welcome

Digital Painting, Manipulated Photography on Canvas | W:20 H:16 in | 2018 | AW127307842

Barbara Bose: Art Matters Barbara, we’re so thankful for taking the time to answer our questions so that our readers can become more familiar with your artistic life and artwork. Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?

I feel that I picked up where I left off in another lifetime, because drawing was a skill I always had. As a child, I spent quite a bit of time sketching in my bedroom, sheltered in place from an often abusive family atmosphere, so art and music allowed me a much-needed mental, physical and emotional protection. I won some awards in high school and had a solid reputation as an A+ art student which helped me see myself with that identity. My parents were not supportive of an artist’s life path for me because they saw artists as impoverished. They had no grounding in art’s importance, nor in supportive parenting for that matter. Although they paid for 3 semesters of art school at the prestigious Boston Museum School, they withdrew me from it after they saw an unflattering etching of them I made. In a left-handed way, their obstruction inspired me to plow ahead to prove a point.

You are amazing. You got off to a good start. Life events sometimes become a platform to culminate and prove our flight. Was there ever a moment of doubt to question your art career entirely?

When I was eight months pregnant with my second child, I had to get a job to support my family. The only job I landed was in the Classified Ad department of a small suburban newspaper. One day while pasting up a St. Patty’s Day Used Car Sale-abrasion ad, I looked down at my talented hands-making that crappy thing and felt I had hit rock bottom. After lunch, I happened to be in the elevator with the Publisher and mustered the nerve to ask him if I could illustrate any stories for the paper. A short time later, I was given the assignment to illustrate an editorial. Soon afterward, the publisher asked me to start an editorial art department, which was the actual beginning of my career in publication design.

Good job! Now let’s go to your studio. What is your daily routine when working in your studio?

I get many ideas while riding my bicycle, so I start my day with a 6-mile ride around my neighborhood. When I get an idea, I stop and send the idea in an email to myself. Except for my bike ride, I don’t really have a set routine for inspiration because I do a lot of things in a day.

I live in Florida, so the weather is usually great. My painting studio is air-conditioned garage. The first thing I do when I am going to paint is turn on some music. I like to work alone, so I also sing and dance when I am stepping back to think or see my work from across the room.

Besides painting, I do quite a lot of work on the computer which is in a converted bedroom in my house. I often save images I see online as references for paintings. I take photos almost every day because there is almost always something amazing to witness, and my compulsion is to share and spread the beauty.

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In fact, Your mind is busy considering everything when you are cycling or doing any other work outside the studio. Then, whenever you are impressed, you record it to create on canvas or any other surface. So, take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

Naturally, the artwork begins with an idea. I start with a small sketch because if it doesn’t work well small and is reduced to its simplest elements, it won’t work at any size. I gather my reference materials and tape them to boards within my view where I will be painting and also hang my phone with the image to check the color.

Ideally, I make sure I have the ‘mise en scene’ - all of the pieces I’m going to need, like the correct variety of brush sizes, brush cleaners, lighting, music, and room temperature before beginning.

I determine the overall tone of the panting and wash the canvas with that color. Then when that’s dry I usually draw on the canvas with charcoal or pastel or soft pencil or outline the form with a brush or block in with white for the underpainting. I often have at least 2 paintings going on at the same time because I am often waiting for something to dry. I have a large industrial fan which I position in front of the artwork for drying when I am done for the day. My paintings take a while - almost never do they happen in one day, with the exception of my miniature paintings which are outlined with a mechanical pencil and then painted in acrylic.

Is there a central concept connecting all your works together or each series or artwork is unique?

Maybe when we look back on my artwork, a central theme will emerge, but it seems to me my current artwork is based on various, evolving inspirations as my life evolves. I have noticed that most of the landscapes I paint include some form of a human element, such as a house or a figure in the distance. Interestingly, the illustrations for the memoir I wrote (Tree of Lives by Elizabeth Garden) were all pre-existing pieces I had created in the past - most for publications, and some just for myself. But they seemed to fit perfectly in the story I was telling.

Some artists prefer to provide detailed artwork descriptions to elaborate and guide the audience in receiving their message via their art. Would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience?

I think it’s more stimulating for the audience to leave interpretations up to them. I think it’s OK to leave a few breadcrumbs such as a good title, but to me, it seems the whole point is to get people to think and relate and even stretch their thoughts a bit.

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Some viewers also like this challenge and they welcome that the artist let them find out the message. How do you seek and use inspiration for your works?

Ideally, I paint something for the act of painting, for the pleasure of it instead of for a final product. It is my way of loving beauty by exploring all of the nuances of a thing. For me, ideas are constantly developing — in dreams, in odd happenstances that have significance, in places or images I have captured on my phone that have a magical feeling to them, or because there is a need for something at the moment, like a commission or a gift for someone or to memorialize something or someone. When I work I often entertain an inner dialogue with whom I imagine are the spirits of departed teachers, friends, even masters if I have an especially hard question.

Or my grandfather for practical matters. He was a carpenter and a kind and patient man who I liked to watch work. I feel art begins in the spirit world and if successful, reconnects the observer back to it once again. I see art as a doorway that transports us without the burden of language or the restrictions of time. Hopefully, my artwork will last longer than I will, when my silent voice will resonate onward. Creating visual beauty (and by beauty, I mean an image that elevates, even if it’s ugly), is the easiest language, and we all speak it fluently.

What about your subjects? How do you select your artworks subjects? Where they come from?

The best scenario is when I have a patient and thoughtfully lit model to paint. The next best thing is to take a good photo of a subject to work from. Sometimes I paint from photos I captured from Facebook, but I don’t offer those for competitions because I worry about infringing someone’s copyright.

When working from photos, I print the image and tape it to a board next to my canvas. I also look at the image on my phone for better color and clarity. The phone is great because I can blow up parts of an image. My phone has a ring on the back so I can hang it at eye level.

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How interesting! The union of the photos, your phone, and your creativity inspires you to create your eminent artworks. Are there an artwork or series that you would like to be remembered for? And if yes, what is it?

Lately, I have been concentrating on formal animal portraits. I want the viewer to relate to their natural, unadorned, original beauty and hopefully see that they are our teachers. Many of an animal’s aspects can be mirrors of our own nature. For example, “Diane,” the painting of a Harpie Eagle, has the same resting attitude as a woman I know named Diane - preening, defensive, taken aback, fiercely ready for insult.

It blows my mind that all creatures, like us, have all evolved to survive in their specific roles (though I’m not 100% sure what the role of humans is). Each living creature is designed to breathe, sense, eat, procreate, grow, adapt, wither, die, etc. I don’t have the instinct to make up abstractions because what exists is quite interesting enough. I also have a created a large number of unique miniature portraits for friends who will hopefully remember me on an individual level. The ingenious variety of life forms, and the insanely clever packaging, (an egg, a vegetable, a cloud, a feather) never fail to impress me. As part of our everyday landscape, we naturally take these for granted.

Barbara, what are your art influences? Who are your favorite contemporary or historical artists and why?

For contemporary art, I like the work of Edward Hopper, Andrew Wyeth, Francis Bacon, Lucian Freud… others I can’t think of but always people with representational skill. My art library contains diverse early influencers such as Aubrey Beardsley, Albrecht Durer, Maxfield Parish, Leonardo DaVinci, as well as Dutch, Chinese and Indian art. When I was young I copied the works of DaVinci and Van Eyke. At the Boston Museum School, I took a technical painting class to learn the old masters’ techniques and I still use the underpainting and glazing techniques for portraiture.

It may happen to an artist to wish to meet art masters and talk to them closely. If you could meet one of your ideal artists from the past, who would it be and what will you ask about?

I would like to meet DaVinci because not only did he possess magnificent artistic ability, he had the curiosity and inventive mind of a scientist who was inspired by nature’s examples. I would ask him what his early influences and inspirations were. I would like to met Durer to learn how he made those fabulous intricate woodcuts, I would have loved to assist Parish, and I would like to hang out with Beardsley.

Our readers are very curious to know about your future works. Any upcoming works or future projects that you would like to share with our readers?

I am working on a portrait of a Mongolian boy with an interesting headdress. But again, it was from someone else’s work so I won’t be showing it, I am painting it because I love this boy’s face and the lighting.

This is the original sense of being a true artist. That was a very productive talk Barbara. Once again, I appreciate your active participation in this interview. I hope to hear more about you sharing and spreading beauty in the world. Good luck with your great art career.

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This interview has ended here. We tried to include most of your questions about Barbara's artistic mind. If you want to ask your own question, please scan the QR code and proceed.

Barbara Bose

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Jamie in France Painting, Oil Color on Board W:3 H:3 in 2020 A Miniature Portrait Barbara Bose

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Mom Painting, Acrylic on Wood W:10 H:13 cm 2018 Barbara Bose

A digital print of a painting of my mother as a young woman on to 100-year old tree stump. I painted a few months after her passing. In fact, my mother, the tree and the painting no longer exist. I was painting her eyes on a Sunday morning when a courier arrived to hand deliver a check for my inheritance.

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Stumped Painting, Oil Color on Canvas W:16 H:20 cm 2020 Barbara Bose

A dazed tree, once a beautiful home to countless birds and insects, contemplates its sudden, painful transformation from gloriously reaching toward heaven to lowly stumpage.

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What Face?

Painting, Oil Color on Canvas W:24 H:30 cm 2020 Barbara Bose

Face? What face? I don't see a face. Maybe you are feeling guilty about what we are doing to the planet.

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Spring Flowers Painting, Oil Color on Canvas W:60 H:80 cm 2019 Nora Komoroczki

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Nora Komoroczki Painting

After graduating from the University I started working as a journalist in Budapest. Later on when becoming Editor in Chief of the inflight magazine of the Hungarian Airlines I managed to travel quite extensively, thus visited wonderful places around the world and met interesting people inspiring me to a great extent.

Subsequently I attended some painting courses both in Hungary and Sweden and, started painting. Usually I paint in oil on canvas, mainly landscapes, but I love to capture eyes and faces, as well. I had solo exhibitions in Sweden, Israel and Hungary and participated in group shows in Austria, Belgium, Romania and Hungary. My paintings were purchased by collectors in Australia, USA, UK and some other European countries.

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Anna Karenina Painting, Oil Color on Canvas W:80 H:60 cm 2021 Nora Komoroczki

Having read the famous novel I have watched the ballet performance that inspired me to show on canvas the most important minutes of the story.

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Jungle Lake Painting, Oil Color on Canvas W:80 H:60 cm 2020 Great moments from my trip to Venezuela a few years ago.

Nora Komoroczki

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Floral slope Painting, Oil Color on Canvas W:60 H:80 cm 2019 Nora Komoroczki

During one of our trips to the nature we have discovered and admired this beautiful slope close to Visegrad Medieval Royal Castle.

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X-mas time Painting, Oil Color on Canvas W:60 H:80 cm 2020 I love winter with snow and sunshine.

Nora Komoroczki

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All Our Burden Sculpture, Mixed Media W:5 H:12 D:5 in 2020 Lindsey Grant

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Lindsey Grant Mixed Media, Sculpture, Photography

Self-identifying as a neurodiverse, two-spirit, elder storyteller deeply rooted in the roar and lore of what's become Portlandia of The Left Coast, The Artist success and survival (if not salvation) are attributed to superlative support, mindfulness practice, and daily creative expression in words, sounds, and images.

Employing recycled, reclaimed, and repurposed media (whether digitally captured or stumbled upon), works celebrate 'second chances,' diversity, and inclusion with a collaborative voice. Reinvention is the hallmark of my personal strategy for survival as a neurodivergent, highly sensitive, and creative person.

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I Sing Dead People

Mixed Media | W:20 H:14 in | 2019 | AW127468818

Lindsey Grant: Balanced Poignancy Marian White Interviewer

Lindsey, it is a great chance for us to talk to you in the context of this interview. Let’s give our readers a better overview about your artistic life. Tell us about your artistic background story and how you decided to follow your path as a visual artist?

A third of four stair-step siblings, born into mid-century, white bread Americana, I internalized the necessity to conform for survival. Traumatic childhood illness, immersion into an evangelical cult, and 21-yr., and a relationship fraught with domestic violence created the need to diverge and nurture my own unique voice.

Returning to college, as a nontraditional student at 41, I found the arduous academics a stress-inducing and triggering challenge, whereas the arts (poetry, ceramics, painting) provided a welcome respite, a balm of refreshment and healing. After earning a social work degree, I rediscovered photography and established a home-based studio in 2002, just one of many beginnings.

Seems an adventurous life! Difficulties can always create doubts in any stage of life. Was there ever a moment of doubt to question your art career entirely?

Any creative artist has doubts... or they're dishonest, and that'd be evident in the degree of authenticity of their work. Having spent half a century being subject to the whims of others and bound by social norms and mores, it was when I began to focus on process over product; recognized the spiritual and intangible nature of the process, as well as its greater purpose, that I BEGAN to "manage" Doubt. Recently I've realized Constraint is, in large part, a social construct. The idea of a Beginning and End is linear, while The Universe is cyclical. With this understanding, that each piece, each effort, each encounter and expression builds upon the former and so on; that each challenge presents an opportunity for growth; each doubt allows for reflection and can lead to a deeper understanding,... I've not overcome my doubts, but employ them to unlock enlightenment.

Very interesting viewpoint. Seems that the constructive doubt can always help artists grow and prosper. It needs to be determined and purposeful to stay connected to art on a daily basis. What is your daily routine when working in your studio?

Ironically, I resist the constraints of a structured day, but work well within the parameters of deadlines. I find certain routines comforting... starting the day with meditative walks with my dogs, sipping my beverage of choice. The fresh air and the fur-baby outlook bring renewed perception... and caffeine is essential for opening both eyes and awareness.

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I find my imagination is loosed as I walk. It is not unlike dreaming, as the nonjudgmental, and meditative mind processes events, encounters, and observations, by collecting a rich stow of ideas. Indeed, this is a very essential, albeit benign, part of my process. I think I would grow creatively stagnant without it.

Quite a fruitful atmosphere for a creative artist day! Take us through your process of making your artworks.

How do you move from an idea to an artwork? Where does an artwork begin for you?

The Book of Genesis starts, “In the beginning, there was light.” And so it is for my creations. It begins with a spark, enlightenment, a still small voice... and is fueled by passion. Having lived so long following someone else's Truth and in denial of my own, my passion has become to express my Truth in all its contrariness, angst, and humor. Also, I hope to speak to greater truths and to offer my own voice to those whose voices have been marginalized; to speak to eternal truths and needful ones.

Because I don't limit myself to one medium, having worked in clay (hand-building), paint, photographic and mixed media, as well as in words... I am resigned to allow the process, The Muse, and medium to direct the process. I wish I could simply say it's Magic, but it's not. There is work involved, but my greatest work is to get out of my presumptive head, respecting the process and the energy that guides it. It sounds so damn esoteric, but because it means parking the left brain and relying on the innate wisdom and capability of the right, it really is impossible to describe the process otherwise, in a logical/linear fashion.

Very true. Even sometimes it might go so heuristic and out of hand (in a creative way) in terms of idea and process because of a very simple choice of material or color. Is there a central concept connecting all your works together or each series or artwork is unique?

Social, Cultural, Traditional Injustice is often the subject. Humor and whimsy, are also often incorporated, because I appreciate the healing quality of them and, although I do take art-making very seriously, I do not take myself too seriously. To me, that would be akin to being stringent and therefore both delicate and fragile.

Neither suggests the power and poignancy I prefer to present. In the last few years I have become very conscientious about the materials I choose. I've purposed to incorporate reclaimed/repurposed (found) media rather than new. My own story involves so much self-reinvention and advocacy for those who've felt their voices invalidated and minimized, I choose to offer discarded items the opportunity to be re-imagined and contribute to a collaborative project with a unified voice. Additionally, I have a passion for reclamation, recycling, redistributing in order to minimize my own carbon footprint.

How thoughtful! Being an active and responsible artist and caring for your own carbon footprint is an exact and necessary match. Would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to them?

I often hesitate even to title a piece, let alone to offer an explanation. I do not wish to prejudice the viewer's opinion or influence their personal interpretation. Some pieces are self-evident, some not. Some address universal themes and do not require any explanation. However, if I personally purchase art for my home (actually any item, including furniture) I want to know its history. It is the stories we tell that create a living culture. The objects we collect are mere touchstones that allow us to time-travel or enter into an alternate universe of the artist's design.

That’s right. The inspirational history and story is what collectors are eager to read about when looking at a favorable piece of art. How do you seek and use inspiration for your works?

At the root of the word, “inspiration” is the Latin word “spire,” meaning both breath and spirit. I think if one is breathing, one will be inspired. The real trick is awareness; awareness of the breath and awareness of spirit. My meditation practice has broadened and heightened this mindful awareness, so that I don't have to seek out inspiration, merely be open to it and aware that it is as constant as my breath... and accept that. It is only when I worry if and when the next “inspiration” will come, that I panic. But then I remember the breath; how it is a constant. I return to Nature and the breath, receiving the rejuvenating power of both... freely and fully.

Nice view! Awareness can even enhance the subjects of art. What about your subjects? How do you select your artworks subjects? Where they come from?

From Plant-life to politics, family to the phantasmagoria, the pretentious to the passed over, it is the marriage of elements and enlightenment that speaks to the universality of a given theme. Not unlike opening one's home to a new pet.

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If the selection is predetermined by assumption (based on breed characteristics, for example) it is easy to overlook the qualities and potential of the individual creature or creation, its ability, and willingness to adapt to the home or media. Opening one's heart to what could be, is simply the beginning. There is intimacy in the creative process. Art conveys more than information. It conveys feeling and it conveys truth. I find my inspiration in these two and see myself as a conduit.

Art conveys true feelings to the viewers. They can remember an artwork by the imprint it leaves in their lives, hearts, and minds. Is there an artwork or series that you would like to be remembered for? And if yes, what is it?

Not really. I would say that each piece continues to serve this mission: to inspire the viewer to find their own voice and passion; to relish their own creative process in whatever form it takes; to embrace creative expression as a gift of insight... like dreams, and to always elevate process over product... or perhaps merely to challenge the viewers' perspective, affording a second thought, insight, or maybe just a smile.

“In whatever form it takes”, very much alive and inspiring. Our readers are curious to know What your art influences are. Who are your favorite contemporary or historical artists and why?

I think Leonardo DaVinci mostly because he was not bound to one medium, but was a true Renaissance Man... always curious and forever experimenting. As far as the art I personally create, I would hope that external influences of others' works are minimal, but rather that my work is influenced, most directly, by the medium itself (as I focus on reclaimed media) and how my experience and imagination can afford it a renewed purpose.

In this case, if you could meet one of your ideal artists from the past, who would it be and what will you ask about?

I would like to meet both Georgia O'Keeffe and Anna Mary Robertson Moses (Grandma Moses). I would like to talk with them about both sexism and ageism in general, but specifically in the art world. Of Ms. O'Keeffe, I'd ask about her transitions from NYC skyscrapers to close-up floral depictions and then to the Southwest; the ease or challenge of each. I'd ask her if her relationship with her spouse was a help, or hindrance. Lastly, I'd ask her about losing her eyesight with age and the challenge of collaborative art-making using exclusively the third eye and memory. Perhaps with Grandma Moses. I would just listen to her laugh and tell stories of life in rural Vermont and New York.

Our readers are waiting for the news about your awesome future artworks. Any upcoming works or future projects that you would like to share with us?

For 2021, I decided to put energy into the art of word-sculpting. I've partnered with a retired television writer to complete a screenplay depicting a local blues scene. I continue to have an eclectic group of works available at Studio Fuscata at Society6, with my representative adding to it weekly. Studio Fuscata, curated by Beth Ann Short LLC, is an online gallery-store featuring creative work by folks from under-served communities where voices are often marginalized. Sales of their items support and validate these artists' continued efforts to overcome challenges imposed by social stigma, income limitations, and disability.

Great, so we wait for future good news. Once again, we appreciate your time and participation in this friendly interview. We hope to hear more about you in the future. Stay safe and sound and create art!

This is it! Thank you for reading this exciting interview and we hope it could have satisfied a your questions about Lindsey's artistic journey. If you want to ask your own question, please scan the QR code and proceed.

Lindsey Grant

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Chaos and Light Sculpture, Mixed Media W:12 H:22 D:8 in 2019 Lindsey Grant

3D Mixed Media (found/reclaimed/repurposed objects)

The purpose in what we perceive as chaos is revealed when the light that is hope appears

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Deal or No Deal Mixed Media, Mixed Media W:16 H:20 D:5 in 2018 Lindsey Grant

Illuminating through depiction our history of cultural discrimination in employment, The Artist's incorporates a "found" set of Old Maid cards from the 1930s. The workers are exclusively male.

The only female character is the deck's 'villain'

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BLM Photography W:21 H:30 in 2020 Lindsey Grant

Digital Photo/Poster print w/repurposed frame

The photo/centerpiece reflects the relationship with and burden of a grandmother of two young Black boys in a society where the boys' potential for future incarceration is magnified by their skin tone.

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Fire Tree Painting, Oil Color on Canvas W:36 H:36 cm 2019 Cap Pannell

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Cap Pannell Painting

I grew up in a very small town. In high school the closest thing to any kind of art class was shop, where I could lay an aesthetically pleasing bead on an arc welder and build birdhouses no bird would live in. In the summers, to earn money for college, I pumped gas, repaired bridges, laid oil pipelines, and patched roads. All brutally hot work. I graduated from North Texas State University, Denton, Texas, with a degree in graphic design. Upon graduation in 1971, I was hired by the most prestigious graphic design firm in Dallas. While there I learned the craft and business of design well enough to start my own firm after four years. My wife Carol, who is a copywriter, and I have run a design studio for over 30 years. During that time we produced award-winning work published in highly respected juried trade magazines. We are a two-person shop with no other employees, yet we have produced marketing materials for national clients such as PC Magazine, Newsweek magazine, Salvation Army, Frito Lay, and the U.S. Postal Service. I provide illustration for our projects as well as for other design firms and publications. Illustration led to oil painting. Although dissimilar in style and media, my illustration influences my painting. When painting, I aim to make a simple, dramatic statement, the key element in illustration. Although my work is derived from nature and representational, I leave it open to interpretation. My goal is to make something that resonates visually and emotionally, both for me and the viewer.

biafarin.com/artist?name=cap-pannell

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Susan's Sunset Painting, Oil Color on Canvas W:30 H:24 cm 2021 Cap Pannell

Landscape with a dark treeline behind a foreground of burnt sienna. Large cedar tree occupies the foreground along with two other cedars. Sky ranges from gray to blue violet and is punctuated by a dramatic patch of light in yellow and orange.

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Cascade Painting, Oil Color on Canvas W:48 H:48 cm 2018 A series of broken clouds of white, yellow and gray crossing a blue sky.

Cap Pannell

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January Painting, Oil Color on Canvas W:36 H:36 cm 2018 Cap Pannell

Diagonal snow-covered hillside topped by evergreens with a sky ranging from violet at top to pink at the base. A single bare tree occupies the left foreground.

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Moonrise Painting, Oil Color on Canvas W:40 H:40 cm 2019 Cap Pannell

A hillside of various earth tones covered by various trees both bare and evergreen. Foreground of tall grasses in browns and oranges. Sky ranges from pale yellow at top to light blue. A pale moon occupies the middle of the sky.

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Ball of Confusion Painting, Oil Color W:30 H:40 in 2021 Lon Levin

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Lon Levin Painting, Drawing, Mixed Media

Lon Levin has gained international recognition for his whimsical, imaginative children’s art. Since 2004, his work has appeared in books, magazines and gallery showings. He has won many awards over the length of his career as an art director, creative director and illustrator. A native of Los Angeles, Lon completed two Bachelors of Arts; one from UCLA in Painting & Graphics and the other from Art Center College of Design in Illustration in 1977, where he also taught advertising design from 1990-1992. Levin had the good fortune to study with some of the best artists and illustrators in the world, in particular Murray Tinkelman, Richard Diebenkorn, Lorser Feitelson, Alan Cober, Mark English, Berne Fuchs and Herb Ryman. His work is held in private collections in the US and Canada.

In 2008, Levin wrote, photographed and illustrated the book “Treehouses” which was published by Globe Pequot Press. In 2009 he illustrated “There’s A Boy Under My Bed” written by award-winning author Lisa Willever which got an honorable mention for Best Children’s Book at the Hollywood Book Festival in 2009 and was a 2009 Benjamin Franklin Award Finalist.

Lon currently lives in San Miguel De Allende , Mexico with his wife Ahavia and their Golden Retreivers Atticus and April Snow.

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Evil Come Knocking

Drawing, Pen, Ink | W:11 H:17 in | 2020 | AW127188734

Lon Levin: Ability to Express Robin Weißbach Interviewer

Lon, Many thanks for giving us this opportunity to appreciate your artistic career and artworks through this interview. Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?

I love cartoons. My favorites were Popeye, Daffy Duck, and Heckle & Jeckle. I’d sit in front of the TV set and try my best to draw characters as I saw them on screen. I also drew characters on the walls of my closet with crayons. My mother, an amateur artist took notice and gave me art assignments. I was about 4 years old then.

My first real recollection of any art achievement was winning a painting contest in 1st grade. It was a painting of Pinnochio, who was and is my favorite Disney character. After that my mother took me to painting classes with her for years.

My real art education started when I transferred to the UCLA Art Department From USC Cinema school. My parents were in the middle of a divorce and neither wanted to pay the tuition to USC which is a private school.

UCLA was a less expensive alternative. I tried to get into the UCLA Film School but they were filled up. They offered me a space in the coming year if I got into another department like the art school. I ran over to the art department and begged them to let me in and after much cajoling and selling myself they agreed. I never transferred into the cinema department. I was hooked on art.

The year I was set to graduate from UCLA my life changed forever when a girl I was dating told me I should enroll at Art Center College of Design. I had never heard of it so she volunteered to take me there. As I walked into the halls I saw students work on the walls that were absolutely mind-blowing. I felt like a caveman who had just discovered fire. Of course, when I pitched the idea of me going to grad school at Art Center my father practically disowned me. He was certain I had lost my mind. “Get a Job!” he screamed at me when we first discussed it, then he babbled on and blamed my mother for making me a sissy who wanted to finger paint all day long! It was to no avail, my mind was made up, I was going to be an artist.

Fortunately for me, my mother did pay her half of the costly tuition, I got a scholarship and loan for the rest. My mother’s only condition is that I take my studies seriously. I can tell you this, there is no way anyone can fake their way through Art Center and not get kicked out,…quick. I took myself seriously and the payoff was well worth it. When I graduated from Art Center as an advertising/Illustration major I was equipped with skills that have lasted me a lifetime.

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❝To have and cultivate the ability to express me visually is a blessing. ❞ What an impressive story! You worked hard to achieve what you wanted, or rather you fought, and you finally got a result that was worth it. Was there ever a moment of doubt to question your art career entirely?

Yes. Many times. Early on right after my Art Center graduation, my confidence took major hits. Rejections, disapproval from my father and my wife’s parents weighed heavily on me. I couldn’t support myself and let a wife and small child alone. There were times I’d put aside my creative career to work on the occupations that would generate enough income to support my growing family. Most of the time I’d find myself creating artwork in my free time. Always imagining the type of position I wanted to have in the art world. If I couldn’t be an illustrator, then maybe I could be an art director. So I took night courses to hone that skill. After five years working on multiple odd jobs, studying and free-lancing, I landed an art director position at 20thCentury Fox. After that, I never doubted my talent or choice of profession.

As an artist who was thinking of reaching the top and striving for art, you could never think of descending and surrendering. Now, let’s go to your studio. What is your daily routine when working in your studio?

My routine has changed and evolved over the years. Up until 2004, my schedule was dictated by my jobs. That usually meant 8 am to 8 pm every day except the weekends. There were exceptions when I’d work 15-18 hour days, but I tried to keep that at a minimum. I had worked as a staff artist, a cartoonist, a production designer, an art director, a creative director, head of an art department at a studio and as a president of a design firm.

Any projects on my own were worked on late at night or on weekends if I had the time.

In 2004, I decided to leave my position at Warner Bros. to become a children’s book illustrator. After some haggling over a buyout I left and went out on my own. In transition, I had to create my own routine. Over the years, that’s evolved to what it is now.

In the morning, after waking up, I feed my dogs at 7:30 then eat breakfast. By 8:30 I am on the computer checking emails and messages. By 9:00, I start using social media to post stories’ photos, artwork or to promote my two online magazines The Illustrators Journal and Real Creative Magazine. By 11 I’m usually done.

The rest of the day is devoted to projects.

Normally, I have various pieces or ideas for pieces that are in various stages of development from thumbnails to sketches and paintings. Each one has its cycle of creativity depending on what the final product will be. In between each step I visualize how I should proceed next.

Wow! You are as busy and active as ever with ever-expanding lists of projects. So, take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

There are various ways I come up with an idea for a piece of art. I find the best pieces are spontaneously created. That can happen to work in my sketchbook as well as scribbling an idea down on a napkin at a restaurant. I am constantly sketching out ideas so that I have many images to choose from. I am no longer concerned over whether something is anatomically correct or not. I have abandoned all doubts about the correctness of the image I create. That is very freeing. Over the years I created a library of images that one day may turn into final art projects. Usually, I review my images and something pops out about one that I never considered before. That could have come from looking at other artist’s work, what’s happening in our world, or a thought that has popped into my head. Then I decide if this was a painting, a digital piece, or a pen and ink drawing. From there I apply my expertise in those particular mediums and transfer the art onto canvas or fine art paper or scan the sketch into my computer and work on it. Sometimes a photo-shopped image will get transferred onto canvas. That happens by free-handing or projection depending on the imagery and the look I’m going for.

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Great job. Some artists prefer to establish clear relationships between and within all of their ideas. Is there a central concept connecting all your works together or each series or artwork is unique?

Great question. Yes. I find that my sketches speak to me and they are usually in sets or series. The concept or theme is dictated by the art which is a reflection of my feelings. My most recent series is called “Devolve” because the images depict humans or creatures who have devolved or are in the process of devolving. The reasoning behind the imagery is toxic waste, global warming or dehumanizing behavior. I can tell which piece will work in what medium and when the idea has generally run its course. Most of the time I’m right, but sometimes I’m wrong and I’ve spent far too much time on an image that will not work.

Recently I moved to San Miguel De Allende in Mexico and I find that my sketches and ideas evolving to include the influences of my new home. I’m excited and curious to see how that will look in future pieces and the theme that crystalizes from that.

What matters to you? The artist's direct message or the viewer’s discovery? Would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience?

I believe it’s up to the viewer to decide what the art is all about. The combination of design, color, technique, and intention are all part of a piece. The right combination of those elements will touch viewers in different ways. If the artist realizes his vision, then the job is well done. The audience will feel it and be affected.

Lon, how do you get inspired? How do you seek and use inspiration for your works?

All of the above and more. I find inspiration in everything. I find nature very inspiring and I see imagery in trees, grass, dirt roads and clouded skies. Other artists speak to me like Romaire Bearden, Richard Prince, David Driscoll, Robert Motherwell, Richard Diebenkorn, and Picasso. A fantastic brushstroke can excite me and stir ideas. It’s endless.

And, how do you select your artworks subjects? Where they come from?

Beings are my favorite subjects. I am always searching for a way to depict the players in my visuals that are unique and memorable. I like to borrow ideas from different sources and mix them up until something different forms. Then from my brain to my hand to the tool, I’m using onto the surface of the paper or canvas.

Artists use subjects, materials, techniques, and colors, each with a unique route to be followed for recording memorable artworks. Is there an artwork or series that you would like to be remembered for? And if yes, what is it?

No, I don’t think I’ve gotten there yet. I have some favorites, but I don’t want to dwell on them because I have so much more I want to do, and tying myself to an image or two is limiting.

❝To have people like and reward what you do is the cherry on top!❞ The Mexican lifestyles and design mixed with American sensibilities…. We shouldn’t miss it. What are still your art influences? Who are your favorite contemporary or historical artists and why?

I have to start with my mother. She recognized I had talent and nurtured it. There are numerous teachers at UCLA and Art Center who shaped my skills and my understanding of being an artist. Among them is Richard Diebenkorn, Robert Heinekin, Dwight Harmon, Herb Ryan, Eugene Fleury, and Alan Cober.

When I first started, I loved Albrecht Durer and Daumier while they are still among my favorites, my work now is heavily influenced by Picasso, Chagall, Richard Prince, David Driscoll, Basquiat, and Romaire Bearden. My main pen and ink influences are Doré, Mort Drucker, Ralph Steadman, Alan Cober, and David Levine. Their sense of linework and the various tools used by each has been a great influence on me.

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Imagine the time when meeting your specific favorite artist. If you could meet one of your ideal artists from the past, who would it be and what will you ask about?

I’d have to say, Picasso. In my mind, there is no artist who has covered so much artistic ground over a lifetime and broke down so many boundaries that existed to establish new ways of working. I’d ask about his methodology, who influenced him, and how he dealt with doubters. And last find out his favorite wine which I’d buy so we could rap and drink about everyday life.

Our readers are waiting for your future works enthusiastically. Any upcoming works or future projects that you would like to share with our readers?

As I mentioned before, I am going to use the influences around me now to create meaningful and striking imagery that will hopefully excite and appeal to viewers. The Mexican lifestyles and design mixed with my American sensibilities should create iconic artwork I'm sure it should Lon. And here we are. That was a very knowledgeful talk and once again, I would like to thank you for your participation in this interview. Hope to have more exciting news from you in the future. Wish you success always.

❇

This is where it ends. We hope that this interview answered a part of your questions about Lon's artistic fusion. If you want to ask your own question, please scan the QR code and proceed.

Lon Levin

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Is Painting, Oil Color on Canvas W:24 H:30 in 2020 Lon Levin

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Nature Cries Drawing, Pen, Ink W:11 H:17 in 2020 Lon Levin

A visual representation of trees crying out for help as humanity and technology is destroying the natural world AW127446294

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Precious Painting, Oil Color on Canvas W:24 H:24 cm 2020 Lon Levin

A devolved being protects a red vial containing liquid knowledge. The more the being protects the vile the more it devolves.

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Save Us Drawing, Pen, Ink W:18 H:24 in 2021 Lon Levin

The image depicts the current fractured nature of humanity & the way they worship the "latest thing" hoping it will save them from the many physical and mental viruses out there attacking humanity. The effect is humans are more prone to look from an outside force to save them instead looking within.

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Body Language Painting, Acrylic on Canvas W:100 H:100 cm 2018 Ronnie Jiang

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Ronnie Jiang Painting

Ronnie Jiang is a Paris based artist born in Indonesia. Trained in Taiwan, she worked as a designer for around 8 years before she decided to get serious in her art in 2013. In 2019 she started to work on a series that she called Déstructuralisme Figuratif. She focuses on the evolution of the “form”, the desctructuring of bodies and faces in which joyful anatomy is built and deconstructed in the footsteps of cubism. The geometrized but still realistic fleshly fragments identify without flaws and are released in the contortions. In Ronnie’s work, we can detect a few characters from cartoons mixed with faces or body parts. These new disfigured, strange and imposing creatures show a certain spatiality of forms. Their juxtapositions induce the possibility of a new story. Ronnie is deconstructing to reconstruct to discover a new form and new story.

biafarin.com/artist?name=ronnie-jiang

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Digi 2 Digital Arts, Print on Plexiglas W:30 H:42.40 cm 2021 Ronnie Jiang

This digital artwork is done with photopea online software and sealed with matte Plexiglas. It's more like a digital collage for me, the assemblage of different part of images (elements) to create a new form, some parts are digital painted.

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Forward Backward Painting, Acrylic on Canvas W:80 H:80 cm 2019 Ronnie Jiang

I described different periods in this painting by mixing different parts of the ancient paintings' subjects with contemporary's subjects.

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Untitled 1 Painting, Acrylic on Canvas W:50 H:50 cm 2020 Ronnie Jiang

I admire the works of the ancient paintings and I started with academic style, after several years, I started to look for a new form, new adventure and mixing different elements in order to create a new form.

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Pablo Picasso Painting, Acrylic on Canvas W:60 H:60 cm 2016 Ronnie Jiang

Portrait of Pablo Picasso is my starting to point of the series Déstructuralisme Figuratif that I'm working on until today. His period de Cubism and Surealism inspired me a lot on the series Déstructuralisme Figuratif I am working on.

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She Germinates Vision Painting, Acrylic, Oil Color on Canvas W:24 H:36 in 2018 Linda Storm

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Linda Storm Painting

In 2021 Linda was featured by the NM Committee of the National Museum of Women in the Arts, and will take part in Harmonize, a group exhibition in Santa Fe, NM. In 2020 Linda researched and painted ancient healing goddesses. She received an honorarium for her work, and inclusion in an exhibit by Mozaik Philanthropy, and by DAB on Artsy. She donated paintings to recovering Covid-19 patients, offered her art retreat to first care workers, was invited to the Chateau Orqevaux residency in France, and into the Acclaimed Artists Series by New Mexico Arts. Linda was also awarded Best Artist by the Albuquerque Journal North.

Pre-pandemic, in her studio, Linda created her own art, mentored high school girls, hosted art retreats and events for women and other underrepresented creatives, cofounded an art collective, and taught team building art classes through art. Her actions led her studio to become a cultural haven. In 2019 she received The Albuquerque Journal North’s People’s Choice Award, and since 2017 as the official artist for The New Mexico Platinum Music Awards, she created art for stage projections. Find out more on Linda Storm Art. In 2022, internationally recognized artist Linda Storm plans to open The StormHold-a haven for creative cultural compassion, to support women and other underrepresented creatives of all ages, abilities, cultures, and skin colors, whose stories will be broadcast to a global audience on the radio. Find out more on The StormHold-creative cultural compassion.

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She Resonates Harmony

Painting, Oil Color, Acrylic on Canvas | W:24 H:36 in | 2018 | AW127311926

Linda Storm: Goddesses and Theology Nancy Krüger Interviewer

Thank you so much, Linda, to accept our invitation to have a close conversation about your artistic life and artworks through this interview. As a visual artist, let's start with your artistic background story and if there was a certain chain of events that convinced you to choose such career?

At the age of 3, I found my father's empty canvas and paints. I never forgot the scent of the oil paint as I smeared colors on the white canvas. He was not happy. Later, I questioned the patriarchal faith taught to me, and learned about goddesses. I drew them often. Other kids asked to keep my drawings. As a teen, I was invited to show my work in a gallery in Lancaster, NY, and all of my paintings were sold. At 18, I gave birth to my first child, and worked as a freelance artist, and designed and painted on clothing. A reliable friend told me people liked my designs because of the art I created on them. That convinced me to focus on my paintings.

Well, now that you've been familiar with canvas, paintbrush, colors, and creating art since you were a child, tell us, was there ever a moment of doubt to question your art career entirely, for instance as a young mother dealing with life?

I stopped painting for many years, not because of ennui or doubt, but because I raised four amazing children, moved from New York to New Mexico, and became a Montessori teacher. As a parent and teacher, I developed valuable creative thinking skills. New Mexico opened new vistas for my eyes and mind. I also worked at a gallery in Santa Fe, where I studied and internalized the art, until I was ready to burst creatively. One day, when I walked past an empty canvas in a thrift store, my hands started vibrating. It felt electric. I heeded the call and enrolled in a painting class, and vowed to myself that I’d never stop creating art again. In 2016 I began a lifelong project to resurrect goddesses from ancient global cultures. My childhood passions led me to this path as an award-winning, internationally recognized artist.

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What an admirable story! Childhood is a strange time. A passion that grows up and develops with us during childhood can be so potent that even if we fall apart for a while, we go back to it and resume it. So, as an established artist, what is your daily routine when working in your studio?

When I awaken, I am in a state between dreams and reality, and often connect my dreams to the art I am creating. Once I am set up with my brushes and paints, or research books, or at the computer searching and applying for submissions, I am focused on my art for the rest of the day and into the evening. I don’t really have a routine, just ideas to realize and goals to reach. I make lists and keep a calendar so I am able to timely complete commissions, submissions, and works for exhibitions. To rise above inertia – my nemesis, I force myself to work for just a few minutes, which always revives my motivation. Sometimes, I have to self-regulate. I once forced myself to create 60 paintings for an exhibit in such a short time that I became ill with exhaustion and couldn’t attend the opening.

What a self-made challenge! Everyday work sometimes depends on one's mood and sometimes depends on regulations and requirements. Let's back to your studio. Take us through your process of making your artworks.

How do you move from an idea to an artwork? Where does an artwork begin for you?

At first glance, it might appear that I am lounging around as I peruse the books and click on search engines. I am an extreme observer, sensitive and protective of how, and with whom, I spend my time, including those who commission my art. I always set up an interview first to see if it is a good fit. My life is about seeking wonder and possibilities, which is the title of my latest surreal landscape painting. If I feel stuck, upset, or worried, I know I will find a solution in the story of an ancient Diva. My goddess paintings require most of my valuable time. I research, meditate, and dream about them, and when I begin to paint, something happens that I cannot explain; The painting takes form with a life of its own, and I wonder if I am the one controlling the brush.

That is a thought-provoking feeling! Hands’ movement and out-of-control brush strokes can occasionally lead the mind and heart of an artist to have unique effects on the viewer. Is theology and goddess idea the central concept connecting all your works together or each series or artwork has been created based on different idea?

My paintings are parables, portrayed with layers of colors, shapes, shadows, and light. They are metaphors created with rainwater, earth pigments, precious metals, iridescence, glow in the dark pigments – whatever I need to convey my story. I create commissions, public art, and different series inspired by my experiences with nature, my love of music, and my fascination with myths and theology. I am dedicated to my goddess series as a lifelong project.

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I see. Let's talk about audience communication. The time when you’re uncovering everything that goes on in your mind on the canvas, would you like to give a particular interpretation of your work to your viewers, or you prefer to leave the whole interpretation to your audience?

My purpose with my goddess series is to awaken awareness of the divine feminine. With respect for their prehistoric beginnings, I paint each goddess as an ancient cracked stone sculpture, as if it is a shell shielding the goddess within. I create a surreal-scape with symbolic imagery appropriate for her resurrection.

That said, during exhibitions of my goddess series, when I included no statement, people shared such personal interpretations of my art, that I, and they, have been moved to tears. At one exhibition, I invited storytellers to share the myths that inspired my paintings.

Very touching! Some of our readers have claimed that they have been able to get the senses and feelings that are hidden in your goddesses before or after reading their stories. They are really curious to know. How do you seek and use inspiration for your works?

In 2019, two hummingbirds flew into my open hands and spun around and around, brushing my palms with their feathers, then they spiraled away chirping. I was delighted and astounded that they knew my hands were trustworthy. It was confirmation that we are meant to live peacefully with nature, and each other, and that I am to exemplify that realization with my art. I painted a series of Hands and Hummingbirds.

My goddess series was inspired by my quest for equality. When I began painting them, my spine felt stronger, as if my grandmothers who reside in my bones, were holding me up for the task. In Search of the Lost Feminine

by Craig S. Barnes is my bible. He tells of peaceful cultures in which women and nature were respected, until the glorification of war buried their values and stories. My resurrection of female deities is an uprising that meets patriarchal dominance at its source.

And about the subjects, I guess you select your artworks subjects according to the above mentioned inspirations in the context of ancient cultures and theology.

I am dedicated to reviving ancient goddesses from global cultures. They have been dismissed for thousands of years by patriarchal and war-praising politicians and religions. Our ancient ancestors revered goddesses. They believed divine females gave birth to the seasons; destroyed demons; healed disease; created art, music, poetry, and dance; and fiercely protected children and animals. Goddesses foresaw the future, grew magical golden apples, arched over the earth like a blanket of stars, and offered eternal life. I have also been commissioned to create album covers and murals. My favorite was an aspen forest in a large foyer.

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Good to know. Our readers have certainly visited your arts. The way you research and process the subjects into living canvas and create moving artworks has made quite an impression on us all. Is there an artwork or series that you would like to be remembered for? And if yes, what is it?

My goddess series is most important to me. During the pandemic, I was curious about which goddesses or our ancestors might have implored for healing. My research led me to the ancient Mayans’ knowledge of medicines, architecture, and navigation. Their records, written in bark-paper books were almost completely destroyed by patriarchal religious fanatics. Yet, their goddess Ixchel is still revered today. I painted her as part tree part human with a night sky, with a temple on the Isla Mujeres, in the background. I also resurrected the 7000-yearold Sumerian goddess Bau, who was so important, that she was adopted and renamed Gula, by the Babylonians, who conquered Sumer, (now Iraq.) She had a wolf-dog companion. Another favorite is Pele, the Hawaiian volcano goddess. I painted her skirt as part of the land pulling away from a volcano, with tiny military weapons in the background, futilely trying to stop her.

Linda, considering your deep artistic and seeker mind, what are your art influences? Who are your favorite contemporary or historical artists and why?

The spirits of Dr. Suess, Georgia O’Keefe, and Gertrude Stein encourage me to be playful, to paint what I see, and to share my stories.

Wow! If you could meet one of your ideal artists from the past, who would it be and what will you ask about?

I would prepare a surreal dinner with Dali for our families and friends, and later work side by side with him, collaborating on works of art together, while conversing about the meaning of what we are creating. I imagine the conversation and the art would be full of surprises, even to us.

So, I'd say that the impact of your study and precision plus a curious mind has become a very persuasive and precious factor in your career success. Those of our readers who follow your work are looking forward to being informed of your future artwork. Any upcoming works or future projects that you would like to share with our readers?

I am planning to open The StormHold – a haven for creative cultural compassion. It will offer performance opportunities, mentorships, retreats, and global radio interviews, to women and other underrepresented creatives of all abilities, genders, cultures, colors, and ages. StormHold will also include my art studio, a gallery, and a radio studio where my DJ husband will broadcast his global radio show. Please see TheStormHold.com for more info. I have also been invited to the prestigious Chateau Orquevaux residency in France, and am planning a solo exhibit of my goddesses in New York City for Autumn.

So great. That’s good news for our readers. Very nice of you to talk to us about various aspects of your precious artistic career. Thank you for your time and kindness to accept our invitation. I hope to hear more about you in the future. Have a nice life!

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This is it. We hope that you enjoyed reading this interview. If you want to ask your own question from Linda, please scan the QR code and proceed.

Linda Storm

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She Sustains Balance Painting, Oil Color on Canvas W:24 H:36 in 2018 Linda Storm

Oil, Acrylic and Precious Pigments on Canvas

She Sustains Balance was inspired by the Ancient Egyptian Goddesses. She holds a scale to weigh the desire for golden eggs against a feather representing the soul. Her dress is woven of the life sustained by water, with a window depicting the depth of life that she carries within.

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She Who Harbors the Sea Painting, Oil Color, Acrylic on Canvas W:48 H:60 in 2019 Linda Storm

Oil, Acrylic and Glow in the Dark Pigments on Canvas

This painting represents mermaids as protectors of the ocean. While exhibiting my paintings in Arezzo, Italy in 2018, I traveled to Calabria, the home of my grandparents. I visited many museums along the way, and discovered that mermaid lore was prevalent in Italian myths, art, and stories.

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She Who Heals Painting, Acrylic, Mixed Media on Canvas W:24 H:36 in 2020 Linda Storm

In November, 2016, I began a lifelong project to research and resurrect the divine feminine from ancient global cultures, with paint on canvas. When the pandemic began, my focus turned toward goddesses who were revered for their healing abilities.

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She Who Weaves Remedies Painting, Acrylic, Mixed Media on Canvas W:24 H:36 in 2020 Linda Storm

In November, 2016, I began a lifelong project to research and resurrect the divine feminine from ancient global cultures, with paint on canvas. When the pandemic began, my focus turned toward goddesses who were revered for their healing abilities.

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Duckyroo Sculpture W:18 H:12 D:13 in 2017 Maria Ruenes

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Maria Ruenes Painting, Sculpture, Digital Arts

I was born and raised in Mexico City and moved to the USA with my family over a decade ago. I studied graphic design in college which sparked my love for art, such as painting, sculpture, and flower arrangements to name a few. Here in the U.S. I went back to college and took painting classes and ceramics, which opened up my creativity and gave me new tools to express myself. I have been lucky enough to work in all of these artistic areas at some point in my life and they have al helped me to grow as an artist. I am constantly influenced by Mexican culture and my surroundings, so I like to use vibrant colors and whimsical shapes to create my work and make it a unique expression of myself. My sisters are a source of inspiration too, each one developing their own artistic talents and skills through the years as well. I have learned a lot about art, expression, growth, and creativity through the years and this is one more step to become a greater artist and expose my art to the world.

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Dragonfly

Sculpture | W:35 H:27 D:7 in | 2019 | AW127549440

Maria Ruenes: Whimsical Recycles Marian White Interviewer

Maria, we appreciate you give us the chance to talk about your art career and artworks through this interview.

Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?

I grew up watching my mom and one of my sisters do a lot of arts and crafts and took an interest in it early on in life as a result of watching them. I didn’t pursue my love for art until college and got into graphic design.

Throughout the years I have tried many outlets for my creativity, aside from my college major, including drawing, creating flower arrangements, and metal embossing. It wasn’t until years later, when I moved to Dallas, I went back to college to study art and ceramics, and fell in love with creating three-dimensional things and sculptures. This ultimately led me to take a class on how to make Alebrijes and I then combined my Mexican heritage with my love for art and I began to create my very own Alebrijes.

As you said, your mind has been involved with art and crafts since you were a child, and when you entered college, you really felt the love of art. Was there ever a moment of doubt to question your art career entirely?

I was born and raised in Mexico, and though I always knew the culture there is very different from the one here in the United States, I didn’t know how much different it was until I moved here. Mexico is often associated with bright colors, not only in its architecture but also in its art, and after having lived in Dallas for almost a decade, I knew that my Alebrijes would be very out there, a deviation from the norm. It took a while to even decide if I wanted to share my art with the world and my community and I truly began doubting if I was doing the right thing or if I should stop and do something else. The support and curiosity for my art came in slow, but steady, and though I had some doubts remain, I decided to follow my interest and passion for Alebrijes and continued to pursue those dreams. I decided it was better to do it scared and with doubt than to not do it at all.

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Yes, that's right. Doing something worthwhile with hesitation is better than leaving it. What is your daily routine when working in your studio?

I don’t have a set schedule, but I do have an established process that helps me achieve the best quality and overall results. I gravitate more towards working in the morning to allow each step to dry throughout the day and have it ready to go the next morning when I get back into my studio. As a creative, I allow myself to work when I feel the most creative and inspired, as opposed to forcing myself to work every day. This allows for a better ending result, at least in my experience. I do make sure my area is clean and has enough space to move around and place things that I will be using through my process. I prep the tools that I need each day before I start working, which allows for a better flow of the process and makes things more efficient.

In fact, creating art is not a daily task. Every time an artist is influenced and inspired, a masterpiece is formed.

Take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

I always start with finding some inspiration online, after I have an idea of what Alebrijes I want to create, and use this to convey a clear idea to people. I then begin to create the shell of the Alebrijes with recycled materials like plastic bags, until the entire body looks the way I want. I then begin to cover the shell with a special mixture and newspaper in order to solidify the body and give it some protection. After this is done and the mixture has dried and hardened, I begin to paint it and draw all the different patterns to bring each individual Alebrijes to life and create a unique story for each. In the end, I seal the entire Alebrijes to ensure the color will last and won’t fade. This can take anywhere from a few days to a few weeks depending on the size and complexity of the individual Alebrije.

Many thanks for your full explanation of how an Alebrije is formed. Our readers will definitely enjoy it. Is there a central concept connecting all your works together or each series or artwork is unique?

Each Alebrije is unique. Even if I were to choose the same animal, the result would be different. I usually create each one with a a different story in mind, but there have been instances where I create a form of series. For example, I have created a few bugs and insects that would look good together, but they can also stand on their own. The one thing they all have in common, aside from the process I follow, is that they are all rooted in Mexican culture and portray and convey an important part of Mexican art through my perspective and interpretation.

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Some artists prefer to provide detailed descriptions for their artworks to guide the viewers to receive the message via their art. Would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience?

I like creating stories for each of my Alebrijes, setting up the stage for how they came to be. Some come from far away lands; others are more rooted in reality. But these stories I tell are a small part of the whole, intended to be used as a good starting point for creativity. The rest of the storytelling is up to each individual user, each person having their own point of view and perspective. I always enjoy talking to people about how they perceive the art, and if they have a story, the art is telling them.

Great. You dedicate part of the understanding of your artwork to your own descriptions to convey the message or culture you present, and you leave the other part to the viewers. How do you seek and use inspiration for your works?

I get a lot of inspiration online, but that is strictly used to create a more accurate depiction of a specific animal’s body. I have found a lot of inspiration in books, nature, from my travels, and my daily life. For example, my husband and I love cows, and so I took a lot of inspiration from them and the spotted pattern many of them have. I also have many hen decorations around my kitchen and I used them and their bright colors for inspiration too. My daughter has inspired me too. Often times I ask her for animal ideas and what I can add to them to make them more diverse and unique. I have also always liked jewelry with insect themes, I find it fun and very unique, and I take a lot of inspiration from those pieces.

You are marvelous, Maria. And it's good that your daughter is already getting acquainted with a deep understanding of your art and combining different elements and subjects to present a complete artwork. Now, tell us about your subjects, please. How do you select your artworks subjects? Where they come from?

Alebrijes are mystical and fantastical creatures usually made up of two or more animals put together. I could deviate from that and make up my own rules, but the idea of working with animal subjects fascinated me, as it was different from anything else I had ever done, and so I stuck to it. I have no determined set for my work, they are mostly individuals, or a very small series of three Alebrijes but the process remains the same. Shape the body with plastic bags and cardboard. Cover it with my mixture and newspaper, and wait until it is dry and hard. Then let your creativity flow for painting and pattern drawing. Seal it to maintain the brightness of the color and overall durability. Inspiration comes from anywhere I can see animals, the zoo, a park, my travels, a book, television, or photography. Inspiration is never missing from my life.

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How interesting! Yes, you’ve already said that your goal was to recycle materials and transform them into beautiful pieces of art. Are there an artwork or series that you would like to be remembered for? And if yes, what is it?

One of my favorite series I have done is the one with the little insects and bugs. It is a set of 3 and I find them to be some of my most fulfilling and unique work. I have always been drawn to those kinds of animals and creating them in Alebrije form allowed me to deepen that connection. Because they are smaller than most of my other Alebrijes I am challenged to create the same strong storytelling and aesthetic, but in a smaller form, which isn’t easy. I also love all the details I add, like the wings. These are my favorite part because wings remind me of freedom and I believe these insects are truly free, which is a good reminder of my life. They are small but very beautiful, and that keeps me focused on the small beauties in life.

Exactly. Your Butterfly, Firefly, and Dragonfly are fabulous displays of small beauties. What are your art influences? Who are your favorite contemporary or historical artists and why?

My art influences are mostly Spanish and Mexican. Going to different places throughout my life and seeing the bright colors, the intricate paintings, the fun patterns, and the diverse subject matters always got my attention.

As such, Pedro Linares, the first person to bring Alebrijes to life, is a big source of inspiration. His Alebrijes were big and colorful, made from wood or papier-mâché, and they were used as a sort of float for festivals and parades. His work is unique, bold, and draws upon many sources of inspiration, like mythology and Mexican culture, which is why he is one of my favorites. When I began making my Alebrijes I took a lot of queues from him, but I also modified my process to fit my wants and needs, replacing wood and papier-mâché with recycled materials.

It may have occurred to you that you wish to meet art masters and talk to them closely. If you could meet one of your ideal artists from the past, who would it be and what will you ask about?

I would greatly enjoy meeting Antoni Gaudí the Spanish architect known for his modernist style that contrasted greatly with its surroundings. I can think of many things to ask, from how he got started in architecture, to where his ideas came from and if he ever felt like a failure, but my number one question would be how did he translate his feelings and perceptions of the world into his buildings and art. As an artist, I believe that the real life can, and does, inspire fiction, but a lot of it can also come strictly from the imagination and what the artist wishes to see in the world. So I would really enjoy learning his stance on this matter and tell me what it was like to combine his ideas and perceptions with the finished result.

Maria, our readers are very into your artworks and also curious to know about your future works. Any upcoming works or future projects that you would like to share with our readers?

I have many new Alebrije ideas I will be working on, so many new pieces are in the near future. I am also looking to expand my reach by participating in more art fairs and festivals and hopefully some galleries and art shows as well. I am currently working on my own website so that people from anywhere in the world can see my art, learn more about me and my process, and learn more about Mexican art and heritage and how it has helped me become the artist I am today. In-person events are my favorite as I get to interact with people face-to-face but I want to grow my online presence too and have a far-reaching impact.

We are enthusiastically waiting for your new works. I would like to thank you very much for your thoughtful answers and sharing your artistic mind with our readers. I hope to hear more about your achievements in the future art festivals globally. Good luck with your progress!

For those who enjoyed this conversation, please let us know your opinion and If you want to ask your own question from Maria, please scan the QR code and proceed.

Maria Ruenes

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Camafrog Sculpture W:18 H:13 D:20 in 2018 Maria Ruenes

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Dragon Eye Sculpture W:22 H:12 D:20 in 2018 Recycled Plastic Bags and Cardboard 23 Maria Ruenes

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Butterfly Sculpture W:20 H:23 D:9 in 2019 Recycled Plastic Bags and Cardboard Maria Ruenes

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Firefly Sculpture W:56 H:17 D:15 in 2019 Recycled Plastic Bags and Cardboard Maria Ruenes

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Nimisha Doongarwal Painting, Mixed Media

Nimisha is an immigrant from India. Mixed media artworks she creates, are grouped inventories of fragments: paintings, photographs, fabrics, and digital prints. The work explores the varying relationships, between past and popular culture by referencing social issues such as racism, gender inequality, immigration and so on. Every image tells a unique story by creating visual links to history and reality.

The work reproduces familiar visual signs and oral histories by arranging them into new conceptually layered collages. Her methodology is consistent while using a variety of materials and processes in each project. Each piece starts with a curated collection of photographs, fabric, and other materials. The vintage portraits are altered digitally by juxtaposing photos with different transparencies and filters. Her physical marks follow the repetitive process of going between tearing and layering prints, collaging, painting, stamping and adding fabric. The layers vary in sizes, saturations and opacity to emphasize compositions and concepts.

The portraits she creates have a new abstract identity, which emphasizes our similarities over differences, irrespective of the varied physical differences. Through her works, she wants to encourage people to embrace cultural diversity and fight for equality for all gender, color, race, religion and so on. Her goal is to give a voice to social issues women and people of color face around the world, through her art and advocate awareness.

Nimisha has been featured in publications such as Forbes, Maake magazine, Artmarket magazine and has exhibited in museums and galleries including the De Young Museum in San Francisco, Museum of northern California and Brown University.

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Hidden Behind the Mask!

Painting, Mixed Media on Panel W:12 H:12 in 2021 Nimisha Doongarwal

“Hidden behind the Mask” is essentially my self-portrait dealing with separation anxiety and uncertainty during the pandemic. This experience made me a stronger person.

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