frrresh visual arts magazine
Nยบ32
Autumn greetings! Welcome to another edition of Frrresh, make yourself at home :) This issue is all about fall colours, embracing the cold and drinking hot beverages. And pumpkins. Lots of pumpkins. This month’s magnificent five are a really versatile bunch- from collage to street art, they have it all. Well, after all, you’ll see for yourselves!
artists featured in issue 32 are: Matthew Clarke Davis PAPILIO ART- Sarah Buchholz Marisa Morea NemO’s Sandra Knego
Matthew Clarke Davis
Matthew Clarke Davis is a Collagist, illustrator, and oil painter from Baltimore, MD.
www.matthewclarkedavis.com
PAPILIO ART Sarah Buchholz
What’s remarkable for Papilio art is the abundance of details and variety of materials. From painting traditionally- with acrylic paint on canvas right up to drawing landscapes in Photoshop, you will always find a creative spectrum of different art concepts.
www.facebook.com/PapilioArt.Illustration www.artstation.com/artist/papilio www.papilio-art.tumblr.com www.twitter.com/sarahbuchholz93
Marisa Morea
I’m a freelance illustrator based in Madrid, Spain. I’ve been working as an illustrator since graduating in a MA Illustration at Eina School in Barcelona in 2009. So far, I’ve worked with many international clients like The Baltimore Sun, Toronto Star, Parent & Child NYC, Ascott Living Singapore or ARTETV. Good mood, storytelling, vibrant colors and a little bit of tenderness are the main visual keys of my work, a retro inspired style that perfectly works for both adult and children.
www.marisamorea.com www.instagram.com/marisamorea www.facebook.com/marisamoreaillustrator www.twitter.com/marisa_morea
Gram, acrilyc color on wall, New York (USA), 2015
Who is inside NemO’s?,acrilyc color on wall, Madrid (Spain), 2015
Happy Meal, acrilyc color on wall, Londra (UK) 2015
Inside Reggiane, acrilyc color on wall, Reggio Emilia (Italy), 2015
Nemo in latin means “nobody”. Nemo’s means “not belonging to anyone”. I think that something made in the street dies not belong to the artist anymore: it belongs to all those who see it. I don’t feel myself as an artist, nor a special person. I’m a person like any other and I simply express myself drawing. I’ve been drawing ever since I can remember and I ‘ve always tried to talk through my drawings. My polemic and not completely calm nature leads me to conceive the these humanoids characters, whot are the protagonists of my drawings. The social condition, the constant contradictions, hypocrisies and the sickening respectability led to develop in myself a reaction to depression and apathy towards the human being and society we are forced to live in. My characters are the graphic translation of what I hear and feel every day. I tried to imprison fatigue, sadness, anxiety and disgust in the soft and deformed bodies of my drawings. In this way the humiliating human condition is hidden under the lines of those flabby flesh . The scenes that I represent are paradoxes, nightmares that help me to describe scenes of real life and a world full of contradictions. I’ve lived and grown up in a period during which street art was mainly connected to spray colors. I then started to abandon spray colors and to paint with acrylics and brushes. I’ve always thought that sprays were a detached, cold and also “violent/impetuous” technique. With sprays there’s no contact with the wall surface and this erases any tactile and emotional sensation connected to the different walls and materials. Brushes and paints better suit my attitude and my kinda quiet way of working. Analyzing what making “street art” and what painting in the streets mean, I tried to use as much as possible materials that come from the street and that were not deliberately created to paint. I started to use pieces of recycled paper found around (abandoned places and dumps) to fill- color my drawings, in order to drastically reduce the use of industrial material. The first papers I used were just white or slightly grey sheets, but as time passed I discovered
Men like cows, acrylic color on wall, Vedriano (Italy), 2014
many different kinds of papers, with colors that vary depending on the “mixture” and former use. I also discovered that weather and sun color, darken or bleaches/fades the paper, creating different shades and chromatic tones. The only material I had to buy was black to for the outline, but then I managed to substitute the acrylics with papers for the coloration. Going back to what street art means to me, I tryed to find a way to go further in tearing up the barrier between who looked at and experienced the drawing in the street and who had realized it. Due to the paper’s own nature, that does not resist long time to weather action, time flow and that is touchable and alterable, I decided to mix acrylics with paper collage. “Before and After” collage comes from here. Creating parts of my drawings with acrylics and other parts with paper, I could take advantage of the different qualities and features of both materials.
The painted parts were time lasting while the paper elements were subject to weather and people interaction. I could paint bones with acrylics and then redress the skeleton with a thin paper layer that looked like skin. Falling and being torn off, the paper let the underlying drawings become visible so that my work became changeable and in constant evolution. This way the time and people action contributed to the changement-evolutuon of what I had started. A passer-by could decide whetherm, when and where tear the paper off in order to interact with the drawing and change it, getting involved in the realization of the work. This way I tried to convey time’s fortuity, “freedom to act” and people’s action into a constantly changing drawing in order to not exclude anybody from the creation process that due to its nature, belongs to everybody.
Empty, recycled italian news papers (Il Sole24 Ore) and acrylic color, the light is a true street light, London (UK), 2014
Raining?, recycled italian news papers (old books, old sketches, etc.), Madrid (Spain), 2014
Lost Head, acrylic color on wall, Palermo (Italy), 2014
Drinking, acrylic color on wall, somewhere in Sicily (Italy), 2014
Free like a bird, “Before and after� project, skin made with recycled italian news papers (Il Sole24 Ore), bones,cage and birds with acrilyc color on wall, Madrid (Spain), 2014
Arrow - d signal, recycled italian news papers (Il Sole24 Ore) and acrylic color, the arrow is a true road signal, Piacenza (Italy), 2014
Cagacemento, acrylic color on wall, Milano (Italy), 2010
No Triv, “Before and after� project, skin made with recycled italian news papers (Il Sole24 Ore), bones and straws with acrilyc color on wall, Bonito (Italy), 2014
www.whoisnemos.com www.facebook.com/whoisnemos www.instagram.com/whoisnemos www.twitter.com/whoisnemos www.youtube.com/user/Whoisnemos/about
Sandra Knego
Sandra Knego is a student of painting at the Academy of Fine Art in Bologna, Italy. She creates expressive figurative art using digital mediums, such as Photoshop and Wacom tablet. These works are her current mental states and feelings expressed through figures, portraits, and colors.
www.facebook.com/sandraknegoart
Editors: Rafael MilÄ?ić and pekmezmed Contact: mail@frrresh.org frrresh.org facebook.com/frrresh.mag instagram.com/frrresh_magazine
Photos and text: courtesy of each author unless stated otherwise