Wildman’s chosen mediums of gouache and oil paint on Yupo paper enable a striking level of detail and vibrancy. She meticulously cuts the Yupo paper to follow the contours of her animal subjects, enhancing the sense of fluidity and motion. Her process is labour-intensive, beginning with detailed preliminary sketches and underpaintings before she adds the hyper-realistic details. The intricate rendering of elements, such as a single flower, can consume hours, reflecting Wildman’s dedication to her craft.

Her artistic process, however, is not confined to rigid planning. Wildman embraces spontaneity, welcoming accidents as serendipitous opportunities for inspiration. This organic approach infuses her work with an element of unpredictability, where mistakes transform into creative possibilities.

Wildman’s art is also infused with playful, tongue-in-cheek humour. She juxtaposes weighty themes with whimsical, often absurd, imagery. In one piece, the concept of whistleblowing is humorously depicted by a mouse soaring through the air, propelled by an aeroplane’s wings, clutching a whistle in its mouth and trailing firecrackers from its paws. The sensation of being overwhelmed is comically portrayed in a painting of a muzzled bear fleeing from a school of salmon, his usual prey. Another work features an emu donning an army helmet and wielding a massive bazooka, a nod to the infamous Australian Emu Wars.

Wildman’s blend of humour and gravity creates a multi-layered experience, offering both immediate visual pleasure and deeper contemplative engagement. Her sweet and salty mix of fun and seriousness keeps viewers guessing, thinking, and perpetually chasing after the deeper meanings embedded within her artmaking

Enjoy this gallery of Joni Wildman’s work:

Joni Wildman Social Media

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The post Wild Goose Chase: On Joni Wildman’s “RUN!” Collection appeared first on Beautiful Bizarre Magazine.

Her paintings do keep us guessing: what are these animals running from? Each painting is distinct but the entire collection can be seen as one big cohesive herd of animals escaping something or running towards a destination. They’ve also picked things up along the way: arrows, watches, fishing nets, grenades. More often than not, it appears the animals have fled a warzone, but perhaps that’s just the nature of the collision between nature and mankind.

We talk to Wildman more about her philosophy behind her work in this exclusive interview where. we run into some fascinating ideas and insights together.

Interview with Joni Wildman

What is your art history and background?

I started painting when I was 10 years old. My dad signed me up for art classes out of a local artist’s home studio in Jacksonville Florida. I apprenticed under her until I was 18 and started my BFA at Florida State. She loved Helen Frankenthaler and made gorgeous colour field paintings inspired by angels.

What mediums are you most interested in?

I bounce between oil, gouache and coloured pencil. They’re all painting mediums to me; it’s just how dirty or clean I want to be. Oil is used for big, fast paintings and layering in scrafito. Gouache is for bright, clean colours and sharp lines. Coloured pencils are great for moody paintings.

Who are some of your favourite artists or other influences?

I look a lot at Jana Brike and Laurie Hogin working now. In history, Egon Schiele has my heart. Those lines! Norman Rockwell is also a source of inspiration. You can really hear the story in his images.

It’s clear that you love nature; how does the natural world inspire you?

Nature is weird and fun to look at. I painted a sprouting potato for the RUN! series, and had to make sure there was enough visual context for the viewer to know it was a potato and not some alien object. I also have a degree in poetry, and the names in nature carry a lot of weight too. In just flowers, you have snapdragons, bluebells and bleeding hearts. There’s a lot to work with in just the names when I build narratives in my work.

What does a typical day look like for Joni Wildman?

I run an arts education nonprofit in NYC, so no two days are alike. A good day for me starts with frisbee in Central Park and coffee cuddles with my pup. A couple of hours of painting before noon feels good. Then, I spend time up at our school-based art programs. At home, I love to hyper-focus on crafty projects. I made a series of intricate paper wigs once and all my own Christmas ornaments while binging Golden Girls. Right now, I’m making an intricate rainbow sprinkles themed tile mosaic in my kitchen.

Your latest series is called “RUN!” What is the story behind this collection?

I feel chased by time. There’s so much I want to do and this constant danger that I won’t be able to do it all. These animals represent the fear and joy of living. They carry their stories with them—hints to where they came from and what they may be running toward. Sometimes, they are electrified or hunted. Sometimes they carry gifts or drag tangled burdens. Joy and danger tumble over themselves in me and in these paintings.

What was the most challenging part of this series?

Scale! I want elephants the size of elephants and bees the size of bees. When I imagined all these paintings in a room, I wanted the viewer to feel like they were in a wild carousel. Unfortunately, there are limitations on what I have space for, physically and in my available time.

Where does the magic happen? What does your art studio look like?

My studio is…tight. It is NYC after all. It’s a tiny space on the Upper West Side in between a healthcare nonprofit and an insurance salesman. I often work on only one or two paintings at a time. I don’t clean my palettes, so globs of colourful paint are piled high on rolling tables and tidy peg boards organising my paint tubes. It smells like linseed oil, and sounds like my latest sci-fi audiobook. Dennis E. Taylor is a favourite.

What is one lesson you’ve learnt this year that has helped your journey as an artist?

I have set some standardised sizes for my work this year and packed a “go-bag” of painting supplies for when I travel. It’s been great to work on vacation. It feels a lot less like work.

What’s next for Joni Wildman?

I’m still working on the RUN! paintings, and now also the HIDE and PLAY DEAD series. Survival is emerging as a theme. But yeah, the plan is to live in joy and paint ‘til I’m dead.

Joni Wildman Social Media

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The post Running Behind: An Interview with Joni Wildman appeared first on Beautiful Bizarre Magazine.

Ana Priscila Rodriguez’s creations evoke a sense of antiquity, akin to weathered photographs from a bygone era. They bear the marks of time, faded and frayed, offering glimpses into the enigmatic lives of women suspended between epochs—caught in the eternal dance of past, present, and future. Through her masterful compositions, we are transported into the restless recesses of the mind, where silent battles rage in the dead of night. Here, amidst the swirling mists of anxiety and doubt, Ana Priscila Rodriguez captures the elusive essence of peace and rest, inviting viewers to confront their own inner turmoil with poignant introspection.

In her compelling series, “The Absence of Faith,” Rodriguez beckons us to contemplate the intricate tapestry of desire and disappointment, faith and disillusionment. With thought-provoking precision, she navigates the twisting corridors of belief, urging us to confront our deepest fears and uncertainties with unwavering courage. Similarly, in “Dancing with Demons,” Ana Priscila Rodriguez delves into the shattered landscapes of the human psyche, tracing the intricate steps of a mystical dance between light and darkness. Through her evocative imagery, she guides us on a transformative journey of self-discovery, where inner demons are met with compassion and understanding, ultimately illuminating the path to personal redemption.

Ana Priscila Rodriguez’s exploration of pain is profound and deeply personal. It is a harlequin presence, weaving its threads through the fabric of existence—both physical and emotional. Having grappled with chronic pain for six years herself, she channels her experiences into works that shine a light on the darkest recesses of human suffering. Through her art, she offers a poignant glimpse into the hidden heartbreaks that we carry within, buried beneath layers of resilience and fortitude. Her images stay with us, haunting us, coming back to us throughout our moments of quiet and peace.

Rodriguez captures the elusive essence of peace and rest, inviting viewers to confront their own inner turmoil with poignant introspection.

Her latest series, “Inheritance,” serves as a testament to the enduring legacy of generational trauma. Inspired by her own lineage of women who have endured abuse and abandonment, Rodriguez delves into the depths of her ancestry, seeking to unravel the tangled threads of pain and resilience that bind her to the past. She is constantly revisiting the tomb of bygone years, and discovering new illuminations within it, about herself and others, every single time.

The series consists of forty-eight mixed media works, which are a variation of the “faux tintype” technique and use tea bag paper on fibreglass. They are delicate and made up of repetitive images. Fibreglass gives the photos an eerily similar semi-translucent quality to printed X-ray scans. With delicate strokes and haunting imagery, she invites us to contemplate the echoes of our forebears, etched into the very marrow of our bones. Through her evocative compositions, Ana Priscila Rodriguez implores us to break free from the shackles of inherited suffering, forging a new narrative of healing and redemption.

Throughout her oeuvre, Ana Priscila Rodriguez deftly weaves together strands of melancholy, desire, and untold secrets, inviting viewers to lose themselves in a dreamscape where reality and imagination intertwine. With each brushstroke and collage, she beckons us to embark on a journey of self-discovery and introspection, unveiling the profound beauty that lies within the labyrinthine depths of the human experience. And by visiting the ghosts of our past, perhaps we can finally let them be at rest.

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The post Ana Priscila Rodriguez: Ghosts of You appeared first on Beautiful Bizarre Magazine.

From the intimate confines of home to the mystic landscapes of Finland, each photograph tells a story infused with texture, history, and personal introspection. Join us as we explore the intersection of memory, spirituality, and societal norms, and witness the emergence of powerful visual narratives challenging perceptions and celebrating the unseen.

We can all do better just by acknowledging people who otherwise are invisible to us.

Ana priscila rodriguez

What initially drew you to mixed media photography as a medium for artistic expression?

I have slowly followed the path to mixed media work but it became more evident during my years at the Art Academy in Utrecht. The introduction of all kind of techniques and materials plus my A.D.D made it always very difficult for me to decide what was the best medium for me to express my ideas. However, when I started combining mixed media techniques with photography it all made sense to me.

I still love to make collage work because eventually, I need the tangible experience. Then again, the collage work is an ideal way to express other things that I can’t express with photography.

Can you explain a little about your art-making process? Is it an entirely digital process?

The final phase of the process is digital, yes, but it goes through many stages that can be a combination of conventional printing and painting methods. For me the most important thing is the story, that’s where it all starts, then I can be inspired by a place, a colour or a situation, it really just randomly inspires me to take out my camera and start making footage. The next step is “how” will I tell that story to be the most effective for me? The texture is incredibly important so I achieve that texture using ink, pencil lines, watercolour and even coffee (or wine!).

For the last steps, I use digital painting to avoid repeating the process during very crucial steps. However, there are works where I barely use any other processes and it works just fine as it is with a single shot and a few adjustments. As said, I think it’s all about the story and conserving my own atmosphere and style and the few elements that have become my “signature”.

And as it starts with a photograph, the final result is also always a photographic product.

What have been some of your on-shoot locations? What draws you to particular places?

Because of my physical limitations, I live with chronic pain and an ongoing deteriorating hip condition, I love to shoot at home. There is a particular magic in shooting a story within a limited space with limited resources, it is not only a challenge but it makes the whole process more intimate and exciting for me.

When outdoors, I love to shoot in the wild, the open nature. I have found a vast and deep source of inspiration in the countryside of Finland. It not only offers a beautiful landscape but it is also permed with mysticism and magic which makes it very difficult to resist going out there and having several sessions of shooting footage. I can tell so many stories when I’m there, even stories that are not mine.

Your works often resemble old photographs from a different age. Are you interested in the spirit of memory and time?

As a romantic, I do love Old Times and bringing back the long-gone stories of people who are no longer here. I have always been interested in History, my background studies were in History before I became an artist. I knew I always wanted to bring some of that atmosphere to my work but it took a while for me to find the way and feel comfortable about it without disconnecting myself too far from my own moment and time.

At first, I particularly became very inspired by the old photographs in flea markets, I remember hunting vintage material all over Europe, particularly in Paris and Belgium for a few years, it is material for me but also a bit of someone else’s story, so it becomes precious and I felt the need to transform that material into something else.

Eventually, I added my own photography into the equation and before I knew it I was creating my own worlds with the help of everything I had learned. Slowly I stopped using old photographs and concentrated on my own photography, which still evokes past times as a way to keep the magic from stories never told.

Are you a believer in any sort of spirituality, be it religious or non-religious?

Interesting question.

I was actually raised as an Evangelical Protestant in a Catholic country during the 1980’s so it was not an easy childhood as we were isolated and sometimes even discriminated against. I learned a lot from my years in Christianity, however life took me to the path of Agnosticism. I feel comfortable in the belief that everyone is free to believe their truth as long as that truth is not imposed into others.

I do not have a better truth or faith to offer, I do not support any religion and I do not profess any particular faith, however I do believe in the power of our own spirituality and as spiritual beings we do not need to be religious to experience that closeness with a Higher Being or Energy.

Last year, I was hoping for some answers to my medical condition and I underwent a treatment that unfortunately didn’t work. This feeling of disappointment and powerlessness led me to create the series “In the Absence of Faith” as a way to confront ourselves with that feeling of neglect when a Higher Being does not answer our prayers or even worse, decides to keep us in a state of pain and suffering for no reason.

Of course, this is only my vision and experience but my purpose was to ignite that question in each viewer. For some, Faith is a way of living, for others Faith lives in their mind, and others have an absence of Faith. The beauty of it is that nobody is wrong or right…it is just how it is.

Can you share some of your experiences with feelings of invisibility?

There have been several times that I felt “invisible” but also when I can acknowledge how invisible some people have become, not because they are not important enough but because their situation is way too far from mine. 

When I moved from my homeland Mexico to The Netherlands, already a long time ago, I was still in my very early 20’s however I felt burdened by social pressure and responsibilities that were way too much for my early years. I didn’t speak the language the first months and therefore I felt completely an outsider. Not only I didn’t understand what was happening around me, but it was as if I saw everything through a glass, I couldn’t reach anything or anyone and I had no control of anything. I had to start from zero so I had to prove myself every day to show that I existed and I had a voice.

The best way to describe that feeling is being invisible, not only to others but also to myself. There is no deeper loneliness than when you do not even have yourself. I didn’t recognise me because I couldn’t even see me. It was hard…

Today I make an effort to acknowledge every person I “see”, especially when they are total strangers and the only way to make them feel they have an impact in life, somehow and in others is to look at them and smile at them and sometimes even talk to them. You never know what goes on behind a face who walks looking and the floor, you never know what lays behind the gaze of depression and loneliness. We can all do better just by acknowledging people who otherwise are invisible to us.

How do you react to the word “normal”? How can we go about redesigning our own perceptions of normality?

I believe “Normal”  represents “comfortable” to society in general terms. Is what people expect to see in order to have the least confrontational experience with something. What we artists do is completely the opposite, we try to create an experience for others that can sweep them away from their comfort zone, however uncomfortable that experience can be, the reward is the new vision, the learning, the mirroring of fears and emotions.

The Beautiful and Bizarre community is a very special one, and one of the reasons I feel so fortunate to belong to this group of artists is because we are detached from the safety of “normality” to make space for a more transcendental experience.

There is no deeper loneliness than when you do not even have yourself.

Ana Priscila RODRIGUEZ

In my opinion, Art that does not move your grounds is mere entertainment, it takes you out of yourself for a little bit for you to forget your stressful work or your complicated state of mind. The Art that compromises your safety by offering you a changing experience is that one that forces you inwards, not outwards. That is the kind of Art that transcends “normality” and where a Soul level communication happens.

Of course everyone needs the “normal” things and the “normal” artwork experience, I believe we cannot deny people a safe place and a comfortable approach to life. We must stay true to ourselves as “Beautiful Bizarre” artists and keep creating the door for the open minds out there.

Talk to us about your series on Menopause. What first attracted you to this experience and why did you feel the need to address this topic through your art?

The series on Menopause is called “The Invisible” because of the stigma our society labels mature women with.It is believed that when women are a certain age and become infertile, they are considered not attractive nor interesting, they don’t turn heads anymore, they don’t fit well in new jobs, or no longer can wear the clothing society considers sexy and flattering. Women start physically letting themselves go and therefore emotionally and mentally they also start letting themselves disappear. They become invisible to society because they don’t fit.

The series is born from the need to disprove all these beliefs, inspired in my own experience with Menopause and my own physical struggles I decided to tell a story of an ending and a beginning at the same time. When a woman becomes infertile she undergoes a period of transformation, like a caterpillar before becoming a beautiful butterfly however cliché that metaphor is. The life of a woman after and during her Menopause years is as fulfilled and exciting as it was before, just in a different way.

Women gain a higher sense of self and wisdom. Going through this transformation under the label of a society that considers “Menopausal women” an annoying, unattractive figure is difficult, however the more we can shine, the more we can talk about our struggles, the more we can make ourselves visible, we are also re educating society into looking at us not just once, but permanently.

Are you inspired by the written word? If so, can you share some of your favourite stories?

The written word is not something that would easily inspire me to create a series or to tell a story, however I have recently found a lot of inspiration in poetry and mythology, especially pagan tales and myths from the Nordic countries.

I have the honor to be part of an ongoing project called “Creatures of Power” together with another two artists from Finland, Kirsi Vahtera and Sanna Pöyhönen where our inspiration is the old text from the Finnish Mythology, the “Kalevala” which is a poem containing stories from the forest and magical creatures. The figure of the woman is very important in this literature, it portrays women as powerful, resourceful, strong, beautiful creatures.

From this mythological poem is where my series “Creatures”, “Creatures II” and “Tales from Pagan Land” are born. Without naming a particular story, I wanted to create the atmosphere of mystery and magic, also keeping the female figure as a central character. 

Without naming a particular story, I wanted to create the atmosphere of mystery and magic, also keeping the female figure as a central character. 

AnaPriScila RODRIGUEZ

What is the story behind one of your latest works, “The Creature’s Voice” from your series Tales from Pagan Land (2024)?

As I mentioned in the previous question, the series is inspired by the tales and myths from the deep Nordic Forest. However, the stories behind every photo are very personal, including “The Creature’s Voice”. I have always had a lot of empathy towards animals and a strong advocate against animal abuse. Some of my worst nightmares always involve animal pain and suffering. Sometimes I feel it so deep that it feels like my own pain.

With this image I wanted to convey a situation in which the viewer is uncertain about who is the creature and where this voice is coming from, is it from the woman or the deer? The use of the red line, which has become more like my “signature”, unites both figures passing under the hand of a woman who at the same time recognises this voice. The red line along all of my artwork symbolises different things, it can mean pain, blood, wound…but in essence it represents the flowing of life.

Through this image I want the voice of the Creature to be heard, and I want the viewer to experience a moment of this Creature’s life instead of a vision of death or destruction.

Do you have any upcoming projects, shows or exhibitions?

Actually February-March is very busy already.

I currently have an exhibition in Berlin until March 9th at the BBA Gallery  and a video collaboration project with the Swedish musician Peter Olof Fransson (aka Retep Folo) and Dorothy Moskowitz with whom I expect more projects this year.

Further, I will have an online interview/conference with fellow artist Judith Leroux and the photography students from the University of Buenos Aires on gender issues from the artistic point of view to be aired on March 9. You can find more information on my website and social media. I also have an exhibition planned at the beginning of September at the POP-UP Gallery in Heerlen, The Netherlands.

Besides that, I continue with my ongoing projects “Creatures of Power” and hopefully we can secure another show this year.

Are you looking forward to anything else this year, art-minded or otherwise?

I definitely want to continue developing my photographic work, however lately I have felt the strong need to go back to collage making practice, I feel that I have many stories to tell that come straight from the paper and other more tangible materials. My hands are craving for something a bit more three dimensional.

A couple of years ago I started a series of collage works on fiberglass paper, the idea was to make 48 of them and I only managed to make 11! So maybe it is a good time to include that into my daily art practice. As always it all has its periods and moments, it is very difficult to plan what my body and Soul will request from me.

I definitely want to keep my development in filmmaking. It is yet another way to tell a story with a different focus, also being involved with other creative people, especially musicians is very rewarding and I always learn something new about myself and the way my art connects with different disciplines.

I always remain open to all kinds of collaborations with other artists, so perhaps this year I will pursue a couple of projects that were left a bit to the oblivion and are worth bringing to life again.

Ana Priscila Rodriguez Social Media Accounts

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The post Exclusive Interview: Ana Priscila Rodriguez’s Untold Stories appeared first on Beautiful Bizarre Magazine.

In the enchanting world of art photography, one name stands out – Michaela Ďurišová. Hailing from the picturesque town of Dubnica nad Váhom in Slovakia, Michaela Ďurišová’s journey as a photographer is a tapestry of creativity, resilience, and profound connection with her roots. She is the 3rd prize winner of the Beautiful Bizarre Art Prize 2023 INPRNT Photography award.

A multifaceted artist, Michaela Ďurišová’s artistic odyssey commenced in a diverse realm of disciplines, from music and set design to crafting exquisite jewellery. Her foray into photography was serendipitous, ignited by her need to capture her jewellery creations and share them with the world. Yet, her path took an unexpected turn when a single photoshoot with her mother altered the course of her career.

As we delve into her world, Michaela Ďurišová offers insights into her artistic evolution, her unique style, and the profound emotional resonance in her work. With each click of the shutter, she transports us into a realm of whimsy and introspection, where photography becomes a powerful medium for storytelling and self-discovery. In this exclusive interview, we unravel the layers of Michaela Ďurišová’s extraordinary journey and the captivating narratives that emerge through her otherworldly imagery.

Please introduce yourself to our readers, including the story behind your journey as an art photographer. 

My name is Michaela Ďurišová and I come from Slovakia, from a small town called Dubnica nad Váhom. When I was 14 years old I left home for boarding school to study musical-dramatic arts. I loved singing, which was something I wanted to do, but the circumstances of life changed my plans. From an early age I was exposed to the visual arts through my father, who painted landscapes using the hardboard oil painting technique.

During my studies, I started teaching in the music and drama department and began teaching through the staging of stories for kids. I even wrote and staged a few stories myself. Creating the set and costumes has always been very important to me, because I have always focused on visuals and everything had to make sense, whether in terms of colour or style. 

During college, I started to shorten the long exam periods by making my own original jewellery – earrings, bracelets, brooches, necklaces. It started with felting, progressed to sewing, and then I started combining sewing and gluing fabric flowers and dried flowers I collected outdoors on my walks. 

After college, my husband and I moved to Austria, but I couldn’t find a suitable job in the area where we lived, so I decided to start my own jewellery brand called Magaela. I turned my living room into a Magaela workshop and thus 11 years ago my brand was born. Wine has a special tradition in Slovakia, so when I created the “The Grape Harvest” collection, I started to put my personal feelings and memories of this beautiful season into products such as hair combs or headbands. This collection became very popular among my first customers. Magaela products are popular among brides from all over the world. I got into photography because of my brand. 

Gradually, I started asking my friends and later on models to do shoots with me. But I have never had any confidence in myself when it came to photography. I used to call in photographers I worked with for big shoots of my products. But the bigger the collections were, the harder it was to pull off financially, as well as getting the photos processed quickly. Another problem was that gradually other, competing brands started to emerge and they started to work with the same photographers. I felt like I lost my signature, my uniqueness. 

My makeup artist friend was constantly encouraging me and pushing me to be more confident in my photography, until I started shooting my own collections and began to educate myself in photography. However, one photo shoot became a life-changing moment for me, it changed everything and launched my career as a photographer from one day to the next. My life-changing photoshoot was in 2018. My parents came to visit us and my mum and I agreed to do a photoshoot with her hair loose because her hair was almost down to her butt and she was going to have it cut, so she told me that it was my last chance to shoot her with long hair. 

I posted the photos with a little soul that very evening and they went viral within a few hours, which triggered an incredible amount of support from people, whether it was for me as a photographer or my mum as a model. And that’s how the new story of me as an art photographer began.

Can you describe life and culture in Slovakia? 

Slovakia is a small country in the heart of Europe. A country full of beautiful songs, poems, and embroideries. Its uniqueness lies in our traditions and folklore, as well as in its beautiful nature and Slavic poetic art and rhetoric. But unfortunately, nowadays, young people seem to be afraid to claim their roots and overlook the uniqueness of our country. I do not know whether this is because of our politicians or simply because of the multicultural age. Slovaks are descendants of shepherds and craftsmen. And this remains in our genes to this day. 

Many people from Slovakia have also become famous around the world. For example, Andy Warhol’s mother moved to America from a small Slovak village called Miková. We were also part of Czechoslovakia, so I can also mention an artist who influenced me immensely, and that is Alfonz Mucha. Mucha has been part of my world since I was a child. We had posters of him hanging in primary school and in my adulthood, the Art Nouveau period began to influence me a lot. You can often feel it in my accessories and photography. His work is an endless well of inspiration.

We are a small nation with a big heart, but a lack of self-confidence. It’s as if we are afraid to be proud Slovaks, to show the world who we are. It’s hard to describe life and culture here. It’s true that you have to experience it. 

Do you think it has influenced your artistry?

Certainly yes, but I was influenced more by the secession and Slavic and pagan customs. Folklore is a very sensitive topic in Slovakia. There was a big boom here at one time. There was a kind of renaissance of Slovak traditions, when folklore motifs started to get into commercial sales and they were really everywhere. Often it looked almost tacky and had nothing to do with folklore. Personally, I’m still processing this and when the time is right, I’ll focus on folk design even in my photos. I want to be sure it really has depth and respect for our roots.

For now, I approach photography very intuitively and naturally I don’t like to do something forcefully just because it’s modern. I like to do things honestly and from the heart, the way I feel about them. I want to be honest with the viewer and convey good energy and I couldn’t achieve that if I was dealing with a subject that I myself don’t understand and am not internally connected to. So, even though folklore is the strongest thing in our country, I have not yet been able to process it. I would also like to show our folk culture in photography in the future. I have many ideas.

Currently, I have been working on the so-called Rembrandt lighting. I have seen it in our castles and paintings in them, which we have a lot of in Slovakia. So I don’t think that culture as such has an influence on my work at the moment, but the art that I’ve been able to perceive through the culture in Slovakia has had a really big influence on me. In my history classes, I was always fascinated by antiquity, secession, baroque, renaissance, mainly because of the clothes and the overall look, but back then it was more of a world culture or more of a European culture.

Tell us more about your winning work “Fairy Godmother”. 

The photo “Fairy Godmother” was created especially for the Beautiful Bizarre Art Prize. The fairy is often depicted very naively in bright colours, but I personally see it in a more grounded way. The moth metaphor came about as a paraphrase of the nightmares I used to have as a child. In my memories, it was my mother who chased away those ghosts.

This is my personal perception of the photograph, my own inner self. But when I started looking for what more I could offer the viewer, we decided to depict the theme of the night butterfly as a moth, as a paraphrase on the mature age of being unwanted and feared by everyone while also being beautiful in its own way. However, in the photograph “Fairy Godmother” everyone can see their own meaning of perception. 

Another important aspect for me is the light I work with. Through the light, I try to encourage the viewer to see the key things that are important to me in photography and, at the same time, to hide some parts so that they have space for their subconscious imagination. For me, “Fairy Godmother” is a kind of psychology between the viewer and the photographer, where I reveal a piece of my emotions and my view of the world.

I try to give the viewer a choice through these clues, and at the same time to present my point of view about finding beauty in everything, even in the most difficult moments, even in the most unpleasant moments. My life is full of such contrasts – it’s either too cool or too challenging. That’s what my work is all about – it is simple, but at the same time, it’s heavy on light or costume.

What does this photograph mean to you? 

It has a personal value to me, especially because it features my mother, but it also depicts my personal inner story, my childhood memories. Nightmares can be frightening, but I remember my mum comforting me at night that it was just a dream and giving me caresses and reassurance. That moment was so powerful that it drowned out all the negativity and turned my nightmare into a fairytale.

How would you describe the relationship between a mother and her daughter?

There is a 41-year age gap between me and my mum. Since I was a little girl, I used to hear from my siblings that I was “unintended” but my mum always said they wanted to have me and made me feel like I belonged in this world. I unconsciously struggled with that feeling for a while, but in the end, thanks to the photoshoots, my mum and I grew that much closer together.

She was always there for me whenever I needed her, but at the same time she left me enough space to be independent. When I have a problem, I can always confide in her; she has always been there. Sometimes we have different opinions on politics or on certain people, but we can respect each other at the same time.

Do you design and put together your own sets? 

I plan some of my sets several years in advance. I’m kind of a collector of nice objects and I gradually use them in individual projects. But I also like improvisation and we have our own personal association, which we named “Desperate Women”. This association includes my long-time friend Baška Slováková, and a professional model Miška Kohútová. We meet up in the studio and just start improvising and creating projects. Baška creates props like wings and oversized insects like moths, bees, snails, and also takes care of the makeup and hair. I mostly pick the dresses or accessories or even make some specific accessories to fit the theme, decorate the set, set the lights.

Then there is my long-time friend Baja who works in my Magaela workshop and makes floral accessories. She also often comes up with the props and tries to help me with the set design and arrangements. Everytime I get a new dress, she puts it on and we do a fitting together.

I’ve also learned how to take photos with her as a model and how to experiment with photography techniques. My husband also helps me with whatever needs to be done, but often it’s just helping with lighting and carrying heavy lights or setting up or breaking down new scenes.

I’m very lucky to have such great people who support me and help me manifest and create these images of mine. This work is a transport to another world that combines everything that defines me. Everything I love – stories, visuals, creativity with deep thought and a dose of philosophy.

Nightmares can be frightening, but I remember my mum comforting me at night that it was just a dream and giving me caresses and reassurance. That moment was so powerful that it drowned out all the negativity and turned my nightmare into a fairytale.

Michaela Ďurišová

How do you choose your models?

​​It’s very important the model and I are a good fit, especially on a human level, so I often keep the same models for a long time. Subconsciously, I often look for models who supposedly look like myself. I don’t do it on purpose but there is a certain type of girl that personally fits that photo I want to make. I guess it’s because I try to create the photos as personal paraphrases and I want to capture my own and personal stories. It’s kind of my personal therapy where I’m coming to terms with certain phases in my life and processing them.

 Is there something that you are looking for in particular? 

Mainly emotions. So that the model has a genuine deep emotion inside her that she can convey in the photo. But at first sight, they often have common features – long red hair or long hair in general, freckles, full lips, smaller nose, round or oval face.  

At the same time, I love models who have overcome all differences and accept themselves and their beauty as such and, most importantly, consider themselves beautiful in a healthy way, because this is already very rare in women nowadays. They all deal with the fact that they are not good enough. I’ve had the same problem for years, which makes it all the more important for me in my work. I want to make sure the women in my photos are happy with themselves, and that they look happy and confident. 

Nowadays, even beautiful women often chase an imaginary ideal of beauty, and life passes through their fingers instead of dealing with the really important things – this makes me sad. I don’t represent the ideal of beauty either. I have learned to accept myself and that there are more important things in life than beauty. Loving your fellow man, embracing love, living in harmony with nature, accepting yourself and being understanding, lending a helping hand, not judging and living in the moment. These are the real values that matter to me and I want my models to be honest and not pretend to be someone they are not.

Do you collaborate with fashion designers to source your costumes?

Oh, this is probably a question whose answer can be for a whole new interview! I have a collection of thousands of costumes in my studio. I love to surround myself with beautiful dresses, things. I have a few dozen collaborations with different designers, but I’ve also created and designed many dresses myself. But I don’t shy away from fast fashion, either. I’m such a collector. Among my favourite designers, I’d like to mention my collaboration with the brand called Chotronette, which has created and lent me several custom-made dresses for my mum.

Many designers just shy away from this because my mum is short and has specific measurements. She’s a Venus for me and I really appreciate the girls at Chotronette for always creating amazing custom-made dresses for my mum and as an added bonus, they were so grateful that I reached out to them. They once mentioned that thanks to me they also started trusting people again and started working with different artists again because they were very disappointed in the past. That made me so happy. 

Currently, thanks to my Baška Slováková, I started using the costumes from the attic  – they are the old theatre costumes that are several decades old and were in the attic of a lady who inherited them. They are ready-made treasures for me, and part of one of the costumes is used in the “Fairy Godmother” photo – a ruff, a skirt and an apron made of silk. Baška Slováková, who arranged the fabric directly on my mother, created the rest of the costume on the spot. 

I also collaborate with designer Laura Bordei, who is from Italy – she makes custom-made dresses for pregnant women, but they can also be used for any other models. From Slovak designers I would like to mention especially Jaroslava Wurll Kocánová, who interweaves modern cuts with our traditional embroidery, but also Veronika Kostkova, Viera Futáková, Severanka, Love Colors Slovakia, Dominika Lehotská, Matty Urbanič, Veronika Sláviková under the brand Fairytale, but also the wedding salon Ľubica from Piešt’any, or the salon Isabell, Mayra Urban, Sicily Style, Lussika or By Ka_mi_ko.  

We are currently preparing a collaboration with the well-known dress brand Fairycore Linennaive, with which I am currently preparing a photo shoot with my mum, and hopefully, you will see the result soon. In conclusion, I would perhaps just like to add that there are never enough dresses and my dream is to establish collaborations with big and small designers who would create for me or lend me more artistic dresses, so this way, if someone would be interested in collaborating with me, I’m up for it.

 What would you describe your “style” to be? 

This is a very good question, one that I have thought about many times, but I have never had a clear answer. I don’t think I have a particular style where I belong. Compared to other photographers’ work, my photography is often too fairytale-like, too slick and ornate. It’s kind of a mixture of old fine art, but also a lot inspired by the very fairytales and folk tales I grew up on as a child. I never know how I’ll wake up and what I’ll like that day, because I like the fantasy world of fairies, dwarfs, witches, but I also like humanity and strong emotional documentary photographs. 

For a long time, I have been bothered by the fact that I can’t fit in anywhere, that my work doesn’t really belong anywhere. When people asked me what I did, I had a very hard time showing them my work, because I was often met with ridicule and incomprehension. Some people told me it was kitsch. It bothered me. I couldn’t fit in and it was stopping me from doing what I loved. But then I discovered your magazine and suddenly it all started to make sense to me. This is where the world of fantasy and personal expression meets with understanding and respect. 

I don’t represent the ideal of beauty either. I have learned to accept myself and that there are more important things in life than beauty.

MICHEALA Ďurišová

Suddenly, I was motivated to do new projects such as “Fairy Godmother”. I couldn’t believe it when the photo made it to the finals. It was incomprehensible to me that I was among such great finalists and smart people, most of whom I already knew from Instagram and followed myself. I admired them so much and I am among them!!!

When I got the email that I had placed, I had to spend three days trying to figure out if it was true and I didn’t tell anyone. I kind of needed to process it, and I couldn’t get excited about it until it was official. Suddenly, it all hit me and the whole thing so incredibly empowered me, that yes it is meaningful, you belong somewhere, and your work gives meaning and significance to someone.

If you had to choose one of your favourite fairytales to share, what would you choose and why?

I confess that I am one of those eternal kids who will never stop believing in fairytales. I’ve written a few fairytales myself for children’s theatre shows. It’s hard for me to pick just one of the classic fairytales. Among my favourites, without which Christmas is not Christmas for me, are The Three Wishes for Cinderella, The Prince and the Evening Star, The Proud Princess, Once Upon a Time There Was a King, The Princess with the Golden Star, The Girl on the Broomstick (these are class Slovak and Czech fairytales).

My favourite cartoons are Coco, Monsters Inc., Finding Nemo, How to Train Your Dragon, Up, Coraline. Tim Burton’s fairytales: Corpse Bride, Alice in Wonderland, Charlie and the Chocolate Factory, Big Fish, Edward Scissorhands, Beetlejuice, Miss Peregrine’s Home for Peculiar Children have a special place in my life. Of course, Harry Potter and Lord of the Rings also belong to this section – I love fairytales and fantasy movies, series, and books. 

Why did Michaela Ďurišová enter the Beautiful Bizarre Magazine Art Prize?

I mentioned this above. To sum up, I admire this magazine very much and I had a strong inner need to be a part of it. The work you present is somehow close to my heart. I came across it at a time when I felt lost. Lately, I have been trying to make my work known to the world. I would like to start selling my photographs abroad and I would like to exhibit my work all over the world. And projects like yours give us the hope that dreams can become reality.

What do you feel you have gained from this experience?

It’s been a tremendous experience for me. I’ve always wanted my certified fine art print printed on collectible paper or canvas. And now it’s happening – to have this work signed and sent to New York for an exhibition is a priceless feeling and experience for me.

I’ve met many smart people through this competition, and I’ve gained new followers of my work – the art community from all over the world. And most importantly, I’m forced to finally get over myself and stop telling myself that I don’t speak English all the time (laughs).  Every email from the Beautiful Bizarre team makes me improve my English. I had the opportunity to tell my personal story thanks to this contest through this interview. These are all wonderful experiences I’ve only gained because of the competition. I am incredibly grateful.

Would you recommend it and encourage others to enter? If so, why?

Definitely yes. Often we creators and artists don’t believe in ourselves, and we are not satisfied with our work. We often condemn ourselves to failure but only in our own heads, without trying to share our work with others. This competition gives a space, opportunity and experience that you don’t get in just any competition. I feel like it’s a “family” type of competition where you are not only awarded, but you get a community of people where you belong and feel at home. Even if one doesn’t get a placement, one has to try and watch the other creators in the other categories and take it as a school of life that offers current trends in the arts.

I definitely recommend this competition and as they say, if you don’t try, you don’t know… With that said, I would like to extend my heartfelt thanks to everyone involved with Beautiful Bizarre – be it the magazine or the competition, for this opportunity and the space and experience that is very important to us creators. I greatly admire you people who are dedicated to this and have devoted your time and maybe even your lives to it. 

Michaela Ďurišová Social Media Accounts

Instagram | Website | Facebook

The post Michaela Ďurišová Fairy Bible of Dreams: Exclusive Interview appeared first on Beautiful Bizarre Magazine.

In this exclusive art interview, we delve into the world of emerging artist Hannah Tjia, a painter hailing from southern California. Hannah Tjia’s artistic journey reflects a beautiful reconnection with her creative roots after momentarily straying from her passion. Her studies at the Laguna College of Art and Design reignited a profound love for painting.

Through this conversation, we gain insight into her daily art practice, her unique approach to starting new works, and the inspiration behind her piece “Wolf Song” that was the 3rd Prize Winner in the Beautiful Bizarre Magazine Founders’ Emerging Artist Award. Hannah Tjia’s art, characterised by magical realism, is a testament to her love for fantasy and storytelling. We explore her favourite folklore tales and hear about her dreams to venture into new mediums.

I enjoy exploring the ethereal and whimsical in my art because in this I find joy and wonder.

Hannah Tjia

Discover what Hannah Tjia is currently working on and her experience with the Beautiful Bizarre Magazine Art Prize, which has connected her with a world of talented artists. Her candid insights and encouragement for fellow artists make this interview a must-read for anyone who finds solace in the world of art.

Please introduce yourself to our readers and share a little bit about your art journey so far as a young artist. 

Hello, my name is Hannah, and I am a painter from southern California. Ever since I was little, I have loved drawing, painting, and making up little stories; memories from art lessons as a child remain some of my fondest. For several years, however, I rather stopped making things, getting caught up with school studies and other interests. When college came around, I had to definitely decide what I wanted to study, and even though I was not at that moment the most motivated or interested in art, I realised that it was the one thing I was better at and a sort of unavoidable part of who I was that would be silly of me to run away from.

I had no expectations or ambitions when I first started studying at the Laguna College of Art and Design, but steadily each class completely drew me in, and I found myself suddenly so invested in drawing and painting, just wanting and wishing to be better after each class meeting. As ideas started coming, I found myself increasingly surprised by how much I wanted and needed to paint and make things. Even though I have only been painting for a relatively short time, it has amazed and graced me with joy I never expected. 

What does your daily art practice look like?

Usually, I like to work on multiple projects at once for variety and fresh eyes for problem-solving, but sometimes, I enjoy focusing on one painting at a time for multiple consecutive days. I suppose it just depends on the pace of each painting. My daily painting time normally starts with laying out my palette, cleaning my brushes, and folding up paper towels which are all simple, calming tasks that help prepare me for the scarier and sometimes frustrating bits to come. I like having a list of tasks that I intend to accomplish in a day, but often the needs and direction of paintings change so I like to listen as I go, catch up when I can, and not rush. 

For new works, I begin by sketching and making small colour studies, shooting and gathering references, and preparing surfaces. When the ideas are pretty solid I will make a scaled linear drawing to transfer on the final surface and begin painting. I find that materialising the initial impression and image of an idea to be the most difficult but also satisfying part of starting a painting. 

If you had to choose one person to create an artwork for, who would you choose and why?

I can’t say I really have a particular person in mind; I think I would love creating artwork for any lovely person with exciting ideas and imaginative taste. The design and idea behind the project are what get me most excited to create. Making paintings for other artists, especially friends, is also a really fun, interactive, and rewarding experience because we can often understand each other well.

Can you share the inspiration behind your winning work “Wolf Song”? 

Wolf Song is based loosely on a childhood memory of a friend’s video game about which all I remember was that it had beautiful colours and a character who tried and unfortunately failed to befriend a wolf by giving it food and sending hearts. The game’s design was stormy and blue-tinted and reminded me of Japanese woodblock prints. I wanted to capture that gloomy indigo mood of rain showers in a slightly nocturne light. After making the painting, I wrote a little poem or story based on these melancholy colours and feelings about a girl who was lonely and found a friend in a wolf. 

Your work certainly seems inspired by magical realism. Would you describe yourself as a more spiritual person? 

I love fantasy literature and art and its ability to take readers and viewers on the most extraordinary adventures, but more than the magic or magical elements themselves, I think what I enjoy most about otherworldly stories is that they help us to dream and stretch the parameters of possibility in our imaginations. I think of J.R.R. Tolkien’s literary works where his fascination with folklore and mythology and love for creating worlds are so evident and deeply guided and driven by his devout faith and belief in a God who created a world deeper and more wonderful than what he could see with his own eyes.

In a similar way, I enjoy exploring the ethereal and whimsical in my art because in this I find joy and wonder; it takes me to a place in my mind that makes every day at the easel feel a bit like Christmas morning. Art making does in a way become a sort of spiritual experience, but it does not feel so grand or lofty most of the time. It’s a bit of play and a lot of hard, slow work, but when I would much rather give up, which is a little bit every day, my faith does give me courage to pick up those brushes again and sketch even when I haven’t any ideas left. The things I make may be silly or simple or strange sometimes, yet to just be able to create and make these things is a kind, grave gift and task that I cherish every day. 

What are your favourite folklore tales and/or other stories? 

Some of my favourite books and stories are A Pair of Red Clogs, Miss Rumphius, Where the Mountain Meets the Moon, poems by A. A. Milne, Chinese and Japanese folklore like the Jade Rabbit and the Weaver and the Cow Herdsman, Goldilocks, the Snow Queen, and fantasy books like The Lord of the Rings and Howl’s Moving Castle. Each of these and so many more with names I have forgotten but whose stories still feel and see in my mind, are so special and nostalgic. Just as much as rereading books and reliving fond memories, I also love discovering new books to one day recall in the future. 

If you could share one of your biggest artistic dreams with us, what would it be? 

I often struggled to specify my dreams, but I would like to explore different mediums and ways of utilising my designs and paintings for perhaps larger projects and work together with other people. Also, if I can get around to writing well enough, I would love to write stories or books that accompany or exist independently from my paintings, but we shall see.

Why did you enter the Beautiful Bizarre Magazine Art Prize?

I always really enjoy seeing the works in each year’s Beautiful Bizarre Magazine Art Prize and just thought that I might give it a go this time. One can get so lost and confused in the ever-expanding carousel of the art world, especially as a young artist, so I thought I may just take a chance and see if people would like my art. 

The things I make may be silly or simple or strange sometimes, yet to just be able to create and make these things is a kind, grave gift and task that I cherish every day. 

Hannah Tjia

What do you feel you have gained from this experience?

This experience has shown me so many fantastic artists I did not know, and it has also been a way for other people to view my own work. Wanting exposure or people to see and like my work feels odd and selfish of me even though I know that to show work is just a part of being an artist. Entering the Beautiful Bizarre Magazine Art Prize has been a lovely and supportive way to share and be inspired and humbled myself by all the extraordinarily skilled artists.

Would you recommend it and encourage others to enter? If so, why?

I would definitely encourage others to enter the Beautiful Bizarre Magazine Art Prize if they can as it’s a wonderful way to share our art and admire everyone’s hard work. Naturally, I think we heavily scrutinise our own work, which is not necessarily so bad, but I think sharing and seeing other peoples’ artwork such as in the Art Prize encourages and motivates us to want to make more art with a refreshed, uplifted spirit.

What is next for Hannah Tjia?

I am working on a new little series of paintings that are themed around personifying natural phenomena, structures and elements. I really enjoy working in pairs, so quite a few of these works will be matched up with each as sister paintings. It has been very exciting to experiment with new colour palettes and try to capture the various moods and lights of the moon in these paintings.

Hannah Tjia Social Media Accounts

Instagram | Website

The post Hannah Tjia: Her Mystic Moments appeared first on Beautiful Bizarre Magazine.

In the world of art, there are individuals who embark on journeys of creativity that resonate deeply with the human experience. Garis Edelweiss, an artist whose work speaks to the soul, offers a unique perspective on the challenges and inspirations that have shaped his artistic path. We delve into the early days of his artistic endeavours, uncovering the difficulties he faced as a young artist, and explore his transformation from graphite to digital art. Hailing from the culturally rich region of Java, Indonesia, Garis Edelweiss shares his insights into the vibrant Indonesian cultural art scene, blending tradition with contemporary expression.

While Garis Edelweiss may not consider himself a highly spiritual person, he shares his beliefs in concepts such as fate and destiny, reminding us of the delicate interplay between our choices and the unseen hands of destiny. His creations often find poetic accompaniments, fusing words and visuals to convey a profound narrative that goes beyond the canvas. We also delve into the story behind his winning masterpiece, “The Healer,” which won the 1st prize in the 2023 Beautiful Bizarre Art Prize iCanvas Digital Art Award. 

I believe that many things in our lives are influenced by our decisions and actions, but there are also elements of fate that we cannot fully control.

gARIS eDELWEISS

Garis’s artistic journey is not solitary; he shares how a collaborative project with his young daughter has allowed him to see art through the eyes of innocence and wonder. As for what’s on the horizon, Garis Edelweiss hints at new art pieces, collaborations, and virtual exhibitions that will bring his vision to a broader audience.

Having achieved more recognition through the Beautiful Bizarre Magazine Art Prize, Garis Edelweiss reflects on the impact of this experience, highlighting the significance of exposure and validation in the art world. He encourages other artists to embrace such opportunities, viewing them as transformative steps to advancing their careers in the art world.

Join us as we journey through the artistic world of Garis Edelweiss, a creator who paints with colours that touch the heart and the soul.

Take us back to the early days. When did you first start drawing, and what difficulties or challenges did you encounter in your formative years as a young artist?

I have enjoyed drawing since a very young age and became more serious about it when I turned 28. I faced challenges during my formative years. One of the main difficulties was finding time and resources to develop my interest in art. Additionally, there were times when I doubted my abilities and struggled with self-criticism, which is common among artists. Overcoming these doubts and continuously practising and improving my skills has been a significant challenge.

What is life like in Java, Indonesia? How would you describe the Indonesian cultural art scene?

Life in Java, Indonesia, is rich in culture and tradition. The Indonesian cultural art scene is diverse and vibrant, reflecting the country’s rich cultural heritage. It involves traditional art forms like batik, wayang kulit, and its social life, as well as contemporary art that draws from global influences. There is a strong sense of community and artistic expression in Indonesia, which is inspiring and supportive for artists.

Would you consider yourself a spiritual person? Regardless, what are your beliefs towards concepts like fate and destiny?

I don’t consider myself a highly spiritual person, but I do have beliefs in concepts like fate and destiny. I believe that many things in our lives are influenced by our decisions and actions, but there are also elements of fate that we cannot fully control.

Graphite used to be your tool of choice but now you seem to be using the digital medium more frequently. When did this transition take place, and why do you think it happened?

The transition from traditional graphite drawing to digital art happened gradually over several years. I was drawn to digital media because of its flexibility and the ability to experiment with various techniques and styles without the limitations of physical materials. The ease of digital tools and the opportunity to reach a wider audience online also played a role in this transition.

I actually enjoy poetry in visuals, with every object of my fascination, I tend to poeticise it visually with imaginary movements, nuances, and shouts.

GARIS EDELWEISS

Sometimes you will promote an artwork with an accompanying poem, as with “Whispers of Solemn”. Do you often write poetry? Are you inspired by literature?

I actually enjoy poetry in visuals, with every object of my fascination, I tend to poeticise it visually with imaginary movements, nuances, and shouts. However, sometimes I feel that my artwork could be better conveyed with words, providing a rich source of imagery and emotions that can complement my visual art. The combination of visual elements and writing can create a deeper and multidimensional experience for the audience.

Please tell us more about the story behind your winning work “The Healer”.

“The Healer” is a piece that explores the theme of healing, both physical and emotional. A child, a girl with love and kindness, heals all the wounds around her.

What poem would you write for “The Healer”? 

The Healer

To lift the crushing weight

To fathom the bitter root

To navigate by this alluring rose full of thorn

From the day you are born

You once collaborated with your young daughter on an art series, what was this project about? And do you think having a daughter has in some way shaped or changed your artistry? 

The art series I collaborated on with my daughter is a project that allows us to explore imagination and creativity from a child’s perspective. It’s a fun experience that reminds me of the importance of play and wonder in art. Having a daughter has certainly shaped my art, as it makes me more attuned to the innocence and curiosity that children possess.

What does Garis Edelweiss have coming up? What in the pipeline would you like to share with our readers? 

In my future plans, I have several new art pieces and collaborations in progress. I also plan to enhance my online presence and interact more with the audience through virtual exhibitions and interactive art experiences.

Why did you enter the Beautiful Bizarre Magazine Art Prize?

I participated in the Beautiful Bizarre Magazine Art Prize because it’s a prestigious platform that celebrates and supports contemporary artists. The exposure and recognition it offers are invaluable, and it aligns with my goal to reach a broader audience with my art.

What do you feel you have gained from this experience?

From this experience, I have gained exposure and validation for my work. Being selected as a winner has boosted my confidence and motivated me to push the boundaries of my creativity.

Would you recommend it and encourage others to enter? If so, why?

I highly recommend the Beautiful Bizarre Magazine Art Prize to other artists. It’s a fantastic opportunity to showcase your work to a global audience, gain recognition, and connect with fellow artists and art enthusiasts. This experience can be transformative and inspiring for anyone looking to advance their career in the art world.

Garis Edelweiss Social Media Accounts

Instagram | Twitter

The post Garis Edelweiss Interview: Hands of Destiny appeared first on Beautiful Bizarre Magazine.

Christian Boehmer’s studio, a repurposed US Army squash court nestled within a cultural and dance centre, serves as his sanctuary for experimentation. His distinctive approach combines oil painting with wooden cutouts, a method born from meticulous model photo shoots and digital finesse. The eloquent synergy of oil painting and wooden textures allows Christian Boehmer to craft his intricate narratives, meticulously carved and painted to life. His affinity for dynamic movements is reflected in collaborations with dancers, enriching his work with energy and vitality.

Anything is possible.

cHRISTIAN BOEHMER

Themes of unity and fluidity echo through Christian Boehmer’s portfolio, while his depiction of birds in flight symbolises both motion and the yearning for freedom. The recurring motif of a paper bag signifies anonymity’s impact in a world often consumed by appearances. For Christian Boehmer, it represents a challenge to perceive beyond the veneer, to dive into the depths of character and soul.

His goal for the year ahead remains simple yet profound: to immerse himself in art in every conceivable way, adding new chapters to his vibrant narrative. With each brushstroke, each splash of colour, Christian Boehmer continues to weave this distinctive story, bridging the worlds of tradition and modernity, urban and rural, inviting us to journey alongside him into the captivating realm of urban contemporary art.

Hi Christian, please introduce yourself to our readers.

Hi there! I´m Christian Boehmer. Born 1984 in Bad Kreuznach, a small village near Frankfurt, Germany. I´m a self-taught artist of the graffiti and urban contemporary art genre.

What was your first introduction to art?

I’ve loved and done art since I was a very young child. As I grew up in the countryside, surrounded by beautiful woods and a small castle ruin, my first introduction to art was to paint the landscapes surrounding me. I saw a huge Claude Monet exhibition in Frankfurt at these times, which was very influential and was the moment I realised what is possible regarding colour schemes. 

Who have been some of your creative heroes? 

Claude Monet, Gustav Klimt, Alphonse Mucha, and Egon Schiele in the early years. Later, when I began painting graffiti, there were Daim, Loomit, Bates, Swet, Dare, Hera….

How would you describe the urban contemporary art culture in Germany? 

Good question. On the one hand, it is a very rich culture with hundreds of brilliant artists and endless possibilities. But as there is so much everywhere, it becomes a thin line to get overdosed and bored by more irrelevant stuff.

Where do you feel most at home?

Figurative painting is my comfort zone. I also feel very familiar with painting hands and dynamic compositions.

What inspired you to create mixed-media art by combining wooden cutouts with traditional oil paintings?

Oh, this was less a spontaneous inspiration but a long-term journey. I was searching for the perfect media to create the highest quality realistic painting, and it was the logical solution to use oil painting after endless months of trial and error with acrylic, watercolour, and charcoal. I am very bad at painting great backgrounds. So, after another period of trial and error, I decided to go with the most radical idea and cut the backgrounds out. Wood is just the best material to combine both.

Can you explain the steps involved in constructing one of your mixed-media works?

First step is to do model photo shoots here and there to create a basis for my conceptual ideas. Whenever I need some fresh ideas, I scroll through my stock of these photos and get inspired. The composition for a new artwork is put together in Photoshop and then transferred to the wooden layers before it gets cut out.

As I grew up in the countryside, surrounded by beautiful woods and a small castle ruin, my first introduction to art was to paint the landscapes surrounding me.

Christian Boehmer

What do you think is the main thing creating art has taught you? 

Anything is possible.

Does painting a large-scale mural present unique challenges or differences compared to your other work?

Of course it does. The main difference is not to get lost in every single detail. You can paint in a more “dirty” way, as no one will see little mistakes. But this can also be a challenge. Which parts can be left away or painted more simply but still keep the main message and dynamic of the composition? And you need to paint fast, as in most cases, you will have your lift only for a few days until you need to be done. 

How do you scout buildings for your murals?

I never did. Mural paintings always find me and I build up my creative idea and composition by referring to the space I get.

What have been some of your favourite collaborations with fellow artists?

I am always happy to do collaborative work with friends. So it is not your task to just finish the work, but most of your time you spend having a good time and enjoy the vibe together.

A few years ago, you exhibited an installation work in New York City. What was this experience like?

It was my first exhibition in NYC and the first time I was there and it was just unreal. It took me some time to realise it really happened. I look forward to showing some of my artwork again when there is another possibility.

What is the story behind the title of your work: “but in the end, there will just be silence again”?

I was invited to do a mural painting in Tbilisi, Georgia, at the end of 2021. A few months later, and just some weeks before the painting was scheduled, the Russian invasion of Ukraine occurred. And especially Georgia has its very own history of Russian invasions, it was clear to me to paint a mural that shows the symbolised cruelty of war but also a symbol of hope and peace. The artwork “but in the end, there will just be silence again” was the mural painting, transferred to an artwork of oil on cut-out wood. The title should be a warning never to forget what happens right now in front of our eyes.

Fluidity and union are a big part of your work. Does dance influence your artistry? 

Haha, that´s very well-observed. As I said, all of my paintings are based on photoshoots. Most of these were done in collaboration with professional dancers. Also, my studio is in a huge breakdance/contemporary dance centre.

What do you think draws you to painting birds in flight?

I love the dynamic and the symbolism of freedom.

The paper bag is at the heart of your work. What does it represent to you? 

First of all, it has to do with anonymity and reservation. It is critical to our contemporary world and society, where so many people are not driven by empathy, charity and reservation but by narcissism, egoism, and beauty delusion. I do not need to paint an absolutely perfect and beautiful face to create an image of people’s souls and their characters.

Are you experimenting with anything new? Is there anything you want to try?

I just started to explore the possibilities of AI-generated photos instead of shoots on my own. It’s very interesting to find out these new possibilities and use them for my own ideas just as an adaption of what I usually do.

I do not need to paint an absolutely perfect and beautiful face to create an image of people’s souls and their characters.

Christian Boehmer

Describe your studio. 

It is huge, as it´s a former squash court from the US Army, implemented in a centre for culture and dance. I just love being there.

What are your goals for the remainder of the year?

Do art in any way possible!

Christian Boehmer Social Media Accounts

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The post Christian Boehmer: Grace & Synergy in Urban Anonymity appeared first on Beautiful Bizarre Magazine.

Throughout her life, Kristen Eisenbraun’s artistic flame burned brightly despite the challenges posed by severe dyslexia. School struggles and fleeting jobs did not deter her, as she held onto her artistic passion, which she believes to be the very essence of her being.

Describing her artistic personality in one word, Kristen Eisenbraun chooses “happiness.” Amidst the popularity of darker themes and reflections on the world’s struggles, she finds joy and beauty all around her.

With a heart full of positivity, she seeks to share her inner light through her captivating creations. Through her paintings, Kristen Eisenbraun invites you to celebrate the beauty of life, find solace in nature, and embrace the power of regeneration and transformation.

Hi Kristen, please introduce yourself to our readers?

I am a painter living in Chimney Rock, North Carolina, surrounded by wooded mountains and running water. I feed my soul with the elements of nature, and I bring that love and positive energy back to the easel. I am a rambler and have lived all over the US, from New York City to off-the-grid cabins. I have tried my hand at many different trades but always stayed true to my art; it is the one thing that will always define my purpose in life.

Due to severe dyslexia, there have been many challenges to overcome. I flunked out of school and lost the most menial jobs after just a few days because of it. But I believe this unique quality provides me with an artistic vision that is truly one-of-a-kind.

What was your first introduction to art?

Art has been there for me for as long as I can remember. Looking back on my life, there isn’t a period of time where I was without a means to create. From my first memories with crayons and markers to the pivotal day when a neighbour gave me a set of his old oil paints, when I was 15, it was love at first brushstroke! Since then, oil paint has been my primary medium.

I feed my soul with the elements of nature and I bring that love and positive energy back to the easel.

How would you describe your artistic personality?

If I were to sum up my artistic personality in one word, it would be happiness. I feel like this outlook is out of fashion right now; it’s wonderful that people have embraced expressing their darker side and addressing the struggles of today’s world, and I love that kind of art. But my life is full of joy and beauty. I see beautiful faces all around me, and I listen to the birds sing in the trees when I paint. I want to bring my inner light to the canvas and share my belief in goodness.

What does your typical day look like?

I start the day by walking up the mountain behind my house. Exercise and fresh air give me a vigorous outlook on the day ahead. After that, it’s straight into the studio. If I have a painting on the easel (which I usually do), I pick up my brushes and work the rest of the day. If I have finished a painting recently, I will gather ideas and any reference material to start sketching out and designing my next work. I am currently learning to play the harp, so I often take short breaks to practice music.

How does nature inspire you?

Nature is the beginning and end of everything. In my paintings, I want to show how our lives are intertwined with the natural world. I want to show the birth of spring and humankind growing and blossoming. I also want to show the decay of fall and an acceptance of everything returning to the soil to create new life.

Where have you travelled and what other destinations would you like to visit?

Travelling is so important to my work. Every new place I visit fills me with inspiration and fresh ideas. I have camped in the southwest deserts and hiked the mountains up north in the US. My first artist residency was in New Zealand. Interacting with other creatives and being surrounded by such phenomenal landscapes was amazing. Last year I was in Nepal hiking the Annapurna circuit. Crossing the Thorang La pass was a life-changing moment. All the worry and chaos of life was gone, and all that mattered was that moment and making it over the next ridge through the snow and cold.

I plan on visiting a new part of the world every year. I love meeting artists from other places and absorbing new cultures.

You created an instrument series by painting scenes on musical instruments. What prompted this series and how is music significant to your artistry?

When I first started dating my husband, a phenomenal singer-songwriter, we would spend hours creating together; he’d play guitar while I would paint or draw. These special hours of creativity inspired me to bring music and art together. I had an old beaten-up guitar lying around, and one day I sanded it down and started painting. The unique shapes of different instruments add an exciting extra element to painting, and repurposing unwanted but still beautiful musical instruments felt good to me. The series is still in progress. I have big dreams of creating a large enough collection of painted instruments to do a travelling show with them.

Who are some of your biggest artistic inspirations?

I go through phases of being obsessed with different artists. Some of the contemporary artists that I really admire are: Maria Kreyn, Amaya Gurpidey, Odd Nerdrum, Ricardo Fernandez and Adam Burke. For the old masters, I would have to say my go-to references are: Herbert James Draper, Bouguereau, Sargent and the Pre-Raphaelites, as well as many others.

I want to show in my paintings the way our lives are intertwined with the natural world. I want to show the birth of spring and humankind growing and blossoming.

Can you describe the story behind your work, “Transformation”?

I love thinking about what kind of animal I would come back as if I were to be reincarnated and it’s so interesting hearing what other people believe they would become. With “Transformation” I was exploring the idea of reincarnation. I was also thinking about how everyone has a spirit animal and sometimes we have to let our human cover slip away so our animal side can take over.

What are your favourite mediums? And is there anything you would like to experiment with?

Hands down my favourite medium is oil paint, but I also love working with charcoals. I have dabbled with sculpture a little bit and I would really like to explore that avenue more.

Your painting, ‘Regeneration’ is striking. What kind of regeneration inspired this work?

I was thinking of a woman who has lived a very challenging life and was near breaking. She finds herself alone in the desert where she discovers her true core. She surrenders herself to the earth and is absorbed, and then the soil and stones give birth to a new and enlightened soul.

How do you think we can achieve regeneration within ourselves?

We all have the ability for regeneration. I think it is very much like the painting; stripping away all of the baggage we carry and surrendering ourselves to the greatness of Mother Earth. We must allow her to guide us to our better selves and help us discover what we are truly capable of.

Do you use reference material in your work or draw entirely from imagination?

I do use reference material. I take lots of pictures from my travels and save them to use as inspiration in my painting. Sometimes there are 20 – 50 photos to refer to for one painting. I never interpret the photos too literally; I always change them a bit to suit my needs and give them an extra element of magic.

Art has been there for me for as long as I can remember. Looking back on my life, there isn’t a period of time where I was without a means to create.

Describe your studio space.

The studio I work out of is on the side of a hill with trees all around it. I can step out of my studio door onto a large deck and hear the river cascading down in the ravine. The inside of my studio is small and not at all glamorous; walls lined with paintings, a little work counter with a sink, and my easel. I like to light candles and listen to the birds outside.

What are your goals for the rest of the year?

I would like to create a body of work that has a really tight and inter-flowing subject and style. Sometimes I find myself so overflowing with ideas that staying focused on one path is hard. I would also like to create more instrument paintings for that ongoing series.

Kristen Eisenbraun Social Media Accounts

Website | Facebook | Instagram

The post Kristen Eisenbraun: Embracing Nature’s Canvas appeared first on Beautiful Bizarre Magazine.

Uniquely, Jamie Forbes’ artistic journey encompasses a background in tattoo artistry, adding an intriguing layer to her creative narrative. Surprisingly, she highlights the contrasting nature of tattoo artistry as it grapples with the restrictions of the canvas, demanding a delicate balance to prevent overcrowding. Nevertheless, this parallel pursuit has served as a wellspring of inspiration, informing her approach to colour and composition while cultivating an awe-inspiring attention to detail.

Despite the soft and beguiling hues that adorn her artwork, Jamie’s creations often tread the delicate line between beauty and the macabre. If one were to liken her style to a flavour, it would undoubtedly be bittersweetness.

In this exclusive interview, Jamie Forbes shares with us some of her stories behind the pencil.

What is your earliest memory of art? 

My earliest memory of art is watching my grandpa work and create things in his garage. He could work in many mediums, drawing, sculpting wood, and painting. He was a major inspiration for me, drawing me into art’s pursuit.  I always enjoyed watching him work and learning what I could in doing so.

When did you first decide to become a professional artist and what has your journey been like?

There was no defining moment when I decided that I must be a professional artist. Creating art has been something I inherently enjoyed doing ever since I was young. As I indulged more and more in arts creation, I eventually found that I thought of myself as an artist.

As for the journey, I’d describe it as gradual. With each work building new skills and helping to evolve my perspective. I’ve also picked up a few extra mediums along the way.

Walk us through your daily routine. 

Coffee and time with my dogs is my formula for the start of a successful day. After the morning, I’ll often get a quick workout in. Much of my day, outside work, still involves drawing for work or working on my projects – with frequent dog-time breaks and the occasional bird-watching thrown in for good measure.

Creating art has been something I inherently enjoyed doing ever since I was young. As I indulged more and more in arts creation, I eventually found that I thought of myself as an artist.

Jamie Forbes

As a tattoo artist, does this practice inform your more traditional artmaking? Is it different or similar in some ways? 

When I first began to tattoo, it actually led to some artist block for drawing. At first, it was hard to reconcile the two mediums because they are very opposed in some aspects. Tattoo artists must be weary of overcrowding a design. And yet my drawing could easily employ over-crowding and often did. So that took some getting used to.

In the end, I think the two both benefited. I take colour theory more seriously now, and I’m a bit more deliberate with the concepts within my colour pencil work.

How would you describe your artistic style?

A mixture of surrealism and low-brow art, with the occasional tendency towards the macabre, absolutely drenched in colour.

Do you think your tastes have changed over time? Is there something you are interested in exploring now that you weren’t a few years ago?

My tastes have changed, with each subsequent work a stepping stone to where I am now. Over time I’ve explored many more mediums, although I find myself drawn back to colour pencil and sculpting in the end.

Describe your connection to animals. How does the natural world inspire your creativity?

The natural world can be brutal in its pragmatism. Existence can be violent and short. And yet this cold reality co-exists with the moments of tenderness animals share amongst themselves and the unconditional love they often show us. Animals are a muse with a broad range of experiences from which to draw upon.

Do you use reference material in your work or draw entirely from imagination? 

Sometimes a, sometimes b.

Explain the steps involved in creating a new work. For instance, do you start in a sketchbook? 

I will start by sketching out my concept and then creating a photo collage for reference. This base will usually change as I am working on the drawing itself. If I am unsure of my next move, I will take images of my work and draw on top of them using Photoshop or Procreate, creating and evaluating different directions.

Talk us through your new work, ‘Mountain Life’. What is the story behind this piece?

This was inspired by my move out of New York City and into a more rural area in the South. The amount of nature that I am now surrounded by is mind-boggling for me. Since moving, I’ve been twenty feet away from a bear and see them often. I also have a daily hummingbird visitor that will eat from a handheld feeder.

Moving was one of the biggest changes I’ve gone through, and I wanted to capture it in my work. The gems that are decorated on the bear in my work are inspired by the berries they eat. And I wanted to incorporate the birds because they bring a whole lot of joy in my new life.

The natural world can be brutal in its pragmatism. Existence can be violent and short. And yet this cold reality co-exists with the moments of tenderness animals share amongst themselves and the unconditional love they often show us.

Jamie Forbes

What mediums, beyond pencil and paint, have you experimented with?

I have done sculpture, starting with paper and construction paper sculptures, wood, and eventually moving into clay. I also tattoo.

Can you share some of the challenges you’ve encountered over the years?

I’ve struggled with letting go of my work and selling it. I am always grateful to sell work, but I have a difficult time parting ways with it.

Describe your studio space. 

Now that I moved, I have a proper art studio and a full wall of shelves for my most used mediums. However, because I’ve always just set up camp on the floor in the past, I still prefer to work that way today.

Jamie Forbes Social Media Accounts

Website | Facebook | Instagram

The post Interview with Jamie Forbes: Surrealistic Delights appeared first on Beautiful Bizarre Magazine.

Tony’s method can be described as spontaneous and fun. He does not have an over-prescriptive approach to artmaking, rather his works are free-flowing and organic; they develop on the canvas and, often, take directions Tony Thielen never intended in the first place. This instinctual approach to art results in loose abstract portraits that have juicy structures and forms that reflect each and every mark of the artist.

My method is more about the process than it is about the outcome.

Tony THIELEN

Tony Thielen uses feeling to direct his brush, but his painting technique is grounded in education. He takes a designer’s eye towards building a painting through layers and collage. In this behind-the-scenes, we follow Tony’s brushstrokes as he explains the painting method behind a new portrait. As well as being a gifted painter, Tony Thielen is a generous artist. In this demonstration, Tony Thielen not only shares the reasoning behind his artistic choices but he also teaches us that true creativity is about taking risks and being unafraid to paint outside the lines.

Let’s follow Tony Thielen as he talks us through the creative process behind this mixed-media portrait.

Getting Started

To begin, I first taped down a piece of Canson Canva-paper. I have never used it before, and I wanted to give it a try. Then I start adding colour, marks and other media to the paper. I want to kill the white of the support, and I want marks and colour I have to react to as I build up layers. Here I used gouache, coloured pencil, spray paint, transfers and acrylic paint.

Laying-in the Outline

Using my reference, I lay-in a loose drawing and using a round bristle brush; I begin painting in the dark areas of my portrait by scumbling in transparent acrylics.

Shadows and Skin

These dark areas were painted in with high-flow Transparent Brown Iron Oxide. For the skin tones, I use Transparent Brown Iron Oxide, Yellow Ochre, Cad Red Light, and Titanium White. The Yellow Ochre and Cad Red Light are thinned using a high flow medium. This way I can scumble back and forth in thin layers to both control the transitions of colour and to decide which areas I of the underpainting I may want to show through.

Collage and Marks

I added some collage papers and a few new marks. This is something you can do at any time in the process. And then I worked on detailing some of the facial features.

Experimentation

I decided to begin exploring the background and painted several different ideas. I thought simple shapes and colour would contrast well with the detail of the portrait. At this point, I didn’t feel the background was working, and the Canva-paper was buckling like crazy.

Changing it Up

 So I painted the background with gesso, mounted the Canva-paper to a wood panel using matte medium, and collaged in old newspaper printouts that I downloaded from the Library of Congress.

 I flipped the painting upside down and, using high-flow Transparent Yellow Iron Oxide, squeezed the paint directly from the bottle along the hairline to get the flowing drips.

Seeking Balance

Trying to find a balance between foreground and background, I added Transparent Yellow Iron Oxide and expressive lines and shapes on the background. At this point, I also begin using oil paint. I glazed yellows and reds into her face. I also played with blue in the background, and having some of the marks and colours come through.

After that, I glazed yellow into the hair and played with the blue a little more. Something about the background wasn’t working for me, so I set it aside for a few days to let everything process.

Letting it Go

For the finished piece, I realized I was trying to hold on to her hair and all those beautiful marks on her torso. I had to let them go as they were all competing for attention. Using a pallet knife with black and grey oil paints, I was able to create a strong contrast in both colour and texture to her face. Changing her hair also allowed me to frame her face with a new hair design.

The End Result

All the underlayers of colours and marks play an integral role in the outcome of the finished portrait. Looking closely at the completed work you can see still elements of the previous layers sneaking through. Those previous layers also add to the texture of the final piece.

My method is more about the process than it is about the outcome.

Tony Thielen Social Media Accounts

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The post Tony Thielen’s Inspiring Painting Demo: Making Marks appeared first on Beautiful Bizarre Magazine.

Charlotte now paints tobacco in an alternate light by vandalising its packaging with graffiti that yells out satirical phrases like “I quit last week” and “Burn it all down”. Charlotte also invites beloved characters into some of her work, such as Bugs Bunny, Daffy Duck and Bart Simpson, forcing us to reckon with figures of childhood innocence in contexts of greed, addiction and toxicity. It is a process of disillusionment, an unromantic revival of the branded past that is often fetishised in today’s popular culture for its aesthetics but not always truly seen for its harms.

Charlotte’s professional aspirations in art developed recently. During pandemic lockdowns, she finally found the space and energy to experiment and refine her painting practice. It was out of this unrestrained creative process that her signature grunge style was born and the first cigarette box painted and shared. From then on, Charlotte has grown her portfolio and popularity as a professional artist alongside her longtime modelling career. Her success on social media reveals the hunger of the public to digest more candid, poetic art that rejects perfection and instead embraces the beauty of rebellious synergy.

Read on to join our exclusive interview with Charlotte Rose where we talk history, muses, and her most recent solo exhibition ‘Too Much of A Good Thing’.

There is a strange and unique bond between us and corporations; it feels familiar, personal, and visceral.

Exclusive Interview With Charlotte Rose

Hey Charlotte, please introduce yourself to our readers.

I’m Charlotte Rose, and I’m a 23-year-old model and self-taught artist based in North London.

They say creativity runs in the blood. What is your personal history with art?

My mum is an artist; she paints these beautiful acrylic botanical canvases, she was my introduction to painting with acrylic. Her parents (my grandparents) met in art school and are incredible artists too. I glean a lot of inspiration from all of them and constantly look to them for advice and guidance.

What did you learn about yourself and your own creative identity during quarantine?

During quarantine, everything stopped so I was able to turn my full attention to creating a cohesive body of work around cigarette boxes. I painted for fun before the lockdown but during this time I really dedicated every hour of the day to painting and by the end of the lockdown I had an exhibition’s worth of work, which made up my first exhibition displayed in April 2021 and I just finished my second exhibition last week! 

Use three words to describe life as an artist.

Never fully satisfied.

How do you get into the groove to make art?

I think it’s natural for some days to lack inspiration but I never allow myself to only work when feeling inspired. I think that’s a surefire way to not get anything done. As long as I’m making something and am always in motion, even if that something is a load of rubbish, at least I’ve learned from the mistakes made.

Any other creative pursuits we might not know about?

I wanted to be a writer when I was younger and studied creative writing. I feel as though art and literature have a fairly close relationship. I really love the works of William Blake, for example, who is celebrated for his poetry and prose alongside his artworks. His words really inspired a lot of my writing as a teen, although I haven’t written for a long time.

You often pay homage to other artists in your work, name a few of your favourites. How do they make you tick?

I’m a big fan of Andy Warhol and the Pop Art movement. I love the 60s/70s for fashion and film but particularly the art. I love the legend of the Factory and the way Warhol incorporated branding and icons into his works. I’m also a massive fan of Basquiat (who isn’t?) and I feel like there is a flavour of his spontaneity reflected in my work. 

Congratulations on your recent exhibition, ‘Too Much Of A Good Thing’, in West London. Explain the energy of this showcase, has it been different to your debut show?

The first show I did felt like I was running out onto a frozen lake. I had no idea what the outcome would be, I didn’t know what I was doing and a lot of things didn’t go exactly to plan. This show just past, I consider, as a sister show. I learned so much from the first and I wanted to implement them into this one. Everything ran like clockwork and I couldn’t be happier. ‘Too Much Of A Good Thing’ is an exploration of the consumer’s nostalgia for brands and the iconography ever-present in the background of our lives. There is a strange and unique bond between us and corporations; it feels familiar, personal, and visceral. The building of culture, narrative and memories so deeply intertwined within the collective minds of millions of people is something that can only be forged over time with patience, skill and, above all else, a true understanding of the human experience.

Talk us through your collaboration with artist Theunis Muller and The cigarette box.

Muller is a living legend!! Maybe one of the most hard-working people I have ever known. He’s an artist, set designer, and photographer all in one. I met him through a photographer friend who T lives in the same area as and was building sets for. Our paths crossed many times and when I started to put the ‘Too Much Of A Good Thing’ show in motion I wanted to introduce a more sculptural element. I paint on wood anyway and I feel as though the paintings feel almost sculptural but I wanted to elevate that by creating an installation piece. I sketched the box and the dimensions I wanted, and T created the structure out of wood, then I went to his studio to paint the box. 

The first show I did felt like I was running out onto a frozen lake.

Mcdonald’s, Kellogg’s, Marlboro. What do brands like these represent to you?

These brands are omnipresent in western society. They often evoke a feeling of aspiration, particularly the vintage branding for cigarettes. These brands represent key figures or memories in our lives. Perhaps your grandfather smoked Marlboros, you ate Kellogg’s before school or you’d drive your friends to McDonald’s on lunch break – having just passed your test. The iconic curve of the Golden Arches or the infamous Marlboro “K” incites the promise of the American Dream or the bringing together of community.  

Describe where the magic happens, your studio-space!

My studio space is the second bedroom in our flat, it’s nothing fancy but it has two massive windows so I get a load of natural light which is fantastic! It’s very important to me that I can roll out of bed and paint straightaway because I work best early in the morning.

What are your plans for the rest of 2022?

I have already begun the process of brainstorming ideas for my next body of work but, for now, I am working on fulfilling print orders (I hand finish hand sign and hand-numbered them all) and a couple of commission pieces. I’m very much looking forward to creating new work :)

Charlotte Rose Social Media Accounts

Website | Instagram

The post Smoke Em’: An Interview With Charlotte Rose appeared first on Beautiful Bizarre Magazine.

Creativity is chaos and order at once.

There are animal parties and canine cosmonauts and the almighty Ziggy Stardust with blood-red hair. It’s mania, freedom, and lots of fun. Some characters might make you smile or laugh or cry or scream – that’s the magic of Anna’s work – you never quite know where her rabbit hole will take you. But we’re learning to be alright with that. Anna’s the storyteller, we’re only the starry-eyed readers of her boundless fable. Join me in this exclusive interview with Anna, speaking mostly on her everyday life but also on the soulful value of keeping her approach to art (and its personal meaning) curtained behind mystery, intrigue and chaos.

I live through the most interesting things of my imagination.

Exclusive Interview with Anna Mond

Hey Anna, please introduce yourself to our readers.

I’m Anna Mond. I was born in 1982 and I am the Mother of Fantastical Beings. I move around a lot but currently live in Germany.

How are you coping in the maddening world of 2022? Describe your daily routine – the day-in-the-life of Anna.

Last couple of years have been rather challenging, but I guess it could have been worse. I’m not so much into sharing personal aspects of my life, and I know that no matter what happens in the world, my Beings are living in their own world. And when I’m creating them, I’m part of that world as well. Work is my fantastical vacuum, or a capsule, cruising through the cosmos. 

I’m very disciplined. I wake up early, make my coffee and answer questions on Instagram, and regardless of the mood I’m in, I begin to paint. The earlier in the morning, the better because I prefer to use natural light. This helps me to avoid colour transfiguration and to create the exact tones I’m after. The colours, and their combination, are often more important than the subject of the painting. I try to finish by midday, and after a quick lunch, I’m on social media – answering questions, talking to fans. My evenings are dreamy. It’s that time of the day when I imagine what I shall paint next. Quite a boring lifestyle, or so it may seem from the outside, but not to me. I live through the most interesting things of my imagination.

Talk us through your creations, the “Fantastical Beings”. How did they originate?

At the least comfortable moment of my life, the Beings came down from above and we met.

Do you think it’s challenging for artists to stay authentic and/or dedicated to their own truths?

If you’re a true artist, not at all. It’s easier to be yourself than not, and if you’re doing it in the name of art, and not because it’s a fad of the moment or it sounds cool, you can’t go wrong. 

Where do chaos and imperfection fit into your creativity? 

Creativity is chaos and order at once. Imperfections in art must exist as they do in life, and perhaps they’re the most important aspects of art…if there’s rigid personal structure on the ground of which they appear random and whimsical.

Your more recent work has featured animalistic creatures (horses, crocodiles, polar bears etc.). What sparked this interest in the animal kingdom?

Work is periodical, and perhaps now this is what I’m working with – not humans directly. I’m not asking the universe what to paint. If it’s animals now…let it be a secret why. 

How would you define the word “evolution”?

Evolution = controlled chaos, perhaps from above.

List some songs you’d include on your imaginary playlist

I listen to all kinds of music, from classical to Erzgebirgische Weinachten Kinder Chor songs – all depends on the mood. If I feel somewhat uncertain, I have my three go-tos, absolutely monumental artists – Roy Orbison, Johnny Cash and Elvis. Exactly in this order. 

What valuable lessons have you gained from folklore and fairytale?

All important life lessons come from fairytales. When I was a child I collected children’s fairytales, but I moved a lot in my life and most of the books didn’t survive. But now, again, I collect fairytale books and pay special attention to illustrated books. 

You seem to be a film buff. What kind of cinéma makes you tick?

Horror. End of story. 

Name one tool in your art pantry that you can’t live without.

Water. Water. Water. A lot of water. If it doesn’t flow, nothing will happen.

What techniques do you use to achieve the “melty” effect unique to your paintings?

Sorry, secret family recipe. But seriously, it’s not so different from mixing dough ingredients or cooking a stew. 

Describe your studio!

I’m a very home-oriented person. My home is my studio. From the moment I envision the subject in the evening, in order to avoid any influence from the outside world, I don’t leave the house until it’s materialized on canvas. And I love working surrounded by my flowers, familiar smells and sounds of the apartment. 

What are your goals or plans for the rest of 2022?

To keep painting is the main goal. I adjust to whatever happens to maintain my painting schedule, and if I can continue to paint that’s just absolutely wonderful.

Anna Mond Social Media Accounts

Website | Instagram

The post Interview With Anna Mond: Mother of Fantastical Beings appeared first on Beautiful Bizarre Magazine.

American artist Phillip Singer, featured in the December 2020 Issue 31 of Beautiful Bizarre Magazine, takes us on an untamed journey through worlds of feathers, fur, teeth, and claws. In these painted worlds, animals surprise in places we’d never expect to find them. Whales are floating down country lanes, dolphins in Nevada, sharks in bedrooms. It’s a quirky take on animal watching, with the wild closer than ever before. Phillip’s illustrative roots mean his subjects are painted in startling realism. There is a tangible majesty in the eyes, a grace in the movement of limbs and tentacles. But it is Phillip’s thirty-odd year career as a professional artist that has given his animals spirit and soul.

As an artist, Phillip can be described as inquisitive and quirky. His artworks often contain comedic oxymorons, puns, and irony. He jests with his subject matter, poking fun at the weird wonders of the natural world. This tongue-in-cheek creativity is what makes his paintings so charming. There is always nothing to be expected and everything to be discovered. Phillip’s approach to surrealism contributes to the mysterious messages he so naturally translates through paint. The worlds that Phillip creates are foreign yet familiar. He mixes just enough magic into the palette of everyday reality to somehow make the idea of flying elephants appear not so far-fetched after all.

Phillip achieves harmony in his paintings. He can take fish out of water and rehome them in the sky as if they belonged there all this time. Phillip skillfully suspends his animals on canvas, giving us a brief moment to study the beauty within them. This is why each artwork is so quietly peaceful. There is no discord. There is no hunt. There is only a sense of unity. It creates a very surreal balance, something our own world will always be lacking. In a way, Phillip paints the animal kingdom in a utopian light. But at the same time, his paintings remind us of the liberty we don’t always have, and the magic we don’t always see.

Mix animals with legends and make them villains or heroes and you’ve got something powerful.

Describe your early days as an artist.

I was an illustrator immediately after graduating from the School of Visual Arts in NYC. I was excited to get work right away. Most of it was book cover work. I remember thinking just before graduation that I would have to get a job as a waiter, but the phone rang and Avon books (HarperCollins) gave me three book covers in a children’s nonfiction series. That kept me going all summer and got the ball rolling. The challenges of being an illustrator were hard, but I learnt a lot about problem solving while meeting a deadline.

How do you think your approach to art has changed?

I’ve always been a realist painter and I just think in those terms. Early on, I was influenced by whoever was in close orbit; primarily other illustrators. My colours were very vibrant, everything was designed to pop. I suppose they still are, but my latest pieces have been a little more muted. I’m drawn to painters that are able to do so much with a more muted palette. Also, I feel I would always go for the joke in my artworks; it certainly reflects my dry sense of humour. Now, I would rather make more mysterious pieces.

What is the secret to maintaining a career as an artist?

If I figure that out, then I’ll be selling the answer in book format. I’m not very good at ‘blowing my own horn’. I’ve always felt the work should speak for itself. That is a bit naïve though. I see very mediocre artists have high flying careers, while unbelievable artists struggle for attention. I’m also pragmatic. I can separate a business decision from an artistic one. I’m not saying anyone should compromise their integrity as an artist. There are jobs I did as an illustrator that were strictly for the money. I had no real interest in the image. Others, I did because I had artistic control over what I created and was given the format to display my vision.

For all the childhood readers, what was it like working as an illustrator for National Geographic?

I only did two illustrations for National Geographic. One job required me to paint different foods and different architecture. The other job required me to do a painting of relief sculptures that revealed how the army of Alexander the Great would fight. The funny thing is that I had to paint the sculptures twice. It was pointed out by a history professor that no one could hold spears in the way I had depicted them, so the job had to be redone. But that is the job of an illustrator.

Do you believe you would still be the same artist today without your background in illustration?

No. When I was going to school I was searching for instruction. I wanted to be taught why my drawings weren’t very good, why my colour was muddy. I was constantly pushed away from these questions in the fine arts department. I was told, “That’s not really art.” I found teachers in the illustration department shared my point of view.

Your medium of choice is oil. Why does oil painting appeal to you so much?

It wasn’t always oil. I used to paint in a similar style with acrylics. My introduction to oils in school was a joke. I was given a list of what to buy and told, “Do whatever you want.” That’s the point at which I could have used an Atelier type of lesson. So, I ran away from oils because I wasn’t getting any help with how to use them. Acrylics were easier for me to figure out. Today, I can’t imagine working without oils. I can make my paint dry quickly. I can keep it wet for a week at a time. There are so many ways to apply the paint. I constantly look at other artists’ work and think “how did they do that?”

Where do you find your muse?

I’ve always found this the most difficult question to answer, but I understand why people ask it. I just like to make things. I really don’t know how to relax. I guess I’m kind of good at making paintings. That is the unvarnished truth about how I started creating art. I had to be pushed into it. Of course, I’ve grown to love it after stumbling into it. Now it consumes me. Inspiration is everywhere. There’s so much imagery we’re bombarded with every day. I feel challenged to make something beautiful, unique, thought-provoking or powerful. I enjoy that challenge. Painting is probably the closest I’ll ever get to meditating. I could say that painting keeps the dogs from barking in my head.

Describe the process of painting the outsider.

Reference reference reference. I just can’t get my hands on enough of it. I dream these ideas up then find ways to bring them to life. I never just find a photo of a creature and say, “I’m going to paint this.” I draw, redraw it and redraw it until I’m happy. I enlarge the drawing onto tracing paper and transfer it onto a grey canvas. Then I do a small colour study. From there, the toughest part is bringing it to life when there really isn’t a piece of reference that looks like my painting. I might work on something for hours only to come back to it later and say, “Hmmm, that’s not working.” When I take so long to complete a piece, I get plenty of additional ideas that come to mind so the concept can get altered along the way.

Can you explain the title the outsider?

Titles can come to me after the first sketch or sometimes weeks after a painting is finished. In the end the title can provide a narrative for the piece. I was thinking of how the term ‘outsider’ is used to denigrate people who are new to any area. I don’t like that. I hoped to steal the term back and celebrate the outsider and welcome them. I can’t imagine how difficult it can be for people to leave one environment and try to make a life in a new environment.

Explain the themes explored in your in my room series.

Isolation, comfort, partnerships, ownership, shelter, fear. Playing with the scale and placement creates these notions. Leaving a doorway empty in Nothing Ventured shows how we can be paralysed by the unknown; trapped by comfort and familiarity. Placing almost any animal in an abandoned room begs the viewer to consider what came before. Put multiple animals in a room and the possibilities multiply.

Do you label yourself as a magical realist?

I’ve used that hashtag plenty of times, but I suppose it’s a description that others have put on me. I’m not positive I have a full understanding of what it really means.

There seems to be many references to balance and suspension in your works. Is this a commentary?

At first, it was not meant as commentary. Most of the subjects I’ve painted start with the subjects themselves: animals, rocks, flowers. Of course, all of these have been painted a million times before so I ask, “What should I do with these things?” From there, I mentally toss things in the air and see where they land. Most of the time, I look at where they land and I think mmm, there’s nothing here, this bores me. But I keep playing with it and hopefully I see something. Small things pulling and carrying big things is always a theme that tends to inspire.

What are the artistic choices behind your country landscapes?

I really like to make the animals pop off the page. Having a big sky behind them lets me do whatever I need to do to make that happen. I can move remove clouds, paint bright daylight or dark night behind them. Sea creatures are just so fluid, languid and dreamy so I immediately picture them in a night-time sky. As if the dreams of people in the houses in the background are actually taking place outside. When I was a young teenager, the youngest of four, I would draw in my room and listen to records, but the only records I had belonged to my brothers and sister. There was one album by Pat Metheny and Lyle Mays. I would play it over and over. It had a very plain photo of some flat Great Plains landscape on the album cover. It really wasn’t an exciting cover but for some reason the music helped burn this image into my head. It also created this dream-like quality about that landscape in my head. I’m no expert on that part of the country, but it’s kind of fun to keep the perception of mystery alive. I think that comes out in paintings like The Outsider. It’s strange what sticks to the mind and what drifts away.

Why do you think animals are such timeless subjects in art?

It lets people think about relationships in an abstract way. It’s easier for people to view an issue between a rabbit and a fox than it is to view an issue between two people. Fables are often told through animals. Team mascots are animals. Ancient gods took the form of animals. I suppose it’s easier to hear a life lesson from a wise old owl than it is to hear from the old man down the street. Animals are living breathing objects of art. Mix animals with legends and make them villains or heroes and you’ve got something pretty powerful, I suppose. Add stripes, spots, fangs, claws, strange eyes, hooves, fins etc – you’ve got a real show happening. Next you realise these creatures really do exist somewhere in the world and you’ve got a very compelling subject matter.

I suppose it’s easier to hear a life lesson from a wise old owl than it is to hear from the old man down the street.

If you had to choose a spirit animal, what would it be and why?

An indecisive sloth. I paint so damn slow. It’s tough enough moving so slow but imagine repeatedly asking yourself: am I moving in the right direction?

Where does the magic happen? Describe your studio.

It’s a simple set up. A spare room of the house. I don’t have the natural light I want but I still have all the light I need. Props, books and models line one of the walls but I like to keep my view of the easel uncluttered. I get a little sound from the stream in the backyard whenever I turn off all other distractions. I should describe the studio I wish I had. My old studio. A detached two car garage I spent two years renovating. It was perfect. However, my wife and I wanted to start a family and the home was too small. We moved and adopted twin girls. I never did convert the new garage to a studio but I’m happy as it is right now.

How did it feel to win the Beautiful Bizarre Art Prize 2020?

Unfuckingbelievable. Is that one word? There is so much imagery out there. I’ve shown my work for so many years at art festivals and was confident that I had an audience large enough to support me. But I’d figured I was new to the jury. I feel like I’ve been moving underground for decades. I didn’t have many followers on social media and I just didn’t know if it was going to connect. So, I am really surprised the judges thought enough about my work to give me this award.

Before winning the 2020 Beautiful Bizarre Art Prize, I had no galleries that could actually sell my work, and very few followers on social media. The Beautiful Bizarre Art Prize was the endorsement my career needed! Now everything has changed – and the prize money was a huge help, particularly last year!

Phillip Singer Social Media Accounts

Website | Facebook | Instagram

The post Phillip Singer: The Starry-Eyed Artist appeared first on Beautiful Bizarre Magazine.

Canadian artist Heidi Taillefer paints surrealist fantasias, a cacophony of animalistic composites on canvas. She is the winner of the INPRNT Traditional Art Award, part of the 2020 Beautiful Bizarre Art Prize, for her work Silkworm. Heidi is an intuitive painter, able to assemble seemingly randomised objects into paragons of allegory. Her paintings are absolute alchemy, blending ideas from myth, science and morality into resonating works that inspire our own reflection on what it is to be human in the enigmatic world we all inhabit.

Depending on your impression, there is a comforting or rather sad message within Heidi’s works: despite the birth of a technological age, humanity – in all of its beauty and blemish – has remained unchanged. As worded by Aldous Huxley, “Technological progress has merely provided us with more efficient means for going backwards.” We all remain stumbling through life, never quite enlightened. In a way, Heidi Taillefer’s works are reflective of the mythic method; a manipulation of antiquity and contemporaneity to create artworks symbolic of an attempt to find a sense of unity, reason, beauty in a somewhat entropic present. The mystique of Heidi Taillefer’s paintings often transports us to the sublime, into worlds beyond our mere mortal imaginations. However, they are also grounded in knowledge. Her works are all carefully considered, a curation of myth, philosophy and cultural wisdom.

In the following interview, Heidi Taillefer becomes a storyteller, clarifying her artistic vision and sharing what it means to be a contemporary artist.

Enter the 2021 Beautiful Bizarre Art Prize in any of the four Award categories: RAYMAR Traditional Art Award, INPRNT Photography Award, iCanvas Digital Art Award, Yasha Young Projects Sculpture Award, plus our People’s Choice Award, for your chance to receive global exposure for your work and share in over US$45,000 in cash and prizes!

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I thought of the idea of soulful progression in this lifetime and our different selves, both the shadow and light sides. I researched symbols to represent Buddhism and more Eastern cosmologies, since I was questioning the idea of reincarnation, and combined that with elements found in Western belief systems such as Christianity. The result is a syncretic portrayal of the afterlife.

Congratulations! You’re the winner of the INPRNT Traditional Art Award as part of the 2020 Beautiful Bizarre Art Prize. Please describe your award winning work, Silkworm. 

Silkworm was inspired after a trip to Bali in 2013, which is where I got the idea for the shadow puppet motif in the background of the image.  When I was delving deeply into meditation and learning about various cosmologies in the East and West, I wanted to portray something divine, depicting the heavens which is what you feel you connect with during meditation; a kind of soul consciousness. In the process, I came upon an image of a horse jumping which became my reference, and after a brainstorming session, I anchored the idea of the shadow puppet design.

I thought of the idea of soulful progression in this lifetime and our different selves, both the shadow and light sides. I researched symbols to represent Buddhism and more Eastern cosmologies, since I was questioning the idea of reincarnation, and combined that with elements found in Western belief systems such as Christianity. The result is a syncretic portrayal of the afterlife. As with my usual work, I use the language of mechanism to depict themes that address our human condition, which never changes despite our increasing merger with technology. 

Describe your earliest memory as an artist. 

When I was four years old, I glued a collage out of pure white paper on a black background depicting a grasshopper, which to this day I remember as being really good (although it is now lost, I also confirmed my satisfaction with this collage well into my twenties when I looked at it again). I was thrilled and showed it to my mother with tremendous pride; she is also an artist and was always overseeing and encouraging art projects from the time I was able to hold a crayon. At six years old, I remember walking around the crescent we lived on trying to sell my drawings for 25 cents, which foretold my destiny as a professional artist. Then, at eight years old, my mother taught me to paint with watercolour, which helped me broaden my artistic horizons.

Creating art is a lot like driving with a diesel engine because it can be very slow to start. But once it gets going: it is thrilling, uplifting, and very soothing.

How do you think your approach to art has changed?

I’d say that I paint mostly for myself rather than for an audience. When I first began as an artist, it was in combination with commercial art, where you work to produce an image according to the direction of an art director and a client. That was to make a living, and although I painted fine artworks alongside that career, those paintings were to provide works to a Montreal gallery who sold them almost immediately. I was advised to put less detail in my work to produce faster, but that part I didn’t really listen to although I do notice my work is simpler now than it was in the past. Eventually, I decided to paint very personal images related to experiences I was living during a very tumultuous time in my life, which enriched my work but made it more difficult to sell.

By now, especially since my focus is more on getting the message out rather than selling, I notice I paint for myself, although since I love beauty it might lend itself well to sales.

In three words, how does it feel to create art?

Creating art is a lot like driving with a diesel engine because it can be very slow to start. But once it gets going: it is thrilling, uplifting, and very soothing.

I use the language of mechanism to depict themes that address our human condition, which never changes despite our increasing merger with technology.

Heidi Taillefer

Has art, in some ways, been a sanctuary for you? 

Art has been a mixed bag of feelings for me. When I was younger, I never thought I would become an artist; my father, who was a lawyer, greatly influenced me although he suggested I try something other than Law because the industry was saturated. I actually decided to become an artist after a bad waitressing experience in the Yukon when I was 21, figuring I would not have to work for anyone, but I was totally unaware of the entrepreneurial challenges and politics that can exist in the industry, so I failed to escape what I was trying to avoid.

Normally when I create I get lost in the ideas and images I come up with, which is very much a sanctuary, and I feel like there is nothing that can compare with the thrill of revelation when getting an idea or the satisfaction of completing a successful depiction of the idea I had in mind. It lifts me out of the doldrums, and if I am not painting or working on a project, I notice my mood sink into a mysterious sadness, which is quickly remedied by the creative process.

I have had a lot of success as an artist (which was not easy to secure!), but I also feel like my heart got broken on numerous occasions due to the politics in the gallery business. That, and because of some flagrant misrepresentation of who I am as an artist and a person, which might be what happens when you start to become more known in the community. I actually became quite tapped out over the last 10 years and painting has been a struggle because of that, but I never stopped. However, there were times when I considered going into animation or some other artistic field because I lost that wonderful joy of painting.

In the last few years, I have also become my father’s primary caregiver since he has Alzheimers, which has shifted my focus away from art somewhat; but it has allowed me to rest in terms of the art, and I do still manage to produce – though maybe not as much as before. All things move in cycles throughout life, and right now caring for my father seems to be a good reason to take more of a break from art to get back on track with a renewed focus later on.

I am often depicting themes in my paintings which address aspects of the human condition, as an inescapable plight we must contend with and which no artificial technological aid can address.

Throughout your career, you  seem to have experimented with a range of artistic media. Explain your affinity for oil colours. 

My mother first introduced me to watercolour when I was eight years old. I was also taught to paint with watercolour in weekly art classes that I took for the next ten years. After I left those classes and began working on my own at home, I came across an artist who recommended I paint my watercolour robots in acrylic because it would be much more vibrant and striking.

So, I took a weekend workshop on painting with acrylic, which can be somewhat similar to watercolour, but in the workshop, we did not work with paper which absorbs water, rather is was on gessoed board, which does not absorb a thing, and I was totally unaccustomed to it. It was a total failure. A commercial illustrator also encouraged me to try and apply airbrushing to my robots. That required liquid acrylic paints, so I kept practising to master the medium. I eventually became used to acrylics and learned to love the speed with which I could work.

On another occasion, that same commercial illustrator suggested I try oil paints because of its greater vibrancy and buttery feel when handling the paint. So in 1998, I tried my first oil painting and it was a total disaster at the onset, completely the opposite to acrylic or watercolour, so I really disliked the medium, but after leaving it to dry overnight I reworked the painting and better understood how the paint could be handled. I have not turned back since.

I love working with a traditional medium that is not made of plastic, is vibrant and has stood the test of time, and that smells so divine (Along with linen), and I love it when its perfume fills the air.

Love, myth, lore. Can you share one favourite fable that inspired your work? 

I love Aesop’s fable of the scorpion and the frog, although I think this finds itself told in many cultures. In the fable, the scorpion asks the frog to help it cross the river, which the frog is hesitant to do since the scorpion is known to sting. The scorpion promises to be good, but halfway across the river it stings the frog which begins to kill it, and as the frog asks why the scorpion would do something to kill it and drown itself, the scorpion simply replies, “Because it’s my nature.”

I am often depicting themes in my paintings which address aspects of the human condition, as an inescapable plight we must contend with and which no artificial technological aid can address. It is a favourite of mine because I find that it encapsulates so much of what I already incorporate in my work.

Art as protest. What is one cause you’ve supported through your work? 

The most recent cause I can think of which I’ve supported with my work is the Black Lives Matter movement in 2020. In 2010, I had produced a painting of a woman of colour posing as Venus in a clamshell (below), holding the Sovereign’s orb in one hand, and a demon on a leash succumbing to her charms in the other hand. The title is “Pelican and the Vampire”. It is a painting about unconditional love, through the pathway of the most unjustly maligned reaching exaltation, which is the highest-ranking anyone can achieve. It was featured in 2010 as the poster image for the Montreal International Fantasia Film Festival. Still, I was told it received a really negative backlash by many viewers, on account of what seemed to be a racist reaction.

Like most people, I love beauty and am a bit of an aesthete, so when I choose a model it is because I find him or her to be beautiful. I was totally dumbfounded, shocked, hurt, and deeply disappointed after learning of this reaction which to me made no sense because it was a sensual image of a woman posing as a goddess defeating the demons of ignorance, which I thought was obvious at first glance. I was never asked to provide an image for the festival afterwards, even though it was my third one and they had wanted to take me on board on a yearly basis as a literal poster girl. Also, I donate prints to various causes in support of Alzheimers or cancer or most recently palliative care, but I’d say that was my contribution to the BLM movement, way back in 2010.

Social media, AI, Biotechnology. How do you view contemporary technology and where do you see it heading? 

In a National Geographic survey, I once read that the happiest communities in the world are the tribes of New Guinea, where there is the least technology of all. Still, I am not a Luddite, and I am grateful for the advances we have made technologically in health and society.

However, I will say that we are probably going to have to rely heavily on technology at this point to remedy our impact on the environment. If the internet had existed as it does today back in the early ’90s when I was going door to door in Montreal and NY trying to show my illustrator’s portfolio or mailing slides to galleries, I wonder if I might not have had much more success (much more easily) as an artist. I am still not very tech-savvy and do not master marketing efforts on social media, which could greatly increase my visibility. Still, I do use technology to communicate better, and I feel it has improved my life.

However, as we can see in the past few years, social media has proven itself to be a double-edged sword. We have not only an “information” but a “misinformation” overload that is creating enormous upheavals in society, as seen in the US especially. I am not sure if I fear AI particularly, I doubt machines would learn the same nefarious inclinations we as humans might have. However, I am aware of the importance of safeguarding ourselves to ensure that we do not make ourselves obsolete. I do think we will likely have to merge ourselves with AI at some point if we are to keep up with advances in technology, however that can be done, and this is what I paint about when I ask what happens to the human element when it is supplanted or aided by technology.

I used to read Ray Kurzweil and was fascinated and afraid of the Singularity he proposed, but I suppose it’s a long-ish way off in terms of my lifetime. I’d have to say we need to address the climate crisis more immediately, for which we will likely have to rely on new technologies.

For someone who paints about our merger with technology, I actually don’t keep up much with many of its advances, which is happening so fast it might be difficult to do. Rather, I seem to be focusing on more ethereal and eternal aspects of our existence.  

I seem to be focusing on more ethereal and eternal aspects of our existence.  

What is your favourite part of the creative process? 

My favourite part of the creative process is difficult to pinpoint! I really enjoy researching an idea, like looking at shadow puppet designs online or reading about various symbolism for whatever idea I have. I think it used to be when a painting reached the stage where it required “tweaking”, finishing touches to bring it to life somehow, all over the place, then it would really come alive.

Also, I enjoy brainstorming ideas; what I like to do is walk for a long time, where the repetitive steps are a no brainer and allow the left side of the brain to rest, while the right side fires up with ideas. Or I take a nap and at the point where I am just about to fall asleep, I find the subconscious more closely comes to the surface and ideas come to light, but they must be written down quickly before they’re forgotten, as often happens with our dreams.

Describe your studio space!

I have had about 5-6 different studio spaces over the course of my career. I started out using my first apartment as a studio, and then I shared a small corner in a photographer’s 2000sft studio. Each time I would move, my studio got bigger, and I shared a space with two other professionals in a 1000sft space, then I shared it with one, then I had the space all to myself. Then I moved to live and work in a huge 3000sft loft set in a commercial building, with 50 feet of windows facing south to oversee the entirety of Montreal from the 8th floor; it was the quintessential artist’s loft in a former clothing manufacturing space. After a few years the rent went up too much, so I divided the space in half and lived and worked in 1500sft of space, and now I am back to my humble beginnings which is a little embarrassing to say.

I currently work in the corner of my kitchen and use an extra room upstairs as the drawing-room to research and prepare the drawings before I paint them. It actually works quite well and is well lit, although it is a far cry from the 3000sft studio space I had ten years ago. I’m not sure what I’ll do moving forward, I still seem to be able to work on large canvases and there aren’t many studio spaces that I know of in the neighbourhood where I live. I really don’t want to have to commute into the city each day; I would rather paint in my home and have the entire house strewn about with canvasses and photo references.

What do you hope 2021 will bring? 

Omg. I hope 2021 will bring peace and communion in society, especially the US, and an end to this diabolical pandemic. I also hope it will bring a renewed effort to protect our environment globally. On a more personal note, I hope 2021 will bring a greater awareness of my work and what it is about since I feel that I have focused largely on commercial endeavours up unto this point. I keep getting various interviews posted online, so I’m hoping that the word will get out more and describe what I try to convey. This interview certainly helps, thank you for that!! So I can say that my year has so far been going quite well!

Heidi Taillefer Social Media Accounts

Website | Facebook | Instagram

The post Surreal Nebulous Beings: An Interview With Heidi Taillefer appeared first on Beautiful Bizarre Magazine.

Australian photographer Tamara Dean comments on the unbecoming of our natural world and the need to repair it. She is the second place winner of the iCanvas Photography Award as part of the 2020 Beautiful Bizarre Art Prize for her photograph, Endangered 1, which plunges us into a spiritual ocean at the mercy of the deep. Tamara’s photography often reveals nature’s splendour, ethereal in tone, from lush chartreuse swampland to deserts of antiquity. Too often we protect ourselves by hiding in the shelters of our making, Tamara Dean reminds us that we should break down the walls and rediscover the wilds that surround us.

My intention with these works is to change the narrative; show that in an age of mass extinction humanity is as vulnerable as every other living creature, to make the point that this is personal.

Living in the contemporary present can sometimes be akin to living in a conservatory; a window view of the natural world that we no longer seem to belong. We are living in a disconnect, alienated from Mother Earth itself. It has caused us to disregard the hurt we have inflicted on the lands and seas that do not belong to us but to all living things. Tamara hopes to heal our relationship with nature by creating a sense of harmony through her most recent photography. We are reintroduced, naked, into the hinterland; a mise-en-scene of pure, restorative surrender.

In the following interview, Tamara Dean explains the behind-the-scenes of her photographic visions.

Congratulations! You’ve won 2nd place in the iCanvas Photography Award as part of the 2020 Beautiful Bizarre Art Prize. Please describe the meaning behind your award-winning work, Endangered 1.  

Thank you! My series ‘Endangered’ (which this work comes from) is a reframing of the notion of ourselves as human beings – mammals in a sensitive ecosystem, as vulnerable to the same forces of climate change as every other living creature.  

Biologists predict that if we continue carrying on the way we are, by the end of this century 50% of species living today will face extinction. As much as 45% of biodiversity could be lost by 2050. And humans are not immune. To see ourselves as different and separate to the ecology and ecosystem of our planet is leaving humanity unprepared for the world we are currently destroying.

My intention with these works is to change the narrative; show that in an age of mass extinction humanity is as vulnerable as every other living creature, to make the point that this is personal.  

This series is particularly important to me as it speaks directly to my most fundamental concerns and values: my love for the environment and my deep concern for our planet.

Do you remember your very first camera? How has that changed from what you use today? 

Yes, it was a Minolta; I can’t remember the model. But the first camera I really started practising my photography with was my Nikon FM2. The biggest difference between the early cameras I used and the ones I use today is the switch from film to digital. I now use a medium format Hasselblad which allows me to create large scale prints.

How much editing, if any,  is involved in your process?

I tend to try and achieve as much as I can in-camera. There are some images which call for more editing/imaging than others. I will spend as much time on an image as I feel it needs. This can vary from very little to some which are quite involved when I am compositing.

Describe the process of choosing one image out of thousands, what makes a photograph worthy of print?  

This is something entirely intuitively for me. I may be editing through hundreds of images from a shoot, and there will be a small number of photographs that just have something special about them that elevates them, making them stand out from the rest. 

You’ve amassed a large following on social media and beyond. How does it feel to have so many people resonate with your work?

It is quite a special experience to have a community who view and respond to my work with such immediacy and positivity. It is especially helpful for me as I live and work from our property in regional Australia and so am relatively isolated. It allows me to interact with an engaged artistic community whilst making work remotely. I find the feedback and engagement really helpful.

Australia’s natural landscape is often viewed as unforgiving, harsh, and prone to fire. How do you see it?

I see so much beauty in the Australian landscape. There is graceful femininity in the sway of a gumtree, and the ancient shapes and marks in the rocks and boulders. I see the age of the Earth in the Australian landscape. It challenges my imagination to perceive how the landscape has been shaped by time and the elements to become the way it is today. 

There are some locations in the Australian bushland that I find frightening, but I am in awe for the most part. I love the scents, the sounds and the colours. I especially love being in the landscape just before night sets in when the light is soft, and there is a stillness in the air.

I see the age of the Earth in the Australian landscape.

Your works are often in-motion, akin to performance photography. Explain how you curate a scene.  

I approach a shoot with an underlying concept, which defines the series. I share this with the people I am going to be photographing, sometimes along with some image references to give a sense of what mood I’m trying to achieve. Then we go through a series of actions which I ask for them to express in the landscape. This may be as simple as navigating from A to B through a prescribed area.

My aim is to facilitate an experience whereby the person/people I am photographing are engaging with the landscape, allowing them to be ‘in the moment’. This gives the work a sense of authenticity as whilst I have brought the elements (concept, locations, models) together for the shoot, it is still a lived experience for the people I am photographing.

In your photographed worlds, nudity becomes a norm. What stories do you believe the body conveys?

The body unclothed is the easiest way for me to express the sense that we are animals and that we too are vulnerable creatures living within a fragile ecosystem. It also helps to remove the constraints of time, where the body can be seen as a primitive human or someone living today.

Photography is often thought of as a way to preserve memories, but what else do you believe it can preserve? 

I believe that the best art and photography has the power to express complex concepts in simple ways. It is a visual language which can be understood universally without the need of words.

What is one thing people may not know about life as a photographer?

It can be quite a solitary experience. 

What has 2020 taught you and what do you hope from 2021? 

2020 has reminded me that I don’t have to travel far to make photographs. I began my series ‘In Isolation’ on our property, in March 2020, when the first period of self-isolation came in and have been working on it since then. This will be exhibited in August as the inaugural exhibition at the newly built “Ngununggula” Southern Highlands Regional gallery and later in the year at Michael Reid gallery, Sydney.

2020 also brought into stark focus how my daily life, the lives of the people around me, and the delicate balance of life on Earth are being directly affected by the climate crisis we are now experiencing.

My family and I live in regional Australia, the driest inhabited continent on Earth. We depend on the rain to fill our tanks for drinking and cleaning. We had to evacuate numerous times in the Black Summer fires of 2020, with the Currowan bushfire coming as close as 7kms from our home. It was a truly traumatic start to the year. The Covid-19 pandemic has also demonstrated that the causes and effects of climate change are intricately linked with increased risk of pandemics. 

I hope that in 2021 humanity makes some massive changes to the current outdated systems which have led to human-induced climate change, putting our environment front and centre in all decision making going forward. Renewables are the cheapest and most ecological form of new energy today. Countries around the world are phasing out fossil fuels as a power source. The world’s brightest minds are trying to catalyse change. We can see that through international unity when we all work together we can start to turn the tide.

Tamara Dean Social Media Accounts

Website  |  Facebook  |  Instagram 

The post A Wild, Native Spirit: An Interview With Tamara Dean appeared first on Beautiful Bizarre Magazine.

Quiet gestures convey loud emotions in Laura’s work. There’s a sense of romantic wistfulness, a longing or celebration of desire. Laura Peretti’s art voices the language of touch. It inspires us to feel more, believe more and love more. I believe all of us want to have a taste of that sweet colourful spirit.

Laura Peretti joins me for an interview where we discuss thoughts on the muse, women and sexuality within her art.

I instantly connect with it and immerse myself in its story, rhythm and flow. I just fall into a kind of trance. Some sort of intimate trip between me, the singer and the sound of the music. 

What inspired young Laura Peretti to pick up the paintbrush?

It came very naturally for me. It started as a kid’s game. I would spend my days off school creating things, using any material I had at hand. I made puppets, worked on glass, clay, painted on wood and rocks, even looms.

However, my mother encouraged me to keep on exploring this world. She saw how much I enjoyed it and started bringing home different materials and art supplies for me to do whatever I could imagine. That’s how everything started.

Where do you find your muse?

Music. It’s always about the music. Sometimes, a lyric triggers an entire project. I lose myself in its rhythm and words. It really affects the way I paint; the way the strokes and textures come out. I can even tell what was happening in my life at that moment.
Music sets my mood, or my mood sets the music.

Either way, when I see my work I know exactly what playlist I was listening to and how I was feeling while doing it. 

What is your favourite genre of music?

Blues-rock and soul music were always my favourites. All those raw emotions just get right through me. I think I paint what I cannot explain with words, and many times I found those words inside that music. I instantly connect with it and immerse myself in its story, rhythm and flow. I just fall into a kind of trance. Some sort of intimate trip between me, the singer and the sound of the music. 

What are your ideas surrounding sexuality?

I think about humans as animals in disguise. Our true nature; our instincts cannot hide. That’s something that I have in my mind every time I work with the human shape. I want to unveil our purest desires. Our true self. 

New York had a lot to do with the appearance of sex and sensuality in my work. I think about sexuality as simple, free, and unapologetic pleasure. No labels, no judgements, pure expression. In this city, sexuality doesn’t hide. Anybody can be whoever they want to be, and use their bodies to express whatever they want to express. Here I found a place to do the same with my work.

The female form is celebrated in your art. Share a few words on the power of women.

I don’t like to think about power. I think about our inner strength. Relentless, defiant, unstoppable souls. In a way, women in my work are always saying, “Come on… I dare you to.”

Tell me about the mood painted within your ‘True Romantics’ art series.

True Romantics was a very spontaneous and personal project for me. I began working on it during the firsts weeks of quarantine in New York. I was in that particular nostalgic loving mood and got immersed in a melancholic state by quarantine. My playlist turned into a blue, soft and gloomy sequence of songs. Thinking about those who got separated from their lovers by this strange reality we were living in. And inspired by the lyrics that were that kept me company, True Romantics was born. 

I think about sexuality as simple, free, and unapologetic pleasure. No labels, no judgements, pure expression.

You often paint bold splashes of colour. How important is colour theory to your art?

Everything comes in a very intuitive way for me. I do, however, find myself looking for balance with shapes and colours. I believe my work in pattern illustration really influences the way I think about the design. Colour becomes a thing on its own. A main character in the design. For me, it’s not about colouring a specific figure. It is about making a figure to contain the colour. 

Do you think art is a mirror of the artist?

I would say art is the mirror of the hidden artist. A way of saying what we don’t dare to say out loud or we cannot explain with words. I was often told that it was a surprise how my art differs from my often quiet and shy personality. That’s why I like to think about my art as my alter ego appearance. My hidden me coming to life.

What do you hope people feel when they view your art?

“Feel” is the perfect choice of words. Sometimes people want to find a meaning behind the artwork. I just want to trigger something in them. My work is based on the atmosphere of a moment and its intimacy – the secrets behind it. I like to silently intrude into different private scenes of ongoing stories, inviting people to come along with me as silent spectators. I want them to experience them as their own and maybe discover something about themselves that they didn’t already know.

Describe your studio space. 

Since I was a kid and started painting, I would always do it at night. As if I were in my own different reality: timeless and soundless. That’s why I’ve always painted at home. That’s my comfort space. If I’m not at home I cannot fully relax and let myself go. I play my favourite music and everything starts flowing.

You can find paint everywhere, paper, brushes, fabric etc. When I paint I’m not particularly tidy. All my materials are at reach on the floor, on the table, on me. With my cat walking around or just laying by my side; sometimes stealing some of my brushes or pencils. But that’s the only way I can do it.

What is it like being an artist in New York City?

New York can be hard and competitive. But it’s also a city that gives room to any type of art and expression. You find it everywhere. It’s on the streets, in the subway, on people. That’s what I love the most, and why I decided to come to New York. I feel it’s the perfect place to be whatever type of artist you want to be. Even when is hard, it keeps the feeling alive. 

What are Laura Peretti’s artistic plans for 2020 and beyond?

Recently, I’ve been working in large paintings on wood panels and collaborating with murals. I left aside my mixed media process: with polychromos pencil and ink. And focused on gouache and acrylic. As a result, my digital work also became more painterly. 2020 is gonna be a year to explore this new process of working. Planning exhibits of my paintings and continuing to work digitally on my illustrations for editorials and textiles.

Laura Peretti’s Social Media Accounts

Website | Facebook | Instagram

The post Dancing Women: An Interview with Laura Peretti appeared first on Beautiful Bizarre Magazine.

Living in Mexico City, Alejandra Caballero draws upon the enchantment of the land. She refers to her shamanic roots, inspired by ancestral fables to weave together not just beautiful but symbolic paintings. Often, Alejandra Caballero paints mystical women who seem to contain resonating energies of clairvoyant power. This is all translated onto the canvas with the medium of gouache, which Alejandra finds is key to achieving her clouded, yet vivid, washes of colour. It’s just another ingredient of Alejandra’s artistic alchemy to conjure up her creative musings.

Luckily for us, Alejandra Caballero has invited us behind the curtain so we can get to know her spellcraft a little bit better.

In times of happiness and sadness, these are the themes that best suit my soul and I don’t think that will ever change. 

I think we artists can be very hard on ourselves, we know how hard it is to make a living out of art, and so we always feel like we need to be doing more. Artists are hard workers, but these are hard times for everyone and we should take is easy too.

When and why did you decide to become an artist?

Since I was little you could always find me drawing and painting, but when the time came to choose a path, in the beginning, I  wasn’t very confident in my skills and I went on to study graphic design. But I never stopped pursuing art in my free time and finally, I realized that I needed to give it all instead of just pushing on finishing another career that just didn’t suit me. In 2016, I decided to start studying visual arts in Mexico City and finally had more time to focus on my true passion.

Of course, art school, at least in my country, is not ideal for a painter of my style, but I did learn a lot about how to express my concepts and ideas into the artwork. I’ve always been self-taught in painting so I just had to keep pushing and keep learning on my own, and it is a process that never ends and I find so much pleasure in it. 

How have your days been since COVID-19 isolation? Uninspiring or more inspiring than ever?

To be honest, I’ve always been a homebody, but this situation is different. Life seems very dystopic these days, and the future seems unclear, but having work to do and deadlines, is something that is helping me keep centered.

Some days I wake up very inspired to work and I make myself a cup of coffee, and start working as I usually would, making the day go by very smoothly. Other days, It’s harder, and there’s no motivation to be found. On those days, I try to be gentler with myself since we are living extraordinary circumstances we shouldn’t try to force or brainwash ourselves into thinking that we are being lazy if we are not having a productive day. I think we artists can be very hard on ourselves, we know how hard it is to make a living out of art, and so we always feel like we need to be doing more. Artists are hard workers, but these are hard times for everyone and we should take is easy too.

The constant feed of bad news and also the lack of freedom and the fear that everyone is experiencing can be very anxiety-inducing. Surprisingly, all that is happening right now also made me more focused on a series of paintings I’ve been working on that dive a little into the themes of media control and subjects that seem to hit home now more than ever, and that is keeping me busy too.

You tend to paint a lot of cats. Do you have any feline companions?

Yes! her name is Mina, and she is my muse. I’ve always had a fascination with cats, but never had the chance of having a feline companion until Mina! 

To me cats seem to be highly superior spiritual beings, they can be great masters. They are so beautiful to behold. In fact, my Instagram name (pangurban) and my artistic name in many instances are based on a poem by a medieval Irish monk, who wrote it about his cat, Pangur Bán, and in which he compares his scholar doings, paintings, and writings, to the ones of his cat, and how he is the perfect companion. So, you see, I do find cats to be very inspiring.

Pick your poison: landscapes or portraits?

Portraits.

On that note, what is your favourite subject to paint?

There are two sides that my work focuses on; a sense of liberty found in the realm of imagination and hidden messages that can be found in the mythical and the magical realms. And the other side, which delves into the harsher realities of our days, the mechanisms of technological control that have us creating fake personas, and that in many ways is becoming a controlling factor in our lives and our psyches. On both subject matters, I think that the female figure is always something that inspires me greatly. Women have this liquid quality that can reflect a lot on the mood that I am at while painting, and the messages I am trying to transmit.

Do you prefer working on small scale or large scale works?

I usually prefer working on a smaller scale. I use gouache a lot, and on a larger scale it just doesn’t work for me, but I’m starting to experiment with oils in larger canvases and I’m really enjoying it! I think I’m slowly learning to love the larger scale, but my love for smaller paintings will always win. 

When I go to museums, more often than not, the small paintings are the ones that draw my attention more than the larger ones, there’s something about the details, the coziness, and intimacy about small paintings that to me is very special.

‘The Magician’ reminds me of tarot cards. Talk me through the inspiration behind this piece.

I wanted to do a series inspired by the Major Arcana. When I have the chance I would love to do a full tarot deck, but in the meantime, I couldn’t contain myself from working on some pieces inspired by the archetypes of the tarot. 

I read a lot about Jungian interpretations of the tarot, and I’m of the idea that archetypes, like the ones portrayed in the Tarot, can help us navigate more clearly our subconscious minds.

You also painted a zodiac series. Do you consider yourself a follower of astrology?

Again, I think archetypes are a way to understand our subconscious minds better, and the zodiac signs, are nothing more than very ancient archetypes. 

If you go deeper than the superficial teachings on astrology that you see everywhere now, you will find that astrology is not really about predictions of the future, and more about the symbols that we identify with; about mythos and archetypal forms that are part of the collective unconscious and that can teach us about our perceptions and the perceptions of the collective. 

You mostly work with gouache. Why do you love this medium so much?

I came across gouache a couple of years back. I just fell in love with the medium because of how forgiving and versatile it is. I enjoy that it provides this opaque quality that creates the milky colours that I like to work with and that I find so hard to create in oils or watercolours, for example. Also, the way you can use opaque layers as you would with acrylics or digital painting is just ideal for me. I also like that it is very portable and easy to clean up, which suits me well since I don’t really enjoy the mess that comes with other mediums.  I also like that it is very easy to photograph since the colours are matte and intense. All in all, next to oil paints, it is the finest medium that I’ve worked with. 

Is there any other method or style of artmaking you’ve been wanting to try out?

I would really like to start using pastel colours but seems a bit messy, but I love the texture you get, so I will try again until I can understand how the medium works better!

Do you think living in Mexico influences the art you produce?

I think so; México means “Place in the Navel of the Moon”. And I can tell you, it is a very magical surreal place.

I like to think that all the Mexican artists draw inspiration, consciously, or unconsciously from our shamanic roots. We were warriors with ancient knowledge, and ever since the conquest happened, we never stopped searching but we also have that magic inside all of us. 

Rabbits. They’re also very popular in your work. Why?

Rabbits are also very important for our culture. There are many references to rabbits, like the story of the goddess Mayahuel who had four hundred rabbit spirits to her service. The rabbits were related to dreaming and waking, to lucidity and obfuscation. I recently made a painting inspired by this goddess, but in general, I like to keep in tune with my unconscious, and the way I best do that is by painting. So, for the last couple of years, rabbits have been a constant archetype that I like to represent. 

For me, they represent the search for something ethereal, something occult, imagination, and creation. It is a symbol that gives me strength.  

Some of your artworks feel very ‘Alice in Wonderland’. Do you have a passion for the world of fantasy and magic?

I do! It is something that has been an interest of mine since I can remember. I never grew out of reading fantasy, and any occult teachings I could find, enjoying the other worlds which one can not see with the normal eye, and creating things relate to the magical realms. In times of happiness and sadness, these are the themes that best suit my soul and I don’t think that will ever change.  

You’re also brilliant at using ink. I spied some Inktober on your Instagram feed. What’re some of your favourite comics?

Thank you very much! I sometimes have these bursts of just wanting to use ink, and then I need some colour in my life. Luckily, the bursts always come back!

On the topic of comics, I have to say, that ‘Watchmen’ by Alan Moore is one of my favourite comics, novels, and all in all pieces of artwork of all time. If you can read it before watching any tv show or movie based on it, I would highly recommend it!

How long does it take you to complete an original artwork?

It can take me anywhere from an hour to many months. It all comes down to the medium and the canvas size that I’m working on. I consider myself to be new in oil paint, and also in larger formats, that’s why a piece with these characteristics can take me even months. What helps me with that is that I always have several paintings in progress. I love to jump from one to the other, while they are drying. 

In gouache, I usually work in smaller sizes so it takes a few hours to a week. I enjoy having many projects to work on, but when I have a deadline, I love the rush feeling of having to focus on a series or a piece and that makes me work a lot quicker. 

We were warriors with ancient knowledge, and ever since the conquest happened, we never stopped searching but we also have that magic inside all of us.

Would you describe yourself as a chaotic artist or someone neat & tidy?

I would consider myself more on the neat and tidy side of things. To me, having a routine is very important as well as having my working space clear of a mess.

I love to have many paintings in the works but to be able to finish work and keep up with deadlines, I appreciate having a routine. It keeps me grounded. I relish that moment in the morning when I make myself a cup of coffee, head to my workspace and it’s all in its place, ready to be used to keep creating, I think some will understand me when I say that it brings me a calmness and gets me excited to start working as soon as possible.

What do you have planned for the rest of 2020 and what are your dreams beyond that?

I am currently working on two series of paintings, one of which the plan is to make an editorial project out of, but things are still in the works. The other one is a series on the archetype of the witch or female shaman and the secret meanings of old religious symbolism.

In the long run, I would like to keep on working on illustration work for editorial projects that focus on subjects that I feel connected to. I also want to focus my attention on being able to sell my paintings and my work to people that would give them some love and a home. It is such a satisfying feeling knowing that your work is being kept safe by someone that appreciates it.

Alejandra Caballero Social Media Accounts

Facebook | Instagram | Twitter

The post Kindred Spirits: An Interview with Alejandra Caballero appeared first on Beautiful Bizarre Magazine.

American Artist Adrienne Stein is a gifted painter, crafting enchanting fairy tales with the strokes of a brush. She is the recipient of the INPRNT Beautiful Bizarre 2019 Art Prize Award for her painting ‘Persephone’, which was awarded 3rd place in the Traditional Art category. It is very clear why Adrienne is so deserving of such accolades. Her muses are often women who utterly enrapture us with their mysterious, sensual aura. But Adrienne also makes the point of painting strong, powerful women aware of their own spellbinding gaze. And this is perhaps the most beautiful aspect of Adrienne’s paintings: the regality of the female form brought to light from amidst the shadows. 

To enter the 2020 Beautiful Bizarre Art Prize in any of the four Award categories: INPRNT Traditional Art Award, Yasha Young Projects Sculpture Award, ZBrush Digital Art Award or iCanvas Photography Award, and for your chance to receive global exposure for your work + share in over US$35,000 in cash and prizes, click here.

Adrienne Stein is an established artist, currently residing in Pennsylvania, with her artistry being inspired by her travels and passion for the mystical elements of the natural world. Her paintings are almost magical realist in the way they touch aspects of the fantastical. The dreamy, almost spiritual, feminine characters that Adrienne paints seem conjured from a world of folklore and myth.

I wanted to have the experience of travelling into a new unique world with each painting. Each is a meditation on colour and nature.

The magic of her otherworldly paintings is only enhanced by her expressive use of colourful oil paint. From deep plums to fiery auburns, Adrienne is unafraid to experiment with different tones in her artworks. It is this dynamic vibrancy that lifts her characters off the canvas and gives them an ethereal glow. As an artist, she holds a very unique connection to colour and is especially attuned to the varied moods and emotions that each nuanced shade can evoke.

Adrienne Stein joins me in sharing more about her artistic philosophy, giving us an invitation into her painted world full of whimsy and bloom. Come and have a walk in the garden of delights!

Interview with Adrienne Stein

Why did you enter the Beautiful Bizarre Magazine Art Prize?

Entering the 2019 Art Prize was a leap of faith for me. I entered because I knew it would be a stretch and a challenge. Although my background is in the classical atelier/fine art realm, I have always been a fan of Pop Surrealism, Illustration, and Magical Realism. My work has been moving more into those genres in recent years, and I felt this would be a perfect way to “cross over”.

What do you feel you have gained from this experience?

I have discovered so many amazing new artists, and other artists have discovered me! This competition builds community.

Would you recommend it and encourage others to enter? If so, why?

I would highly recommend it. It gave my work a whole new audience and provided the affirmation I needed to encourage me to move deeper into the imaginative aspect of my work.

Let’s talk about your painting “Persephone” (first image below), which won 3rd prize in the INPRNT Traditional Art Award category of the 2019 Beautiful Bizarre Art Prize. What kind of woman do you envision the Greek goddess Persephone to be?

Persephone is both sensual and strong, masculine and feminine. She begins as a passive character, the abductee of Hades, but she is given responsibility and power as his wife, and becomes strong in her new role as Queen of the Underworld. Yet she still returns to her mother and the earth to be the tender bearer of Spring. I love the shape-shifting dual nature of Persephone as both authoritative and nurturing/life-giving. She straddles two worlds.

Who was your muse for this painting, who inspired the Persephone we see pictured?

My dear friend and muse, Sydney Zwicker is my Persephone. I met Sydney in 2016 and have painted her many times since. I consider her an avatar – a bold and sensuous personality that I love to channel in my paintings. She and I share the same 19th century aesthetic ideals and we understand each other, so we work well together.

Explain the types of florals you’ve used within the piece; do they have a special symbolism?

Though the florals in this piece don’t have a specific symbolism to Persephone, they are personal to me in that they were gathered from specific places that hold memories – from Parisian graves at the iconic Père Lachaise cemetery to peonies from a friend’s garden to flowers I photographed in an enchanting storefront window display in New York City walking down a quiet street at midnight. I pulled all of these floral sources together to create a bouquet of sensory memories, essentially.

On a technical note, how did you achieve the liquid darkness that pervades the painting and casts a dramatic gloom over the entire work?

That’s a beautiful observation, thank you. It was intentional – I used linseed oil to create thin glazes by mixing it with Phthalo turquoise, which I applied in successive layers in the shadows to create rich, moody darks. Glazes create an optical effect where light passes down from the surface through the translucent layers, hits the opaque ground, and reflects back up through the layers, creating a vibrating glow.

You recently opened your solo show called “Elementals”, congratulations! What is the story behind the title of this exhibition?

The title is derived from the Renaissance concept of the four elements being embodied in mythic beings known as Elementals. The paintings in this show depict figures that correspond with the elements of Earth, Fire, Water, and Air. The colour and emotional tenor of each painting is distinct, and I wanted to have the experience of travelling into a new unique world with each painting. Each is a meditation on colour and nature.

Can you share a few further words on how the experience of opening this show has felt?

This show taught me so much! I had a tight deadline, so I worked small in order to complete enough work and also to work through colour and composition ideas more quickly. There were about 20 works in the show. Each painting felt distinctive in its emotional tenor and vibration. I learned something new with each one. I am a different artist now than I was going into it.

There is so much energy and potential in the dreaming and scheming! I live for that initial spark of inspiration.

Please describe your studio style. Where do you work and how do you get into the mood for painting?

In 2017, my fiancé (the artist Quang Ho) and I bought a historic home in rural Pennsylvania in the U.S. It is a stone house built in 1764, and it sits on 3 acres of beautifully planted and gardened land. The former owner had been a master gardener. We built our studios on the far end of the property, adjacent to the woods. It is in this botanical setting, surrounded by nature where I feel the most inspired and blissful (we will also be married there in June!).

What do you find is the most exciting part of the creative process?

The most exciting part is the conceptualizing, before the first stroke of paint is laid down; making drawings, gathering reference photos. There is so much energy and potential in the dreaming and scheming! I live for that initial spark of inspiration.

Your colour palette is incredibly vibrant and varied, how does colour influence your creativity?

Colour has always been the most evocative visual element, to me. It creates the strongest emotional resonance and is deeply connected with memory. I’ve always appreciated paintings and films that use colour to evoke a specific response in the viewer. I experience colours as distinct sounds, like musical notes. Some colours “sound” like the cello to me whereas other colours sound like the flute or the piccolo.

Colours also correspond with specific hours of the day and seasons too. I remember reading a passage in Vincent Van Gogh’s letters to Theo, where he referred to an Autumn landscape “a symphony in yellow”. That really lingered with me. I always love artists who made surprising expressive choices with colour, such as Maurice Denis and the Nabis. These days, I try to resist the temptation to use predictable colour. I try to make as many poetic colour choices as possible.

If there could be one character from your paintings that you could bring to life and have a conversation with, who would it be?

This may be the coolest question anyone has ever asked about my art! “Rain Dove” is a character I would like to give the breath of life! She looks gentle and empathetic, as though she converses with the birds. I would tell my troubles to her.

Can you give a cheeky spoiler on what’s coming next for Adrienne Stein?

I am planning a series of paintings with no figures in them. They will be still life explorations of bones and other natural elements. I’ve always loved how Georgia O’Keefe painted skulls as sacred icons against vast desert backdrops. These paintings will be inspired by the American West and the time I’ve spent in Colorado.

Adrienne Stein’s Social Media Accounts

Website | Instagram | Facebook

The post Garden of Delights: An Interview with Adrienne Stein appeared first on Beautiful Bizarre Magazine.

Hi Aron. Your paintings can be described as portraying somewhat desolate, lonely characters. Is this in tune with your understanding of your paintings or do you see a more inherently hopeful outlook?

I don’t think of them in terms like hopeful or lonely. An image makes an emotional connection or it doesn’t. Some people have said my paintings are depressing. I just think that means it didn’t resonate with them; there was nothing there for them. It’s like music, if it really gets to you, there are no words for it. One could say a song is sad, but if a song truly connects, you don’t feel sadness at all, kind of the opposite.  But even then it’s really hard to put that emotion into words.

Aron Wiesenfeld Social Media Accounts

Website | Instagram | Facebook

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The post Making Pilgrims: An Interview with Aron Wiesenfeld appeared first on Beautiful Bizarre Magazine.