Historia Animalium

Exhibition Dates: November – December 2024

Rotunda Gallery

Rotunda Gallery | City Hall, 200 King Street West, Kitchener, Ontario

Opening Hours: Monday – Fridays 7am. to 9pm, Weekends and Statutory holidays 9am to 9pm

About Historia Animalium //

‘Historia Animalium’ is an upcoming exhibition soon to be on display at Rotunda Gallery in City Hall in Kitchener, Ontario, Canada all through November and December 2024. This collection is an offshoot of a larger series created by Laura titled ‘Terra Incognita’, which started during a 2021 residency in Iceland, where she was inspired by the local folklore, history, humor, and darkness imbued in the culture, specifically centered around the idea of fantastical animals and their relationship to humans. This subject matter relates directly to Laura’s previous studies of how natural history and science plays into the collective perspective of the monstrous in a long-standing view of the world as anthropocentric.

Themes of biodiversity, extinction and extirpation, resiliency, and interconnectedness are used to evoke a sense of the fantastical and absurd contrasted with child-like wonder and humor. Stylistically the work takes on a continuous sense of motion and disorder and contains visual references to historical etchings of animals and beasts, as well as symbols of life, death, finery, and wildness.

About Laura Thipphawong //

Laura Thipphawong is an artist, writer, and historian, and has exhibited art and presented her research throughout several galleries and international academic forums. Laura made her way from a small town in northern Ontario to Toronto to pursue a career in the arts, and now holds a medal and a Bachelor of Arts in Visual and Critical studies from OCAD University, and a Master of Arts in Art History from the University of Toronto. Her studio practice in oil painting and drawing is representative of her research on the complex narrative symbolism of the psyche in response to various social and emotional factors, with focus on sexuality, horror, folklore, literature, and natural science.

Laura’s work has been featured in several galleries, exhibition spaces, and publications such as CBC Arts, New Visionary Magazine, the Lieutenant Governor’s Suite in Toronto, and the National Gallery of Canada.

Laura Thipphawong Social Media Accounts

Website | Instagram | Facebook

The post Laura Thipphawong Presents ‘Historia Animalium’ Exhibition at Rotunda Gallery appeared first on Beautiful Bizarre Magazine.

Italian artist Silvia Pelissero, popularly known online under her artist name Agnes Cecile, is a fine artist who specialises in watercolour and acrylic. Born in Rome, Agnes would take an interest in art at an early age and would go on to attend a fine arts high school where she would learn how to express herself and her ideas through visual art.

Thanks to social media, Agnes has accumulated a large online following which continues to grow alongside her. More recently, Agnes exhibited her latest solo exhibition ‘Onirica’ at Victoria Olt Gallery. ‘Onirica’, Italian for ‘dreamlike’, invited viewers to take a dreamscape path through a selection of sweet melancholic paintings. Continue reading to learn more about ‘Onirica’ in this exclusive interview with Agnes Cecile.

Interview with Agnes Cecile

Your exhibition ‘Onirica’ is currently on show at Victoria Olt Gallery which is so exciting! How are you feeling now that this exhibition is out in the world?

Seeing the pieces come together in ‘Onirica’ feels like a beautiful dream realized. There’s a quiet joy in knowing that my introspective works are resonating with others.

‘Onirica’ is all about a dreamlike world of melancholic paintings, can you tell me a bit about what inspired this concept and how it evolved into a full exhibition?

The concept of ‘Onirica’ was born from my fascination with the dreamlike states of the human psyche, especially those tinged with melancholy. It’s a theme that has always been present in my artistic vision, growing with my art over many years, appearing sporadically. Over time, my vision matured, creating a narrative that weaves through each painting. In this exhibition, I hope to have had the opportunity to form a cohesive and immersive experience for the viewer, bringing these paintings together and allowing them to interact as part of a single and cohesive discourse.

What do you hope visitors to ‘Onirica’ will take away with them after viewing the exhibition?

I hope visitors feel a sense of introspection and emotional resonance, experiencing the beauty in the quieter, darker moments of our emotional landscapes. I want them to feel drawn to a piece, to stop and see it as a mirror of themselves, finding emotions that resonate within them. I feel the value of sharing my art when I achieve this connection, when a complete stranger experiences the same emotion I felt, it unites us all.

The concept of melancholy brings forth imagery of darkness, depression, death, etc. to my mind but this exhibition portrays this subject in a much softer way that feels almost soothing to behold. Is ‘Onirica’ a physical manifestation of how you visualise melancholy?

Yes, ‘Onirica’ reflects my vision of melancholy as a suspended state of sadness where one can navigate reality without being overwhelmed. It’s a subtle, poetic presence offering solace and reflection, captured in a soothing, contemplative way. It’s a precise balance that I try to reflect in my paintings, contrasting soft, relaxing colors like muted pinks with deep, dense shadows. I blend the transparent techniques of watercolor with the opacity and hardness of acrylic. I seek a suspended balance between these contrasting states, as if placing calm and pain in perfect harmony.

Floral motifs are a common theme throughout this exhibition. What meaning do these motifs hold in the context to ‘Onirica’?

Floral motifs symbolise the delicate balance between fragility and resilience, representing the ephemeral nature of dreams and emotions. They remind us that there is a softness and inherent beauty that can bloom from our inner depths.

I adore all of the pieces within ‘Onirica’ but I especially love ‘Lunar Rabbits’, ‘White Roses’ and ‘Void Lover’! Can you tell me a bit about these pieces and what they represent within the exhibition?

‘Lunar Rabbits’ is inspired by the Chinese Lunar New Year in the Year of the Rabbit. It portrays the rabbit’s nocturnal, playful, and mysterious nature. The blue floral design on the girl’s body, reminiscent of Chinese porcelain, symbolizes her fragility. This piece reflects themes of dark playfulness balanced with delicate fragility.

‘White Roses’ depicts a girl gazing at the viewer with imploring yet serious eyes, her chest pierced by thorny white rose stems. These roses represent unwanted gifts that wound and are endured. This painting symbolizes the pain of unasked-for burdens.

‘Void Lover’ captures a small figure drawn to enormous hands emerging from the darkness, calling her to them. This painting delves into the embrace of emptiness, finding a strange yet comforting intimacy in the void.

Do you have any favourite pieces from this collection? If so, which ones and why?

‘In a Whirlwind of Emotions’ portrays a girl twisted in a spiral suspended in a void. I believe that I was able to figuratively depict anxiety and loss of control, a condition many can relate to; it’s a direct metaphor.

‘The Lives of Others’ depicts a black sea from which white masks emerge, each with a flower blooming from their foreheads. In the foreground, a figure observes the scene, representing the self watching others flourish, not realizing she too is blooming, with a flower on her forehead, even richer and more beautiful. I love it because it is very intimate, fragile, and resonates with everyone. It reminds us all to recognize our own growth and not be afraid.

What has been the most rewarding part of creating ‘Onirica’ and subsequently what has been the most challenging part of it?

The most rewarding part has been the opportunity to assemble various works that had interconnected themes, creating a narrative through the paintings. Many pieces, created over different years, exhibited together, revealed the underlying thread that connected them all, forming a story to be read through hints. The challenging part was perhaps dedicating the right amount of time in these recent chaotic years filled with commitments. We postponed this exhibition a couple of times, always with the idea of making it and building the poetics step by step. In hindsight, taking more time to define it might have been beneficial.

Looking forward, what can our readers expect to see from you in the near future? Do you have any big plans or exciting projects on the horizon after ‘Onirica’?

After ‘Onirica’, I have a couple of exciting events before the year ends. My next event is a retreat in France with a group of 15 artists, where we will paint together amidst the French landscapes. I also have another project that I can’t divulge too much about, but it involves a unique opportunity to create something truly special as a painter.

Beyond that, I will focus on setting up my new studio in Italy, where I’ll create my upcoming works, finding new inspirations. The biggest goal is always to find the freedom to express myself, without self-imposed constraints, with a sincere and ever-evolving language.

Agnes Cecile Social Media Accounts

Website | Instagram | Eyes on the Wall

Victoria Olt Gallery Social Media Accounts

Website | Instagram | Facebook | TikTok

The post Soft Melancholy: Agnes Cecile On ‘Onirica’ Solo Exhibition at Victoria Olt Gallery appeared first on Beautiful Bizarre Magazine.

‘Spirit of Myth’ will feature dozens of works ranging from portraits to still life showcasing Seth’s admiration for beauty and his incredible craftsmanship in exploring colour, form, light and shadow. This exhibition is not to be missed by anyone in the Asheville area as beauty, light and colour are sure to stimulate the senses, spark the imagination and bring warmth to the soul.

‘Spirit of Myth‘

Opening Reception: Saturday, October 5, 2024

Exhibition Dates: October 5 – October 26, 2024

Bender Gallery

29 Biltmore Ave, Asheville, NC | ph. 828.505.8341

Opening hours: Monday – Saturday 10am – 6pm
Sunday 12pm – 5pm

For inquiries please email info@bendergallery.com

About Bender Gallery //

Established in 2005, Bender Gallery is a contemporary fine art gallery and Asheville’s first international art gallery. Bender Gallery specializes in abstract, figurative, pop, and surreal works by notable national and international artists. The artists represented by Bender Gallery are known for their originality and artistic perfection.

Artist Statement //

Beauty is essential to me and is most often found in the little everyday things we take for granted. Such as the way the light hits the land, the drip of raindrops off pinecones, the innocence of a youthful face, and the glint in a crystalline eye. I find myself mesmerized by the way warm light mingles with cool and creates a new color, the interplay of shadow as they wrap around fingers, and the distinctive gesture of a hand holding an object. Our earth is quintessential beauty, and its inhabitants are an integral part of that enchantment.

Storytelling has always been a key part of human interaction. We use it to share our emotions or express our awe of the majestic. It is a way to highlight the spiritual aspects of daily life and make sense of the incomprehensible. I feel I am part of this tradition, and my paintings represent the unseen magic that flows just below the surface. I try to represent stories and feelings equally.  My paintings are meant to be a snapshot of an expression, a gesture, a mystical moment.

These are my modern take on the passing down of the tradition of storytelling. I hope to provide a modern feel to the mythical, not a retelling of myths of old.  I hope to give viewers an opportunity to delve into the beauty that is both seen and unseen all around us and allow themselves to see that which gets overlooked because it hasn’t yet been formed into a story. I want to create an experience where imagination and reality meet, and the viewer fills in the gaps with their own life story and creates from the subject in the paintings a personal and unique myth of their own. 

About Seth Haverkamp //

Seth Haverkamp is an American artist who was born in Syracuse, NY in 1980. He received his BA in 2003 from Carson Newman College in Jefferson City, Tennessee. Post college, Seth studied with internationally known artist Nelson Shanks at Studio Incamminati and renowned artist Robert Liberace. Haverkamp won the Portrait Society of America’s International Competition Draper Grand Prize in 2019 for ‘Mars Rising’, a painting of his son in front of a full-length mirror holding a string of origami birds. A portrait of his daughter Echo earned him Best in Show in the 2008 competition.

‘Spirit of Myth’ will be Haverkamp’s second solo exhibition at Bender Gallery. There will be dozens of works on display ranging from portraiture to still life to figures. A catalog will be produced in conjunction with the exhibition that focuses on a decade of paintings. Seth himself will be present for the opening reception to discuss his painting journey.

Seth Haverkamp Social Media Accounts

Website | Instagram

Bender Gallery Social Media Accounts

Website | Instagram | X | Facebook

The post Bender Gallery Presents Seth Haverkamp’s Solo Exhibition ‘Spirit of Myth’ appeared first on Beautiful Bizarre Magazine.

Being invited into an artist’s studio feels like a great privilege so imagine my excitement when Australian oil painter Jennifer Allnutt very kindly offered our readers the opportunity to take a virtual tour of her Brisbane based home studio!

Jennifer Allnutt is best known for her works of dark surrealism in which she combines portraiture, botanical motifs and still life to create works that explore themes of the unconscious mind, transformation, the uncanny and identity. Art has played a continuously and vital role within Jenny’s life as this interest was nurtured by her grandfather and further nourished in 2007 when she would discover her love for oil painting.

With a BA in Visual Arts and a Masters in teaching, Jennifer’s passion for art has only continued to blossom well into her adulthood. The greenhouse in which her creativity blooms like the flora in her paintings is her home studio, a room within her apartment that has been transformed into her own artistic sanctuary. Join me, as I catch up with Jenny to learn all about her studio and what makes it unique to herself and her practice.

I believe it is important to make your space as enticing as possible. It has to be a cosy place that you enjoy being in.

Interview with Jennifer Allnutt

Thank you so much for letting our readers get a behind the scenes look into your studio space! Can you tell me a bit about your studio and what kind of set up you have?

My current studio space is a humble, back room in our flat which also masquerades as our library and includes my clothing closet! It is a work in progress, but I am so pleased to have a space to make my own. As I sit here now, I have several still life set ups including a life size skeleton reclining dramatically. I have multiple sets of draws filled with sketchbooks, art prints, merch, packing materials and tools. On my desk is my glass palette covered in old paint, my brush tray with linseed oil, papers of reference imagery littered around, to paint a picture of the scene.

For a while I had no studio and was reduced to painting on my desk, the floor or the bed. I think as artists we tend to make do with our circumstances and a physical studio space doesn’t necessitate art but it certainly helps it grow. I believe it is like putting a fish in a tiny bowl of water, it will remain that size without change however if you put it in a larger tank, it will grow and grow. I think artists are the same and studios can really help an artist expand physically and metaphorically in their work.

I mostly sit down to paint so I use a desk easel and have a comfy chair that can spin and roll to help me get back from my work easily. I sit cross legged when I work or in a crouching position (similar to ‘L’ from Deathnote!) as I find it does help me think and concentrate better!

What are three things you couldn’t live without as a practicing artist?

This is a tricky question, so I chose three things which are perhaps unusual first choices but play an important role in my process!

Tea and coffee = reflection time

I love walking into the studio with a cup of tea or coffee and sitting down to work. I find the ritual comforting and conducive to getting into the necessary headspace to create artwork and truly concentrate. It may be a small thing, but I do it frequently while painting; have a sip of my drink and reflect on the progress. Even the habit of going to the kitchen and boiling the kettle for another cup is essential.

During this time, I can step away from the painting and reflect on what I’m doing. I think reflection is exceptionally important as an artist. Then when I return to the studio, I can see my work with ‘fresh eyes’ and things will jump out at me that need improvement and I’ll get back to it with ease.

Audible = getting into flow state

Listening to stories has been a game changer in the studio. By limiting myself to only listening to books when I am in the studio, it makes it an enticing prospect to enter my space and get to work! I find that these stories can often feed into my art practice too.

Audible has been the predominant entertainment in the studio but sometimes I play old movies on Netflix in the background for noise, and occasionally podcasts or my favourite music. It is rare for me to sit in silence in the studio, and I find the noise helps me to get into the flow state easier. However, every once and a while I’ll start painting and an hour will pass, and I realise I’ve been in silence without knowing it! Some days are easier than others to get into the flow. I believe it is important to make your space as enticing as possible. It has to be a cosy place that you enjoy being in.

Whiteboards = organisation

There’s a lot of things artists can’t live without but the last big, idiosyncratic one for me is whiteboards for organisation! I have a weekly and a monthly whiteboard calendar that I update regularly with deadlines. At one stage I also had colour coded (pink for most urgent to blue for upcoming) post it notes with various shows and competitions on a cork board. I find this useful as a painter because I have to factor in extra time before a deadline for drying times, varnishing, photography, framing and then shipping.

I find by physically writing things down this better helps my recollection. Also, if I lock in time on my weekly calendar as studio time, I’m less likely to sacrifice that time for other commitments. And it is so important to be selfish about your studio time as an artist with the amounts of distractions there are these days.

Tell me about the materials you use. Do you have any favourite go-to brands?

My absolute go to brand is Michael Harding Oil colours. In art school I started out with Art Spectrum and Windsor and Newton, and I still own some of these colours but through the years I’ve begun collecting and replacing colours with the brands Michael Harding, Gamblin and Langridge. I’ve always been a bit of a collector and every time I have some money saved up or sell a painting, I usually treat myself to a tube of paint! Art stores really are my candy stores! I dream of collecting some of the really rare pigments like Lapis Lazuli and Rose Madder because, for me, they would be like adding jewels to my paintings!

For my surfaces I primarily use ACM (Aluminium Composite Panel) or wood panel in peculiar shapes! I use these materials because from my research metal and wood are suggested to last the longest without cracking, among other things. As a traditional craft person and painter, I think it is important to do the best we can with the knowledge we have to provide something that will survive multiple generations in a collector’s family!

When I buy pre-prepared, I adore the American art supply store Trekell Art Supplies for their unique surfaces and grounds because they are prepared to a high quality! However, living in Australia the postage cost can be tough, so I’ve found alternatives locally that work and my partner who is also an artist, Scott Breton, prepares most of my aluminium panels these days!

When it comes to brushes, I’m not much of a connoisseur but I do prefer to buy the brand Neef. Occasionally I do buy brush sets from my favourite artists as a treat; I have a set by Mab Graves and Sean Cheetham which are well loved! Unfortunately, I’m not sponsored by any of these brands, they are just my personal favourites from trial and error!

I love walking into the studio with a cup of tea or coffee and sitting down to work. I find the ritual comforting and conducive to getting into the necessary headspace to create artwork and truly concentrate.

How do you prep your surface?

I mostly use pre-prepared surfaces when I can from trusted brands. Occasionally, I will buy and cut my own timber to paint on, but this can be a laborious process of sanding, sealing, priming, sanding and so on so forth! Until the surface is smooth enough. I do often add a neutral grey ground to work on as I find it less harsh than white.

Most recently my partner has started preparing his own aluminium composite panels with our favourite ‘non absorbent primer’ by Michael Harding and he creates a beautiful smooth surface that still has a slight bit of tooth for the paint. From our research into surfaces and preparation this is one of the best surfaces and grounds in terms of longevity.

I imagine organising an exhibition can be stressful and at times, quite messy! How do you approach preparing for a new exhibition and how do you keep yourself and your workspace organised during these periods?

At the moment I’m still in the early stages of preparing for my next exhibition, I only have a few new artworks started and a few finished for other commitments. When it comes to organising for a solo exhibition, I like to write it down on a whiteboard or pin up a timetable with milestones I need to achieve by a certain time. I know there are many apps for organising yourself, but I’ve found them ineffective for me. I prefer a constant visual reminder in my studio that I can refer back to at a glance without having to open my phone and get distracted!

I often procrastinate by cleaning my studio before I start and spend a bit of time in the space arranging objects or doing arbitrary tasks to warm myself up! So generally speaking, my space is kept relatively tidy and organised due to these habits. All that being said, in the final months before an exhibition, many of these good habits fall to the wayside!

Do you keep any books, personal items, inspiring artworks, etc, in your studio space?

One of my favourite items in my studio is a gift from my partner of a plaster death mask of David Bowie! He hangs up on the wall to my left when I am at my desk and I suppose I think of him as my studio guardian angel, watching over me as I work! I remember the day he died, when I found out the news I was absolutely wailing in despair. He has always been special to me, someone to aspire to and a true artist. Another favourite is my grandfather’s antique opera glasses with mother of pearl detailing. I also have prints and artworks by Femke Hiemstra, Ash Darq, Luke Rion and Ravi Zupa.

As I said earlier, we have quite a library collection of art books and they provide endless inspiration! I like to surround myself with beautiful objects and things to my taste and you never know when they might trigger a painting! I also have a large toy spider-Halloween decoration hanging up on the window who I have named Bonaparte and many other odd trinkets that I have inherited or been gifted. In a similar way that fashion can be a way to express yourself and your identity; an artist’s studio while being practical also can be about their individual self expression.

How do you prepare yourself mentally for starting on a new piece? Do you have any rituals you do to help you get in the mindset for working on a new piece?

To prepare myself at the very beginning, I enjoy looking to the past where my interests lie, whether that be literature, poetry or visual art. On top of that, I often have a thousand notes or thumbnail sketches as well that come to me at odd times and I jot down manically. This could be inspiration from movies, music, conversations and books. So, I collect lots of inspiration like a bird crafting its nest and let it simmer in my head for a period of time.

I believe the unconscious mind has a power to jumble all the imagery we inject into our minds and then arrange it in a pleasing and unexpected way, if we let it simmer long enough! Once I have a fairly solid idea, I find that I am desperate to start it, to the point I am grumpy if I am kept away from the studio! However, I always leave gaps for myself in my idea, to be open to changes and details revealing themselves to me through the process.

In terms of rituals for a new piece, these are precisely the same as every day I begin in the studio.  I believe a degree of routine is important for creativity. A standard day begins with an early start, comfy painting clothes, tea or coffee, emails/organisation done, and then I can lay out fresh paint and begin listening to my current book.

The final little ritual I sometimes perform right before the brush hits the surface, is a prayer to the muses. So, traditionally the invocation or prayer to the heavenly muse at the outset of an artistic endeavour was a commonplace convention of classical poetry. Many poets, including Homer, Virgil and Milton would begin their works with a word of prayer to confess their limited capacity and humble themselves before the divine.

I find the concept of praying to the muses comforting in that the inspiration is seen as an entity rather than being born within me and my job is just to express the idea as it comes to me. Usually, I say a quiet word in my head as a nod to this traditional practice before I begin painting. I enjoy the connection to obscure past traditions.

Can we have a sneak peek on what you are currently working on in the studio?

I have two works in their final stages that I’m working on at the moment. A still life inspired by apothecary and alchemy and the other is a self portrait in prayer to the muses and engulfed in flowers. I hope to show them in some galleries soon, but you will have to follow my social media to see where they end up!

Jennifer Allnutt Social Media Accounts

Instagram | Beinart Gallery | Big Cartel

The post In the Studio With Jennifer Allnutt appeared first on Beautiful Bizarre Magazine.

Farzad Golpayegani Painting and Drawing Exhibition

Exhibition Dates: July 28 and 29, 2024

Hours: 11:00am to 9:00pm

START Los Angeles

2270 Venice Boulevard, Los Angeles 90006

For more information on Start Los Angles and their opening hours please visit their website.

About Farzad Golpayegani

Born in Tehran, Iran, Farzad Golpayegani is a visual artist, musician and art director who has been creating music and art since 1999. Visually Farzad is best known for his surrealist, expressionistic style while sonically, he has produced and released nine studio albums in which he uses the guitar, and various of accompanying instruments, to create his own unique blend of progression metal with Persian, eastern and classical influences. His music and visual art work in harmony, complimenting each other as his paintings take influence from his music and are often named after the tracks he has written. Farzad has composed music for advertisements, animation, short films and video games and has built a career as an art director alongside his personal art projects.

About START Los Angeles

Located in the West Adams Historic District, START Los Angeles is a creative collective housing a work studio/event venue, pop-up space and art yard. Each segment is unique and versatile enough to bring together a variety of functions and unique affairs. Modeled with a flexible, modular buildout, START Los Angeles has activated a thriving, creative hub that encourages our self-sustaining community.

Farzad Golpayegani Social Media Accounts

Website | Instagram | X | Facebook | Spotify

Start Los Angeles Social Media Accounts

Website | Instagram | X

The post Farzad Golpayegani Solo Painting & Drawing Exhibition at START Los Angeles appeared first on Beautiful Bizarre Magazine.

Claudia Six is a true jack-of-all-trades when it comes to her art. The Austrian artist uses mixed media to create a unique patchwork world that blends reality with imagination to create a place of comfort and escapism. Growing up, Claudia found herself gravitating towards the strange and unusual and this interest would only continue to evolve as she entered art school where she studied silkscreen printing and textile design. Claudia’s imagination has continued to evolve as her monochromatic world extends beyond the canvas, weaving its way into disciplines including photography, tattooing, animation, sculpting, puppetry and fashion to create an incredibly distinctive yet cohesive style. Imagination isn’t the only thing that drives Claudia’s art however, as she also has a deep love for animals and the natural world that help to provide her work with a soothing yet emotive atmosphere. Continue reading to learn more about Claudia’s infinite imagination and her passion for animals in this exclusive interview.

The imaginary world that I inhabit evolves continuously, reflecting my life’s changes and experiences.

Interview with Claudia Six

What is your earliest memory of art?

It‘s my grandmother, making things out of some sort of homemade salt clay with me. Also my grandmother painting with me (she painted tiny miniature things and was a great painter until she lost her eyesight almost completely). And the house of my parents, being full of art and artist friends.

You’re a big animal lover, I’d love to hear more about your passion for animals and what they mean to you as both an individual and an artist.

Animals touch something so deep inside of me. It is hard to put it into words. It‘s like the world stops when I watch them. They always make my heart happy and it shatters my heart when I see them in pain. Or even imagine them in pain. When I was little, I didn‘t sleep for nights because I learned about factory farming and I would lie awake, thinking of all the animals, afraid and in pain. This now translates a lot into my work because with my art I started a healing process. I created something nurturing and protecting for myself and for others. I always feel for the outsiders and the ones who are overlooked from most. And this also includes animals. I feel for the ones who are not naturally loved, like cats or dogs (I adore them too though) I feel for pigs, pigeons, mice, insects and worms and all of the animals who are normally not loved. I create my friends and monsters for them too. They are protectors and guides, for us and for them.

Your work includes various animal and nature motifs whether it be through photography, digital art, tattoos or puppetry, how do you think nature intersects and inspires your artistic world?

The fragile aspect of it is the inspiring thing for me. The innocence. I am sure I am projecting a lot there. Nature can be cruel too, I am aware of that. But seeing how fragile and wonderful animals are inspires the innocence and curiosity that I want to see in my puppets. The full heartedness that I want in my work. Animals make me feel all the feelings and I want my work to transport all that feelings too.

What are some of your favourite animals and why?

My all time favourite will always be the whale. It’s crazy that we get to live with a mammal that big. One that lives in the water. One that communicates in the most complex ways, that has a complex social behavior and is SO gentle! Also, no dinosaur was ever as big as a whale (the blue whale, in fact). This fact makes it just so awesome that we live among them. We are so lucky and I think we must protect them all costs. 

And pigeons! Pigeons are incredibly smart and gentle creatures, making them wonderful companions. With their cute, rounded bodies and large, expressive eyes, they even come friend-shaped! Throughout history, pigeons have proven to be invaluable to humans. During wars, they served as reliable messengers, delivering critical information across great distances. Pigeons also mate for life and show high loyalty to their partners. I think we really let them down. They deserve better. And of course, DOGS! I mean, we don‘t deserve them, really. It is fascinating how they read us and that they love us so unconditionally. 

If you could transform into any animal, what would you be and why?

A whale. But with my human mind, so I could get to know their way of living. This would be the most fascinating thing ever.

Do you keep a sketchbook? If so, what do you like to include in it?

I keep a journal that is a mixture of drawings and lots of planning. Lots of writing down goals and dreams. Ideas for new projects. I also started a face drawing challenge, because I want to get better with faces. Daily face drawing for 20 minutes, that‘s the plan. I managed to do it once.

Your world of imaginary friends always feels so full of life. Is this world of yours ever evolving? A lifelong project perhaps, given that the imagination is infinite?

Absolutely! The imaginary world that I inhabit evolves continuously, reflecting my life’s changes and experiences. My imaginary friends have undergone countless transformations, adapting to the shifting phases of my journey. While these changes might not be apparent to others, the roles and tasks of my imaginary companions are constantly evolving. This infinite, dynamic imaginary realm flows with my emotions.

Animals touch something so deep inside of me. It is hard to put it into words. It‘s like the world stops when I watch them.

Your work is more often than not, exclusively in black and white with occasional pops of colour. What attracts you to working in a monochrome palette?

It calms my mind. I, myself, was wondering about this. But then I realized that I need to see the outlines of things and the contrast. It‘s, and this might be a strange thing to say, more clean for my brain.

You dabble in everything from puppetry to tattooing to animation and more! How do you manage to balance working in all of these diverse mediums?

I have always different workstations. In my studio there is a corner for sewing, one for sculpting, one for painting. So, in every corner there is a little project waiting for me and I can move around. I always start projects early enough so that I have enough time and can move around whenever I feel like it, adding little layers onto new projects. Tattooing however is something different as I need to make windows within the year that are specifically for tattooing. I don‘t enjoy it that much because it makes me nervous. Tattooing carries so much responsibility that I need lots of breaks from it.

What advice would you give to budding artists who want to start working in mixed media?

Uff, this is tough. Sometimes, I feel like I know nothing and that I’m just figuring things out as I go. However, I’ve found that the best and also the hardest advice is to believe in yourself and your work. When you create with unconditional love and passion, everything else tends to fall into place. At least, that’s my theory — I’m still on that journey myself.

Where have you been looking to for inspiration lately?

I am currently working on a project about the witch trials and the power of storytelling. This will be a more performative piece of work using puppets. The other inspiration that is huge right now are plush toys. They are emotionally charged and I want to see what I can do with that. And of course, animals. Always. 

Claudia Six Social Media

Website | Instagram | Facebook

The post The Imaginative World of Claudia Six appeared first on Beautiful Bizarre Magazine.

The New Salon – A Contemporary View

Exhibition Dates: March 8– 19 August, 2024

Asheville Art Museum

Asheville Art Museum | Appleby Foundation Exhibition Hall, 2 South Pack Square, Asheville, NC, 28801

Opening hours: Mondays, Wednesdays, Fridays, Saturdays and Sundays 11am – 6pm and Thursdays 11am – 9pm

For inquires please contact Asheville Art Museum on their contact page: https://www.ashevilleart.org/contact/

About The New Salon

The New Salon takes the tradition of the salon in art history as a site of rebellion against the norm, infusing it with the diverse and often fantastical narratives prevalent in New Contemporary figurative art. This exhibition, guest-curated by Gabriel Shaffer, features an eclectic mix of artists working in pop surrealism, street art, and graffiti, among others.

The New Salon features works from a broad range of artists including the photorealistic and surreal paintings of Robert Williams, Medieval-inspired works by Daniel Martin Diaz, and the robot-like Deities of Kumkum Fernando. Notable artists such as Mab Graves, Kukula, Lori Nelson, and Todd Schorr exemplify pop surrealism’s figurative techniques and fantastical narratives. Shepard Fairey represents street art, and the renowned New York-based writer Faust demonstrates the hand style of graffiti. Folk art and Americana find expression in the works of Dennis McNett (Wolfbat), MSRA, Ben Venom, and Rachel O’Donnell.

Bender Gallery Associate Amanda Kendrick-Deemer conducted short interviews with each of Bender Gallery’s three artists that are currently exhibited in the “New Salon” at the Asheville Art Museum.

About Laine Bachman

Laine Bachman was a very inquisitive child growing up in the rust belt of Ohio. Her mother was an avid gardener and Bachman loved exploring the plant life in the woods and the creek near her home. Ever curious, she would want to investigate beyond the easily visible, such as turning over rocks to discover the hidden worms and insects beneath them.

Bachman’s compositions are filled with the real and the mythological. Her fascination with plants and nature, along with an interest in mythology and folklore, is the fuel for her imagination. There are almost always plants and flowers, sometimes forest critters interacting with fungi, and occasionally a figure that has a touch of self-portraiture that seems to be one with nature. There are conglomerations of creatures that are posed within a setting of trees and other natural elements.

Are there certain qualities of the New Contemporary genre that you are drawn to? What are they and why?

There are so many qualities that I’m drawn to in that genre. I love that there’s no limit to what artists are able to express. It can be fantastic and surreal or abstract and tell a narrative. Really, anything goes, and I like that you can see each individual’s point of view and style. It can draw inspiration from what’s currently happening or from the past. And I just appreciate that it’s so diverse and it escapes the mundane. 

The hand painted and hand cut borders in some of your paintings really amplify the overall look of the piece. Where do you draw your inspiration for those borders and what do you personally want them to do for the painting?

The borders developed as a means to frame my work in an ornate way. I used to work primarily in watercolour and wasn’t fond of a taped or deckled edge, so I started doing decorative borders instead and discovered they added a storybook quality to my work. As that aspect has evolved and I began working on canvas it’s become more experimental. Sometimes I’ll use string or cut paper or leaves from the garden to create a relief that I then foil and paint to enhance the textures. And I like that I can create this kind of gilded frame and have the imagery reaching beyond the parameters with parts of my subject breaching the border. I draw inspiration for the actual patterns from ancient motifs and carvings, or from fabric or old manuscripts and architecture. Patterns in nature are always reoccurring, too. 

Women are central figures in many of your paintings. What does it mean for you to have powerful females or women in your paintings?

The women in my work tend to be a mother nature sort of figure and I think I’m drawn to using them as a vehicle to express my own views and fascination with the world around me. They are usually holding something that symbolizes what they hold dear to them. Or it can be seen as some sort of offering or something they’ve picked up to show. They can be seen as witches, queens or goddesses of some aspect of nature so in that sense they do become a powerful figure.  I think they’re similar to religious icons or tarot cards in the way that I compose them almost like a Madonna figure or high priestess. 

I get inspiration from myths and folklore, but I like to flip the story around where demons become friendly, or harpies are beautiful. Hybrid creatures are also a part of the narrative. The subjects can be two things at once for whatever reason. Are they magical or part of some strange evolution?

Can you talk about your use of mythological creatures and what messages or stories you want viewers to take away from the pieces that have those beings?

I like using mythological creatures because they become part of the narrative behind my work. I get inspiration from myths and folklore, but I like to flip the story around where demons become friendly, or harpies are beautiful. Hybrid creatures are also a part of the narrative. The subjects can be two things at once for whatever reason. Are they magical or part of some strange evolution? I enjoy setting up that duality and letting the viewer decide. It’s also a challenge to try to make these beings seem believable, and that’s something that drives my work. Touching on the thin veil between what’s real and imagined and peering into a different realm that may be familiar. 

How has being a parent influenced your artmaking practice the most?

I’ve been so lucky in that aspect as far as being able to balance time with my daughter and creating art. I’ve always just worked while she’s at school or late at night which has allowed us to really do whatever we want in our free time. And I think it’s made me more disciplined, and I stick to a solid painting schedule when she’s away. I guess too there’s the mother aspect that comes through in some of my work but it’s not a conscious thing, it’s just part of my being a mom. 

In addition to her painting in the New Salon, Laine Bachman currently has a solo museum exhibition at the Canton Museum of Art in Canton, OH up through to July 28, 2024.

About Kukula

​Artist and painter, Kukula, was born and raised about an hour from Tel Aviv, Israel in a small village. Growing up in Israel she had access to only one television channel, educational programming, therefore she watched a lot of operas and ballets. The costuming and worlds created in those performances influenced her desire to be a part of them; to get involved in the acting, music, dancing, and costuming. She participated in ballet and playing piano, but ultimately went towards illustration and then painting.

While the style of her work is heavily influenced by Rococo, Kukula adds her pop twist. Her work is mainly female-focused, and she poses her girls in a way that confronts the viewer. Limoges French porcelain is another of her inspirations. She uses the common attributes such as the pattern, filigree, or gold accents within her compositions. The filigree becomes a part of the women’s bodies. It shows that they may be fragile, but also serves as a protection from people or other elements in the world. The patterning sometimes becomes their skin, and what can be found internally is represented on the outside of their bodies. This dichotomy of beauty and the grotesque mirrors how she views her childhood of being surrounded by people telling horror stories about surviving the Holocaust, mixed with listening to fairytales and watching the visually stunning operas. Kukula received a degree in illustration from Vital-Shenkar in 2003, then moved to the U.S. in 2004. She lives in Dallas, Texas with her family.

Your painting Impossible Voyage is on display at the Asheville Art Museum in The New Salon exhibition. Can you tell me a bit about the construction of Impossible Voyage?

I came across crystal hot air balloon chandeliers while looking at décor online. Instead of buying the chandelier for thousands of dollars, I made my own rendition. Décor is a big part of my life and inspiration. I was drawn to the crystal chandelier, especially because of it taking the form of a hot air balloon. It really affected me, so much so that I desired to make my own and use it as the focal point in a large painting.

Why are balloons common in your paintings? What other symbols are you fond of using in your paintings and why?

Balloons are the innocence and fragility, the fun and the loss of childhood. They are the essence of life itself in one cheap but wonderful, mass-produced plastic waste.

Porcelain because it’s fragile but strong, it’s a contradictory material. It has the ability to have sharp details with the use of paint or glaze (difference between porcelain and ceramic). It can survive for centuries or longer.

Bunnies because they are symbols of softness and childhood. The bunny caterpillars like in Provisions are inspired by Alice in Wonderland. I draw inspiration from the story of Alice in Wonderland because although it’s a children’s book, the lessons are more mature, almost forcing children to grow up sooner than they should. The bunny caterpillars also feel like a distorted memory, which like many memories, are unreliable.

Décor, such as crystals, play a central role in my life. Because of moving around a lot, I was drawn to collecting decorative items, to give a house a feeling of home. I translate décor into feeling.

I draw inspiration from the story of Alice in Wonderland because although it’s a children’s book, the lessons are more mature, almost forcing children to grow up sooner than they should. The bunny caterpillars also feel like a distorted memory, which like many memories, are unreliable.

What are your thoughts on the New Contemporary genre as a whole?

I want to make it clear that I categorize my work to be neo-Rococo, not pop surrealism, sometimes I get lumped into that classification. Alas, they’re both under the umbrella of the new contemporary genre. To me, surrealism translates fantasy and dreams. I use pop iconography to translate my ideas. Rococo because of the aesthetic, the poses, and the colour palettes.

How has becoming a parent influenced your work the most?

At first it was hard just figuring out how to balance parenting with artmaking. I would paint while my daughter would sleep when she was an infant, but then those later years were more difficult. Now she is old enough that she can work on her crafts and drawings next to me while I paint.

About Yui Sakamoto

Japanese Mexican artist, Yui Sakamoto, paints large colourful and highly detailed dream-like works, carrying forward the rich history of surrealism in Mexico. With his unique dual heritage, Sakamoto seamlessly blends themes and iconography from Japanese culture, Mexican folk art, pre-Columbian artifacts, and current cultural references.  

Yui Sakamoto was born in Aichi, Japan, July 1981 and grew up in Nagasaki. In 2003, Sakamoto moved to Monterrey, Mexico earning a Carrera de Arte in 2008 at the University of Monterrey. He now lives in a Japanese ex-pat community in the fittingly surreal and beautiful city of San Miguel de Allende, Guanajuato Mexico. Sakamoto’s work has been exhibited in museums and galleries in Mexico, Japan and China.

What are your thoughts on the New Contemporary genre and how it relates to the type of work you make?

I’m not interested in art. I’m a painter, I don’t consider myself an artist. I just draw the pictures I want to draw, without any concept or context in mind.

Was your painting Self Portrait always intended to be a self-portrait, or did this go through different phases during the painting process?

When I started painting this picture, my child first applied the paint to the canvas in any way he wanted. I then drew a picture of a large hand based on its colour and shape, but it started to look very boring, so I left it alone for about six months. Then, when I looked at the picture, the shape of a self-portrait began to vaguely emerge. This self-portrait was carefully drawn so as not to miss that image.

Do you work on multiple paintings at a time? Can you elaborate on why you do or do not?

Since I paint while letting the oil paint dry, there are times when I don’t touch the painting for a week or two. Therefore, I am always working on multiple paintings at the same time.

Do you believe in symbology and if so, what are some of your strongest symbols in your work, in other terms, your most used symbols?

It’s a skeleton. This is the motif I draw the most. The skeleton represents death and life at the same time. Because imagining death means thinking about life. We always think about what happens after we die through religion and science. In other words, it is connected to thinking about how to live. For me, that symbol is a skeleton.

The skeleton represents death and life at the same time. Because imagining death means thinking about life.

How has becoming a parent influenced your artmaking process the most?

I am now afraid of dying and am filled with joy in living. I think they appear in my paintings.

Laine Bachman Social Media Accounts

Website | Instagram

Kukula Social Media Accounts

Website | Instagram

Yui Sakamoto Social Media Accounts

Instagram | YouTube

Bender Gallery Social Media Accounts

Website | Instagram | X | Facebook

The post Bender Gallery Presents Interviews With Laine Bachman, Kukula & Yui Sakamoto for ‘The New Salon’ Exhibition appeared first on Beautiful Bizarre Magazine.

Viewers are encouraged to connect, admire and dissect each piece, delving deeper to discover hidden meanings contained within each canvas. Laura’s work is sure to stir feelings within anyone as she disturbs the comfortable and comforts the disturbed.

Laura Thipphawong is a painter, writer and historian who is best known for her surreal artworks that feature complex topics and symbolism. Originally from a small town in north Ontario, Canada, Laura is a self-taught artist who has been painting in her chosen medium of oils since she was twelve-years-old. In 2016, Laura graduated from OCAD University, Toronto earning herself a BA in Visual and Critical Studies with a minor in Drawing and Painting before going on to complete her Masters in History of Art at the University of Toronto in 2018.

Laura’s artistic work ties heavily into her interest in researching complex narrative symbolism of the psyche including themes of sexuality, horror, folklore, literature and natural science.

Part of being alive is pain, distress, confusion – so I think that even if a work of art is beautiful or depicts something beautiful, if it’s really soulful and authentic it should have something odd or uncanny about it, and that’s what make it great, that’s what expresses the human condition.

Interview with Laura Thipphawong

You did your thesis on death and the maiden imagery throughout art history. I’d love to hear your thoughts on this art motif. What made you want to pursue this as a body of research and how it has influenced your creative work?

I’ve always been interested in horror media and the themes and archetypes within it, and before there were horror movies, there was horror art. Death and the maiden was particularly interesting to me because it involves so many layers of subtext, and as an image it’s evolved in such interesting ways over the centuries. To sum it up, the man signifies death, and the woman signifies life, but not literally. They were allegories of life and death, but more recently life and death became metaphors.

For example, I argue that The Anatomist by Gabriel Von Max is a death and the maiden image, where the man represents death through the scientific violation of the body, and the woman represents the changing meaning of a woman’s role, or the changing idea of a passive or submissive woman. These kinds of concepts are inspiring to me on a symbolic level in my art too, so it was great to research these things academically and then also paint a series about it.

Your series ‘The Maiden and Death’ was inspired by 18^th and 19^th century European literature. Which pieces of literature inspired this body of work?

Goblin Market by Christina Rosetti was a huge inspiration to me. It’s the story of two sisters who try the fruit that’s being peddled by goblins. When one sister eats the fruit, because she very much wants to, suddenly she starts to wither and has become essentially doomed or tainted for having eaten it. In most analytical critiques about the poem, you’ll see a lot of focus on Goblin Market as a redemptive story and of the power of sisterly love.

That is for sure one of the themes, but for me, I see it as more of a story about women who act on their sexual desires and are then rejected by society for it, even in a society that constantly sexualizes them.

Christina Rossetti had once volunteered in a Magdalene Asylum, where they housed and often abused women who worked as prostitutes or women who were known to be sexually active or even just sexually suggestive. It’s been centuries since her time, but we’re still doing this to women, sexualizing them but chastising them if they are found out to be sexual. So, my series based on my thesis research was all about the tricky navigation of the sexual experience for girls and women, and what it means for us to not just be passive in sex and romance. My painting ‘Fallen’ was directly inspired by Goblin Market, and the idea of the infantilized, sexual, sexualized, and “fallen” woman.

Which periods are you drawn to most when researching art history?

I love the Victorian period. I love the aesthetic, the clothes, the furniture, the massive changes that happened alongside so many pivotal inventions, and the art and literature that came with it was so much more driven by imagination and emotion than the periods before it.

Alongside being a practicing artist you are also an avid researcher. Does your research inspire your art and vice versa?

Yes, definitely, as I mentioned, ‘The Maiden and Death’ was an art series inspired by my thesis, but I’ve also done research on things like the trope of the mad scientist in horror media, which was inspired by my love of incorporating images from natural science into my artwork. I’ve also written some essays on existentialism, which spurred me on to paint a series called ‘Parallel Universe’, which is about the body and the perception of experience in place and time.

You incorporate various themes into your work including sexuality, horror, folklore, literature and natural science. How do you approach tackling and intertwining these themes into one cohesive work?

I have to trust my gut with these things. I used to think that I shouldn’t do work that’s too multifaceted or that I shouldn’t try new styles or subject matter because it might be too obscure to people or that it wouldn’t work to create a “brand”. Some art directors or gallerists don’t want you to experiment or be too esoteric, that’s definitely true, but I can’t let that dictate how I want to express the things that are important to me. Also, I think that the subjects that inspire my work fit well together without even having to try.

There’s a sweet spot in art, whether it’s paintings, movies, literature…where it can work on its face without having to analyze it or know the context, but when you do, it’s all the more rewarding. I want my paintings to be accessible and enjoyable on an aesthetic level, and then for anyone interested in the deeper meaning, there’s a whole other level to uncover.

Who inspires you and why?

That’s actually kind of a tricky question, more so than you might think. I’ve been inspired greatly by people in my past, but let’s say you had someone who was your muse, what happens when that person is no longer in your life? That can be really difficult. It’s impossible to separate art from my personal life, but I try to evolve the way I make art as I grow and make changes, otherwise I’d be stuck in unhealthy situations and never move forward. So now I cultivate ways to be inspired that don’t involve other people. Getting out in nature alone inspires me.

Spending time just thinking aimlessly can be very inspiring, especially if you’re hiking or paddling over a long period – I find that’s a sure-fire way to shake loose the ideas that will start to come together to inspire what I’m going to do next, so I try to prioritize that.

I’m also really inspired by movies and TV. I’m kind of obsessive about it, but it’s more than just zoning out and watching whatever’s on; it’s always been a huge source of comfort for me. I’ve titled several paintings after quotes from movies and TV shows that I love, something like The X-Files, which I often have playing in the background for hours while I paint.

I understand that you have done research on horror symbolism. Can you tell me about your research into this subject and what you have uncovered thus far?

I mentioned my research on the mad scientist trope; it’s not a comprehensive survey or anything, but I did write a paper and presented it at a conference in Washington DC about how the trope was borne out of The Enlightenment and reflected in art and literature and now lives on, especially in movies. The mad scientist is a reflection on the cultural anxieties about the secular body, in other words, the human body being untethered from religious or spiritual association once a person is dead.

This was the idea that scientists brought with them when dissection was introduced as a regular and legitimate practice, and autopsies, and x-rays, and so many huge advancements that sort of compartmentalized the body, and people weren’t used to thinking like that. People still have trouble with the idea of organ donation. And scientists were excited to push this on people at large, sometimes for their own glory. Frankenstein, Dr. Jekyll, Dr. Moreau, these are good examples of the originals, but they’re still relevant and you still see iterations of the trope in contemporary media, and I’m very much inspired by all of that.

I want my paintings to be accessible and enjoyable on an aesthetic level, and then for anyone interested in the deeper meaning, there’s a whole other level to uncover.

As an avid lover of horror and unsettling art I particularly resonate with the phrase “art should comfort the disturbed and disturb the comfortable”. Is this a phrase that resonates with you?

Yes, 100 percent. Part of being alive is pain, distress, confusion – so I think that even if a work of art is beautiful or depicts something beautiful, if it’s really soulful and authentic it should have something odd or uncanny about it, and that’s what make it great, that’s what expresses the human condition. Strange and unsettling feelings are part of the human experience, and they’re part of every individual, but people will often discount horror if they feel like the creative expression of the abject is depraved or low brow. 

The abject, the obscure, the scary stuff…they’re a big part of life, and dismissing that because at first it makes you sort of uncomfortable is not just narrow-minded, but it’s also really boring.

What do you think it is about unsettling art that appeals to the human psyche? And what do you think repels some people from it?

Cultural standards are really bad for dismissing the quality of horror in art and especially in movies and TV. I hate the term “elevated horror” because there’s always been good quality and bad quality horror – good horror is not something new that has elevated itself above a low-lying genre. Take The Silence of the Lambs: It drives me crazy when people try to say that it isn’t a horror movie. Of course it is, but people want to recontextualize it as strictly a thriller because it’s so amazing and a multiple Oscar winner, it couldn’t possibly be a horror movie, but it is and it’s one of the greats.

Horror and unsettling art has always been a lot more accessible than people realize. According to a study by Dr. Deidre Johnston, there are four types or horror viewers, and it’s pretty much focusing on narrative film, but I would equate it to all types of horror media. It would take too long to go into the nuances of each type, but I find that one of the types is pretty easy to understand and probably pretty relatable, and that’s the thrill watcher, someone who is sympathetic or empathetic to the victims, and finds it cathartic to feel the rush of danger through them as a conduit.

Another type, the one I relate to, is the independent watcher. It’s a lot like the thrill watcher, except you also gain a sense of personal empowerment for facing the fears. I feel like there’s another level to this one, speaking from my own experiences, where you might also feel validated. If you’ve been through horrific things, or even if you just have a preference for strange aesthetics, or if you just love monsters, then seeing those things in art is a reflection of you and your mind, and that is comforting.

Do you have any new projects on the horizon that you can tell our readers about?

I do have a couple of things in the works. I have a solo exhibition coming up of paintings that revolve around the history of natural science and people’s relationship to animals. That will be in the Rotunda Gallery in City Hall in Kitchener, Ontario, in winter 2024. I also have two shows tentatively scheduled for this summer with Gagné Contemporary and Walker Contemporary Art in Toronto.

The curation of these shows hasn’t been done yet, but right now I’m working on pieces that I’m really excited about; they’re large-scale oil paintings on unstretched canvas, and the process and presentation is a lot more raw and instinctive than what I’m used to, so I’m looking forward to evolving as an artist through this new work.

Laura Thipphawong Social Media Accounts

Website | Instagram | Facebook

The post Comforting the Disturbed: An Interview With Laura Thipphawong appeared first on Beautiful Bizarre Magazine.

The phrase contemporary art may bring visions of Marina Abramovic to mind, with her shocking performative art pieces exploring our nature as humans. Or maybe, you think of Yayoi Kusama and her infinite love of polka dots. Or, maybe the infamous “Girl With Balloon” that ended up in a shredder thanks to its creator and political activist Banksy.

No matter what your interpretation of this genre may be, suffice to say, contemporary art is truly all-encompassing and has sparked the curiosity and imaginations of many including Pavel himself. Join me, as I discuss contemporary art with Pavel to discover more about his interest in this topic alongside a collection of some of the contemporary works that he finds to be most inspiring.

It is very difficult to understand all areas of contemporary art. But I think there is no particular need for this. Everyone can find something close to their ideas about art, and this does not have to be an idea of beauty. For me, every direction of art is interesting, every work is wonderful if it is done with talent.

Pavel Guliaev

Interview with Pavel Guliaev

Contemporary art is such an extensive genre encompassing much of the work of the 20th
and 21st centuries. It includes everything from performance art, installations, street art and more. How would you personally define contemporary art?

Art in general, fine art in particular, arose as a decoration for religious rituals, starting with
images of animals hunted by ancient people, ending with images of divine acts in various religious movements. Performance is the cult rituals themselves, installations are sacred relics and objects, street art is preachers and celebrations, decorative art is the design of cult objects, and so on.

In my opinion, in contemporary art of the 20th and 21st centuries, everything is exactly the same as it was. Only, what used to be the design of religious rituals has become an expression of various philosophical ideas – from the search for the meaning of life to the philosophy of the absurd. Contemporary art allows every creator not only to express someone’s idea, but also to express himself to the extent of his own understanding of this world. And besides, modern art allows the artist themselves to create their own world, without even explaining its structure to the audience.

It is very difficult to understand all areas of contemporary art. But I think there is no particular need for this. Everyone can find something close to their ideas about art, and this does not have to be an idea of beauty. For me, every direction of art is interesting, every work is wonderful if it is done with talent.

I love your point about how contemporary art is just a modern version of what society has been doing for centuries. Do you think contemporary art could be described as a visual reflection of our society that simply changes and evolves as we do?

Yes, of course, art is a visual reflection of society that develops and changes with it. Changes happen both for both better and for worse, but that fact doesn’t matter. What’s important is that art lives and develops. Some of the basic foundations of art are preserved and new things will also appear. This, in my opinion, is the life of art, as well as the life of society and each of us individually.

I think there can often be the impression that art is inaccessible for many people due to things such as wealth, class and education. Do you think contemporary art is more accessible to people than they realise?

I think that anyone can create contemporary art, regardless of education. The main thing in this matter is to have at least a little talent, desire and diligence. But in order to understand contemporary art, you need special education or knowledge of art history and a desire to know what is happening in contemporary art. It has nothing to do with wealth or class.

Do you consider yourself as a contemporary artist?

Despite the fact that I work in the classical genre of figurative painting and paint oil paintings on canvas (which cannot be called an innovative painting technique), I consider myself a completely modern artist, since everything I do can be called and considered contemporary art.

You label yourself a contemporary artist even though you use more traditional techniques. Do you think you’ll ever experiment with more contemporary and innovative techniques within your work?

I paint with oil paints on canvas, I draw with pencil and paint with watercolour on paper, I want to make ceramics and wood sculpture. But, I also make videos on the computer based on my paintings, where I come up with a script and sound design. I use digital photographs and elements to help create the composition of my paintings, just as an artist would use a camera obscura for analog photography. So, I do fully utilise modern technologies and techniques alongside traditional ones.

I think that anyone can create contemporary art, regardless of education. The main thing in this matter is to have at least a little talent, desire and diligence.

Do you have any favourite contemporary artists/contemporary works that you’re particularly drawn to? If so, which ones and why?

There is a lot I still don’t understand about contemporary art. But, here is a list of some of the artists that are particularly close to me. Some of the artists I enjoy include Zdzislaw Beksinski, Giorgio de Chirico, Rene Magritte, Frida Kahlo, Max Ernst, Jacek Jerka, Andrea Couch, the entire new Leipzig school led by Neo Rauch, Adrian Ghenie, AES+F alongside many others. Unfortunately, my memory for the names of modern paintings is poor. All of these artists belong to the figurative direction of art, they all create their own reality, and do not copy the nature around them, and each of them has something to say that I find to be interesting.

How do you think contemporary art intersects with the subjective reality you create within your work?

I believe that all of the art that can be labelled as contemporary today, is in some way subjective. Today, there are no generally accepted canons in contemporary art that must be adhered to. Each artist creates their own and only their own subjective art.

How do you think contemporary art will evolve as we move forward? Do you think we’ll see changes in contemporary art? Maybe works influenced by or solely created using AI?

Yes, of course, in the near future more and more paintings will be created by AI. But, in my opinion, this is just another type that will only complement contemporary art. Like photography, installations, cinema, painting, sculpture, etc. – these are all just parts of universal art and they do not interfere with each other.

Pavel Guliaev Social Media Accounts

Website | Instagram

The post Pavel Guliaev on Contemporary Art appeared first on Beautiful Bizarre Magazine.

Born in the USSR, Pavel Guliaev is a fine artist who specialises in both symbolism and realism. Using oils, Pavel unites these two genres creating what he likes to call “subjective realism” and “subjective symbolism”. As a child, Pavel was always drawing and his interest in art would be further encouraged by his family who all loved expressing themselves creatively. Pavel would go on to study and graduate from Moscow Academy of Printing where he would earn himself a double major in Fine Art and Graphic Design.

Pavel has been a practicing artist for over 20 years in which he has spent parts of his career illustrating in various publishing houses, teaching graphic design and continuing his pursuit of exploring his subjective reality through oils.

The viewer is a co-author of each of my paintings.

Interview with Pavel Guliaev

You describe your work as subjective realism/subjective symbolism and propose how reality is processed subconsciously therefore becoming subjective. I’m eager to hear more about this idea and your thoughts on it! Could it be argued that there is no reality at all? Do we all have our own separate realities?

Yes, of course, each person has their own reality. I’d even go as far as to say that each person’s reality changes depending on their mood, exposure to the realities of other’s and various other circumstances. It’s very likely that there’s an objective reality separate from each person. But for me, this is something speculative, because I still live in my reality with its routine, miracles, strange coincidences, unexpected gifts, grief, joy, boredom and interests.

Of course, the existence of the world around me is objective, but what really happens to me, what I feel, what I imagine – all this is undoubtedly my subjective reality. Since I can’t separate the world around me from myself, then the world becomes subjectively my world. We live in a world where objectivity, idealism and subjectivity all coexist.

I’d love to hear about the types of symbolism you like to incorporate into your work.

I use various types of symbols in my paintings including historical symbols (biblical and mythological) and signs such as ideograms and geometric symbols. However, I most often use intentional symbols – symbols that I create myself, which gain meaning only in conjunction with my experience and my reflection. Each viewer can give their own interpretations to any of the symbols featured in my work. In each of my paintings the viewer can only see what they see and a little of what I wanted to show. Therefore, the viewer is a co-author of each of my paintings.

Every painting you create has a story to tell. How do you approach brining a new piece to life?

I do a lot of preparatory work for each painting. I spend more time on sketches and searching for ideas than on the actual painting process. I can be inspired by anything: a painting, photograph, film, book, shadow from a tree, cracks in the asphalt, anything that allows my imagination to work. And I really love experimenting with ideas, styles, and techniques.

Who/what inspires you?

All life around me, people, nature, politics, history, myths, religion, folklore, everything that can take over my thoughts and feelings at any moment is the source of my inspiration.

How do you think your art style and practice has evolved over the past 20+ years?

In recent years, I have been working in oils painted on canvas. This technique is the most convenient for me as I can convey exactly what I want to and not depend on the random effects of this or that technique. This is a classic technique used to create most of the world’s greatest classical masterpieces. Oil painting has delighted me since I was a child. Now, I don’t just do oil painting, but also impasto painting which is painting with a thick layer of paint that’s applied with a palette knife or brush.

This technique doesn’t allow you to create many small, precise details like you’d see in photorealism, but it adds expression and tactile sensations to the painting. I still make some large multi-figure compositions in the classical manner, since it allows me to depict small details more accurately and does not distract with the texture of the paint layer.

The existence of the world around me is objective, but what really happens to me, what I feel, what I imagine – all this is undoubtedly my subjective reality.

Many of your paintings remind me of Hieronymus Bosch and his maximalist style as there is so much rich detail to admire tucked away in every corner. What do you make of this interpretation of your work?

Yes, you are absolutely right. Since childhood, I have loved the paintings of Hieronymus Bosch and Pieter Bruegel. Both of these artists had a huge influence on me. The world of their paintings fascinated me like a rabbit to a boa constrictor. I could spend hours looking at collections of their work and live in their paintings. In the same way, I want the viewer to be able to live in my paintings, so that every detail draws them deeper and deeper.

I am fascinated by your painting  ‘Only You’ and the idea that people put on their own chastity belts only to break and reapply them. Can you tell me a bit more about this piece and the inspiration behind it?

This is, in fact, a simple story of love and jealousy, freedom and lack of freedom, the husband’s sense of ownership and the woman’s desire not to be someone else’s property. This is an old story, starting with Boccaccio’s Decameron, Shakespeare’s Othello, the story of Henry the Eighth and his six wives, and ending with the modern struggle of women fighting for their rights.

Do you draw from your own life experiences to help conceptualize your work?

Each of my paintings is the result of my life experience, my imagination as well as my technical professional experience. Many of the symbols that I use in the compositions of my works are symbols that only I understand. All my ideas arise only from my own life experience or from my subconscious, which is again based on my experiences, my understanding of the world.

Do you have a painting which you are particularly proud of? If so, which one and why?

I put a piece of my soul into every painting I make and that’s why I love them all. Some may have been less successful than others, but they are all my children, all different and all loved…

When you aren’t painting, what do you get up to in your free time?

Unfortunately, being an artist does not allow you to have a lot of free time. I have no working hours and non-working hours, no working days or weekends. I always work. I dream of learning to play the piano and make sculptures and ceramics. I like to listen to classical music and watch movies. I don’t have time to read because it takes too much time (I can’t tear myself away from a book until I’ve read it all), sometimes I travel with my family. In the mornings I like to walk in the park.

Looking forward, do you have any exciting plans/projects coming up that you can tell our readers a bit about?

I have a lot of plans. I have fifteen new sketches for my paintings. There are dozens of ideas. I want to make a series of paintings based on biblical scenes. A series of paintings on the theme of human games and much more. I want to do a series of graphic works. Maybe I will be able to organize a personal exhibition this year. I want to participate in a fair in Germany in the fall. God willing, I will be able to accomplish all this, or at least I will try…

Pavel Guliaev Social Media Accounts

Website | Instagram

The post Subjective Reality: An Interview With Pavel Guliaev appeared first on Beautiful Bizarre Magazine.

Jean Luc Iradukunda is a painter and software engineer originally hailing from Gisenyi, Rwanda. He currently resides in Cape Town and his body of work explores and draws upon his experiences as a Rwandan migrant living in South African society. Artistically, Jean Luc is best known for his ‘blue people’ which are expressed through his signature use of vibrant colours and abstract, Fauvism flare. He encourages viewers to reflect inwardly working to bridge the gap between cultures as he explores identity, human connection and the everyday aspects of the nuclear family.

Exclusive Interview with Jean Luc Iradukunda, South African based artist, represented by Bender Gallery in Asheville, North Carolina

Bender Gallery Associate, Amanda Kendrick-Deemer, has been emailing back and forth with the painter, Jean Luc Iradukunda, learning more about his process, studio practice and goals for the future.

Hello Jean Luc, I hope all is going well with you. Please give me a summary of your background. I would love to hear about growing up in Rwanda and how you came to be in South Africa. How old were you when you settled in Cape Town?

I was born in Gisenyi and raised in Rwanda’s northern regions, my childhood was enveloped in a vibrant community, rich with cultural traditions and the beauty of natural landscapes. Relocating to South Africa in 2007, at the tender age of nine, I was unaware of the full implications of seeking asylum. This shift in worlds, though bewildering, unknowingly sowed the seeds for my artistic journey, deeply rooting my work in themes of displacement and belonging as my family and I attempted to settle in Cape Town.

The jagged yellow teeth in my pieces act as a device to extend the work’s narrative on human disfigurement. They play on the concept of pareidolia, where even amidst distortion, the essence of humanity persists.

Jean Luc Iradukunda

Can you walk through what a typical day in the studio is like for you? You’re a software engineer as well, how do you balance making artwork and your job?

My day typically involves a full work schedule as a software engineer from 9AM to 5 or 6PM. Post-work, I take a brief nap, shower, have dinner, and then I dedicate my evenings to my art studio, often working past midnight, occasionally stretching to 4AM to meet deadlines. My artistic process is methodical, involving extensive research through reading, films, documentaries, and other online media. I prepare thorough sketches before approaching the canvas, ensuring a clear vision for each painting. This structured approach allows me to efficiently balance my professional and artistic pursuits.

Please tell me about the teeth of your figures and why they are depicted as such.

The jagged yellow teeth in my pieces act as a device to extend the work’s narrative on human disfigurement. They play on the concept of pareidolia, where even amidst distortion, the essence of humanity persists. These teeth, placed where one expects a mouth, push the boundaries of recognition, yet remind us of the human form.

I love your painting, ‘Prison Pink’. Is it titled as such to reference “drunk-tank pink”? Can you tell us about this piece and the meaning behind the title?

‘Prison Pink’ uses the colour pink to explore the concept of confinement. In Rwanda, the pinkish attire marks the incarcerated, a visual cue of imprisonment. Here, the subjects are entirely enveloped by pink, symbolising how refuge can morph into restraint. It reflects on refugees’ reality in places like South Africa, where the search for safety can lead to a new form of restriction, confined to a single place, their movement and freedom paradoxically limited in their newfound ‘home.’

In ‘Still a Long Way to Go’, is this based on a photo of your friends and family? If you use a photo reference, how much do you veer away from the original arrangement of people?

In creating ‘Still a Long Way to Go’, my approach has evolved from my earlier practice. Initially, I closely followed old family photographs, maintaining the original arrangement. However, for this piece, I combined a found image with poses from my siblings, allowing me to deviate from the original to achieve the desired composition. This method of blending different sources is integral to my research phase, often involving editing and altering online materials to serve as reference, ensuring each artwork embodies the narrative and aesthetic I aim to convey.

…I’m open to incorporating other mediums like oil paint in the future, as my journey in art is one of continuous experimentation and growth.

Jean Luc Iradukunda

I see one of your media used is markers. What type of markers? What is it that you like about acrylic paint?

For my marker work, I primarily use POSCA markers and Montana water-based markers. As for acrylic paint, my practice is grounded in exploration rather than a specific preference for any medium. Acrylics have been a valuable tool in my artistic development, offering versatility, a rapid drying time, and ease of availability. While I appreciate these qualities, I’m open to incorporating other mediums like oil paint in the future, as my journey in art is one of continuous experimentation and growth.

Please tell me about the piece ‘Building What We Will Destroy’.

‘Building What We Will Destroy’ contemplates the bittersweet process of building up lives in one’s homeland, akin to the traditional Rwandan Runonko making, where a dome of clay balls is constructed and heated before being collapsed over food to cook it within. It reflects on how migrants often contribute to the fabric of their nation, crafting and shaping their community, only to leave behind their handiwork—knowingly or unknowingly stirring the undercurrents that may lead to its unravelling. This piece captures the duality of creation and loss, the investment in a home that is both vital and ephemeral against the tides of migration.

In ‘Fetching Water’, is the tradition of head loading something you experienced within your own family or town?

Indeed, ‘Fetching Water’ is rooted in my personal experiences growing up in Mukarange, in northern Rwanda. As a child, we lacked direct access to running water, so fetching it from a communal pump was a regular and necessary part of daily life. This artwork is a reflection of those early, formative experiences. This piece deliberately steps away from the migration narrative to ground itself in the joyous and untainted memories of home. The figure, centered and steady, carrying water, represents a moment captured in time where the simplicity of the task is a source of delight, and the journey is as meaningful as the destination. It is a celebration of the mundane transformed into the memorable.

With most of your works, even though the clothing is absent of colour, I’m drawn to what the figures are wearing. Are you inspired by fashion?

Absolutely, fashion does inspire my work. Initially, it was a casual appreciation through social media, but my interest deepened, especially during Virgil Abloh’s influential period, when I developed a fascination with graphic t-shirts. This passion for fashion led me and some friends to start our own clothing brand, CHANT RADIO, where I have the opportunity to design t-shirts and express my artistic vision in a different medium.

Can you tell me about the painting ‘Igitenge’? Does that word have to do with African fashion? 

It goes by many names in other parts of Africa, but in Rwanda, we call it ‘Igitenge’. These fabrics are known for their bold patterns and African-inspired designs. Besides being worn casually and ceremonially, mothers often use them to carry their babies, offering a sense of safety and comfort. When I began the painting, the focus was on the scene which depicts my father, mother and elder brother in a refugee camp years before I was born. I wanted to focus on the ‘Igitenge’ my mother was wearing as a juxtaposition of safety and comfort that it can provide and the stark contrast of the reality that led them to being in the refugee camp.

I wrote down somewhere in my journal that my work in these past few years has been strongly focused on how I felt perceived by the world and that I’d like to pivot towards making works that are about how I perceive the world.

Jean Luc Iradukunda

What are three words you would use to describe your work and why?

Experimental: This word embodies the exploratory spirit of my process. Not knowing exactly what I’m doing frees me from conventional restrictions and allows for authentic creation.

Probing: My work is deeply rooted in research, reflecting my reverence for the privilege of exploring and expressing my understanding of the world as both native and outsider through art.

Evolving: I dream that my artwork never becomes static; it’s always in progress, mirroring my ever-expanding grasp of the world around me. I want my work to suggest a journey rather than a destination, to produce objects that are perpetually becoming as I am.

Lastly, what are you currently working on and what are your goals for the year?

I wrote down somewhere in my journal that my work in these past few years has been strongly focused on how I felt perceived by the world and that I’d like to pivot towards making works that are about how I perceive the world. My goals for this year involve exploring more mediums – sculpture holds particular appeal right now – and oil paint, among others. I’m also aiming to secure a solo gallery exhibition.

Check out Jean Luc Iradukunda’s available work here: Bender Gallery!

Jean Luc Iradukunda Social Media Accounts

Instagram | Bender Gallery

Bender Gallery Social Media Accounts

Website | Instagram | X | Facebook

The post Abstract Humanity: An Interview With Jean Luc Iradukunda appeared first on Beautiful Bizarre Magazine.

In Jennifer’s latest exhibition “Flowers of Evil” she invited viewers to explore her feminine interpretation of “The Flowers of Evil” by French poet, essayist and art critic Charles Pierre Baudelaire. Through a collection of 10 oil paintings, Jennifer explored her admiration for Baudelaire’s work as his poetry deeply resonates with Jennifer and her creative work.

Each piece in this collection, which was held at Beinart Gallery in Melbourne, Australia, plays with paradoxical themes of life and death, beauty and decay, salvation and damnation among various others showcasing how intrinsically linked these themes are and how one cannot exist without its opposite. Continue reading to find out more about Jennifer’s time working on “Flowers of Evil”.

Check out artworks from ‘Flowers of Evil’ currently on sale here.

In my paintings the female figures are a protagonist, rather than an object. There is a power in their softness.

Interview with Jennifer Allnutt

Upon reflection, how are you feeling now that the “Flowers of Evil” exhibition has concluded?

I’m really pleased with how it went! I remember looking at the works before I packed them,
all lined up, and I thought “would anyone buy these?” I did not have high hopes but I knew it
was a body of work that I was proud of and felt authentic to me. I think when you paint in general, a piece of your soul is put into the work. If you rush it or ‘half ass’ it then that will show in the work. It will be missing that small, crucial piece; a piece of your sustained, intense consciousness.

This exhibition is a love letter to Baudelaire’s poetry especially his seminal work “The Flowers of Evil”. What is it about his work that sparked the desire to create this exhibition?

I enjoy reading and learning and I’ve often felt my education was lack luster. While I was at university and art school I dedicated myself to reading literature classics in my spare time – the orange Penguin books and my grandpa’s collection. It’s exciting and frustrating to know how many greats I haven’t read.

So, I often look to the past for inspiration. I began this series by starting Paradise Lost by Milton and soon realised that perhaps this was too significant a task! I do intend to revisit that work but it is epic – I need to ruminate on it more. At the same time, I discovered Baudelaire and instantly felt a connection to his poetry. It is beautiful at times and crass at others, it seems to describe inner spiritual turmoil. I was entranced by the imagery the most.

While all the works borrow parts of imagery from the poems, ‘The Death of Artists’ is the only painting that is directly inspired by the poem of the same name and the line, “That death, a hovering new sun, will warm the flowers of their brains and make them grow.”

Alongside poetry, did you have any other influences whilst working on “Flowers of Evil”?

I’ve been reading a bit of Tolstoy -Anna Karenina recently, and I have a fascination with psychology. I listened to ‘Women who run with the Wolves’ by Clarissa Pinkola Estes while I made these works.

I also enjoy music and once I find something I like I tend to play it to death. During this body of work I listened to Nick Cave constantly and I’m sure he has read Baudelaire because there are so many synchronicities between their work. My other influence has been the band Ghost, I really enjoy their religious/satanic imagery and aesthetic. I’m influenced by the rock n’ roll version of Satan, because he seems to be a symbol of chaos but also of autonomy and I suppose Milton’s Lucifer is painted in a similar manner.

How long have your been working on this project and how did you approach tackling this body of work?

I’ve been working on it for two years but probably only painting for one year and then an intense painting period of six months to finish. I had other commitments during that time, and I like to ruminate on my ideas to see which ones stay and which ones fall away. That way it makes any easier choice for me. If I find myself continually sketching certain things then I know that maybe that idea is worth chasing. Or if I am writing the same line of poetry in my notebooks, I know there is something in that which is potent for me. I also enjoy sketching how the works might look in the gallery overall. I was drawn to the gothic arch because it reminded me of church windows and I liked the idea of turning the space into a pseudo dark church or temple with strange artifacts.

Your paintings have a dark sensuality to them, often feeling macabre yet quite sexy without being explicit. Would you say your work is targeted towards the female gaze?

The female gaze is important to me. If we take the male gaze to be an objectifying view: females are a mere sex object and portrayed as passive or helpless. So the female gaze I imagine means quite the opposite.

In my paintings, the female figure is a protagonist, rather than an object. There is a power in their softness. The way I view the devil is as a symbol of freedom and autonomy and I think my figures have the same feeling. I think of the story of Eve in the garden eating the apple – less as an act of temptation and perhaps more of an act of her free will and agency.

On a side note, I am not truly religious despite my Christian upbringing, I just find these stories fascinating in a psychological or symbolic way. For a long time I was ashamed of making particularly female artwork, I worried people would not take it seriously. As I’ve gotten older I’ve come to embrace or reclaim my femininity and be proud of it. I think that comes across in the artwork.

I think when you paint in general, a piece of your soul is put into the work. If you rush it or ‘half ass’ it then that will show in the work. It will be missing that small piece; a piece of your soul and sustained intense consciousness.

Speaking of the macabre, I understand the concept of death and the phrase “memento mori” has been with you since you were young. What is your relationship like with exploring themes of death and the macabre?

From a young age I have been very acutely aware of my own mortality; I was frightened. One of my earliest memories was in the cold light of morning lying in bed and watching the orchard out my window in that blue-green grey morning while I was coming to the realisation that I would die, having an existential crisis basically, and everyone I loved would die. I remember running into my parents bedroom balling my eyes out and not having the words to describe what I was feeling. I told them I had a bad dream about war.

Since then, I’ve found the normal way of living trivial. I would choose to live impoverished and be true to myself in every lifetime. Of course there are things I have to do to function in this society, but they are like a hobby and my art is my life’s work. Often, I find myself prone to nihilism but I find spiritual meaning in the painting process.

So, I suppose I paint these dark things to remind myself as much as anyone else, that we all must die. Kings, presidents, nobles and regular people we all have a timer, we are all in a large queue at deaths door. There is no dress rehearsal for life and no guarantees that you’ll make it to old age so I believe if I don’t do what I truly want right away, I may never get the chance. This life perspective is probably what drives the subject matter of my work and my interest in the macabre.

Are there any paintings from this exhibition that hold a particularly special place in your heart? If so, which ones and why?

The painting titled ‘Good Fortune’ that ruminates on symbols and superstition is actually a painting of my cat that lives with my parents. His name is Sir Thomas Shelby named after the Peaky Blinders character. His personality is pensive, he likes curling up like a cat loaf in a corner and listening to conversations secretly. He is also very loving and has such a loud purr for a tiny cat.

My mum constantly pestered me to make an entire collection of paintings of cats: her unsolicited advice for what I should paint always makes me laugh! So, I decided to concede and make her one painting but also because there are a number of cat poems in “The Flowers of Evil”, I suppose this is due to the fact that they are a potent symbol and Baudelaire’s gothic influence from Edgar Allan Poe (he translated to French several works by Poe).

The other painting that is significant is ‘Vices and Virtues’. It is a still life with objects that have nostalgic meaning and personal stories attached. I began this painting for my Grandpa, something I was chipping away at to eventually gift him in the old folks’ home. His room was so barren and sad, only a few mementoes were allowed. And this was a far cry from the maximalist house he had filled with treasures and stories.

The statue in the painting is the goddess Tara I believe, and it was one of his objects. I cleaned and dusted this thing I don’t know how many times over the years (during uni I cleaned every weekend) so when we were packing up his house this was one memento I decided to keep. Unfortunately, I had many roadblocks with this work and wasn’t able to finish it before he passed away. But I like to think he knows the love I put into it for him.

Not only do you paint on wooden panels but you also utilise more unusual canvases, such as replica skulls and sea shells. What draws you to painting on these unconventional canvases?

I enjoy the challenge of painting on unusual surfaces and the qualities these bring to the process. Because I work intuitively there are lots of happy accidents on the way that lead me down the rabbit hole to the finished work. Painting on objects adds an extra level or chance and spontaneity that I really enjoy.

A few years ago I started painting eyes on rocks as part of a residency and this is probably what sparked my fascination with unusual surfaces and also taught me the correct way to prepare the surface!

What has the response been like to ‘Flowers of Evil’? Has it been what you expected?

I have been overwhelmed by the kindness of strangers and people on the internet, not to mention the way my friends and family have supported and cheered me on. I try to take a moment to be present and feel the weight of my gratitude for this support.

What do you feel you have learned/gained from creating ‘Flowers of Evil’?

There is a quote by Baudelaire and I’m not sure where it is from precisely, but he says, aptly “the beautiful is always bizarre”. There is something exciting and thrilling about holding that tension between two contradictory forces. This is what “The Flowers of Evil” does so well and something I aim to emulate in my own work, in this series and going forward.

From this body of work I feel I have gained some clarity about my artistic practice and as with every painting I feel I am getting closer to the qualities of the artists I admire and contributing a small part in the long tradition of painting.

What’s next for you? And exciting projects on the horizon or concepts you’d like to develop?

Currently I’m working towards two solo exhibitions, one at Lethbridge Gallery in Queensland in 2025 and another for Beinart Gallery in 2026 in Melbourne. I’m excited and honoured to be working with two amazing galleries in Australia! As well as this I try to fit in as many group exhibitions as I can!

I imagine this series and the poetry is going to impact my work for many years to come and I’ve only just scratched the surface of my ideas. Excited to see where I go to next!

For inquires on purchasing an artwork from this exhibition please contact Beinart Gallery on their website.

Jennifer Allnutt Social Media Accounts

Instagram | Beinart Gallery | Big Cartel

The post Death and the Poet: Jennifer Allnutt on ‘”Flowers of Evil” Exhibition appeared first on Beautiful Bizarre Magazine.

About PxP Contemporary//

PxP Contemporary is an online gallery that connects collectors with high-quality, affordable artworks. The gallery believes in transparent pricing, building meaningful relationships with our clients, providing exceptional customer service, and above all, supporting the talented artists that they work with and represent. CEO & co-founder Alicia Puig and co-founder Ekaterina Popova, with a combined 15+ years of experience working in the arts, launched PxP to challenge the traditional gallery model and make the process of buying art a more accessible, digital-friendly experience. Art lovers, whether looking to add to an already established collection or acquire their very first piece, can browse our curated selection of art priced up to $5,000 by contemporary artists from around the globe. As of December 2020, Alicia expanded the gallery mission by donating a portion of the proceeds of all sales to a variety of charitable causes.

For inquires regarding purchasing artwork please contact info@pxpcontemporary.com

About Karen Remsen//

Karen Remsen is a Chicago-based and self-taught artist who rediscovered her passion for painting back in 2020 after a hiatus of nearly 15 years. She has exhibited across the country in galleries that champion imaginative realism and contemporary figurative work.

Interview with Karen Remsen

Women are the central focus of your work and there is something unique about reflecting on the feminine experience. Being a women can often feel isolating even when we collectively understand one another in some way. I’d love to hear more about your thoughts and reflections on femininity and the female experience!

This is an ongoing inquiry for me: why am I interested in depicting women? I suspect there is no single reason. Sometimes it helps me express a feeling or an emotion I’ve experienced. Sometimes it’s a reflection of a characteristic I admired in another woman. Sometimes it’s an aspiration of how I want to feel and move through the world.

In some ways, I wish it wasn’t necessary for me to think within any definition of femininity or gender. My own experience has taught me that men and women and people are not really that different, and that many divisions to which we cling are baseless fabrications. But at the same time, I can’t help but feel that there is something ancient and sacred about being a woman.

Who are your drawn towards when finding a muse to paint?

My paintings often start by finding a reference photo that I love. I have a huge reference library and am constantly adding to it – doing my own photoshoots, purchasing photos from other photographers, or finding free photos online. Every time I get access to a new set of photos, I go through all of them one-by-one and pick out the maybe top 5% that stick out to me. Many paintings can stem from a single photoshoot. I have one model that I’ve painted 6 or 7 times now.

I don’t have any specific criteria for choosing models or muses. One thing I have done deliberately is chosen women from a range of ethnic and racial backgrounds. I believe wholeheartedly that humans are beautiful because we are diverse. However, I acknowledge that I have chosen mostly young and conventionally attractive people. I hope to branch out to be more inclusive of more different ages and body types in the future. It makes me a bit nervous though! It means challenging my own biases about beauty and trusting that my work is strong enough to capture interest without the inherent attention-grabbing nature of my typical subjects.

Who are some of the women who inspire you?

When I was a child, my local art museum hosted a traveling exhibition of work by Orazio and Artemisia Gentileschi. I was mesmerized by the fact that Artemisia painted with the same skill and style as her peers, but her art felt fundamentally different. Her subjects felt like the main characters of their stories.

My other big interest outside of art is reading, especially fantasy and sci-fi. There are so many amazing female characters written by female authors (N.K. Jemisin, Octavia E. Butler, Tamsyn Muir, and Robin Hobb are some of my favorites) and male authors as well (Garth Nix and Philip Pullman come to mind). I hope to make a collection in the future of paintings inspired by female protagonists in literature.

I understand that you took an almost 15 year long hiatus from art. What drew you back to practicing art once more?

I was feeling burnt-out in my career. I was a graphic designer for a few years after college, then transitioned into user experience design and research. By the time I was a few years into my 30s, I had been working in the tech world for many years and didn’t love it.

I just thought it would feel nice to paint something. I bought a canvas, some cheap brushes, and four colours of paint. A very strange thing happened; I found I could paint better than I could when I stopped as a teenager. I have no idea how this works psychologically. Maybe because our brains are still developing well into our 20s? Maybe we gain more skill in seeing shapes and colors and forms? In any case, after I made one painting I immediately wanted to make another!

I can’t help but feel that there is something ancient and sacred about being a woman.

What advice would you give to those who may have had a similar art hiatus and are looking to pick up a paint brush again?

Don’t wait a moment longer! :)

About Aunia Kahn//

Aunia Marie Kahn (B. 1977 Detroit, Michigan) is an award-winning American contemporary painter, photographer, curator, and entrepreneur. She has exhibited her artwork in over 300+ exhibitions in 10 countries and at institutions such as SDAI, iMOCA, and CAM St. Louis. Additionally, she had lectured at colleges and universities and has been featured by Yahoo, Prevention, and Authority Magazine.

Interview with Aunia Kahn

Your website says that you draw inspiration from your chaotic upbringing and near-death experiences which is a very powerful and vulnerable thing to do. Has art become a healer/form of therapy for you?

To be completely honest, I’m not sure I would be alive today without art in my life. During tumultuous times in my life, leaning into creativity as a source of solace, expression, and freedom from current circumstances was crucial for me to persevere.

Becoming an artist was never a goal or dream of mine. Despite my lifelong love for creating, whether it was art or building tree forts, it was never supported by anyone around me. My creativity was ridiculed and dismissed from an early age by my peers. As a peculiar child with unconventional behaviours, making friends wasn’t easy. Art and animals became my trusted friends – they were steadfast and always there.

I grew up in a blue-collar household that prioritized work and education above all else but also hid abuse and violence in the background. Later in life, my dream job was to be a therapist or even a surgeon, aiming to alleviate others’ pain after witnessing and experiencing so much suffering. However, my life took a drastic turn when I fell ill during my schooling, forcing me to completely rethink my path.

Creativity became my lifeline during the toughest moments of my illness, which sidelined me for nearly 20 years without proper support or diagnosis. Having a means to express myself and create artwork reflecting my experiences and inner world was deeply touching. Despite my limited ability to interact with the outside world due to my illness, sharing my creations on the internet and receiving positive feedback was incredibly empowering to me.

Who are the women represented in your paintings? Are they reflections of yourself?

It’s a tough question to answer definitively. Sometimes I lean towards yes, and at other times, I’m inclined to think otherwise. For an artist, it’s challenging not to have some aspect of themselves reflected in their work, even if their work is abstract. I believe all artists incorporate fragments of themselves into their creations, often unintentionally. 

It feels nearly impossible for an artist to completely detach themselves from their work. My art, like that of many others, engulfs me, and I, in turn, am absorbed by it. It’s become an integral part of my life, akin to an additional limb. Trying to remove it would be like severing a vital organ; it’s something I couldn’t do without risking serious harm or bleeding to death. So, upon deeper reflection, yes, my work undoubtedly reflects aspects of myself. There’s simply no way it couldn’t. It’s a lifeline, a history, and when I look back over the years, I can watch the story of my life unfold through the pictures I have created. It’s pretty remarkable from a personal experience. My artwork serves as a visual narrative of my journey, capturing moments, emotions, and growth along the way.

Over the years your work has evolved and changed significantly. Your older works are much darker in tone and subject matter while your current body of work feels lighter and more whimsical. I think many artists worry about having one particular style that they have to stick to. Do you think art style naturally evolves over time as we get older and experience more of life’s trials and tribulations?

For some, embracing evolution comes naturally, while others must actively work at it or embrace it with open arms, which is not easy. As an artist, I have been open to evolution and adaptation because I had no choice. I began by painting and working in mixed media until I fell ill, then I became deathly allergic to all mediums (most food, etc.), even coloured pencils, which led me to transition to digital work. Being a digital artist in 2004/2005 was challenging and not as widely accepted in galleries as it is today. I had to fight to be seen and respected within the system, which was difficult, but I thrive on challenges. Tell me I can’t, and I’ll find a way.

Ironically, in 2018/2021, when I received medical diagnoses that changed my life, I also began taking medications that helped alleviate my severe allergic reactions to various mediums, foods and other things in my life. This allowed me to gradually return to using traditional mediums like coloured pencils, watercolour, and eventually gouache this year.

I yearned so deeply to work in traditional mediums that I was forced to evolve and start over. It felt like a failure to transition from being proficient in digital art, which I had been practicing from 2004 to 2020—16 years of honing my craft—to essentially starting from scratch. I didn’t know which mediums I preferred, how to use them, or the best paper or substrate to use. Here I am three years later, still working out the kinks. In a way, I’ve been in this industry for 20 years, yet I also feel like a novice all over again.

Despite being forced to evolve at times, I believe my work would have naturally progressed regardless. While the mediums may have changed, the shift from darker to lighter colors reflects the journey of my illness and the healing that has come with medications and proper medical support throughout the years. I believe one of the most crucial aspects of being an artist is continual growth and evolution, even if it’s uncertain. For instance, I have another body of work and an Instagram page called Mysterium World, which is experimental, naive, and incredibly fun. This endeavor keeps me expanding my horizons. It’s essential never to confine yourself to the same mediums, subject matters, substrates, and tools you’ve always used. I strongly encourage all artists to experiment, even if it feels uncertain at first.

What is your favourite and least favourite thing about being a practicing artist?

I love being an art creator because even if no one saw it, I’d still enjoy doing it. Art, for me, goes beyond just technical skill and success. It’s about expressing personal stories, finding healing in the process, and exploring what I can create with my hands. Will I feel inspired today? Who knows? It’s exciting to work with my hands. It’s also fulfilling when others connect with my work. Knowing that my creations resonate with them is truly magical and one of the most gratifying experiences an artist can have.

The most challenging aspect of being an artist is the personal struggles I face regarding never feeling good enough. As a perfectionist with a Type A personality, I am driven and competitive with myself, and I perpetually feel inadequate. What I’ve come to understand is that I will never be enough. I’ll always be striving to become the best version of myself, and if I’m wise, I’ll never attain it. I’ll continue to grow and need to keep growing. However, I find this aspect to be the most difficult for me. Not being too hard on myself, not criticizing myself if I create something I dislike, and accepting that sometimes, I’ll love something that no one else does—this seems to be a recurring theme.

When I love something, no one cares, and when I don’t, everyone seems to like it. Trying to navigate through this is confusing and I have learned there is no rhyme or reason to any of it. If my goal was to please everyone and have universal approval for everything I create, I’d be sacrificing my passion and integrity. Instead of pursuing what I love, I’d be focused on manipulating the system to cater to others’ preferences. I would rather people dislike all my work than cater to anyone. Just being in the now, accepting who I am today and working to be a better version of myself tomorrow is my goal. I speak it, but it is not easy.

What has been the biggest challenge so far either in your career or personal life and how did you overcome it?

Both in my career and personal life, my most significant challenge was battling illness for almost 2 decades, with no one believing me, not even family members. After enduring countless consultations with hundreds of doctors who found nothing wrong, it’s understandable why they may have doubted me. However, I never gave up seeking help, searching for a diagnosis, and yearning for validation. I’m incredibly tenacious, as I mentioned earlier—tell me “no,” and I’ll find a way.

The situation became dire when I experienced numerous life-threatening allergic reactions, dismissed as mere anxiety. It reached a breaking point when I began questioning my own sanity, ultimately leading me to admit myself to the local psych ward for evaluation (where I was released shortly after, as there were no signs of mental illness because of the host of medical issues). Feeling utterly isolated, with no one believing me, was incredibly challenging. Being ill has posed challenges for me as an artist in advancing my career. For instance, I’m also a curator, and in 2010, I curated a couple of significant shows. However, my illness prevented me from attending these events, and I struggled to explain my absence because it took another 8-10 years to receive a diagnosis. This lack of clarity caused disruptions in my relationships with galleries, as I couldn’t reliably attend events that I curated or participated in as an artist. Despite my efforts, I couldn’t predict my level of sickness each day, which meant missing out on being present at important events, which was deeply disheartening.

Times have certainly changed, and the internet has played a significant role in my ability to make connections, advance my career, and maintain a presence despite my illness. Having a diagnosis to share with galleries has been crucial in ensuring they understand my situation and limitations. Additionally, being transparent about my chronic illness has required vulnerability and is scary at times, but it’s an integral part of who I am both personally and artistically. I attempt to avoid discussing it, but my illness is essentially my life story. It’s woven into the fabric of my being, shaping who I am today. I believe the world could benefit from more vulnerability and transparency. After all, everyone has their own struggles. My struggles have forged me into someone fierce and determined. I navigate life in a body that feels like a ticking time bomb due to my illness. In the face of this reality, I’ve learned that there’s no other option but to fully embrace all my challenges, imperfections, and humanity and make art along the way!

Karen Remsen Social Media Accounts

Website | PxP Contemporary | Instagram

Aunia Kahn Social Media Accounts

Website | PxP Contemporary | Instagram | Facebook | YouTube | Patreon

PxP Contemporary Social Media Accounts

Website | Instagram | Facebook | TikTok | Pinterest

The post PxP Contemporary Presents Interviews With Karen Remsen and Aunia Kahn appeared first on Beautiful Bizarre Magazine.

Humans have held ownership over this domain for millennia but now a new entity is on the rise in our beloved industry, artificial intelligence (AI). The concept of artificial intelligence is a centuries old concept dating back to the Greeks with their fantastical ideas of artificial constructs. However, in 2024 AI is all too real and is making waves in the art industry as hopeful visions of the past have suddenly become a terrifying reality.

Visual artist and metal musician Farzad Golpayegani, best known for his epic guitar playing skills and works of surrealism, is unafraid to tackle the controversial topic of AI and how it could, should and does interact with the art world. In an interview with him, he shares his thoughts on the topic as a creative in the field.

Many argue there’s no place for AI within art. Using the words AI and art in the same sentence concocts images of evil machines gobbling up stolen artwork. Farzad Golpayegani however, doesn’t see AI as a strictly black or white. Instead it is more of a grey area arguing that “like many inventions, a new discovery can have drawbacks initially.

Take Marie Curie’s discovery of radium, for example. Initially celebrated for its glowing green colour, radium-based jewellry became popular, unaware of its cancer-causing properties. Before its life-saving potential was realized, radium proved deadly, even claiming Curie’s life. Similarly, AI undergoes a trial-and-error process. Despite impressive advancements, misuse is prevalent. This learning curve is necessary to harness its potential effectively.” So, while the evil machines play their sinister roles in the AI discourse, the topic is more nuanced and is a place for reflection and potentially even innovation.

I don’t think AI will end mankind’s creative journey but rather function as an art expert. Our best approach is to continue creating our best, regardless of AI competition.

When considering the current climate of the art world, Farzad insists that AI “should be kept entirely separate from current art forms.” Currently, many AI generators are trained using stolen work from artists who often have no knowledge their work is being used in such a way. “Using someone’s work and art without consent is absolutely unacceptable; nobody wants their work or identity stolen” states Farzad. “In general, I don’t oppose AI, but I firmly disagree with claiming AI-generated work as one’s own creation.

For instance, incorporating AI-generated illustrations into graphic design is logical, but presenting them as standalone artwork isn’t.” As a graphic designer and art director, Farzad has created work based on instructions provided by clients and supervisors without drawing from his own artistic styles and preferences. “Claiming AI-generated art as personal creation is akin to clients or supervisors asserting authorship over work I produced for them. It doesn’t align logically, and I see no distinction.”

Like many, Farzad has been personally affected by AI. The website Have I Been Trained? by art collective Spawning detects whether artwork has been used to train various AI generators. This website shows his work has been used to train AI without his knowledge or consent. When asking whether he was aware of this he replied, “I’m not surprised. To be honest, I might be upset if I learned that I was ignored by AI!” “I don’t worry if my work is analysed by AI, actually. My only concern is the abuse of that information. This is an important aspect of art in the future, and I want to be a part of it, without my work being misrepresented.”

Farzad has been on the receiving end of being deceived by AI. “I consider myself having a good eye spotting Al art.” His good eye was called into question upon discovering an artist with incredible style and talent.

“I began following him on social media and noticed he posted too frequently, considering the complicity and detail of his artworks. Upon further investigation, I discovered he was using AI to generate pieces in his style, resulting in even more refined works. He then transfers these digital creations onto canvas and painted them in oils. It seemed he had replaced the roles between a digital artist and a printer! As someone who creates digital art and prints them on canvas, I found this reversal disappointing. It’s an example of a situation that makes you question everything!”

This discovery led to a major shift in his opinion of the artist as he describes “I stopped following him, and his work lost its value in my eyes entirely. I have always opposed the artistic value of duplicating a photograph onto canvas or paper, just painting or drawing an existing image using oil, acrylic, etc. It is definitely a skill set, but it is not artistic and creative, no matter how realistic it may look. Painting an image that is already generated by AI follows the same rule in my mind. To remain in control and progress, an artist shouldn’t lower his or her value to that level.”

Claiming AI-generated art as personal creation is akin to clients or supervisors asserting authorship over work I produced for them. It doesn’t align logically, and I see no distinction.

However, AI isn’t all doom and gloom from Farzad’s perspective. His job as an art director has allowed him access to AI as a supportive tool using it in processes such as upscaling images and editing to enable a streamlined workflow. The ideology of using AI as a supportive tool, similarly to how one uses a paint brush, adds an interesting perspective on the topic for future reference.

From his perspective, each advancement in technological improvement from artists, no matter how big or small, have helped us shape art history and our current present. The idea of blocking technological advancements isn’t smart progress. “Whether we like it or not, this is the future of the art world and we should find innovative ways to be a part of it rather than isolating ourselves. The problem isn’t AI accessing the human art history database; what’s worrying is the potential abuse of its achievements, mostly caused by humans.”

Of course, for AI to work in this capacity, “clear and strict regulations are surely necessary.” It could only really work on a case by case basis in which transparency and honesty would be key components. For example, if a photographer were to use AI tools to remove/edit unwanted elements in a photograph, would that be alright? Well, it’s complicated. “It’s unacceptable for photographers to remove objects from their photos if they submit them to competitions or publish them as news journalists.

However, they can manipulate images using AI within its category.” Another example could be using AI generators with ethically sourced and artist approved images which has its own nuanced issues as he explains “the person using AI isn’t the artist anymore and shouldn’t claim the rights to the generated image. Simply put, the AI image prompter isn’t an artist but more of a client, and the AI generator is the intelligence behind the creation. This distinction should be made clear when sharing the image publicly.

In summary, I don’t see any issue with the AI generator when using licensed images, but the problem arises when roles and guidelines aren’t understood. Misusing this tool can be disastrous, regardless of whether the source is licensed or not.”

Farzad also suggests AI as a potential promotional tool for artists. Social media algorithms are often unforgiving and artists can get lost within a sea of content. “Creating beautiful, innovative, and meaningful art is one thing, and being able to promote it and have it seen is another” he explains. “One might excel at one aspect and struggle with the other.

We often encounter artists when they gain exposure, not necessarily when they achieve a high level of skill or creativity. Many factors influence the attention an artist receives, unrelated to the art itself. This process could be improved and perhaps balanced with the help of AI technology, ensuring artists are noticed not just because they garner more likes on social media or work with a specific representative. I would appreciate seeing more of that.”

While hopes of a fruitful future is always a beneficial mindset to have, it is how we proceed from here that will truly make or break the industry when regarding the integration of AI technology. For Farzad, education and new regulations are our most vital resources for tackling the issues and ethics of AI. “Similar to the Hollywood writers’ strike, new standards may need to be established to address issues like art theft and AI participation” especially with art contests and exhibitions.

“While we may not be able to stop its advancement entirely, we can inform ourselves and others about its implications. Rather than banning its usage all together, understanding and embracing its potential can lead to better outcomes. Both artists and audiences should question the authenticity of AI-generated artwork and develop a deeper appreciation for genuine creativity. This way, AI art can be evaluated on its own merits within the artistic landscape.”

The problem isn’t AI accessing the human art history database; what’s worrying is the potential abuse of its achievements, mostly caused by humans. Clear and strict regulations are surely necessary.

When concluding this discussion with Farzad, I brought up the fact that many of us feel despondent when concerning the subject of AI. Dread fills our minds as we question everything that we hold dear in art. Should we just give up? Will this thing take out jobs? What do we do?! But for Farzad, things aren’t so bleak choosing to believe that centuries long tradition of humans making and sharing their art isn’t going to die out any time soon.

We should never give up on pursuing art and should instead “remain active and keep creating our best no matter what. There was a time in art history when the camera and photography had a similar impact on the art scene. Instead of spending hours, days, or months preserving a moment by painting it, it became a matter of seconds to do so.

Of course, it was a difficult experience for those who made a living by painting portraits, but can you imagine the art world without photography, cinematography, and the rest of the progress? We should remain positive and be flexible and creative in order to let the new art forms develop and bloom. It won’t be a smooth process, but it will definitely be worth it. This opens doors in a way we have never experienced in our lifetimes.”

Farzad Golpayegani Social Media Accounts

Website | Instagram | X | Facebook | Spotify

The post Farzad Golpayegani on the Ethics and Impact of AI appeared first on Beautiful Bizarre Magazine.

Visceral Pleasures

Opening Celebration: Friday, April 5, 2024 | 6:30pm – 8:30pm

Exhibition Dates: April 5 – April 27, 2024

Metamorphosis Gallery

Metamorphosis Gallery | Unit 7, 16 Yampi Way, Willetton WA 6155, 0477 526 789

Gallery Opening Hours: Thursday, Friday, Saturday and Sunday from 11:00am – 2:00pm

For inquires please contact the gallery on their website or email them at: metagalleryperth@gmail.com

About Visceral Pleasures//

VISCERAL
1. relating to the viscera.
“the visceral nervous system”
2. relating to deep inward feelings rather than to the intellect.

PLEASURE
noun. a feeling of happy satisfaction and enjoyment.
“she smiled with pleasure at being praised”

verb. give sexual enjoyment or satisfaction to.
“tell me what will pleasure you”

Prepare to be captivated by an extraordinary showcase of surrealist masterpieces as the anticipated exhibition, “Visceral Pleasures”, opens its doors to art enthusiasts and curious minds alike. The exhibition invites visitors to explore surrealism, known for its ability to transcend reality and evoke profound emotions, it finds a new modern expression in this interpretation of pleasure.

Featuring a curated selection of works by esteemed surrealist artists from around the world, “Visceral Pleasures” showcases the talents of visionary painters, sculptors, photographers, and mixed-media artists who have pushed the boundaries of artistic conventions. Each piece offers a glimpse into the intricacies of the human psyche, inviting viewers to question their own perceptions and venture into uncharted territories of the mind.

About Metamorphosis Gallery//

Established in 2010, Metamorphosis Art Gallery is the studio/gallery space of artist Jana Vodesil-Baruffi, an award winning artist and collector with over 40 years of practical experience in the art market. As the name suggests, Metamorphosis has undergone various changes over the years and 2023 sees the gallery with a brand new and fresh image. Metamorphosis Gallery offers an intimate and interesting space with art that will make you pause, reflect and contemplate. The gallery is dedicated to showing highly creative and technically skilled artwork and explores the world around us and within us through figurative and other artworks with surreal, fantasy and imaginative themes.

Metamorphosis Gallery Social Media Accounts

Website | Instagram

The post Metamorphosis Gallery Presents “Visceral Pleasures” appeared first on Beautiful Bizarre Magazine.

Laine Bachman is an American artist who currently resides in Columbus, Ohio. Growing up, Laine was an inquisitive child who, thanks to her mother’s love of gardening, found an avid passion for nature and plant life. In 1997, Laine graduated from Columbus College of Art and Design with a BFA degree in Painting. Originally, Laine’s body of work consisted of highly realistic still life scenes often using watercolour as her primary medium. However, her work has flourished into her current body of work where she now specialises in pop and magical surrealism. She utilises the style of pop surrealism to play with and combine real and imaginative worlds where she explores nature, plant life and wonderfully feminine energy. Laine has shown her work in various exhibitions across the United States and is currently represented by Bender Gallery.

The women in my paintings have a sense of stewardship, as though they are mother nature.

Exclusive Interview with Laine Bachman, prolific Pop Surreal and Magical Realism
artist, represented by Bender Gallery in Asheville, North Carolina.

Bender Gallery associate, Amanda Kendrick-Deemer, interviewed the Ohio based artist Laine Bachman. They talked about her current paintings, real and mythological creatures, and her studio routine.

How’s it going? It’s nice to meet you. Please tell me about your background, where did you
grow up, and were you interested in art as a kid?

I grew up in Middletown, Ohio, which is right between Dayton and Cincinnati. I was always
interested in art. I took many different art workshops as a kid and at the age of 14 I took up
watercolour which was my main media for years. I graduated with a BFA in Painting from
Columbus College of Art & Design in 1997 and about 16 years ago I started working with
acrylic. I had just had my daughter and worked with acrylic instead of oil paint to have a less
toxic environment.

You paint so many different types of animals and insects, how much of your studio practice involves research? How do you get your ideas?

I love books. I collect field guides, and I love old encyclopedias. My whole life I have been
fascinated by the pictures and illustrations in those types of books. Just out of college I worked at a bead store, and I feel that is what brought on my sense of ornateness within my work. I did intricate beaded works for a time. As for the plants, I love gardening and I grew up witnessing my mother gardening daily. I make sure to visit botanical gardens and natural history museums whenever I’m traveling.

I’ve noticed that your paintings seem to take place all over the world, how do you decide
the geological setting of your paintings?

My paintings are worlds I create. Usually I pick a theme, ‘The Everglades’ for instance, and then run with it. Any animals or plants prevalent in that setting, are on the list of possible additions to the composition.

What does a typical day in the studio look like for you? Do you listen to music or podcasts?

It varies but I usually paint for 5-8 hours (or more) every day. I wake up, have my coffee, and
head to the studio. I listen to podcasts, usually true crime. I paint until it gets dark or when my daughter gets home.

Do you keep a sketchbook? If so, what does it look like, are you making small, planned
drawings, taking notes, writing lists? How do you decide on your compositions?

Yes, it’s usually filled with words and rudimentary sketches. I have lists of what I’ll include in
the paintings I’m working on. When I want to add in a hybrid animal, I pull from my list to
decide what the combination will be. My sketchbook is usually messy and done all in pencil.

What are you working on right now? Can you tell me a little bit about your painting
process?

I work on five paintings at once. My favorite part is starting a painting. With my larger pieces, I have a hard time bringing them to completion. Usually, I need to sit with it for a bit, to decide on what the final touches should be.

Right now, I’m creating some paintings for the Canton Museum of Art in Ohio for a solo
exhibition in the summer of 2024. Some of them will be a part of my planet series and others will be landscapes with nebula backgrounds. I start my paintings with the background. The sky is so important. It dictates what will follow and the mood of the piece. I then start building forward, maybe with some trees and then continue filling the composition with plants, animals, insects, etc. I equate my painting process to building a garden.

If you had to choose only one word that you feel best describes your work, what would it
be, and why?

Complex. I spend a lot of time creating layers within my pieces, connecting the environment
with the living things that are a part of it.

I equate my painting process to building a garden.

I want to know about your paintings like ‘Hell Bender’ and ‘It’s Just a Phase’. They are
clearly darker or moodier, how do you see these types of works in conjunction with a
mellower painting like ‘Orchid Oasis’? Are you actively thinking about how your audience
will perceive your work?

The subject matter for each new painting depends on my mood and the images I want to see. The hellbender salamander is an amphibian found in Ohio and some other states. It’s such a strange and unique animal, that some people may perceive it as made-up. So, although some of my works have mythological or hybrid creatures, there are mostly real places and animals. Because of this, there’s an undertone of conservation. I want my viewers to think more about nature and the environment than they did before looking at my work.

Tell me about your painting ‘It’s Just a Phase’.

I had done a watercolor painting of a bat girl a long time ago. I rediscovered it and decided to
rework it. I added the dragonfly wings because of the history and stories of fairies and wanted to bring that into this piece. The border is made up of dusty millers which are fuzzy plants I find in my garden. The green was used to explore the visuals of night vision. To see things that you normally wouldn’t, like the supernatural.

Let’s talk about fashion. Sometimes your women are wearing clothing from the early 20th
century, sometimes the 16th century, sometimes a different era. Where do you get your
inspiration?

I’m inspired by royal portraiture and Tudor art. Lace is a common element in those eras of
fashion that can be translated over to what one finds in nature. In ‘Night Orchid’, the lace ruff is dried tomatillo skins. I collect elements like that to add to a piece for a subtle touch of ornamentation.

Why the enlarged eyes? I’ve noticed that most of your girls have similar facial features. Is
that just to keep a consistency across the board in that aspect?

I’ve always been attracted to large eyes in the pop surrealism genre. In terms of the facial look of my figures, some viewers say they resemble me or my daughter, but it’s not a conscious thing. It’s just my style and how I’ve always drawn the women and girls in my pieces. The women in my paintings have a sense of stewardship, as though they are mother nature.

In ‘The Departure’, there are some glowing creatures floating over the leaves. Is this to show the connection of all wildlife and creatures?

In this painting, the woman is wearing a Victorian mourning outfit, signaling the end of autumn. The organisms hovering over the leaves are the ones that will eventually break down dead leaves. I don’t add things unless they make sense to me. Sometimes I put the impossible with nature to make it visible.

Lastly, talk to me about your titles. At what stage of making a piece do you decide on the
title?

It depends. An example would be with my three paintings, ‘Departure’, ‘Arrival’, and ‘En Root’. I made one, and then I decided to make a few more as a series about the journey of the seasons; really about transitions. The titles came along as I painted them. For ‘It’s Just a Phase’, I was thinking about my teenage daughter while titling it. And of course, the inclusion of three moon phases.

Check out Laine’s available work here: Bender Gallery!

Laine Bachman Social Media Accounts

Website | Instagram

Bender Gallery Social Media Accounts

Website | Instagram | X | Facebook

The post Laine Bachman & Her Enchanting Pop Surreal Realms appeared first on Beautiful Bizarre Magazine.

Seth Haverkamp specialises in portraiture and still life. In 2003, he graduated from Carson Newman College with a BFA in Painting and has studied under the guidance of Nelson Shanks Studio Incamminiati and Robert Liberace. His painting style utilises a minimal colour palette of red, blue, yellow, purple, cadmium orange and white and he often prefers to use these colours at their purest rather than mixing them.

His unique approach to colour is amplified by his use of form and the dramatic ambience created using light and darkness within his work. Seth has found international acclaim winning a number of awards including the Portrait Society of America’s Draper Grand Prize (2019) and the People’s Choice Award in America’s International Portrait Competition (2013). His work has featured in a number of art magazine publications as well as in exhibitions across the United States as well as in museums and private collections including the Art Renewal Center Museum and Katherine Weymouth’s private collection.

I find oils to be very forgiving and very beautiful. They glow from within. There are so many different techniques and approaches to fulfill any whim. I also love knowing that I’m painting with the same media as Leonardo and Michelangelo, all these centuries later.

Exclusive Interview with Seth Haverkamp, 2019 recipient of the Portrait Society of
America International Competition Draper Grand Prize, represented by Bender Gallery in Asheville, North Carolina. Bender Gallery Associate, Amanda Kendrick-Deemer, called the artist and painter, Seth Haverkamp, and they had a spirited chat discussing his current paintings, his upcoming 2024 solo show at Bender Gallery, and the common motifs throughout his work.

Hey there. It’s great to meet you, even if over the phone. Tell me a little about yourself,
your art journey, were you into art growing up, if so, what were you making back then?

Art was the thing I was good at. I remember as early as the age of five always drawing. In fifth
grade, I turned in ten drawings of birds of prey with some text as my science fair submission. I was always trying to find ways to make my assignments drawing related. My dad was a sculptor and art therapist, and my grandpa was a talented Sunday painter. So, I guess you could say it runs in the family. When it came to decide on college, the only real option was art school, and my parents were very supportive. I received my BFA from Carson Newman College in Knoxville, TN.

Tell me about an important life moment that greatly influenced the direction of your work.

In 2004, I saw a painting by Nelson Shanks on the cover of an art magazine. It stopped me in my tracks, and I found a way to take a workshop with him in Philadelphia. Within the first twenty minutes of the class, my life was changed. He was teaching how to get a painting started within minutes, no time-consuming drawing required, which was what I had been doing up until that point. I knew then I needed to move to Philly to study under him, and within a year my family and I had moved up there and I trained with Shanks for ten months. I learned how to start a painting, but I didn’t know what I wanted to paint. It led to still lifes and then painting my
children.

What are you working on right now? Do you already know what works will be in your fall
solo exhibition at Bender Gallery?

I’m painting a lot of children and landscape-y, not realistic, impressions of the world. I’m playing with light, warms and cools, and most of my paintings in the show will have multiple light sources. One of the paintings is of my niece with a dragon fly that’s glowing, and she’s immersed in a sketchy, abstract background.

I’m interested in hearing about how you envision the setting or atmosphere your figures
are in.

I choose objects to fill the space with interest. An object doesn’t necessarily have a particular
meaning, rather it could be about the folds of the blanket and the way the light hits certain areas. I want the different shapes to morph into a realistic three-dimensional object. Chair arms or a portion of a wall can shift the abstract background into something more real. It doesn’t matter that I’m colour blind, I can focus on the warm and cool light and sculpt forms using the purity of colour to turn forms and make shapes.

I push the sense of drama which is supported by the (somewhat) abstract backgrounds I create. I use a limited palette, usually just five colours, but that is transformed through mixing in order to paint the rainbow on a person.

You use branches and origami often in your work. Can you tell me about why you use these
particular items?

I learned how to do origami as a young kid and still love it. The different values assigned to
planes on the folds of origami hold my interest. The crown of branches bring nature into the
scene. Sometimes I will bring branches to a photoshoot with my kid, and they will come up with ideas that will influence the outcome of the painting. It’s basically like a family collaboration.

How many children do you have? Will you always paint them?

I have four kids. I will always paint them. There will just need to be a different scenario when
they are adults. There are certain poses or props that can work with a nine-year-old that just
won’t work with a 19-year-old. I could see in the future doing more serious portraits of them
when they are older. Maybe they’ll be doing something and not looking out at the viewer. In
most of my past portraits, the model is looking out at us. This method facilitates engagement
with the viewer.

Why are all your figures barefoot (except for ‘Red Boots’ of course)?

Shoes date things. They aren’t necessary. Feet are hard to get right, and that interests me. There’s something organic and natural about a shoeless kid. Hands are one of the most important elements in a portrait. I’m always questioning ‘how do I get hands into this scene in a natural way?’. That’s another way that the props come into play. How can they wear this crown and have their hands positioned in a certain way that it becomes another focal point.

As an oil painter myself, I’m extra curious to hear, what do you love most about the
medium you have chosen to work in?

I find oils to be very forgiving and very beautiful. They glow from within. There are so many
different techniques and approaches to fulfill any whim. I also love knowing that I’m painting
with the same media as Leonardo and Michelangelo, all these centuries later.

If you had to choose three words that you feel best describes your work, what would they
be, and why?

I have a hard time with choosing three. I would want people to see and describe my work as magical. Portrait painting can be mundane, and my goal is to bring it out of that and be anything but ordinary. I love working with blue and orange light because it makes the portrait feel like something more than reality.

Shoes date things. They aren’t necessary. Feet are hard to get right, and that interests me. There’s something organic and natural about a shoeless kid.

Tell me about your typical studio routine. What do you listen to in the studio?

I paint on a painting in the morning, and then paint on a different painting in the afternoon. I
prefer to work on two to three paintings at a time especially because they’re in different stages of drying. If I’m working on the background, I splash oil paint thinned with solvent to create my abstract backgrounds. I usually listen to classic rock or NPR podcasts. Sometimes I’ll put on a Netflix show and listen to that. It’s always nice to mix it up.

Who is the model with the red hair in ‘Wynter at Night’? Is her name Wynter and is her hair that colour?

Yes, her name is Wynter. Her hair wasn’t actually red when I painted her portrait. It was a pale blue colour. That’s a good example of colour not needing to be the same that is witnessed in real life. My paintings aren’t necessarily “real” because I create my own environments and switch up the colours.

What advice did you get as a young artist that still influences you today?

Because of my obstinate nature, I would say the repetitive phrase of ‘How are you ever going to turn this into a career?’ was the driving force. Some advice I like to give to my own students is ‘Mess up as much as possible, it’s not the accomplishments that allow you to learn but the failures’.

Seth Haverkamp will have a solo show at Bender Gallery in the fall of 2024. Keep an eye on
their social media for updates. Check out Seth’s available work here: Bender Gallery!

Seth Haverkamp Social Media Accounts

Website | Instagram

Bender Gallery Social Media Accounts

Website | Instagram | X | Facebook

The post Seth Haverkamp: The Art of a Father’s Love appeared first on Beautiful Bizarre Magazine.

‘Ascension’ is part of Jessica’s solo exhibition ‘Quest’ which released back in December 2023. Like a phoenix rising from the ashes, ‘Quest’ was born from a rekindled love for painting. After suffering a seven month art slump throughout the winter and having lost all trail of her imagination, the award winning artist set out on a quest of her own. This journey began when she packed her bags and left her Philadelphia home for an artist residency in the heart of Scotland. Jessica began to discover the natural beauty and magic that Scotland had to offer. She discovered ancient castles that once housed Joan of Arc, old forests steeped in myth and ancients graves of knights and monks and began to to feel her fingertips glowing with creative magic. With her new found inspiration, Jessica began researching Scottish fairy tales finding solace within classic fairy tale heroines. Thus, ‘Quest’ was born, a collection of oil paintings featuring over 10 new pieces and several older works from Jessica’s catalogue along with the debut release of her young adult novel ‘The Storms of Avalon’. Let’s catch up with Jessica to learn more about her exciting journey with ‘Quest’ and her debut novel.

The women of Quest are both real and imagined. Real in that many of them exist as people in the real world, artists and creators in their own right; and imagined in that they exist in an imaginative plane within the paintings.  In Rapunzel’s Flight, the basis of the idea was sparked from a photo that was the result of an intensive 7 hour collaborative photo shoot in Iceland between Eden Tijerina (@edensheaven), photographer @icelandicselkie and handmade corset designer @sonia._._t and vintage shop @lillian_lorraine. This resulted in a stunning photo that sparked my imagination as the narrative for a fairy tale piece, which graciously the director of the shoot, Eden, lent me her vision for.  Another real woman part of Quest is Ruby Barker @rubybarker, the model for Midnight Garden. 

Ruby is well known for her acting career, as one of the leading ladies (Marina Thompson) in the hit show Bridgerton. She is also a founder and ceo of My Lady Melts @myladymelts and is an active philanthropist.  In my piece Midnight Garden, I imagined Ruby’s Bridgerton character Marina as the mistress of her own castle, taking a walk by midnight. Lastly, my piece Red, is inspired by seamstress and designer Haggie (@hagandcompany) who hand sews all of her fashions using upcycled and found fabrics. Haggie and I were in Scotland together, and were saturated with its magical landscape which became the backdrop for the piece.  All of these women, fantastic creators in their own right, are a part of the creation of Quest.

My hope is within my work, you will be reminded that you are the hero(ine) of your own story, and be inspired to embody her.

Exclusive Interview with Jessica Libor

‘Quest’ was born from a new kindled passion for painting after a long seven months of feeling lost and uninspired. How are you feeling after conquering these feelings and now being on the other side with a new exhibition?
I feel very renewed, and happy that I was able to find my inspiration again. As many artists can attest, feeling uninspired can be detrimental to your artistic practice. For me, I found inspiration again in Scotland, in a moment of pure clarity about this future body of work that now exists in Quest. It was like I could see it before it came into form. The mystical history and lore of Scotland really awakened and fascinated my creativity into a new, bold vision.

‘Quest’ is an exhibition showcasing and celebrating not only a collection of new paintings but also the debut of your new novel which is a young adult fairy tale. Can you tell me a bit about your debut novel and how it came into fruition?

‘The Storms of Avalon’ is my first novel. I wanted to write a fairy tale for a few years, but I never had a compelling enough idea for the plot and message of the book, so it was left to the wayside. However, when I was at an artist residency in France this summer, I had a dream the very first night I was there of a shining white city that floated in the ocean, its magic crystal caves, and a princess who had to journey to this legendary place to fetch a magic crystal to heal her land in trouble. I awoke in the middle of the night, thrilled at this dream, and the entire plot came pouring into my mind that night, like it was delivered by the angels of the chateau I was staying at. I began writing it that next day! It was so much fun to write, I very much felt like I was absorbed in the story, living the adventures. There is danger, madness, escape, seafaring voyages on ancient vessels, mermaids, this floating city of Avalon, romance with a mysterious local named Ronan, crystal orchards in the heart of the island, a mystical queen, and a dangerous quest to restore the protagonist’s kingdom. I was excited to have the novel available at the exhibition, it felt like the perfect moment to bring it forth. I just self-published it to have the copies there in time for the exhibition, but I am looking at getting it published in the future! 

What has it been like preparing for this exhibition considering you have been working on new paintings alongside debuting as an author?

It was exhilarating! A lot of the paintings feel like they complement the novel, but not quite illustrate it. They definitely feel like they are from the same world. Beyond that, completing a novel and a new body of work definitely took a lot of discipline. I had a rigorous schedule of creating my paintings and then working on the book. I didn’t have the luxury of time to overthink the writing or the painting. And in that way, especially in painting, that often results in work that feels more fresh, immediate and sweeping. I thought a lot about time as I was working on ‘Quest’. I was under tight deadlines, and my usual time allowance that I took to paint one work was not going to work if I was to get everything done in time. It really challenged me to paint faster and in a more precise way, to reach for the highest version of the creator inside of me in order to complete the work. One of the paintings — ‘Rapunzel’s Flight’ — was completed in just 3 days, and it was one of the largest works in the show. Now, I was painting about 12 hours a day, very intensely, but still, that time frame was a record for me. It showed me what I was capable of when I place all of my attention on something and completely get into flow. Sometimes you don’t know something is possible until it must be possible!

Alongside painting, is writing something you have always been passionate about?

In high school, I actually wrote several short novels, but I never published them. When I was 12, I wrote a story about a young girl who falls from a treehouse and wakes up out of a coma 17 years later. The story is about her coming to terms with her life, recovering and healing, and has a mystical touch to it. That short story was published in an international magazine. So yes, writing has always been something I’ve enjoyed. I suppose art has been my focus for the last few years, but writing ‘The Storms of Avalon’ has definitely re-awakened my interest in writing. 

I feel very renewed, and happy that I was able to find my inspiration again.

When writing your novel, were there any specific authors or fairy tales that you took particular inspiration from?

I was particularly inspired by ‘The Alchemist’ by Paula Coelho, I loved how short but powerful that novel was, and all of the magical yet profound messaging within it. Aside from that, I just wrote it from the perspective of the main character, Violet, as if I was her, experiencing all that she did. I also noticed that my descriptions are very visual within the novel — I want to paint every scene!

What are some of your favorite pieces within Quest, and what do they mean to you?

Three of my favorite pieces within the show are ‘The Wise Tree’, ‘Rapunzel’s Flight’, and ‘Ascension’. ‘The Wise Tree’ is inspired by a tree that I encountered while on a that pivotal artist residency Scotland. I walk on a walk through the woods, and when I saw it, I stared at it for a long time, imagining how old the tree must be and what it had seen in its lifetime. It had a hollow that was perfect for an owl, the personification of wisdom. I like this painting because it seems dimensional to me, and I like the contrast of the white gold of the sky against the dark bare branches of the tree.

‘Rapunzel’s Flight’ feels like a new level for me within my figurative work. The unusual pose, the detail in the sky and the dream-like landscape all seem to have worked together to create a piece that feels haunting and romantic. It is inspired by the original story of Rapunzel from Grimm’s Fairy Tales, where after escaping the tower, Rapunzel wanders in the wilderness for many moons until she is reunited with her prince, and heals him with her tears. In the story, wild animals help her and come to her aid, so the wild horses seem fitting. This piece feels like a breakthrough for me because I painted it so quickly and really leaned into my intuition while doing so.

‘Ascension’ is a large work in progress piece that I have been working on during the duration of ‘Quest’, at The Look Listen Gallery. It is about the flight of the soul from the earth into a higher dimension, or reaching towards our highest self. The moon symbolizes this abstract ideal, and the figure on the Pegasus strives ever upwards. This one is a favorite because it is probably my most ambitious piece I have created that is in the fantasy realm. ‘Quest’ celebrates all the amazing heroines from both fact and fiction, it’s an ode to all the women out there on their own quests in life. 

Quest celebrates all the amazing heroines from both fact and fiction, it’s an ode to all the women out there on their own quests in life. What is something you would like to say to our Beautiful Bizarre heroines reading this?

I’d say that the reason we are drawn to these stories of myth and mysticism is that these heroines represent ideals within ourselves. These characters help us remember the strength, curiosity, beauty, talent, kindness, heroism and autonomy already present within each one of us. My hope is within my work, you will be reminded that you are the hero(ine) of your own story, and be inspired to embody her.

To inquire about one of Jessica’s pieces, please go to www.thelooklisten.com or contact Jessica at www.jessicalibor.com.

Jessica Libor Social Media Accounts

Website | Instagram | Facebook

The post Jessica Libor & The Quest for Her Artistic Spark appeared first on Beautiful Bizarre Magazine.

Farzad Golpayegani was born in Tehran, Iran and now currently resides in the USA. As the son of graphic designer and painter Behzad Golpayegani, Farzad is following in his father’s footsteps as a visual artist who revels in the styles of surrealism and expressionism. During his high school years Farzad began learning graphic design and painting and graduated with a degree in Graphic Design. While his late father inspired his painterly side, his love of music came from his older brother who introduced him to rock and metal music. In 1994, Farzad bought his first guitar with the goal of taking music more seriously.

Farzad works in both fields of music and art and has composed music for advertisements, animation, short films and video games. His personal art projects combine his skills as a musician and painter to create a unique visual and listening experience. His musical style mixes progressive metal with eastern, Persian and classical music using his 7-string electric guitar and acoustic guitar played in eastern tuning. Farzad currently has nine albums all of which he has been the driving force in as he composes, plays, records, mixes and masters his songs and creates the album covers which accompany the records. He performs much of his music live as both solo performances and with his band “Farzad G Band”.

I hope that my work serves as an inspiration. Witnessing the enhancement of different art forms is truly exciting.

Interview with Farzad Golpayegani

In your own words, how would you describe the art that you make?

My art is primarily rooted in surrealism, yet I’ve always explored my unique approach within this style. I reshape human anatomy, portraits, objects, and nature in my art to convey my messages. Additionally, I incorporate Middle Eastern forms and elements into my compositions, adding a personal touch to my work. Regarding subject matter, I go very deep into emotions, symbolism, and feelings, while in terms of aesthetics and technique, I tend to maintain a realistic appearance.

Who are some of your biggest influences both as a musician and a visual artist?

As a musician, my influences have been very diverse. That is probably how I got into combining different styles into fusion and progressive rock and metal. I initially got into playing music through exposure to hard rock, and metal, but I always have been fascinated by anything that moves me, like classical, jazz, fusion, and folklore.

As a visual artist, I admire Da Vinci, Michelangelo, and Botticelli, alongside more contemporary artists such as Bacon, Jacometti, Picasso, Pollock, Giger, and Beksinski.

Your older brother helped spark your love for music, what kind of music were you first introduced to through his influence?

Initially, I was introduced to the world of hard rock, which gradually led me into heavier metal genres. My early exposure to this music at young age played a significant role in shaping my musical journey. By the time I started playing the guitar at the age of fifteen, I had already immersed myself in rock music for several years, which greatly expedited my learning process and eventually enabled me to start teaching guitar after just one year of playing.

Has your father’s work inspired and influenced you as an artist?

Certainly. While I never had the opportunity to learn directly from my father due to his hospitalization when I was only two years old and his passing when I was seven, growing up in an environment with his artworks and creations in every corner greatly contributed to shaping my artistic vision.

Do you approach working on a new visual piece the same as you would approach a new song or album? Or is it a different process entirely?

There are similarities between the two creative processes. Both demand extensive study, practice, experimentation, and moments of inspiration. I either experiment with guitar riffs and jams or sketch and conceptualize ideas in my sketchbook when I’m in the early stages of creating music or visual artwork. These initial phases are crucial for finding the direction I want to take and developing my ideas into finished pieces, whether they be musical compositions or visual artworks.

Your paintings have an alien-like, ethereal quality to them, what are your thoughts on this interpretation?

You pointed that out accurately. While it is not my goal to give my work with an alien-like appearance, my approach involves simplifying figures and utilizing human body proportions to convey concepts and emotions. I generally leave the interpretation of my work to the audience, but personally, I don’t try to create artwork that appears merely scary or unsettling. I aim to convey my message through the figures I create, allowing them to differ from standard appearances and proportions. In other words, my priority is the depth of my artwork rather than its surface aesthetics.

As someone who loves both visual art and music, I feel like we don’t see many artists who intertwine these two artforms together even though they go hand in hand. For example, album artwork is often made by someone separate from the musicians who make the music. Do you hope your work will encourage others to experiment more with visual art, music, and other art forms?

I really do. I hope that my work serves as an inspiration. Witnessing the enhancement of different art forms is truly exciting. While there are animators and video artists who have explored similar ideas, there are countless possibilities and avenues to explore. It’s worth noting that established actors performing music on large stages or talented musicians exhibiting amateur paintings in prestigious art galleries, while admirable, do not align with my vision. I hope to see younger generations and emerging artists naturally explore this interdisciplinary path and watch it flourish organically.

While I was not optimistic about witnessing major change [in Iran for] the foreseeable future, the Iranian uprising of the previous year marked a significant turning point. The younger generation fought vigorously for their rights in unprecedented ways, and now, amid all the adversity faced by Iran, there is newfound hope that has been absent for decades. I am optimistic that this hope will eventually translate into tangible change.

What kind of music do you like to play whilst working on your art? Do you play your own music or do you listen to other artists?

I often listen to others while working on my art. However, it depends on the project at hand. For my recent painting collections, I created paintings for each track on my latest music albums, with each artwork sharing a title with its corresponding song. During the conceptualization phase of these paintings, I listen to the specific song associated with the artwork to help me generate ideas. Once I’ve determined my creative direction and I am in the execution phase, I may also listen to music by other artists.

Your birth place isn’t accepting of the music you make, do you think we’ll see changes/progress for this any time soon?

Yes, unfortunately, the regime in my birthplace, Iran, has not been welcoming to the type of music I create. This was a primary reason for my relocation many years ago. While I was not optimistic about witnessing major change in the foreseeable future, the Iranian uprising of the previous year marked a significant turning point. The younger generation fought vigorously for their rights in unprecedented ways, and now, amid all the adversity faced by Iran, there is newfound hope that has been absent for decades. I am optimistic that this hope will eventually translate into tangible change.

What has been the most important lesson you have learned as a musician and visual artist?

The most crucial lesson I’ve learned is not to let the amount of recognition, whether positive or negative, define the value of my work. Feedback is invaluable, but even in situations where my work may not receive the exposure I believe it deserves, I remain passionate about what I do. I find happiness in doing work I love and finishing it, rather than looking for approval from others.

Who have you been listening to lately? Any good music recommendations for us to check out?

Apart from my usual list of progressive, technical, and death metal music, I have been listening to classical music lately. Composers such as Mozart, Beethoven, Tchaikovsky, and Rachmaninoff to name a few. It has helped me to stay focus while working on the artwork I’m working on currently.

We always love to hear about where artists make their magic! Can you tell our readers a bit about your art and music studio spaces?

My home studio, which I’ve designated in my bedroom, is of average size but highly efficient. I tend to maintain a minimalist approach, particularly since my music recording and post-production processes are primarily digital, skipping the need for large guitar amps. Additionally, I have been working in the digital format for my paintings for the past eight years, as a result these methods help me to get the best of my space, and not require a lot of equipment.

What’s next for you? Any exciting projects that you can tell our readers about?

I am currently creating a painting collection inspired by my latest music album, titled ‘Nine’. This collection represents some of the finest digital work I have produced thus far. Simultaneously, I am dedicating time to rehearsals for my next musical release. I’m juggling these projects while working my full-time job, so things might take a bit of time, but I’m steadily moving forward.

Farzad Golpayegani Social Media Accounts

Website | Instagram | X | Facebook | Spotify

The post Farzad Golpayegani: The Space Between Music and Art appeared first on Beautiful Bizarre Magazine.

Loles Romero invites you to follow the mermaids call. Allow her sweet song to wash over you, filling your entire body as she lures you down, down, down, into the dark depths of the ocean. You wonder what her intentions are as she cradles the neck of a man now lost to the ocean. A lover perhaps, as her delicate hands caress him with a certain softness. Or perhaps something more sinister as her tail wraps around a long forgotten skull. No matter what her intentions may be, her ambiguity ultimately makes her that much more alluring.

Loles Romero is a concept artist and illustrator from Ibiza. In 2004, Loles graduated from Escola d’Art d’Eivissa’ before deciding to continue her art education using various courses in illustration and concept art. Her work utilises techniques from both digital and traditional media as she combines pictorial techniques with lots of texture to create a more organic and traditional artistic feel. Currently, Loles works in a variety of fields including publishing, advertising and video games creating concept art, character designs, cover art and interior illustrations. Alongside work, Loles also loves pursuing her own personal projects that explore ambiguity and fantasy concepts that draw from themes including nature, mythology and folklore.

Loles Romero’s painting “Bajo El Agua” won her the 3^rd Prize in the iCanvas Digital Art Award as part of the 2023 Beautiful Bizarre Art Prize. “Bajo El Agua” was created using a Wacom Cintiq and Photoshop.

A bit of mystery and ambiguity gives the opportunity for each viewer to use their imagination and experience it differently, make their own stories, and with some luck, engage more personally with the image.

Loles Romero

Interview with Loles Romero

First of all, I just want to say a big congratulations to you on your success in winning the 3^rd Prize iCanvas Digital Art Award! How did you feel when you found out you had won?

It was a huge surprise to find out that I was selected! It’s very rewarding to see recognition towards your art, specially from a community of artists and art lovers, and it’s great to see myself among the very artists I respect and admire.

Why did you decide to enter the Beautiful Bizarre Magazine Art Prize?

I`ve been following this publication for a few years now, since many artists that I like already collaborate with it. I thought that some of my illustrations were in tune with the magazine’s themes and interests, so I gave it a try.

I’d love to learn more about “Bajo El Agua”. Where did the initial inspiration for this piece come from? Was it inspired by a specific myth of folktale?

It doesn’t come from a particular story, but the general idea of the middle age european mermaid and other water fairies, I can’t get enough of them. When I started to draw I knew it was going to be a mermaid, but I didn’t know what it would be like. I wanted to make a different approach. Instead of having a settled and controlled idea, I painted a series of loose, spontaneous sketches and I let them show me the character and the situation.

The mermaid portrayed in this piece is highly ambiguous. Is ambiguity something you like to explore regularly in your work?

Yes. I found out that many of the characters and creatures that populate our folklore are often mischievous, apparently erratic and even cruel. But also sweet, beautiful and benevolent. And sometimes these two natures are present in a character at the same time. In “Bajo El Agua” I tried to reflect that.

Also, a bit of mystery and ambiguity gives the opportunity for each viewer to use their imagination and experience it differently, make their own stories, and with some luck, engage more personally with the image.

Your work explores folklore, mythology and nature, I’d love to hear more about your passion for these themes and the reasons why you are drawn to them.

Maybe it’s because the fantastic, through folktales and mythology, feels like a link to nature and a kind of spirituality, that there is more beyond what we can perceive at simple gaze.

Not only are they an endless source of inspiration and a great way to exercise our imagination, myths and folklore are usually meant to teach something. It can make us understand things differently through the use of symbols.

What are some of your favourite myths, legends and folktales?

Anything! But for some reason I especially like stories related to water, I guess it has something to do with growing up on an island. I enjoy fairy tales like “Undine” by Friedrich de la Motte Fouqué and “The Little Mermaid” by Hans Christian Andersen; the stories of Robert Kirk and William Butler Yeats, and fantastical characters such as the selkies and the Greek nymphs.

But I’m also very fond of the Spanish folklore, which is sadly very unknown despite its richness. We have the northern “Xanes” and all their variants, the “fameliar”, the “lamiak” or “genti de muerti”, among many others.

What do you feel you have gained from participating in the Beautiful Bizarre Magazine Art Prize?

Overall it’s been a great experience and I have learned a lot from it. I’ve been introduced to a new community of artists and I had the opportunity to meet wonderful people that have helped me greatly and very kindly through the process of exhibiting at Haven Gallery for the first time.

Not only are [myths and folklore] an endless source of inspiration and a great way to exercise our imagination, myths and folklore are usually meant to teach something. It can make us understand things differently through the use of symbols.

Would you recommend it and encourage others to enter the Beautiful Bizarre Magazine Art Prize? If so, why?

Yes, it’s a good opportunity to connect with other people and get your art seen, if you think that the themes align with those of the magazine.

As an illustrator and concept artist, do you ever encounter art block? If so, how do you tackle it?

Yes, definitely. What I think helps me the most is taking time to put the screen aside and go outside, go hiking, meet friends, visit a museum, that kind of things. Although it can be tricky when you have deadlines, my brain tells me that I’m wasting my time every minute I’m not working, but after a break I tend to work faster and better, and most important, happier.

What is one piece of advice that you would give to aspiring artists?

Practice a lot, be curious and learn to be a good observer. You can find ideas and inspiration even in the most unexpected people or places.

What is something that has inspired you lately?

Sculpture! I am amazed by historical sculpture as much as by the art of contemporary artists in this field, it inspires me to make my own. I love modeling in clay, it’s refreshing to make something tangible with your hands and it’s a fantastic exercise for studying anatomy and volume. Using the potter’s wheel is also a very satisfying experience, you can make something beautiful and useful at the same time. Pottery is just nicer if you add little feet to everything!

Loles Romero Social Media Accounts

Website | Instagram | Twitter | ArtStation

The post Aqua Ambiguity: An Interview With Loles Romero appeared first on Beautiful Bizarre Magazine.