But Españahas taken her love of the natural world a step further than just appreciating it in her artistic practice. By stepping into the shoes of real-world conservationists, España has gained awareness of the hurdles they face in protecting our planet’s most precious resources while using her unique talents to amplify their message. España’s body of work is not just an opportunity to fall in love with an animal who a viewer may never have seen portrayed in such a delicate light, but also, a call to action–to consider what this world would look like without these beautiful and intriguing creatures.

In this exclusive interview, España dives deep into the roots of her interest in conservation, the inspiration she finds there, and the ways she hopes her work and the efforts of other artists can help drive interest in this exceptional cause.

Aligning conservation and art isn’t something I have totally figured out. I have seen that through mural work of, say, endangered animals, awareness has grown publicly. On a smaller scale, through my own work, I depict marine animals that many times raise questions in those who view it. I see that as an opportunity to tell that animal’s story…

Exclusive Interview with España Garcia

How did you first get interested in conservation?

I can’t pinpoint the exact moment I got into conservation, but I remember what sparked me in that direction. I was eleven when I first learned about recycling paper. I would sift through  paper in our house and pile it for recycling and I would tell everyone about this brilliant idea called recycling! At that same time I heard about electric cars too–we’re talking like 1990. I remember thinking, ‘Who wouldn’t jump on these new ideas to help our planet??’ But here we are 30 years later and, well, we know where we still are.

How did you become interested in oceans and their inhabitants? What draws you to those ecosystems?

I became drawn to the ocean and its inhabitants as a toddler. My family was fortunate enough to have an encyclopedia (pre-internet), and I remember vigorously flipping through all the animal pages and asking my mom to read them to me. After that, I remember seeing the ocean for the first time at four, which just deepened my curiosity.

How do you believe art and conservation can align?

Aligning conservation and art isn’t something I have totally figured out. I have seen that through mural work of, say, endangered animals, awareness has grown publicly. On a smaller scale, through my own work, I depict marine animals that many times raise questions in those who view it. I see that as an opportunity to tell that animal’s story, and place the art buyer in an important position to make a difference or to learn new information. Visual images are impactful. They have the ability to transmute perspectives, evoke emotions, disseminate information, all with a look.

What have you learned from your work with conservation organizations?

I’ve learned that there is so much more to do. This is the tip of the iceberg, but it needs to be the tipping point for the survival of our planet and of our species. This isn’t an exaggeration.

Can you tell us about some of your adventures? Where have you worked in the field and what was it like?

One of my latest projects was with Project Hiu. This shark conservation organization is based out of Lombok, Indonesia. Their story is incredibly inspiring in my opinion. It was founded by Maddison Steward. What they’ve done is befriended the shark fishermen of a nearby island and offered them a deal: take tourists to pristine diving areas, and get paid–sometimes more than fishing for sharks. Which, by the way, many of them don’t want to do. Fishing for sharks is dangerous, and it can take them out to sea for days on end, so it’s easy to see why they would rather be tour guides.

I had the opportunity to go on these shark snorkeling tours; it was mind blowing! So many gorgeous sharks amongst impossible fluorescent coral and brilliant fish! I had never seen anything like it outside of ocean documentaries.

My contribution for this project was to paint a mural on a boat. It’s a mural of a hammerhead shark tattooed with the story of project Hiu in a style I created for them. We spent a lot of time with the fishermen and their families. Such generous and kind people. I think about them everyday.

What kind of conservation projects are you most intrigued by?

The hands on kind. The kind with grass roots and passionate leaders. The kind with resilient people who won’t give up. Though I gravitate towards ocean conservation, I am open to all conservation. All of it is important.

What kinds of ocean creatures or plants are you most inspired by? What qualities of those animals and plants draw you to them?

My work will tell you that sharks, octopuses, and land plants are what most inspire me, and it’s true. However, there are so many insanely fascinating creatures in the ocean that I plan to paint. Though our knowledge of the ocean has expanded significantly, we still know very little about it. I look forward to new discoveries to feature in my work.

What are some ways you use inspiration from wildlife conservation and the natural world in your artistic practice? What are some of the creatures you’ve featured in your work as a result of what you have learned and experienced about conservation?

Wildlife is my inspiration, and almost exclusively what I use as my subject matter. Choosing under-represented animals species, or many times badly represented animals (sharks), and placing them in surreal settings with fragile elements like flowers, birds, and paper cranes makes us rethink this prehistoric animal. In a way, I believe this is an act of conservation.

I hope that art can serve as a portal through which conversation begins. Opening someone’s eyes is all we need sometimes. I think all efforts matter when it comes to conservation. We sometimes can’t imagine the domino effect of our actions or inaction no matter how big or small.

What is something you wish more people knew about issues facing our oceans? Do you use your artistic practice to bring attention to those specific issues?

I wish people truly grasped how imperative the health of our oceans is to the survival of our species. For example, the offset that would happen if one day sharks disappeared from the oceans (called trophic cascade), would be devastating to us. In short, there would be less oxygen on earth. The Oceans produce more oxygen than all the rainforests combined, remove 1/3 of the atmosphere’s man-made CO2, and control the planet’s temperature and weather. This could cause as a ripple effect starting with the removal of sharks from our oceans.

In what ways do you hope art can affect how we think about issues affecting our natural world? Do you have any ideas or hopes for the future of art and conservation?

I hope that art can serve as a portal through which conversation begins. Opening someone’s eyes is all we need sometimes. I think all efforts matter when it comes to conservation. We sometimes can’t imagine the domino effect of our actions or inaction no matter how big or small. My hope is for the younger generations to not feel helpless with the planetary conditions they’ve inherited. I have hope beyond what some people say is possible because there are incredible people and organizations doing great work throughout the world!

How can artists who are interested in conservation work get involved? Are there any organizations you recommend or ways to get started?

If there are artists looking to get involved in conservation, I think a good way to start is by representing it in your work, cleaning beaches anywhere, and reducing your consumption of sea life. Also, reaching out to organizations that resonate with you. I’ve been fortunate enough to contribute to some organizations and it’s been mainly through me reaching out. Here are some organizations I’ve worked with and/or recommend. This is a short list, but if you have some you think I should reach out to send them my way!

Pangeaseed foundation, Sea walls, Project Hiu, Surf Rider foundation, Discovery shark, Shark education, Octonation, Coral gardeners, Coral restoration foundation, Ocean conservancy.

Espana Garcia Social Media Accounts

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The post The Art of Conservation: How España Garcia Uses Art to Bring Attention to the Plight of our Oceans appeared first on Beautiful Bizarre Magazine.

When picturing a crocodile, few of us would conjure up an image of something delicate, but for found-materials sculptor Sarah Lee, their likeness is best captured using one of nature’s most fragile materials: eggshells. Through the remarkable medium of eggshell sculptures, Sarah captures the foreboding intensity of the crocodile’s smile, the rough-hewn edges of its durable hide, and the grace of its reptilian motions.

In every facet, her work is a study in contradiction. From the materials she creates with to the subjects she depicts, she plays with the idea of softness and vulnerability versus strength and fortitude. Even the scale of her sculptures–often striking in their vast proportions–is carefully chosen to stun viewers and ask them to stop and consider how this giant, ophidian mass can be so elegant and alluring.

Every element of Sarah’s artistic practice is the culmination of a truly unique procedure created by years of following her natural curiosity. She stumbled upon her gift for sculpture through inquisitiveness about an unusual assignment in a drawing class. Her talent was developed and refined in her father’s auto body shop where she drew inspiration from the cast off materials of the trade and learned techniques from the body shop workers.

Her signature medium–repurposed quail egg shells–came about as an experiment sparked by her mother’s insistence upon making the most of every opportunity to recycle. Each miniscule piece of eggshell she uses in her work is scrupulously cleaned, trimmed to the shape of an individual scale, and painted in a time-consuming technique by which the artist delicately builds colour layer-by-layer.

Through this intensive process, Sarah births eggshell sculptures which are as fantastically striking as they are undeniably beautiful. In wandering through the familiar spaces of her life and seeing the materials she found there with a gaze all her own, Sarah has crafted a medium unlike any other. As another appreciator of the reptilian form, renowned palaeontologist Jack Horner once said, ‘chance favours the prepared mind.’ And none but Sarah’s own could’ve produced these extraordinary pieces.

In this exclusive interview, we’ll delve deep into Sarah’s past to learn how she came into her uncommon artistic perspective, how she chooses the animals who inspire her, and find out the materials and techniques she utilizes to produce her singular and mystifying eggshell sculptures.

How did you get started in sculpture?

I stumbled into sculpting almost by accident while taking a drawing class. Our assignment was to create a realistic-looking sculpture from found materials. Our instructor believed that success in this task would indicate a natural talent for drawing. It intrigued me, and I decided to give it a shot. That’s when my passion for sculpting began to develop.

Initially, I lacked experience in sculpting, and my early creations were quite fragile. I used air-dry clay and Sculpey, and this was also when I first started experimenting with eggshells since we were required to use found materials. It was a lot of trial and error because I had no knowledge about building armatures or understanding the baking time of Sculpey. I ended up breaking and burning many of my early sculptures.

However, despite the initial challenges, I created my first eggshell sculpture in that class, a white snake, which I still keep to this day. Interestingly, our instructor later told me that I was a better sculptor than an illustrator and suggested I consider changing my major. So, in a way, I proved his theory about measuring drawing skills wrong!

What techniques have you learned to bring your visions to life? 

After realizing that Sculpey was essentially ‘adult play-dough,’ I set out to find more stable and durable materials for my sculptures. Luckily, I had a supportive father who owned an auto body shop. He allowed me to roam freely in his shop and pester every mechanic and bodyworker to learn about the materials they used for car repairs.

I carved out a little corner for myself in the garage of the shop, surrounded by scrap metal, bumpers, and tires. It was all trial and error; I experimented with materials like fiberglass and Bondo, even welding scrap metal from damaged cars to create armatures for my sculptures. Occasionally, the employees would watch and offer their advice. The interesting thing was, most of the guys at the shop didn’t speak much English, so I had to communicate using sound effects and gestures. Sometimes, I resorted to Google Translate to help me converse in Spanish.

Despite the language barrier, they became my greatest mentors, and we’re still good friends to this day. Through them, I learned that communication goes beyond words. As long as there’s a human connection, understanding each other isn’t a problem.

What drew you to eggshells as a medium? How did you learn to manipulate them to create fantastical sculptures?

I grew up in a household where wasting things was a big no-no. My mom had this habit of reusing stuff like paper towels, grocery bags, and even Starbucks cups after washing them. Meanwhile, my dad was into salvaging car parts to fix our cars or sell them later. So, we were all about repurposing and giving things a second life. That’s where my fascination with eggshells began.

One day, we had a massive family gathering, and I was helping my mom crack eggs. We had so many leftover eggshells, and it felt incredibly wasteful. That’s when it hit me – I could find a way to repurpose these eggshells. Ever since that moment, I’ve been collecting eggshells.

Working with eggshells turned out to be quite a challenge due to their delicate nature. However, I found immense satisfaction in learning just how much I could control and transform this material into sculptures. My goal was to create a striking contrast by combining the fragility and vulnerability of eggshells with the sturdiness of metal armature and fiberglass sculptures. I wanted to explore the themes of opposites, like yin and yang, fragility and strength, vulnerability and durability, and ultimately find that delicate balance in between.

What are some sources of inspiration that you draw from when creating? Have any of your pieces been sparked by a specific moment or feeling?

My passion for animals led me to explore creatures that embodied both strength and vulnerability. I began this journey with reptiles because their scales, much like eggshells, serve as protection. I took it a step further by replicating these reptilian scales with eggshells to demonstrate my mastery of the material. And from there, my creative exploration continued.

My passion for animals led me to explore creatures that embodied both strength and vulnerability. I began this journey with reptiles because their scales, much like eggshells, serve as protection.

One especially notable element of your work is the scale and how that juxtaposes with the tiny size of the materials you use, quail egg shells! What tools and techniques do you use to help your sculptures defy gravity?

In my artistic process, I take great care in hand-cutting each eggshell to precisely mimic the scales of reptiles. This level of detail has resonated with my audience, and it’s something they genuinely appreciate. Interestingly, my inspiration for this meticulous work came from an unexpected source – a visit to a nail salon. Observing the precision tools used by manicurists to trim and shape nails intrigued me. I decided to invest in my own nail kits and cuticle cutters, which proved to be incredibly useful for shaping and cutting the fragile eggshells.

One of the most time-consuming phases of my creative process is undoubtedly the cutting and gluing of the eggshells. I’m faced with a choice: whether to preserve the eggshells in their natural color or to apply a delicate layer-by-layer painting technique. I’m careful to strike the right balance, ensuring that the texture of the shells remains intact. After this meticulous process, I seal the entire project with automotive-grade sealants. This step significantly enhances the durability and longevity of the eggshells, surpassing their typical lifespan.

I acknowledge the organic nature of these materials, which means that over time, they may naturally deteriorate or change. The eggshell “skin” may gradually fade, but the foundation and structure will persist. I find a certain beauty in the concept of impermanence, recognizing that nothing truly lasts forever. This perspective brings me satisfaction, as I’ve been able to breathe new life into these eggshells, giving them a second chance to shine in my artistic creations.

What inspires the balance between how delicate your subjects appear and their large scale?

Larger sculptures usually radiate an aura of strength and dominance, which can often be intimidating to viewers. I wanted to employ this visual strategy to convey a message. Much like many creatures in nature, which exaggerate their size to deter predators and compensate for their vulnerabilities, I sought to reveal this dynamic in my artwork.

Larger sculptures usually radiate an aura of strength and dominance, which can often be intimidating to viewers. I wanted to employ this visual strategy to convey a message.

Your work often features reptiles–lizards, turtles, and snakes. Do you feel affinity for any particular species?

In a way, I aspire to emulate the qualities of a crocodile: strength, independence, and a position as a top predator in the food chain. I’d rather be the predator than the prey, ensuring that no one can take advantage of me in any way. My aim is to live a peaceful life, much like crocodiles, who rarely encounter adversaries.

What inspired your winning piece, Yin and Yang? Did your vision for the piece change at all as you brought it to life?

My winning piece, “Yin and Yang,” took inspiration from various sources. Initially, I was intrigued by the contrast between opposites in nature, like fragility versus strength and vulnerability versus durability. I envisioned a sculpture that would juxtapose the delicate beauty of eggshells with the robustness of metal armature and fiberglass.

During the creative process, I encountered challenges due to the fragility of eggshells, which required me to adapt my techniques. However, the core concept remained consistent throughout – Yin and Yang represents a balance between opposing forces, such as negative and positive, dark and light. I sculpted these twins to illustrate how these opposing forces can be complementary, interconnected, and interdependent, emphasizing their need to coexist. The final piece reflects this concept and evolved accordingly from its initial idea to completion.

The element of eggs and eggshells go beyond just your medium–they’re also a frequent subject of your work. What do eggs and hatching symbolize for you?

Firstly, eggs and hatching represent the concept of birth and rebirth. They symbolize new beginnings, growth, and transformation. Just as a creature emerges from its shell, there’s a sense of emergence and evolution in life itself. This theme allows me to delve into the concept of ongoing change and growth.

Additionally, eggs can embody fragility and vulnerability. The shell represents a protective barrier, but it’s also delicate and easily broken. This duality mirrors the contrast between strength and weakness, resilience, and vulnerability, which are recurring themes in my work.

Furthermore, eggs and hatching can be seen as a metaphor for the human experience. They symbolize the potential within each of us, the journey of self-discovery, and the emergence of one’s true self. It reminds us that we all possess untapped inner strength, waiting to hatch and flourish.

In essence, eggs and eggshells in my art signify the cycle of life, the interplay of opposing forces, and the potential for growth and transformation. They provide a rich and versatile symbol that allows me to explore these themes in depth within my sculptures.

What do you hope viewers will feel when they interact with your work?

When viewers interact with my work, my aim is to evoke a profound sense of awe. I want them to be captivated by the intricate details and craftsmanship that I’ve poured into each sculpture. The hope is that they’ll develop a deep appreciation for the meticulous artistry at play.

Additionally, I strive to foster a deep appreciation for nature, animals, and all living things. Through my work, I aim to create a connection between the viewer and the natural world, inspiring a sense of wonder and respect for the beauty and diversity of life on our planet.

Moreover, I hope to convey the importance of recycling and sustainability. Using repurposed materials like eggshells, I emphasize the transformative power of recycling to turn the ordinary into the extraordinary. I want viewers to see the value in repurposing and appreciate the second chances that materials, and indeed all living things, can be afforded.

Ultimately, my work carries a message of life and rebirth. I want viewers to feel a deep connection to the themes of growth, transformation, and the potential for renewal. Through these emotions and reflections, I aim to create a meaningful and impactful experience for those who engage with my art.

Additionally, I strive to foster a deep appreciation for nature, animals, and all living things. Through my work, I aim to create a connection between the viewer and the natural world, inspiring a sense of wonder and respect for the beauty and diversity of life on our planet.

Why did you enter the Beautiful Bizarre Magazine Art Prize?

I entered the Beautiful Bizarre Magazine Art Prize with several goals in mind. Firstly, I aimed to win and gain exposure for my art on a global scale. Additionally, I saw the competition as an opportunity to expand my network, connect with fellow artists, and be inspired by their work. Lastly, entering was a way to support my deep passion for art and share my creative vision with a wider audience.

What do you feel you have gained from this experience?

Participating in the Beautiful Bizarre Magazine Art Prize has given me greater confidence, expanded exposure for my art, and valuable networking opportunities. Winning recognition from this prestigious platform boosted my self-assurance as an artist. The competition’s exposure has broadened my art’s reach, while networking opportunities have led to new creative insights and connections within the art community, enriching my artistic journey.

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

Yes, I highly recommend it. Entering the Beautiful Bizarre Magazine Art Prize is a great way for artists to grow. It gets your work out there, helps you connect with other artists and art fans, and gives you a boost of confidence. Plus, seeing what other artists are up to can be super inspiring. So, if you’re passionate about art and looking to grow as an artist, this competition is a fantastic opportunity.

Sarah Lee Social Media Accounts

Website | Instagram

The post Sarah Lee: Eggshell Sculptures of Earth’s Most Ancient Denizens appeared first on Beautiful Bizarre Magazine.

España’s imagery has been featured on products from sneakers to skateboards to diving fins, blending street art vibes with classical realist techniques. She makes her wildlife portraits and florals her own by blending them with geometric shapes, neon accents, and graffiti-esque texture. In this exclusive interview, learn more about España’s mission to use her art to bring attention to the habitats and their inhabitants who spark her creative joy.

How did you get started in your artistic practice?

I had always been a sort of closet artist. I sketched, doodled, and even painted a bit, but never felt it was what I was meant to do, or good enough for that matter. It was after college, but because of a college professor who pushed me, that I began my painting practice.

What are some of your inspirations? Your work often combines elements reminiscent of modern street art with elements from the natural world like animals and plants–what inspires that combination?

I’ve always been deeply inspired by marine life, and our world oceans, in every way. Perhaps because I’m from one of the most arid places on earth; the Sonoran Desert, Mexico, I remember vividly the first time I saw the ocean when I was four. I remember literally not believing that there could be so much water in one place…I considered studying marine biology for years, but a  trip to Italy at the age of 16 changed my life forever. All that ancient art and history! I know it sounds strange, but I felt connected to it somehow…as I got more exposed to the art world, I began pulling elements from different styles, like street art, classical, and surrealism.

Though I was never a graffiti artist, I always loved the speed and motion of it. Living in Southern California put that art form in front of me, but I have to give my husband credit for really showing me the graffiti realm, (he’s an old  school graffiti dude from the 90’s)…the idea of coupling subjects that don’t naturally come together has always been intriguing to me. The more they shouldn’t work together the more I want to do it.

I’ve always been deeply inspired by marine life, and our world oceans, in every way. Perhaps because I’m from one of the most arid places on earth; the Sonoran Desert, Mexico, I remember vividly the first time I saw the ocean…

Can you take us through your process for crafting a piece from start to finish?

The inception of a piece always floats around in my head for days or even months before I begin it. I’ll compose in my mind, and when I’m satisfied with the mental image, that’s when I start putting it down. I really dont do rough drafts, I go straight in, right after I finish building my wood panel. I particularly like doing the woodwork myself.

You’ve seen your designs featured on some unique objects like skateboards, bathing suits, and custom Converse sneakers. What is it like to work on such an unusual canvas? Is there any other object you’re hoping to work on in the future?

I started exploring more with product design a few years ago. Mainly digitally designing my work on different items like swimwear, sweatshirts, phone cases ect. It’s really fun to see your work on different surfaces! It’s like giving your work a whole new dimension…I’ve also collaborated with some cool companies for shoe design and got to design diving fins for a  shark preservation organization in Indonesia called  ‘Project Hiu.”

I created an image that told their story. That image was put on diving fins and sold to aid the fisherman communities trying to move away from the dangerous practice of shark fishing. Those fins still sell today. Seeing those fins being used in different parts of the world is surreal to me! 

Many of your pieces feature bold, vibrant colours accentuated by still bright but toned down pastels. How do you go about selecting those palettes? Does anything specific inspire your colour schemes?

Colour to me is everything! My colour palette is a result of constantly trying to create an intriguing pull. A pull that  feels balanced through composition, with a palette that compliments itself, and then a pop of colour. A lot of my colour inspo comes from the natural world, like flowers, and those incredible coral habitats.

You do a lot of work to benefit your community and causes you believe in, like conservation. Can you tell us more about that? How do you believe art can benefit social causes?

A single art piece can be interpreted infinite ways, there’s power in that, there’s power in art. I once had someone’s father come up to me and thank me for what I did. I didn’t understand why he would say that until he told me that his 15 yr old daughter had been suicidal. He told me she had found me on social media a few months back and had been inspired by my work. He then bought one of my paintings for her. He said she started painting shortly after that, and that she was now doing a lot better.

I just about fell of my chair when he said all that! I now teach art here and there, and the response has been so positive, everyone is so happy to be in my tiny classes haha, how can I stop now? Many of the pieces have back stories and messages. I’ve been doing more in person events where I’m able to educate people, mostly about the state of our oceans, and many times unraveling old belief systems. I very much enjoy sharing what I know with others, and benefiting with art any way I can. 

A single art piece can be interpreted infinite ways, there’s power in that, there’s power in art.

What do you do to feed your creative drive? Are there any habits or practices you find boost your creative energy?

Because I’m constantly immersing myself in new projects, while juggling life, I have to be  mindful of my time and energy. Being a young single mom forced me to develop time management skills, not to mention scheduling, it was a sink or swim type situation, haha. My ideal and most productive/creative days begin with green tea and a solid hour or so of reading, and after that, 30 minutes or so of exercise, (weights, mobility, or running). I find exercise boosts my mood, energy, and creativity, especially on long runs by the harbor, (we live one block away).

After that I’m ready to block out 4-6 hours of painting. Having a work studio area is a must! Having all your tools in one place can make the difference between painting or not painting at all that day, at least for me. Frequenting museums is high on my list with the MET being top. Contemporary art show openings are a must, we frequent them often. I love that new show energy! But of all, what gets me really going with ideas is travel! Nothing compares to the experience of travel.

What parts of the natural world are your favorite things to capture in art? Any specific plants or animals?

I particularly like to capture sharks & octopi in my art work. One of the first sharks I did was in response to the shark finning industry that occurs mostly in Asia. After that piece my focus pivoted to that subject matter because I felt that I could create work that could educate and maybe on some level help end that cruel practice.

Octopi are also a favorite of mine to paint. They are incredibly interesting creatures, highly intelligent, very curious, and absolutely alien! Did you know that of all animals they have the furthest removed DNA from anything else? Some speculate they may not have originated on earth. Flowers, and unique plant leaves are my constant subject matter, particularly peonies. I am, however, having a mushroom moment. The more I learn about mycelium, the more my mind is blown!

Your pieces frequently utilize geometric shapes and lines. What do those represent?

When I was studying art history at UCSD, I found the development of point of perspective in art fascinating, and also the ideals of symmetry through geometry in painting seen through the Fibonacci Spiral–notable in the works of Leonardo da Vinci. But when I came across the sculpture of “St Teresa in Ecstasy” , where you can see rays of a sort coming upon her, I was intrigued.  I researched the origins of geometry as a science.

We now know there is symmetry & geometry in all nature. Like the golden spiral found in nature from the way flowers bloom to the way galaxies spiral. Knowing that these lines & spirals are there is one thing, seeing them is another. I began to paint them, eventually deconstructing them, and using them more for balance in my work than for symmetry. My work consists of mainly all natural organic matter, and I feel that bright or contrasting straight or undulating lines give my work balance.

What can our readers look forward to seeing from you in the future?

I’m excited to share the current project I’m working on here in Indonesia! It will be a little bit until I can share, but it’s coming. I’m also excited to share a couple of collaborative projects I’m working on as well as a solo show I’m building work for, but don’t have a venue or date for yet, haha.

What advice would you give to someone just starting out in your medium?

I would first ask them, what’s something you would do even if you weren’t getting paid? If art is the answer…then I’d tell them to find a way to sustain, while making art, so that you don’t get stuck doing art you don’t want to do for the money.

España Garcia Social Media Accounts

Website | Instagram | Facebook

The post The Art of España Garcia: Street Art Meets Wildlife Conservation appeared first on Beautiful Bizarre Magazine.

Thorne’s process is as intricate as the pieces she crafts: she writes out a loose statement for her visual pieces before she begins the process of creating them. She finds the right elements, sometimes waiting whole seasons for the proper blooms to come into play. Then, using an elaborately hand-crafted system of cardboard and reflectors, she photographs her subjects using only natural light to create a signature style that is at once Baroque and modern.

The subjects of her captivating work range from the gleeful to the macabre, frequently tip-toeing the line between birth and death, telling stories of the natural world and its constant cycles of renewal. The longer a viewer interacts with the piece, the more they may find—Thorne’s works draw on the legacy of the painters of the Renaissance and the Dutch Golden Age who perfected the art of subtle symbolism. If a picture is worth a thousand words, Alyssa Thorne’s are not just a jumble of adjectives, but whole stories caught up in the play of light and dark, color and its absence, objects man-made and naturally grown. In this exclusive interview, we’ll delve deep into her artistic process and find out what it has taken to bring about her own golden age of still life.

How did you get started as a fine art photographer? What drew you to the art of still-life?

My beginning in art didn’t start in photography, but I suppose I have always been artistically inclined. As a child, I was always drawing on any scrap of paper I could find. I picked up photography around the age of 15 when I took a disposable film camera to San Francisco with only the intent to document my trip. I was there to visit my wonderful aunt Jenny, who is a longtime art collector and enthusiast. Wandering her house as a young person was magical, as it was packed full of art I would never have seen otherwise as a pre-internet kid from an Oregon suburb. She has always been the #1 supporter of my art, and encouraged me every step of my career, from that first camera to college. Her support of working artists taught me that being an artist as a job was even possible to do in the first place. 

After that first foray into life with a camera in hand, I fell deeply in love with how much more of my surroundings I seemed to see through the lens. I began to notice details I never had before. A camera was a magical device – time slowed to a standstill under my shutter, and the world rapidly unfolded for me. I continued learning photography through film courses in high school and then art college. I can still see that pure wonder in photos I took as a teenager. The newness and elation of having a tool to see the world the way I was meant to. A new, unknown universe had revealed itself, and I was ready for it.

A camera was a magical device – time slowed to a standstill under my shutter, and the world rapidly unfolded for me.

Before and during the beginning of college, I focused mostly on portraits, commercial work, and landscapes. Capturing the hidden parts of the world, of people and places. I studied art history alongside photography and quickly became obsessed with renaissance, baroque, and Dutch golden age art. I am an ardent lover of secrets and symbols, and each still life I researched contained so many multitudes. I was utterly awed. How can one table tell so many stories? I photographed still life only for myself as a kind of visual therapy diary, to work through my pain and celebrate my joy.

I thought they were a little old fashioned for people to want to see, so I did not show any publicly until the last few years. I have always done other art forms and kept them to myself. I draw regularly and have had a longstanding affair with sculpture, which informs my still life work a lot. In high school I even welded a flock of sculptures which my mother graciously kept in the garage. I say this, because unfortunately, they were very, very ugly. I decided, at a certain point, that still life (& the occasional self-portrait) was the only vehicle that could properly tell the stories I wanted to tell. I doubt that will ever change.

Once I started to post my still life, my art took off on social media more than it ever had before. At this point I absolutely do not see myself doing anything else photographically for a long time, if ever. My creativity is now deeply rooted in the very hands-on process of shaping and making the arrangements themselves. The thought of making photographs without that process feels very empty to me. Which is not to say that I don’t like making other types of photographs alongside the still lifes, it is just the core of my practice now to work this way.

What are some habits you’ve developed in your artistic practice that help you to stay inspired?

Taking breaks. Often when I am burnt out creatively, it’s due to having no time outside the studio doing what I enjoy or experiencing life.

I think the most helpful thing other than that is forming creative relationships. It can be so inspiring to see someone else at work and have the right space to discuss challenges and share triumphs in your practice. My good friend, the transcendent painter Elisa Vita, is always a refresh to my inspiration. We have a type of relationship that was previously unknown to me. We are somehow not only close friends, but also each other’s critique partner, teacher, mentor, moral support, cheerleader, proofreader, and more. Our talks are the safest place to discuss our wildest creative ideas. We have a similar way about us, with different ways of expression. Every artist has their own secret world, where they grow and pluck ideas. Ours just happen to border each other and we’ve given each other spare keys to visit.

Every artist has their own secret world, where they grow and pluck ideas. Ours just happen to border each other and we’ve given each other spare keys to visit.

What is your process for crafting a piece from start to finish?

After thinking of a concept for a new piece, I write a loose outline of my statement for it. Typically, I don’t write the whole thing beforehand, but knowing what I want to say with the image and the statement both, is important. I have been writing all my life, and believe that for me, my words and my photos are inseparable. They are a whole unit, interwoven so tightly that I rarely display full pieces without the statement. For others viewing my images, they may not read my words at all and gain something else from the piece. That is encouraged, because art is personal, and meant to evolve beyond its creator. If what it means to you wasn’t the creator’s intent, it’s still meaningful isn’t it?

After creating the outline, I do any research that I need to make a list of props and possible floral options – if there is a particular need, sometimes I must wait til the right season to shoot. I shop for props once I am ready to start putting the piece together. A lot of the props are my own belongings, sentimental heirlooms etc. Otherwise, I thrift locally with a list in hand, or source items through Roses & Rue Antiques.

Once I have props, I sketch a loose composition, which often changes during the shoot. I frequently do test shoots on the props to see if there are any difficulties with my lighting or composition. Then comes the actual shoot, which takes a few hours to do. I use only natural light and a rather robust cardboard flagging and reflector system. After that I edit, and that can take 3-12 hours depending on the piece. Over a span of a week to 6 months, depending on how easy it is for me to decide on the color grading. Then I finish the statement and release it!

What are some common elements you find yourself drawn to time and time again? What do those symbolize for you?

I love my symbols! A lot of people still have this attitude that still life work is boring, but I think with the right curiosity, it can be interesting to anyone. Objects can be so multifaced in what they represent. It’s all way beyond just being an object on a table. A single petal can be a whole world. Historically, it was often a picture of the culture and state of the world at the time. Elements in classical still life represented everything from vanity, and the fleeting nature of the human lifespan, to trade routes, transformation, and divinity. Reflections can be seen in glasses, platters, and other mirrored surfaces – if you look close enough at a reflective object in a classical still life, you’ll see windows, doors, the artist themselves, and other things. Some still life even contain windows that look out to a larger world. Which may be a little hint at a piece I am currently working on. :)

As for my favorites, I love using (faux) skulls! I have always had an affinity for both death & time symbolism like candles, hourglasses etc., but skulls are my favorite. My skull is a carved and painted foam replica, I’ve named her Francis, and my community seems to find that as funny as I do. Francis has starred in a large number of my works, most recently in one of my favorite commissions for my friend Nicole Eigener’s book cover. The book, – “citizens of shadow”, is the second book in her series about a queer, French, time-traveling vampire. I absolutely jumped at the chance to do the cover, of course, and being that a vampire is the main character, death is obviously a theme. She sent me some artifacts that her character uses in the book, and it was one of the most unique and fun commission pieces I have ever made.

On a more serious note, I use skulls and death imagery so much, as my earliest still life works were created to work out grief and trauma I was experiencing. I was subject to a lot of loss in my early childhood. I still make a lot of work about these feelings. Death is not a taboo subject for me, and I think discussion of it needs to be normalized more. I believe strongly in death positivity – a movement dedicated to speaking more openly about death, to reduce stigmas around discussing dying & grief, impact end-of-life care. It is also a way to help the death care industry protect the environment through advocating for more eco-friendly and accessible practices. Death positivity empowers us to question systems, laws, socioeconomic divides, and the inequalities of racial, gender, and sexual orientation etc, that result in unnecessary death.

Your craft often rotates with the seasons, using elements and colors that represent the tonality of the natural world. Do you have a favorite season? Do any inspire you more than others?

I work with what is available to me locally as far as florals, fruit etc., so I usually stick with a seasonal palette or visual theme, unless I am working on a piece for some time and end up releasing it late. I love working this way because it enables me to have constant change. I live in the pacific northwest, and I get the luxury of foraging around me for a lot of the things I use. Some of my pieces contain entirely or partially foraged materials like blackberry vine, cherry blossom, leaves etc. I don’t always buy flowers and plants. “Still Life with Dogwood” is my favorite. Every flower in this piece was taken from the dogwood outside my apartment.

How long do you spend setting up an individual still life? Do you take many images to get the one which you’ll ultimately use?

It often depends on if there are perishable elements, like flowers out of water. Generally, it takes about 2 hours, but sometimes it will go on a little longer if I have little or no florals and time to rearrange, or if it is a particularly large & intricate piece. I rearrange it as I go, and often end up with over 100 images to pare down from. I usually edit less than five, and one makes it as the piece. The other shots are details, up close, or videos that I post to social media so that viewers can see other angles, details, or how I shoot.

Are there any secrets to still life photography that amateurs might not know that you’re able to share?

As I mentioned, when detailing my process, it takes a very long time for me personally to create a new work. I am not sure my particular length of process is true for every still life artist, as we all have our own routines. I have spoken to many other artists in my community though, and we all are generally careful and detailed sorts of people. ALL still life takes a fair amount of time to craft. Viewers often think it is a matter of tossing flowers in a vase for a quick beautiful shot, but even my most quickly created photos with little to no concept, take hours. There is a lot of rearranging behind the scenes, and nothing is as easy as it looks; something I definitely didn’t know before I started.

Every unborn idea, every truth in the world that I want to know, is veiled by the shadow of the unknown. The terrible parts of life are given power by hiding in the dark. It is my job to pull them from the void and shine a light on them, whether they are pleasant to see or not.

Many of your pieces play with light and dark, the ethereal alongside the macabre—what do those elements symbolize for you? What draws you to that specific contrast?

That stark contrast, both visually and thematically, is a standard in most of my pieces for multiple reasons. The  mores obvious reason, is that I am inspired by classical still life paintings, most of which employ traditional chiaroscuro. The word is from the Italian chiaro, “light,” and scuro,“dark”. A time-honored painting technique featuring high contrast and deep shadows, lit directionally and/or unevenly. So the use of this technique in my photographs is part homage to my predecessors, and part personal identity. I am deeply invested in the idea of duality, and seeking discovery within all things, especially in myself. Every unborn idea, every truth in the world that I want to know, is veiled by the shadow of the unknown. The terrible parts of life are given power by hiding in the dark. It is my job to pull them from the void and shine a light on them, whether they are pleasant to see or not. I came into this world firmly planted at the border of shadow and sun. I have always needed both to survive and grow. In my artist statement for Vanitas I, I described how I feel as being “like a beautiful spring bloom, planted in grave dirt.”

In opposition to the contrasts of symbols, you often choose monochromatic schemes for your pieces, showing the versatility of a single color through a vibrant array of objects and texture. What do you love about working in monochrome? Are you drawn to any colors especially?

I do sometimes like to experiment with multicolor palettes, but you are correct, most of my pieces are very monochromatic. I am not sure why, but I have always been very into things matching. My closet is color coded, and I have a very strict color scheme for my household objects and décor. It makes me feel a sense of calm and completion. I think I am drawn to monochrome for this reason, and because visual clutter trips my anxiety wires. Focusing on one color helps me pay more attention to perfecting the composition without distraction.

Do you have a favorite piece or one that has special meaning for you?

They almost all do have special meanings since the subjects I am representing are so personal and vulnerable. I do have favorites though, and I’d say as far as most meaningful, recently I created a piece centered around my experiences with chronic pain. It features my migraine medication syringe and a lot of careful symbolism, as well as my longest artist statement thus far. It’s incredibly healing and therapeutic to make my work, so it’s all very close to my heart and hard to choose. Though I have to say I am probably the proudest of my technical arranging and lighting skills in the piece “gilded idyll”. It is supremely hard to work with sunflowers as they are so rigid, and the sun was setting when I was shooting, so it was a bit of a challenge, but I managed to make this one just as painterly and delicate as I imagined in my head.

What advice would you give to an artist just starting out in your medium?

For anyone starting out in art, in general, it’s going to suck sometimes. It really will. There will be days you feel like quitting. My personal trick to combat this is to write my thoughts after accomplishments like features, gallery shows, selling out an item, creating something I really loved and was proud of. Things I thought I never would achieve in the first place. Writing reminders of WHY I even create, helps me stay with the heart of my practice.  Save emails, letters, thank you notes, positive comments and shares in a folder on my computer. I screenshot things that make me feel validated and appreciated for my work. Save it all. Organize it by year. On the worst days, go look at your folder and remember where you started, and relive your journey. Look at everyone who needs your work in the world. I promise it helps.

To begin a journey in still life specifically: learn first to light your work well in the way you want. Infuse the work with a lifeblood that sets it apart as yours, by honing a signature style and choosing what you truly want to say through these objects. Static props need your heartbeat thrumming through them to be able to breathe life into the ideas they represent. Discard any rules or guidelines that you may have observed in others’ work. Your personal path to creating still life is one that only you can walk, guided by the whisper of your own inspiration. Remember, there is no one set way to create still life, and the most successful kind is one that truly resonates with you.

Alyssa Thorne Social Media Accounts

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The post A Beguiling Lens: Alyssa Thorne’s Baroque-Inspired Still Life appeared first on Beautiful Bizarre Magazine.

For Marcela Bolivar, art is less made than manifested. Bolivar pulls from her inmost intuitions, beginning with an idea inspired by a moment, a brief from a client, or her own dreams. Her collages are crafted using 21st century mixed media; a commingling of photographs taken by Bolivar herself and digital elements created through Photoshop. The resulting photomanipulations are as beautiful as they are complex. Her creations have a signature softness, which when combined with bold, powerful hues and unexpected subjects, produce images that are at once earthy and transcendental.

Marcela Bolivar began her journey as a digital artist in her teens when her first digital camera, a low quality piece of equipment, produced imagery she was not happy with. She took the images into Photoshop and began to manipulate the elements she disliked. Over time, her manipulation techniques grew into the multifaceted imagery she produces today. Marcela Bolivar has created pieces for industry leading clients including Penguin Random House and Adobe. Her layered, transformative visions dare the viewer to consider the spaces between reality and fiction, disguise and truth.

Can you tell us more about the process behind your winning piece, Chthonic Tide?

This piece speaks of the artist embodied by the figure of the Magician in the tarot. The Magician is the manifestation of the work on earth, in the material world. I, obviously, took some elements from the tarot, but I let the image appear before me as the plant itself that shines and transforms. After a frustrating series of sketches made to no avail, I finally let myself be freely carried away by the creative resources around me and let each of the elements come into the image without methodical thought. This brought me closer to the idea of the Magician as a conductor, a vessel of the creative force that has the power to manifest on the surface that subterranean world in which our subconscious, our purest ideas, are found.

Most of the photographs taken for this work I already had in my personal image bank but each one has a story. The subterranean part of the fantastic plant is actually a pine tree that dried up in my house and when I cleaned it, it revealed an incredibly symbolic form, its roots formed a perfect space inside, as if something should be kept there.

What inspired the piece? What do the various elements symbolize?

The inspiration came from the figure of the Magician, but definitely what pushed me was to destroy a failed sketch to create something from that ruin. The subway space that I like to evoke in many of my images is where all ideas are born, manifest or dormant. The orb carefully enveloped by the roots is the very nourishment of the plant that shines on the surface.

A consistent theme throughout your work is natural elements interacting with humans in unexpected ways — what do those elements symbolize for you?

I really enjoy representing plants in my work because for me they are inscrutable, mysterious, silent but tireless beings, the very paradigm of alien lives sharing the earth with us. Plants determine the atmosphere of every place they are in and from which they are absent. They are the natural force that insistently returns and transforms everything. In my work, plants represent the organic, the irrational, the otherworldly, and the wild. Everything that a human tries to control, both in the civilized world and in their own being.

Where do you draw inspiration for your pieces?

It depends on what I’m thinking about at a certain time, but I’m often inspired by dreams, words, music. I try to digest everything that aesthetically moves me to know myself better, to enlarge my inner world. I’m normally driven by concepts like transmutation, wilderness, artificiality, human and nature.

I try to digest everything that aesthetically moves me to know myself better, to enlarge my inner world.

You frequently work with publishing houses on book covers — what is your process for a piece that you know will have a home on bookstore shelves? How do you familiarize yourself with the story and decide what pieces of it to represent on the cover?

It’s always a very exciting process. First, I am contacted by the art director who thinks my style might fit a story. After that they provide me with the manuscript and also a brief on ideas that are important, or visual elements that should be illustrated. I do my best to read as much of the manuscript as I can to take elements that speak directly to me. Then I do 3 or 4 sketches and present them to the art director. Sometimes one of these sketches is ready to go to its final version, other times the chosen sketch needs to be modified in another direction. It’s a lot of fun to collaborate with the designers and to know how the image is transformed by the typography; I’m learning more and more to take that into account in my illustrations.

You’ve been a Beautiful Bizarre Art Prize finalist before – how did it feel to be a winner this year?

I never expected it, honestly. When I have applied to the contest I always do it to support the magazine because it is a publication that has supported me a lot to grow in social media and for that I will always be grateful. It is very flattering to be part of such an inspiring group of artists.

Your pieces are complex – a viewer could spend an hour looking at the same piece and still not see all of the hidden details. Do you enjoy layering in symbols and textures that may not appear to the viewer at first glance? Do you feel like your pieces are hiding any secrets?

Yes, I like to think so! Digital art is seen as immediate and lacking in originality or effort. But I think it’s important to show that the inner world of an artist manifests itself with more fluidity and momentum when we find the medium in which we feel comfortable. This gives me the freedom to put details and elements that often go unnoticed but that for me are everything when a work is examined. And I like that, it’s not just a visual treat or part of an infinite scroll on social networks, if you want to stay a little longer looking at an image of mine, you will be rewarded.

Can you take us through how you go about creating a new piece from start to finish?

The most important thing are the ideas. I have a serious amount of notebooks with sketches, ideas that come and go, obsessive ideas, shocking dreams, recurring dreams, all of that goes into a filter where I choose a subject either on the spur of the moment or because I honestly think it’s a great subject that motivates me. Then I make a list of the things I need to photograph to make the image and what other resources I can take from my personal archive. In photoshop, I work a lot with scanned textures from paintings I make and also textures from surfaces I take on trips or outside. I base a lot of my atmospheres on these textures and the whole image slowly emerges from them. After putting in all the elements of the composition, I use more textures and brushes in the last layers of the image and play a bit with the color palette until I am satisfied. The thrill I feel in those last steps is unmatched.

It would be interesting if everyone who is attracted to what I do could see themselves in my images, see in symbols or atmospheres something that they cannot articulate rationally.

What do you hope viewers will see when they look at your work?

I don’t really expect anything. It would be interesting if everyone who is attracted to what I do could see themselves in my images, see in symbols or atmospheres something that they cannot articulate rationally. I am very happy when someone is inspired as I am inspired by the work of others.

Is there any image in your repertoire that holds special meaning for you? What about that image do you connect with?

I really like Cold Vessel. It is based on a sketch that I had been waiting for many years and when the time came to realize it, it manifested itself very strongly. I had just arrived from Madrid where I visited a special Bosch exhibition and the impression lasted so long in me that you can see it reflected in certain details of this image. The image is a portrayal of the sublimation of the human psyche, a bodily and mental transformation, a body that is t

What equipment do you work with to craft your pieces?

I work with a Nikon750, light lamps, acrylic paint, graphite, scanner, molding supplies, Wacom Intuos and Photoshop.

Do you have anything exciting planned for the future? What can our readers look forward to seeing from you next?

Yes! I’m going to spend a good part of this year and early next year illustrating a special edition of one of my favorite books and authors. Dream job.

What advice would you give to new artists who are just beginning in your medium?

I would advise you to take your own photos, references, textures and make every single detail in the image unique. In the days of artificial intelligence and unlimited stock photography, it’s very easy for everything to end up looking very similar and no voice is your own. You need to get up from your desk, get out there and make your own resources.

It’s a way to test yourself, to lose your fear and expose yourself to the world, when you get used to that, you are more free.

Why did you enter the Beautiful Bizarre Magazine Art Prize?

Because I like to support this magazine that I appreciate and because it is not bad to know how my art is valued today. It’s exciting to see yourself side by side with inspiring artists and it forms a community linked by the desire to create.

What do you feel you have gained from this experience?

Exposure! haha, well that’s important especially if it’s your work. Plus the certainty and validation of knowing that your art is valued by people who have appreciated a lot of art in their lives or who are dedicated to this. One tends to forget what the perception of the world is when you spend months locked away creating new things.

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

Of course, it seems to me that if it’s in someone’s budget, there’s nothing to lose by entering this kind of contest. It’s a way to test yourself, to lose your fear and expose yourself to the world, when you get used to that, you are more free.

Marcela Bolivar Social Media Accounts

Website | Instagram | Facebook | Twitter

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Captivating and vivid, Lilli Waters’ photographs are visions of serenity, but beneath the surface lies a message of disenchantment. Her subjects drip with a mythos all Waters’ own, hiding faces and identifying features behind veils and natural elements to create space for the viewer to project their own hopes and fears onto the figures. Inspired by ancient myths, the experience of living in a female body in a society bent on exploitation of the female form, and the growing ecological crisis, Lilli Waters brings a critical feminine lens to her craft, creating imagery that is at once visually alluring and hyperaware of the space in which it exists.

Through her camera, Waters sees an imperfect world filled with visceral loveliness interspersed with the terrors which stalk the nights of our 21st century collective consciousness. With her work, she explores beauty and suffering with the understanding that the two are never as far apart as they may seem. In this exclusive interview, learn more about how Waters came to her craft, the woman behind the lens, and what fans of her work have to look forward to in the future.

How did you get started in photography?

It was a bit of an accident. I made short films in high school and was invited to go to a filmmaking school, but the class ended up being cancelled as not enough students were attending, so I continued on with the major subject which was photography. It was all dark room printing back then, no one I knew owned a digital camera.

Can you tell us more about the process behind your winning piece, Where Dreams Inhabit? What inspired the piece? How did you choose the title?

‘Where Dreams Inhabit’ is from the series ‘Orpheus’. Offering a nuanced mix of hope and despair, promise and foreboding, this series of photographic vignettes was created during a lockdown reprieve in mid-2021, when Melbourne residents thought they were at last free from government restrictions. After the first few lockdowns, there was a small window of time where we were relatively Covid-free and life returned to some kind of normal. The ideas behind Orpheus emerged from a feeling of excitement, optimism and gratitude to be able to make work, be creative and get out in nature again. Being able to visit these incredible landscapes was a beautiful and surreal experience for me. The title came quite naturally, as this faceless female form reminded me of some kind of dark, beautiful & mysterious dream.

‘Where Dreams Inhabit’ is from the series ‘Orpheus’. Offering a nuanced mix of hope and despair, promise and foreboding, this series of photographic vignettes was created during a lockdown reprieve in mid-2021, when Melbourne residents thought they were at last free from government restrictions.

Your work is soft, feminine, beautiful, alluring—yet, you contrast those qualities with darker elements to point to the complex issues facing women in the era of ‘Me Too’ and a world facing ecological crisis. What led you down this pathway artistically?

Whilst I am a lover of aesthetically beautiful fantasy imagery and strongly relate to the feminine, I am also a realist and feel strongly about issues facing how women are treated in society and mass environmental destruction. I come from a long line of strong women activists and environmentalists who suffered at the hands of men, and so if I am going to make work, for me, it is important to me that it explores these themes and holds some kind of message and meaning for others to consider when they look at these works. There is also always some kind of beauty in the darkness, this is something I have had to learn and lean into over the years, that the darkness doesn’t have to be only the fear & dread that comes with the human experience.

Can you take us through how you go about creating a new piece from start to finish?

Whilst planning this body of work, I was unable to go to the shops to source new materials due to lockdowns. I dug the gold netted material out of my fabric box. It became the thread that tied both the female form and underwater still life images for Orpheus together. I planned a week-long trip to Wilsons Promontory National Park, southeast of Melbourne, during a window between lockdowns. My subject and I spent our days driving, scouting, waiting… then shooting, during the small windows of the right light.

We would work at dawn, rising at 4am to venture out when there was no one else around. Then again at dusk when all the tourists had finally gone home. I like to work intensely for many consecutive days, to fully immerse myself in the process. I find the combination of pushing my mind and body to the limit with no distractions and building momentum, takes the work to a different place. It helps me to enter a deeper, more focused frame of mind, which wouldn’t happen if I shot a day here or there.

Orpheus was the first time I was working with the ocean tides, so it added a whole extra layer of challenges, as we had to ensure we didn’t get trapped with camera equipment when the tide came in.

I spent many months in post-production, working on the images and going through a series of test prints together with my printer, before the ten final large scale prints were hung for my solo exhibition in the gallery.

You use elements like fabric and hair to obscure certain features and draw attention to others. How do you select your props? What kind of processes do those go through to be ready for your photographs?

I am always collecting and searching for vintage fabrics, I either hire them or find them in op shops, or if I am looking for something specifically, I purchase them online. Wigs are often hired from my favourite costume shop. Being out in the bush without an assistant doesn’t allow for any steaming or organisation of any kind, so I pull things out whilst on location to see what will work best for that particular landscape.

Your work often draws on the stark contrast between darkness and light to draw attention to specific visual elements. What inspires that contrast?

Paintings are some of my biggest inspirations. I recall flipping through books on Monet, Rembrandt, Caravaggio, and painters from the Pre-Raphaelite era like John William Waterhouse during my years at photography school, they have obviously left a visual imprint on me. The rich colours that emerge from the velvety blackness – the passionate reds, emerald greens, sapphire blues – the harmony and discord, beauty and decay found in so many masterpieces are themes I keep returning to. The atmosphere in my own work can often be both gloomy and tranquil, marbled skin luminous in the dark landscapes offers a contrasting portrait of women, both strong and vulnerable.

My work touches on the fragility and acute vulnerability of our natural world and the devastating impact of humans on our planet. It also questions feminine stereotypes, allowing vulnerability, strength, power, myth, darkness and light to all co-exist.

What do you hope viewers will see when they look at your work?

My work touches on the fragility and acute vulnerability of our natural world and the devastating impact of humans on our planet. It also questions feminine stereotypes, allowing vulnerability, strength, power, myth, darkness and light to all co-exist. I hope that my work can be both a reminder of the magical beauty of nature and also point to an awakening from consumerism and capitalism. We all need to reconnect with nature to be able to discover our true selves. I love this quote by Nina Simone, “You can’t help it. An artists’ duty, as far as I’m concerned, is to reflect the times.”

In addition to your artistic focus on the divine feminine and complexities of feminine identity, you’re also an accomplished still life photographer. What inspires your work with objects?

I get high on the huge old realist oil paintings in museums. It’s like a kind of time travel experiencing these images, so I guess it makes sense that my work leans into this timeless aesthetic. I love to ruminate on the beauty of old-world impressions of nature. I draw inspiration from paintings by the old Dutch masters that I have loved for years, many of these are images of flowers symbolising beauty, nobility and prosperity, which is a major influence in my still life work.

I’ve also been influenced by my mother, a botanical painter who hung paintings of flowers in my childhood home, and my grandmother who liked to collect precious found objects. My still life arrangements often at first appear to be beautifully arranged underwater scenes decorated with Rembrandt-esque blooms. But upon closer inspection, you’ll notice added pieces of litter that literally choke some of the floral arrangements, and the murky blackness that imparts a sense of loneliness. It’s a direct comment on consumerism, human darkness and the rampant quest for prosperity. Prosperity has typically been lauded as something to desire and celebrate, yet now more than ever, the unpleasant complexities of wealth and indulgence are apparent. We nonchalantly poison the environment in pursuit of it.

Is there any image in your repertoire that holds special meaning for you? What about that image do you connect with?

I am not sure that I have a specific favourite image, I have a love-hate relationship with my work, some days I admire it, some days find it hard to connect to. Sometimes it can take me years to like a series. At the moment, I do actually love ‘Where Dreams Inhabit’; I love how the gold threads shimmers out from the darkness, how she looks like she has webbed-fingers, and the way the fabric makes it look like she has an old-world helmet of gold sparkles.

What equipment do you work with to craft your photos?

I use a Canon Mark IV or 5DSR, a sturdy tripod, a stepladder, and a bunch of different lights to experiment with.

Do you have anything exciting planned for the future? What can our readers look forward to seeing from you next?

I am about to embark on creating a new photographic series for a solo exhibition opening in Sydney in 2023. There may be some more exciting news coming soon but it’s still a secret!

What advice would you give to new artists who are just beginning in your medium?

Shoot at every chance that you have and don’t look to other photographers for inspiration too much. Find your own voice.

Why did you enter the Beautiful Bizarre Magazine Art Prize?

I have entered the Beautiful Bizarre Magazine Art Prize for many years and have been fortunate enough to have been a finalist previously and had a feature and interview in the magazine. I am a huge supporter and fan of this art prize and thank them for supporting my work.

To have acknowledgement from this art community and be in the company of so many incredible artists is a great honour.

What do you feel you have gained from this experience?

To have acknowledgement from this art community and be in the company of so many incredible artists is a great honour. Having my work exhibited at the Halycon Days exhibition at Modern Eden Gallery in California is so exciting!

Would you recommend it and encourage others to enter? If so, why?
I would highly recommend entering the Beautiful Bizarre Art Prize, they have such a broad range of different artists and categories, with such a high standard of work and wonderful prizes.

Lilli Waters Social Media Accounts

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In 2016, Diego Montoya’s career exploded after a collaboration with high art drag queen Sasha Velour. Velour wore looks designed by Diego Montoya for her performances on season 9 of RuPaul’s Drag Race, going on to win the competition in an ornate dress and intricate ‘egg’ mask crafted by Montoya. Inspired by Velour’s nickname, “The Fabergé Egg Queen,” a moniker referring to Velour’s signature drag look of a bald head with bold eye makeup, the famous mask used a system of magnets which cracked open at various points during the performance to reveal more of Velour’s face.

Diego Montoya’s intricate designs give a modern life to the baroque ideals of ornamentation and theatricality. Often made from recycled materials, the looks reflect the boldness of the performers and venues that inspire them.

“I’m obsessed with things that are beautiful but in an aggressive way,” cited Montoya, discussing his work. Among his inspirations, he cites the kitsch, excess, and colour of Miami and the drag queens and club kids he encountered growing up there along with iconic fashion moments in pop culture like Princess Diana’s over-the-top 1981 wedding gown. All of his inspirations come together in spectacularly exuberant works of art which create a spellbinding tableau.

I’m obsessed with things that are beautiful but in an aggressive way.

Since his initial work with Sasha Velour, Montoya has gone on to design for a number of Drag Race queens including Asia O’Hara, Jinkx Monsoon, and Honey Davenport. Making a historic leap from RuPaul’s runway to the red carpet in 2019, Montoya designed Shangela’s look when she became the first drag queen to walk the Oscars red carpet. The frilled architectural confection crafted by Montoya for the occasion represented decades of drag performance finding a home on the main stage.

And Montoya’s artistic credits don’t end at costume design; in addition to his kaleidoscopic portfolio of drag looks, he’s also an accomplished installation artist and set designer. In the late 2000’s, Montoya worked full-time designing window displays. His interest in spatial and environmental design led to building highly ornate site-specific art installations for galleries, stores, and queer performers.

In sensibility, in approach, in its imagination: this is queer art.

When it comes to the world of drag and queer fashion, Montoya’s influence can hardly be overstated. Since RuPaul’s Drag Race first aired in 2009, social views toward this out-of-bounds art form have become much more welcoming. As the scene moved from underground to mainstream, the glamourous excesses and creativity of queer designers like Montoya have allowed untold performers and drag fans to expand their visions for creative expression and reach for new heights in the world of performance art. “In sensibility, in approach, in its imagination,” states Montoya, “This is queer art.”

Credits: @bobthedragqueen, @jacob.ritts, @blackandwhitestriped, @tannerabelofficial,  @nancy_the_girl, @wingweftgloves, @rify_royalty, @bushwig, @taylormillerphoto, @Marcos, @sashavelour, @micheleden_,  @nicholas1980, @codyfern, @richardburbridge, @vman, @nicolaformichetti, @marta.del.rio, @chrishabana, @makiryoke, @koji_ichikawa, @mettieostrowski, @ginagaran, @islynyc, @thedragdandy, @sorrelloriginals, @gettyimages, @elkel.nyc, @lord_horatio, @davrengao, @dillonabeysinghe, @agvstin, @miz_cracker, @adamouhmane, @davidayllon, @monetxchange, @sutanamrull, @thomasevansphotography,  @jaimiehutton, @lane_worrall, @rickyrey, @yessy.78.

Diego Montoya Social Media Accounts

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The richly layered woodlands Vega’s characters inhabit serve as the backdrop for scenes of intimacy which defy the traditional narrative of what love looks like and the boundaries of pleasure. Vega’s witches represent the parallels among historic views of practicers of witchcraft, kink, and queer people—all viewed as deviant through varied cultural lenses and across time. With their macabre, visionary art, Cai Vega is taking back that narrative and telling the story of the world they know; a story in which queer romance and kink are not the outliers on the fringes, but rather, the protagonists.

Find out how Cai Vega is using their art to push the boundaries and center queer themes and kink in the cultural narrative in this exclusive interview.

How did you get started as a fine artist? What is your personal background?

This question is hard for me to answer. I had a rough childhood, the environment was violent and abusive. Art, especially painting, became a means of escape, a place of solace from the chaos. I wish I could say that my background was a series of learned experiences in art school, or a residency spent abroad, but that was far from my experience. It has only been in the past 10 years that my life has become stable enough for me to start sharing my artwork.

Your work focuses on dark elements, fantasy, and lesbian erotica—what is it about these elements which inspire you?

BDSM has a long history in the lesbian/queer community. We are a subculture within a subculture, deviant outcasts of society, gender rebels. Heteronormativity aims to dictate how we should live our lives, and how we are expected to define “normal” sex. In response we have formed our own safe spaces within the subculture, building community that exists outside the realms of shame and normativity. For example, the dark fantasy aesthetic in my lesbian erotic series is meant to highlight connections and parallels that both witches and kink lesbians have been deemed deviant and degenerate in society and throughout history. With all of this in mind, I was inspired to paint empowering depictions of lesbian erotica to subvert society’s continued demonization of our existence and to step outside the male gaze.

With all of this in mind, I was inspired to paint empowering depictions of lesbian erotica to subvert society’s continued demonization of our existence and to step outside the male gaze.

What is your process for crafting a piece from start to finish?

I begin a painting by sketching the figures and background in pencil. Typically, I water down acrylic paint, layering in watery shadows, and then gradually integrating thicker layers of lighter tones to create depth and detail. I fuck up a lot, so often the finished painting does not look like the initial sketch. A lot of trial and error goes into every piece.

What is the most challenging part of working in your chosen medium?

What I find most challenging is having limited knowledge on techniques when painting certain subjects. I often feel trapped in my limitations, and frustrated with the process of teaching myself.

Your paintings are primarily done in grayscale black and white. What inspires you to work with that colour palette?

I paint in black and white because I love the otherworldly, ethereal mood that working in these tones bring to the paintings.

Can you tell me about a piece which held special significance for you? What about it made that piece unique?

“The Void” because of its relation to my inner world, particularly with my mental health. The painting is meant to mirror this pervasive void that living with a mental health condition can cause. The longing to escape the binds of loneliness and isolation are symbolized by the bat wings. My hope is that the viewer will have an interpretation and meaning that is personal to them.

You create portraits full of life and expression on minute canvases – most of your pieces are as small as a photograph from a film camera. What draws you to working in miniature?

I adore tiny vintage frames. I love the almost keepsake like feeling of miniature frames. The motivation to paint on such a small scale is usually tied to the actual frames themselves.

I have to say, my personal favourites among your work are your forest witches engaged in *ahem* very intimate scenes. What inspires those pieces? What do you hope they will represent for viewers?

In the mainstream art world, queer artists and queer art is grossly underrepresented. Many mainstream art pieces depicting us are from the perspective of the male gaze, and from far too many cis heterosexual male artists. My hope is for lesbian and queer artists to have a regular presence in the mainstream art world that is not just carved out in a small corner of the room, but showcased and highlighted.

It’s no secret that Instagram can be a challenging medium for erotic art. How do you navigate the line between being true to your artistic vision and connecting with your audience through that platform?

I don’t navigate the line. I put up the art regardless of the threat and difficulty Instagram has placed on erotic queer artists. I don’t alter my work according to the new guidelines. The unaltered art is what the lesbian/queer community want to see. If they suspend me, I know I will have the support of the community to welcome me back. Our shared love for all things lesbian and kink is our connection.

My hope is for lesbian and queer artists to have a regular presence in the mainstream art world that is not just carved out in a small corner of the room, but showcased and highlighted.

In addition to painting, you’re also a photographer. Do your photographs ever inspire elements in your paintings? Do you ever see scenes in reality and feel inspired to bring them to life on canvas?

I would have to say no. Even though it does seem like there is some crossover because of my cemetery photography, I don’t use these photos as reference or inspiration for the paintings. I see them as very separate from one another. Although, at some point I would like to recreate my Lesbian kink paintings for photographs.

When you’re not creating art what do you enjoy doing in your spare time?

What I enjoy doing in my spare time is kind of ‘Vanilla’ ~wink~. It’s mostly spent just hanging out with my girlfriend and our three cats. I know it sounds cliché, but I also love spending time alone in old cemeteries; spending time with the dead clears my head. Lol! A few other things I enjoy doing are gardening, going to queer kink clubs, collecting oddities, watching horror and queer films, and playing piano.

What advice would you give to someone just starting out as an artist? Is there anything you wish you’d known when you were just starting out that you know now?

Show your art! Show your art despite your inner critic!

What can we look forward to seeing from you in the future? Do you have any projects planned?

I’m thinking of doing a queer couple portraiture series in the future. For the series, I plan to paint the portraits in colour, gasp! More photography is in the works, I will be leaning toward queer portraits as well.

Cai Vega Social Media Accounts

Website | Instagram | Facebook

The post Macabre Amour: Cai Vega’s Dark, Queer-Centric Art appeared first on Beautiful Bizarre Magazine.

Burial Ground’s couture jewellery pieces are at once a modern and timelessly ancient statement. Drawing elements directly from the eerie beauty of the woods and meadows of New England, organic shapes give metallic jewelry pieces an earthy edge. A pentacle formed from silver twigs—a staple of Burial Ground’s collections—could embolden the wardrobe of an everyday woman with a taste for the noir or accessorize the ethereal vintage wardrobe of Florence Welch with equal impact. Other pieces incorporate raw elements like crystals, shells, and semi-precious stones to ground the wearer in the the natural world.

When crafting a piece, Jamie and Bill hand-select each stone or crystal. Using those raw, natural elements makes each hand-made item is as unique as its wearer. From the mineral makeup of the larger stone which enshrouded the crystal as it formed to the raindrops which poured down its surface, the color and shapes of each stone tell the story of its making. Pieces like The Eternal Light—a necklace inspired by Norse mythology and representing the inner light of a seer—are truly a collaboration between its artisan crafters and mother nature.

In addition to jewellery, Burial Ground crosses mediums into home décor with one-of-a-kind dried floral arrangements. Each bouquet is an individual work of art, its blossoms and branches delicately shaped by an expert hand. With a fitting macabre twist—the dried arrangements are dead but sculpted into configurations to rival floral beauty at the height of life—their loveliness can live on for years. These botanic works of art express the verdant elements of natural flora with witchy flare.

Burial Ground’s online bazaar also features selectively curated vintage and antique pieces, stationary, incense, and more—all connected by the same dark, ethereal, and Victorian sensibilities. Curated by true artisans, each piece of their collective vision is at once witchy, viscerally connected to the natural world, and rock and roll.

Burial Ground Social Media Accounts

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Their pieces are inspired by the infernal aesthetics of the dark side, so clearly inherent in mankind’s world view and styles during every epoch of history. The Macabre mood of the jewellery is embodied using cutting-edge and traditional jewellery execution techniques and materials. All Macabre Gadgets are fully handcrafted using natural materials, and all facets of the production process are environmentally friendly, with all raw materials that are used to produce the jewellery as well as other materials used during the production process being vegan.

Macabre Gadgets gives new meaning to the term ‘wearable art’ with their Thea line–bringing Greek statues from the old world straight into the new. Crafted from materials like gold and bonded marble, the pieces unite antiquity and modernity. This Hellenistic collection plays with the concepts of sensuality and innocence to breathe life into wearable pieces which could almost be mistaken for genuine Greek relics if not for their minute size.

Other Macabre Gadgets collections harken to the eternal with pendants, rings, necklaces, and body jewellery inspired by ghosts, vampires, and sirens. Skulls, seashells, and bones are given the signature Macabre Gadgets look with clean, minimal lines and colors. The star of the show is always the immortal symbol–a drop of blood, a dagger, a leaf–dream emblems as old as human consciousness.

Infinitely layerable, rings like the all-seeing eye of the Oracle can be combined with necklaces like the Irradian shell to tell the story of any wearer’s personality or mood. The simple decadence of each sculptural piece would be at home on a rockstar or a fashion-forward intellectual on the way to the library. The simplicity of the design, combined with the standout symbolism of each piece, allows for incredible variety in styling while never losing the tasteful polished edge that signifies a Macabre Gadget.

Whatever elegant Macabre Gadgets accessory suits your mood, you can feel as good as you look knowing that its creators’ joy in the natural world goes beyond representing it in wearable art. In addition to their commitment to natural materials and environmentally friendly production processes, Macabre Gadgets partners with non-profit organization One Tree Planted to plant a tree for every piece sold.

Whether you’re headed to the Met Gala or simply in the mood to embody the power of the old Gods on your next video conference, Macabre Gadgets consummate glamour is sure to steal the show and leave onlookers wondering what magic you’re hiding.

Macabre Gadgets Social Media Accounts

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The traditional craftsmanship in my work provides a connection with history. It gives the work a much deeper legacy – a sense of inheritance of times past, and in carrying it forward. In the future, I hope that people will see it as a footprint of human memory.

Guo Pei

While the wing of the museum set aside for Guo Pei’s prolific body of work is a feast for the imagination, the garments displayed alongside the museum’s permanent collection take on a life of their own. It would be easy to spend an afternoon wandering the special exhibition, without stepping foot into the museum’s other galleries, but to forgo the permanent collection would be to miss out on half of Guo Pei’s design story. Set against backdrops of medieval tapestry, a wood-panelled drawing room filled with antique furniture, and even a 15th century Spanish palace ceiling, Pei’s couture ensembles interact visually with the museum’s collection in ways which draw out new elements from both the gowns and the paintings, furniture, and sculptures that fill those hallowed halls.

I use the weight of the clothes, the height of the shoes, and the unwieldiness of the dress to represent the inner strength and confidence of a woman.

Guo Pei

The exhibition includes pieces from collections spanning the past twenty-years of Pei’s career. From looks inspired by the holy history and feeling of the Himalayan mountain range to architectural gowns embroidered with skylines to pieces influenced by the women the designer envisioned living in China’s Forbidden City during the Quing Dynasty (1644-1912), each gown, crown, and even shoe, tells a story. Intermingling with the history and stateliness of the masterworks housed at Legion of Honor, this exhibition is breaking new ground for couture fashion and giving Guo Pei’s work the museum-sized runway we didn’t know we needed but now cannot imagine doing without.

Guo Pei: Couture Fantasy

On View Through: September 5, 2022

Museum Hours: Tuesdays – Sundays | 9:30am – 5:15pm

Legion of Honor Museum

Legion of Honor Museum | 100 34th Avenue, San Francisco, CA 94121 | (415) 750-3600

Guo Pei Social Media Accounts

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Legion of Honor Museum Social Media Accounts

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“I’ve always found still life really fascinating. I like how it’s a bit of an odd-one-out of subject matter because it’s not as highly regarded traditionally as figurative [painting] and portraiture,” Ingram says, reflecting on his attraction to that medium during our long-distance conversation. He speaks readily on the origins and inspirations behind his work, as fervently introspective as his works are captivating.

Analyzing his work, it’s tempting to attribute individual elements to the influence of the places he’s called home; the Italianate realist technique from Florence where he studied at Angel Academy of Art beginning at the age of seventeen, the romance of the U.K. countryside where, as a child, he visited his Scottish and Northern Irish grandparents, and which he calls home today, or the wild newness of Perth, Australia, where he spent his formative years. But if you ask the artist himself, he’ll tell you that, in reality, what you’re seeing is the very opposite.

The lack of a place is what’s in my work…the way things are incongruous in the still lifes, or surreal would maybe be to do with not feeling strongly linked to a place.

During our interview, he recounts the visceral unevenness of coming of age in a country where his ties to the land felt tenuous. Ingram grew up in Australia, raised by British parents who were in turn brought up in Kenya. As we speak, he recounts the friction of cultural cling-ons from the old world, like receiving a Christmas card depicting a traditional European snowy holiday season while Australia celebrates Christmas during that continent’s high summer heat. “You were born into the landscape, which is not your inherent landscape,” he explains, “And you end up kind of in-between.”

You were born into the landscape, which is not your inherent landscape and you end up kind of in-between.

It’s easy to see that in-betweenness in pieces like Day of the Triffids, in which the figure of a man is dwarfed by an arrangement of wildflowers. As he stands, caught in a moment of hesitation, the viewer is led to wonder, is the man himself small or are the flowers giants? Following the breadcrumbs further into the woods, one might note petals beginning to wilt, the contrast of bright light falling on the figure, and the shadows surrounding him drawing you further into a space between reality and fantasy.

In conversation, it’s clear that every detail of Ingram’s work on canvas is backed by a thought process that is both intuitive and analytical. His practice is as refreshingly bold as the techniques he utilizes are traditional. But the magician’s secret is much less otherworldly than you might guess from looking; the man in the painting is, in fact, a cunningly placed railroad figurine. 

“A proper surrealist like Dalí would create surreal worlds within the painting out of imagination usually, not necessarily drawing on subjects that they’re copying,” explains Ingram, “Whereas my approach is to assemble the objects into a surreal setup so it becomes kind of an assemblage. Pretty much all of the paintings exist in reality somewhere.”

His work draws on his technical training in realism to create a new kind of surrealist narrative. “When people are doing portraiture or abstract portraiture, they’ve still got that focal point of the face that people recognize,” he explains, “But with something like still life, when you’ve got weird objects that you’re trying to hang together, if you start to abstract it, you don’t have anything to hold onto. So, I make the subjects weird and paint them in a conventional way. I play around a lot more with what I paint rather than how I paint it.”

…my approach is to assemble the objects into a surreal setup so it becomes kind of an assemblage. Pretty much all of the paintings exist in reality somewhere.

It’s a bit like dream symbology where one person will dream one thing and another person will dream another thing and it might be the same thing but the symbol shifts based on the dreamer.

Deciphering those playful assortments, like the objects in The Seventh Seal, another of Ingram’s hypnagogic arrangements, might leave you wondering where one finds such an assemblage in reality. The answer, in true Ingram style, is deceptively simple: in a box of collected objects, stored on his studio floor until one day he opened it and saw a painting. (The end result would leave you questioning whether those objects were laying in a box or hovering in another dimension; another signature of his work.) 

But most of Kieran Ingram’s still lifes are born from an elaborate system guided by the painter’s own stream-of-consciousness. Made up of objects found and received – he’s a fan of both antique auctions and family heirlooms – each still life is an amalgam of symbols drawn from deep intuition. While sometimes they’re chosen to reflect a certain theme, like a series of floating objects painted in the trompe l’oeil style inspired by T.S. Eliot’s Four Quartets, others are drawn purely from instinct.

“[The objects] become placeholders for things in my mind,” he describes. “It’s a bit like dream symbology where one person will dream one thing and another person will dream another thing and it might be the same thing but the symbol shifts based on the dreamer. When I use objects sometimes they mean different things, sometimes they mean the same thing. In my brain that has a logic, but a lot of it is a bit like dreaming or subconscious creation.”

His relationship to the objects he paints is nebulous – the attraction begins somewhere in the gut, an amorphous feeling of timelessness that makes a typewriter more attractive than a modern keyboard, a history like the one attached to a piece of pottery sunken on a shipwreck and dredged up a hundred years later enticing, fills the eternality of a human skull and its symbolism in our collective psyches with allure. Others have personal significance, like the gold broach depicted in The Seventh Seal – a piece inherited from his grandmother, while others still are found on his wanderings through the woods and pastures near England’s Peak District.

For the past two years, Ingram has taken the pandemic-induced break from traditional gallery exhibitions as an opportunity to focus on another of his still life passions: miniatures. Specifically, memento mori. Crafting miniature skull studies – ones, he notes, that he would have been attracted to as a collector had he seen similar pieces at auction – the miniatures often sell through Instagram before the canvas has even had time to dry.

These memento mori continue a macabre tradition dating back to the stoics of classical antiquity. In visual art, the concept refers to an homage to the inevitability of death with many notable examples coming from 16th and 17th century Holland. With paintings of that period often depicting assemblages of objects like skulls, candles, flowers, and hourglasses symbolizing life, death, time, and impermanence – dubbed Vanitas, a kind of still life symbolic of the transience of life and certainty of death – it’s easy to see why Ingram cites the masters of the Dutch golden age as inspiration for his own work.

For Kieran Ingram, memento mori is also an exploration of the ephemeral symbology of the human skull and its abiding place in our collective consciousness – a dream logic which is universally recognizable across cultures and time. Marrying his interest in memento mori to his ardor for objets d’art, Ingram’s skull studies are often inspired in part by the vintage and antique frames he seeks out to enshroud them. In a tradition dating back to the Pre-Raphaelites, he takes the shape and color of the frame into account when setting up the still life, even allowing the undertones of the frame to dictate the undertones of the final painting, ultimately viewing the frame as a part of the art.

When he’s not working on his own pieces, Ingram teaches the classical techniques he utilizes in his own work through his art school, Scumble & Glaze. With students ranging from professional artists who want to advance their technique to tattoo artists seeking new ways to perfect realism in portraiture, he imparts the same time-honored systems he learned in Florence through small group seminars and one-on-one mentorship.

As the world opens back up for physical exhibitions after two years of closed doors and locked  galleries, he’s turning his eye to the pastoral scenes surrounding his home city. He’s long held a vision for placing the objects of his dreamlike nature mortes into landscapes. His fascination for working in miniature has also grown; he hopes to continue exploring objects in their minutest form. 

Presently, he’s also intrigued by large scale pen-and-ink drawings, taking the careful strokes of that monochromatic medium and its requisite textures to an overblown scale. Perhaps in the future we’ll have the pleasure of seeing the strangely magnetic incongruity of those miniatures and massive masterpieces displayed together. In the meantime, you can follow Ingram’s work and look out for future gallery showings via his Instagram. I know we will be.

Kieran Ingram Social Media Accounts

Website | Instagram | Art School

The post Bones and Bygone Relics: The Illusory Still Life Paintings of Kieran Ingram appeared first on Beautiful Bizarre Magazine.

With some pieces taking as much as two months to craft, Liv Free’s ebullient wearable artpieces move from historical royalty to gothic subcultures, from nature to pure fantasy. Working from her home studio in Lincolnshire, UK, the self-taught artisan is inspired by fashion, fairy tales, and history. Her pieces have graced the heads of models, actors, brides, festival-goers, and many more, offering each wearer a touch of sophisticated fairytale glamor. She’s created pieces for NBC/Universal, Selfridges, Disney, HBO, and the BBC as well as private clients.

While many of Liv Free’s pieces pull design elements directly from historical or cultural fashions–you might recognize shapes you’ve seen on the likes of Anne Boelyn or in Russian period dramas–others are highly conceptual. Her recent series of Death Masks explores the concept of change through the medium of high fashion, taking feelings like fear, depression, and the sense of self and giving them form through a complex mosaic of beads, crystals, sequins, and fabric.

Her process for creating a new piece is at once nebulous and cerebral. While she draws sketches for commissions, when working on her own pieces, Liv Free prefers to work straight from the visions in her mind, taking up the materials and working from vague ideas of color and inspiration. In addition to enchanting headdresses and hats, Liv Free has also created eyepatches, fascinators, tiaras, crowns and jewelry. Every piece is made lovingly by hand, every sequin and stone delicately positioned to give form to the enigmatic dreams of their creator.

Coated in glistening Swarovski crystals, decked with an abundance of textures, feathered, beaded, and climbing to graceful heights, each of Liv Free’s creations is a feast for the senses. Whether it’s a historical period, a fairy kingdom, a natural wonder, or a journey into the subconscious, her magical works of millinery pull wearers and onlookers alike into a world of pure fantasy.

Credits: @chrisharrisuk, @elisabetharmstronguk, @tigzrice, @nettgray, @deborahselwood, @paullarkins, Stephanie Grant, @scottchalmersphotography, @shay.anne., @ched53, @bernadettelemon, @amy_biddulph_mua, @lauraprusak, @deborahselwood, @newo_imagery, @grimildemalatesta, @dan_tidswell_photographer, @visittheloft, @alannafdmakeup.

Liv Free Social Media Accounts

Website | Facebook | Twitter | Art Instagram | Personal Instagram | Makeup Instagram

The post Couture Crowns: Liv Free’s Elaborate Millinery Magic appeared first on Beautiful Bizarre Magazine.

Linda Friesen works with clients from all over the world to bring their own visions of lace embellished, hand-beaded, and delicately dyed gowns to life. Her current work focuses primarily on bridal and evening-wear, but still pays homage to her fantasy festival roots with pieces bringing together elements of cosplay and high fashion.

Friesen’s couture career began in earnest when she launched her own label after graduating from the Maastricht Academy of Fine Arts in 2009 with a degree in fashion design. Her journey as an artisan, however, began far from the runways her creations grace today. She started sewing her own gowns to wear to fantasy festivals and goth balls when she was only fourteen-years-old. Today, she still creates looks to wear to those events between commissions.

I wanted to look different and create my own dream

“I wanted to look different and create my own dream,” said the Netherlands-based designer, referencing her early start in textile arts. During her studies, she created the first version of her ‘fabric sleeve,’ a futuristically glamorous garment perfectly tailored to a mannequin which she uses to make the trademark fit that defines her work. Crafted using a couture technique known as ‘moulage’, Friesen enjoys the way this method as it allows her to see the shape of the garment emerging in front of her as she works⁠—and also provides the ultimate flattering fit for her clients.

Friesen’s design aesthetic is inspired by nature, fantasy, and history. Natural wonders like a sky filled with twinkling stars become hand-sewn beads gleaming on the dusky cerulean of a tailored corset. Falling stars inspire glamorous silver adornments fit for a pin-up astronaut. The spirit of heroines like Jeanne D’Arc come alive in filigreed armor plates, hand-sculpted from a material called Thebra, a thermoplastic which becomes malleable under heat. Ultimately, Linda Friesen trades in fantasy; whatever extravagant dreams she and her clients can envision, Friesen can bring them to life with her signature fit and elegance.

Many of Friesen’s designs take time for meticulous hand beading, dyeing, embroidery, and stitching lace. In some cases, a single detail of a gown can take months to create⁠—details like cutting and dyeing fifteen layers of tulle for a Cinderella-esque skirt to glide and bounce perfectly with every step. In a pinch, though, she can bring a vision from her mind into reality in an astonishingly short period of time. Friesen crafted her Elizabethan-inspired Blue Velvet gown in a single day after buying the fabric at a market the same morning and wore it paired with vintage antlers for a fantasy festival the following day. But in typical couturier fashion, after the festival, Friesen took the gown apart and remade it with the quality and precision of a master craftswoman.

No matter the inspiration, Friesen’s trademark jewel-toned elegance transcends time and trends. Whether you’re a fairy queen, a bride, a gothic princess, a runway model, or just have a taste for magic, Linda Friesen’s creations can transport you to another realm.

Credits: @lindafriesen.couture, @gemmy.woudbinnendijk, @nikkisikkema_, @division_models, @nadia_veenhof, @michielfischer, @studio34x, @chrisknightphoto, @roos_deckers, @creativebeautynl, @annelies.vanoosterum, @draumlist_connected_dreams, @bykarinvanberkel, @mariaamanda_official, @punching.pictures, @rogueandwolf, @aucontrairephotography, @romaniesmith, @garyclutterbuckphotography, @sharonboucquez, @studio.sheridansart, @aciddoll, @somnolentimages, @Chrissie-Red-129455387103019, @jillianelizabethhairandmakeupartist, @hannekequeens, @makeupmatters_annelieszielman, @lyvtinkers 

Linda Friesen Social Media Accounts

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The post Opulent Couture: Linda Friesen’s Elegant Fantasy Attire appeared first on Beautiful Bizarre Magazine.

Bella Kotak, winner of the 2021 Beautiful Bizarre Art Prize INPRNT Photography Award, creates enchanting photographs with a cornucopia of sensory details. Evoking the full range of human emotions, Kotak’s images pull the viewer into dazzling fantasy realms. Bella Kotak draws on the textures and colors of the natural world, creating imagery alive with color and light. Each image is carefully crafted first in front of a mood board, then behind the lens of a camera, and finally, from behind the screen of a computer where Kotak edits her fairy tale visions to capture their peak vibrancy and wonder.

Highly skilled color and editing techniques give Kotak’s work their signature enchantment. The thoughtfully crafted color schemes enhance the beauty of Kotak’s raw imagery while delivering their own clear message about the emotion or story the photo conveys. Beyond using these techniques in her own work, Bella Kotak shares her passion for fantasy photography via lessons and Photoshop actions from The Color Lab, a resource created in partnership with her partner, high end photo retoucher Pratik Naik. The Color Lab was created to make color toning processes accessible to artists around the world and give aspiring fantasy photographers the tools to create their own ethereal glamour shots.

Bella Kotak’s work has been featured in exhibitions in New York, London, and Paris. She’s an ambassador for Phase One, SmugMug, Canson Paper, and Vanguard. Her INPRNT Photography Award winning piece, The Kiss, uses the colors and textures of a forest floor contrasted with pops of bright, vivid gold to highlight the intimacy of a tender moment. The elegant surrealist image gives the viewer a sense of romance and intimacy intertwined with fantasy and nature. In this exclusive interview, we explore Kotak’s inspirations and process to find out what makes her beguiling imagery a joy to behold.

Why did you enter the Beautiful Bizarre Magazine Art Prize?

I’m a huge fan of Beautiful Bizarre Magazine and all that they do to promote the arts and artists themselves. I entered the prize thinking that it would just be a fun thing to do, a way to connect with the BB community. Never would I have imagined to actually win! It was an incredible moment when they told me. I’ll never forget that.

What do you feel you have gained from this experience?

To be more confident in my work (and the direction of my life). That my art has value and connects with others. 

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

I would 100% recommend every artist to enter! You have to be in it to have a chance, so take the leap. It’s also a good motivator that can inspire us to push ourselves further.

I use the camera as a tool to bring together all the things I love in life and the results are the images you see.

What inspires your imagery?

Inspiration for me really comes from everywhere, from my wild, barefooted childhood growing up under the african sun to the lush floral gardens, seasons, and soft colors that I discovered when I moved to the English countryside. As an avid reader of high fantasy stories that featured strong women living bravely while on adventures, and a consumer of beautiful drawn anime and manga with ornate costuming, all my passions seemed to finally come together and click when I discovered photography. I use the camera as a tool to bring together all the things I love in life and the results are the images you see.

You work with designers on the outstanding costumes which are featured in your images. What do those collaborations look like? How do you find designers to work with and what is your process when collaborating to create a character?

I usually find designers online via Facebook, Instagram, or Etsy. It’s always a joy to collaborate with artists that channel their passions into their designs and craft. Together I feel like our shared passions add and enhance the stories I want to tell. My process of creating is very much like putting together a puzzle. I try to have pieces around me (clothes, headpieces, props) that then come together in interesting ways when it comes to creating a concept or character on shoot days.

What role does nature play in your shoots?

To me nature is everything that’s wonderful, free and wild in this world. It can be tamed but give it a moment and it will burst free to live vivaciously. This spirit is something that I’m drawn to as a person and artist and it shows up literally and figuratively in my work. Nature reminds me to check the reins that I’ve unconsciously placed on myself via societal, peer, or familial pressure. It takes a lot of bravery to look at yourself objectively and release the lease to see who and what you are when you allow yourself to live entirely on your own terms. It’s this energy that I channel into the pictures and characters that I create. I explore, play, create freely, while reminding myself (and hopefully others) of the joy of discovering and being entirely yourself.

Shooting in nature, the wild world that we trample and destroy to build buildings and parking lots, is also my way of immortalising this beauty while we have it, reminding people to look up from their phones and look around, notice the beauty around them too and recognise that it is worth protecting

Nature reminds me to check the reins that I’ve unconsciously placed on myself via societal, peer, or familial pressure. It takes a lot of bravery to look at yourself objectively and release the lease to see who and what you are when you allow yourself to live entirely on your own terms.

What technology do you use to create your images?

I use a Phase One medium format camera to capture my images. For light shaping I’ll reach for the Elinchrom One light or the Profoto A1 (both lights are small and portable), I also really enjoy creating with natural light, shooting at twilight time is my favourite. After which I’ll process my images in Capture One and later the whole piece will come together often piece by piece in Photoshop.

How much work happens behind the camera at a shoot versus in the editing process using software and a computer?

I’m a very attention to detail driven person when it comes to the creative process so lots of thought is placed on the concept, location, styling, model, color toning, etc prior to the shoot. Once it is captured that is it, so it’s important to get it right on the day. My post processing goal is to enhance what I felt and could “see” on the shoot , so I would say there’s equal amount of work before and after the shoot.

What stories do you hope to tell through photography?

The stories in my personal art tend to reflect where I usually am at that point in time. Times where I feel a little lost, a little less brave, discovering confidence, owning the power when one comes into their own, I collect those feelings and try my best to translate that into a visual that reflects me but also leaves space for the viewer to imprint their own stories allowing them to create their own connections to the art.

What is your process for creating an image from start to finish?

It usually starts off with a spark of an  idea, inspired by either the model, the location, or styling, that then is the center of which the rest of the pieces come together to fit the narrative that I’d like to tell. For me the process is organic and free flowing. I sketch ideas, make props, and try to work quickly before I lose interest and move on from the idea. One of my daily mantras is “done is better than perfect”. As a perfectionist I could (and do) easily lose time overthinking and over planning. So reminding myself of this takes the edge of pressure off and allows me to create a space where I can relax, trust the process, and have fun along the way!

…once we’re on set the energy of that day, the location, the colors, the lighting would influence and inspire what we capture together.

What are the most challenging aspects of your chosen medium?

The time it takes in post production! I have ADHD which makes it difficult for me to settle and really focus on a task. Photoshopping for hours can be quite difficult to navigate and my mind (and body) tend to wander away a lot! But once it’s all done and I look back and see what I’ve achieved and created, well, there’s no greater feeling! It’s always worth it.

What kind of preparation is necessary for a successful shoot?

Communication. It’s important to me that the model, the team, and I are on the same page and share the same positive creative energy. We would usually have a shared chat either on IG or Whatsapp where inspiration images and ideas would be offered and built on. That way when it comes to shoot day everyone knows what their job is.

When you start a shoot, do you have an idea of the final image in mind or is it shaped by the model and the shots you achieve together?

Often when it comes to a shoot I would have a vague idea of the image I’d like to capture. Nothing concrete as usually once we’re on set the energy of that day, the location, the colors, the lighting would influence and inspire what we capture together.

What training have you undergone in photography?

I’m pretty much self taught in photography. The training I have is from all the lessons I’ve learnt from my photoshoots and the mistakes I’ve made. With each shoot I grow, as is the way when one practices over and over at their craft. Doing it this way has taken me longer to develop but it’s allowed me to grow at my own pace, to learn what I’m naturally drawn to, to develop my style, and bring my incredibly supportive social audience along with me for the ride. 

What images have challenged you the most and helped you to expand your skill set?

“Eve” was a challenging piece. It was captured remotely while we were in lockdown here in the UK. I worked closely with model Ivory Flame to set up the idea and concept. Since the camera was on her end it was a little tricky to explore perspectives but overall it was a great experience where I learnt to let go and work within the boundaries that remote shooting set. I’m really proud of what we created together.

What advice would you give to a new photographer who aspires to create fantasy imagery?
Just start! Don’t hold yourself back with excuses of lack of models or styling. Just look around and use what you have around you. Learn basic photoshop skills as they will help you go far. There are lots of classes and courses out there but ultimately it’s up to you to forge your own path. Keep a book of ideas, be experimental, connect with local creatives, keep shooting and analyse yourself and your shoots to see what you can do better next time. That’s how you will grow. 

We interviewed you back in 2017. What do you feel you’ve learned in the years since then? How has your artistic expression grown and changed?

I’ve learnt that I’m much more knowledgeable and capable than I give myself credit for. It’s been a journey to cultivate the inner trust in myself that now allows me to embark on shoots with excitement and a lot less anxiety. Artistically I’ve always been evolving and it’s interesting for me too to see where the art style flows. Right now I’m exploring the empowerment of womanhood, coming into our own, supporting each other, unabashedly bold, unapologetic, and seeing how that translates into a fine art aesthetic.

What can we look forward to seeing from you in the future?

More evolution, I’ve started to expand into animation and have a collection of art available as NFTs. That’s been really inspiring to me lately and I’ll be focused on that for a while to come.

Bella Kotak Social Media Accounts

Website | Facebook | Instagram | YouTube

The post Bella Kotak: Enchanted Realms and Floral Dreams appeared first on Beautiful Bizarre Magazine.

While tarot cards first appear in the historical record in 15th century Europe, their use as a divination tool didn’t become popular until the 18th century. Since that time, untold numbers of artists have put their personal stamp on the cards, often using symbolism unique to their own region or culture. In this way, The Blood Moon Tarot joins a centuries long lineage of mystic artistry by representing ideas as old as humanity with imagery pulled straight from Guay’s own surroundings. 

A veteran of Haven Gallery, Guay’s work has been featured in a number of exhibitions as well as publications including Strange Horizons Magazine, The Cafe Review, Nightmare Magazine, and Maine Magazine. Their client list also includes Magic: The Gathering and ImagineFX–but The Blood Moon Tarot is perhaps Guay’s most personal work to date. With compositions inspired by their upbringing and surroundings in rural New England, each card in the deck of 78 is a piece of Guay’s personal history.

Like layers of detritus draped across the floor of an old growth forest, the mesmerizing cards draw in viewers with an abundance of texture. A signature of Guay’s personal style of watercolor imagery, the complex textures are inspired by the natural world. Every glance exposes new details bursting with abstraction. From the high contrasts between earthy greens and exuberant yellows in the suit of Honey to surrealist greys and ethereal blues in the suit of Dreams, Guay’s personal take on this ancient divination technique is a feast for the senses. In this exclusive interview, we dive deep into Guay’s creation process to learn how they brought The Blood Moon Tarot to life and what inspiration they look forward to fleshing out in the future.

Creating a brand new tarot deck of 78 cards is an enormous task. What led you toward this body of work?

At 13 or 14 I received my first tarot deck and I loved that it was a functional piece of art, a creative tool, and something that felt inherently magical. It wasn’t the association with magic or the occult that made it feel special, it was an invitation to interact with art and imagery on such an intimate level. I continued to use tarot cards through the years and always wanted to make a deck that was personal to me.

What inspired the four suits—Songs, Skins, Dreams, and Honey?

In the winter of 2016 I was lucky enough to have a weekend trip to New York completely upended by a massive snowstorm (yes, lucky). All the shows I planned to attend were canceled, but I serendipitously stumbled upon an exhibition at the Cloisters featuring medieval playing cards, including some gorgeous original tarot decks. Many of the decks featured unique suits: bells, acorns, rope, and such. Sometimes the suits were chosen to represent the family commissioning the cards, and that encouraged me to make the suits my own. Swords became Dreams, Cups became Songs, Wands became Skins, and Pentacles became Honey. Each has specific symbols with personal meaning. For example, Dreams represents our mind and thoughts so the suit explores struggles with anxiety, something that I have had a lot of experience with. The nightmarish hound creatures that appear in those cards are from a series of sleep paralysis episodes I had at one of my lowest points in dealing with panic disorder. Though some might find those creatures disturbing, their appearances in my dreams helped me recover from anxiety that had made it impossible for me to function.

The nightmarish hound creatures that appear in those cards are from a series of sleep paralysis episodes I had at one of my lowest points in dealing with panic disorder. Though some might find those creatures disturbing, their appearances in my dreams helped me recover from anxiety that had made it impossible for me to function.

What are some challenges you experienced during the four years you spent creating the imagery for The Blood Moon Tarot? Are there any sources of encouragement or inspiration you looked to during those moments?

The biggest challenge I had was after the success of the Kickstarter. I still had about half of the paintings to complete but, with the looming pressure and expectations of hundreds of people who funded the project, I experienced creative paralysis for the first time. I was stuck in a cycle of procrastination (putting off work because I was worried it wouldn’t meet the approval of my backers) followed by guilt, shame, and self-deprecation. I couldn’t work for months. Eventually I was able to see a therapist who helped me get back into healthy working habits and a mindset focused on making myself happy with my work, instead of fearing that I wouldn’t make others happy.

What is your process for creating a piece from start to finish?

The specifics of painting aren’t always consistent. First I need an idea. To get one usually takes a lot of reading, listening to music, walking, weird dreams, journaling, and 6 AM half-awake shower thoughts. Ideas tend to pop up all over the place, but finding the right ones take a little extra work. From there I plan. I make a sketch, turn it into a more fleshed out drawing, do color studies, and then I paint. Painting itself seems to go through a blissful beginning stage where everything feels awesome, a very long ugly stage where it feels like everything is ruined (I’ve learned to just work thought this), and then in the last 10% there’s more looking at the piece than painting and it’s only in the last final touches that I feel good about a piece again. It’s always a ride, and I have to say the ideation phase and sketching are probably my favorite.

How has the relatively rural setting of your home in New England affected your creative process? Do you see differences in the work you create in isolation versus more communal settings?

Two years ago I moved from the small, rural New Hampshire town where I grew up to a popular tourist town in Massachusetts. I miss the woods so much. I miss the solitude, I miss all the little bugs, and the mist, and the wild apple trees. But my new home gives me independence that I didn’t have before, and it’s had a significantly positive impact on my overall happiness. I’ll always feel most at home with nature, and I think it’s hard to untangle myself and my work from that regardless of where I am living. Even though I’m in an urban area I walk to the ocean regularly and have built a bucket garden on my little porch which hosts many lovely insect visitors. I still have my ways to commune with nature and feed that inspiration here. That said, when it comes to working I struggle to stay focused in communal studio set ups (I always want to see what other people are doing and talk to them about art and ideas). On the occasions that I’ve attended workshops or classes, I do my best but nothing sinks in until I’ve had time alone back in my own studio.

I’ll always feel most at home with nature, and I think it’s hard to untangle myself and my work from that regardless of where I am living.

You’ve cited journaling as an important part of your creative process. What do you enjoy about journaling and what advice would you give to artists who are just beginning a journaling practice?

Journaling is one of my many creative outlets, and sometimes it feels more like my sketchbook than my actual sketchbook does. My paintings begin as ephemeral feelings or abstract ideas and are often about exploring inner worlds. Delving deeply into those inner realms feels the most safe and unhindered in my journal. Writing allows me to gain a better understanding of my ideas and helps ground them into a tangible enough form to work with.

If you’re just beginning a journaling practice my best advice is to write something, anything, for at least 15 minutes each day. There’s no pressure to share what you write, or make it beautiful, so try to let go of self-censoring.

You’ve also cited sensory deprivation tanks as a place of inspiration. What is that experience like?

It’s like floating completely alone in the middle of the ocean on a silent, dark night. This might not be for everyone, but for me it’s heaven. The other great thing about the experience is that the lack of sensory input creates an environment for a very bored brain. Bored brains get very weird and creative. I’ve had some bizarre experiences in sensory deprivation tanks, like having the sensation that I was a bunch of tiny noodles or strings, or that the sensation of seeing was a heavy, physical thing—like milk pouring into my open eyes.

A signature of your work is the beautifully textural quality of your pieces. Are those inspired by specific textures in nature? What techniques do you use to create texture in your work?

They’re definitely inspired by nature, but I also just love texture. Whenever I see textures and colors I want to eat them, they look delicious. Previously my textures were done with layers of paint and tiny little brushstrokes. In my more recent work I draw a lot of crusty, lichen-inspired textures and those are all done by hand instead of relying on the granulation of the paint to provide texture.

Your Kickstarter campaign to raise funds for printing The Blood Moon Tarot was an enormous success, raising over five times your original goal amount. What did it feel like to know that so many people connected so powerfully with your work? Have you learned anything through the Kickstarter process?

I was completely blown away, but it didn’t feel entirely real or complete until recently. Seeing people using my cards and bringing their own ideas to my work brings me a lot of joy and a strong sense of accomplishment. I have learned so much through the Kickstarter process I could write you a whole novel. So many things didn’t go according to plan—plus the pandemic added an extra layer of challenges to contend with and left me to handle it on my own. I made it happen though, and I feel so much more prepared for future projects of this magnitude.

How do you hope your work will affect viewers?

I’m happy to let the Blood Moon Tarot go out into the world and continue to grow and evolve in the hands of other people in whatever way they choose. My biggest hope is that it inspires people to use their own experiences and their own voices to make their own unique work.

Aside from The Blood Moon Tarot, what are some other projects that have stretched your skills and inspired you?

The Blood Moon Tarot is my first big project, so I don’t have any of my own work to compare it to. But freelance work can be very challenging, bring me way out of my comfort zone, and I think that’s a great thing to do to keep my creativity fresh. Last year I did a movie poster for an indie movie (I don’t think I can share more right now) that was made by just a few people doing something they loved—those sorts of projects are my absolute favorite and make me buzz with inspiration. When people are doing something that excites them and aren’t self-censoring their creativity over fear of how they’ll be perceived, that is a joy to witness and an even bigger joy to be a part of.

What are you looking forward to creating in the future?

Right now I’m looking forward to painting. I have a stack of drawings from the past few years that I haven’t had time for and I want to make them happen. I have plans for a few more projects, the next of which is a little book on using tarot for dream interpretation. I had it all written up a few years ago but recently decided to go back in and reimagine it more in the phantasmagoric spirit of dreams.

Sam Guay Social Media Accounts

Website | Facebook | Instagram | Twitter

The post The Hypnotic Visions of Sam Guay: Art, Nature, & Divination appeared first on Beautiful Bizarre Magazine.

Bayou Brass was featured in Some of our Favourite Things inside the September Issue 30 of Beautiful Bizarre Magazine!

Bayou Brass designs draw on influences from Chamorro’s first generation Honduran-American background as well as the city of New Orleans and its rich heritage of African symbolism and the Vodou religion. Pieces like the Black Onyx Watchtower of Protection draw on traditional spiritualism to create a stunningly wearable work of art that also tells a story about the maker and the wearer.

Chamorro’s art is made to last generations. Each design is conceptualized, forged, etched, and stamped free-handed by Chamorro in her home studio. Crafted from ethically sourced stones and materials from local producers, every piece is a wearable ode to the NOLA spirit and the people who give it life.

Bayou Brass Social Media Accounts

Website | Instagram | Personal Instagram

The post A Hand Forged Spiritual Legacy: The Wearable Art of Bayou Brass appeared first on Beautiful Bizarre Magazine.

Wielding her digital tools in a home studio filled with the colorful toys she collects, Gabriella Barouch creates pieces that are at once innocent and thought-provoking. Her signature style, a combination of simple backgrounds, soft color schemes, and fanciful subjects appeals to a wide and diverse audience while retaining a deeply personal point-of-view. She’s worked with a host of big name clients including Hallmark, Le Monde, and the French Post Office.

The ultimate narrative is the one coming from the viewer’s inner world.

Her debut children’s book, Maybe, written by Kobi Yamada and published by Penguin Random House, has been translated into eight languages. In addition, Gabriella Barouch’s popular art prints bring sparks of her personal style of magic into homes across the world.

In this exclusive interview with Gabriella Barouch, we discover the playful nature of her creative process and find out how she’s embracing the cutting edge of digital artistic spaces.

There’s a sense of whimsical, almost childlike playfulness in many of your illustrations. Did you start creating early in life? Do you draw any inspiration from childhood memories or stories for your current work?   

I started creating very early in life and it was very intuitive. I think my main inspiration isn’t memories as much as nostalgia. The missing part is where I’m working from. Do you know this moment when you remember some detail from your childhood and it fills your heart with a warm missing feeling? That’s what I’m trying to capture. I think that’s why my art speaks to both children and adults.

What are some of your favorite sources of inspiration?

First of all is music; I have playlists divided by mood and when I want to insert a feeling into my art I need to be in this feeling myself so music takes me there. Another inspiration source is literature – the words of poetry mainly, they open a gate in my head to a larger world of imagery and most importantly they evoke emotions. Last thing on my inspiration list is nature, everything with organic shapes can speak to my heart and my imagination.

A common theme in your recent work is people, often children, alongside animals in fanciful settings and poses; what inspires those specific pairings? 

Magic. It’s just me searching for imagery that reflects the magic of childhood, the world through the eyes of a child is like a mystery waiting to be discovered, objects in their life get different meanings, animals and toys play a huge part of their everyday reality, that’s my main inspiration to create this art.

This moment when you see in your mind a concept for an illustration that you love, that you feel omg yes this is going to be pretty I want to create it! This is the most meaningful part of the creation process…

What is your favorite part of the creative process?

This moment when you see in your mind a concept for an illustration that you love, that you feel omg yes this is going to be pretty I want to create it! This is the most meaningful part of the creation process and my fav for sure. For me it’s all about the concept and if I’m excited and moved by it myself I just know people will connect to it as well. 

One signature of your style of illustration is the muted color palettes which add to the dream-like quality of your work—how do you go about choosing color palettes for your pieces? 

To be honest the colors just happened. Early on in art academy, me and my professors realized I have a strong attraction to yellow. If you analyze my colors the hue usually will go towards yellow rather than any other color. I still don’t know why it is, it’s just intuitive. In the past year I’ve been studying color theory because I feel I’ve reached a stage in my career where I want to explore new colors and try more colorful palettes. 

What does your process look like from start to finish?

If it’s a client commission, I start with a brief. I collect as much information as I can on the subject, I read and create mood boards. Usually the more I study the subject, especially visually, a concept starts to form in my head. I can walk with this half concept in my head for days trying to solve it and then there’s this magical moment where I can see the full picture in my head and I sketch it. After everyone is happy with the sketch I illustrate it – I draw digitally on Procreate and Photoshop.

Your pieces have been described as narratively satisfying—what narratives do you hope viewers will find in your work?

The ultimate narrative is the one coming from the viewer’s inner world. I have no desire to form one specific narrative in my art, I create an image that carries an emotion and the viewer forms his own narrative based on his point of view in life. I love to keep my art a bit enigmatic, like a riddle to solve or like an invitation to experience a feeling for a few minutes. 

It’s just me searching for imagery that reflects the magic of childhood, the world through the eyes of a child is like a mystery waiting to be discovered…

What can we look forward to seeing from you in the future? 

More art, hopefully a new book in the year to come and lots more exploring of the virtual world.

Gabriella Barouch Social Media Accounts

Website | Instagram | Twitter

The post Gabriella Barouch Interview: Nostalgic & Thought-Provoking Illustrations appeared first on Beautiful Bizarre Magazine.