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

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

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

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

Enjoy this gallery of Joni Wildman’s work:

Joni Wildman Social Media

Website | Instagram | Facebook

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

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

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

Interview with Agnes Cecile

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Agnes Cecile Social Media Accounts

Website | Instagram | Eyes on the Wall

Victoria Olt Gallery Social Media Accounts

Website | Instagram | Facebook | TikTok

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

The concept is simple: to get back to the roots of direct communication. You ask a (preferably genuine, from the soul) question, you get a (no holds barred, brutally honest) answer from their oracles, made up of their highly experienced coaches and mentors.

For this to work, Quarantine Events has thrown social media far out of the picture. They have returned to a delectable source of communication void of third-party control and data scraping. They have returned to the ever-surviving form of the bespoke newsletter. And that’s right – it’s free! Get ready for the Brutally Honest Oracle answering your artistic questions every fortnight.

The twist

Of course, this wouldn’t be Quarantine Events without a twist. At the heart of their incentive to provide a safe space where questions can be answered with truth, there lies an “indispensable quality for this oracle to work”: the answers must all be anonymous.

Each question chosen promises to be answered by one or more oracles, allowing artists to receive multiple points of view. Sometimes contradictory, always opening the mind, the anonymous oracles promise to give you their informed advice based on years of expertise.

You will never know who’s on the other side of the crystal ball. If you knew which mentor was responding, the oracle would be corrupted, just like social media.

Why the anonymity?

If you have managed to go through life using the internet and never once been on the receiving end of some unwarranted offence, you are one of the rare few. From people being ridiculed for asking genuine questions to response videos based on someone else’s response video, the internet – and especially social media – is often a knotted loop of knee-jerk opinions and ego topped with a sprinkling of finely distributed unnecessary criticism.

There are, of course, well maintained “safe spaces”; closely monitored online communities with rules and regulations to instil order and security. These can be shining beacons for like-minded individuals and provide positive experiences. But there will always be capacity for uninvited voices to ruin the vibe within any public platform where genuine conversations may be trying to take place. In the world of social media, every piece of ourselves that we put out there is laid bare for others to do with as they wish. It can be vulnerable and draining. But there is another way. As the Quarantine Events team put it: “email lets us keep our dignity”.

This anonymity also works both ways; those asking the questions can also stay anonymous when submitting. The beauty is that this concept focuses on what matters most: the exchange of knowledge.

There’ll be delightful chaos, contradiction, and paradox. It’s an Oracle! But answers will always be informed and from the experienced.

What kind of questions can be asked?

While artists are encouraged to use their common sense when drafting questions, there is no limit to what – or how many questions – can be asked. “An honest answer requires an honest question. So, be brutally sincere.” Suggests Carles Gomila, Artist & Quarantine Events Director.

“Ask anything about using fear and vulnerability to make art. Anything about the creative process. Anything about how to be an artist. Anything about art education… Just don’t be annoying, and use common sense.” Says their handy FAQ.

The team will be grouping answers for the Brutally Honest Oracle by theme, so with Oracles giving their answers every fortnight, you may have to be patient. Rest assured, however, that each newsletter will have plenty to inspire you.

You don’t need to ask a question to be a part of the Quarantine Events Community

If you’re feeling apprehensive about getting involved, it’s important to remember that the Quarantine team welcome all curious creatives. You don’t even need to input a question to enjoy the Oracle newsletter; just sign up via their website and wait for the fun to glide into your inbox! From exploring self-identity neurosis to career advice and everything in between, the Brutally Honest Oracles are here to guide you, free of judgement.

As someone who receives hundreds of emails a day, sometimes it is hard not to feel overwhelmed when I open my inbox. Believe me when I say that the Brutally Honest Oracle is a breath of fresh air. These oracles’ answers will make your brain tick and fizz. Maybe you’ll be inspired to overcome an internal block or two.

We can all do with a little nudge to bring more art into our lives.

Quarantine Social Media Accounts + additional blogs

Website | Brutally Honest Oracle | The Art Spirit 2025

The post Quarantine Events Brutally Honest Oracle: your art questions answered, no holds barred appeared first on Beautiful Bizarre Magazine.

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

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

Interview with Joni Wildman

What is your art history and background?

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

What mediums are you most interested in?

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

Who are some of your favourite artists or other influences?

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

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

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

What does a typical day look like for Joni Wildman?

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

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

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

What was the most challenging part of this series?

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

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

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

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

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

What’s next for Joni Wildman?

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

Joni Wildman Social Media

Website | Instagram | Facebook

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

Applications are now closed for Quarantine Events’ final 2024 programme on Lazaretto Island in Menorca, and while they prepare for the incredible October 2024 INTERZONE, Carles Gomila and the team are already finalizing details for their first 2025 adventure. Their week-long workshop in 2025 promises to be both unique and exhilarating, heavily inspired from the timeless wisdom of “The Art Spirit” by Robert Henri. Delving into multiple explorations of the core principles and philosophies encapsulated within this influential book, The Art Spirit event will unveil a transformative one-week experience that blends artistic technique with profound personal insight.

Schools and workshops all focus on “HOW to make art?”. They teach you techniques to make you great. Cool. No complaints here -they’re not the villains.

But no-one asks the big question: “WHY do you make art?”

Robert Henri tackles this in “The Art Spirit,” and so do we. It’s the tough question everyone dodges, but it’s key to being a real, free artist.

Carles Gomila, Artist & Quarantine Events Director

“The Art Spirit,” first published in 1923, is more than just a guide on painting; it is a passionate manifesto on the nature of creativity, art, and the artist’s place in the world. This holistic book has become a bible to many creatives over the decades, including Issue 033 cover artist Jeremy Mann – so much so, that he has agreed to return as a mentor at Quarantine Events to share his own lived-in practices of Robert Henri’s significant teachings.

A great panacea to the troubles which plague mankind

“This book helps put our doubts and wonders, the feelings all artists have across many mediums, into words – and spits it back at you with a smack to the senses. It wakes you up… and could be read daily like the vespers of religions,” muses Jeremy. “While I draw my mentalities from many such great books, and there are many other inspiring books akin to this one, Henri’s vision captured in his writings and other’s notes on his teachings make complete sense to me.”

In-line with Quarantine Events’ ethos of breaking down limitations instigated by the traditional Teacher-Student relationship, mentors for this event won’t be teaching the “right way” to be an artist. For Quarantine Events, there is no such thing.

Their week-long programmes celebrate individual creativity, as such working in perfect harmony with “The Art Spirit” publication. Jeremy agrees: “Luckily, we’re not some sort of prophets preaching this one man’s words, rather it’s an affinity for the philosophy as is interpreted through each of our own completely different experiences. Guidance comes best from those who know their subject and are willing to be honest about every aspect, so I will draw my confidence from that, and be honest no matter how stupid my doubts tell me I could be. I will be doing my best to light those little fires of the art spirit under the asses of all who attend; a little light to carry onward!”

The Art Spirit is like the field guide to all wandering lost souls. Much underappreciated in my opinion, but good in the sense that it remains cherished by those who actually take the time to read to better themselves.

When I read it for the first time… and I’ve read it many, many, times (and each time is the first time)… I always feel the same: I’ve been lost, and these words open my eyes instantly.

I knew I was misled, misplaced and confused, with a general “can’t put my finger on it – what’s wrong here” state of being in this world I find myself, and the words in this book sound like the soothing comforts of a trusted grandfather, calming my nerves, showing me a truth I was overlooking, and inspiring me to continue the beautiful struggle, and most importantly: to appreciate it.

Jeremy Mann, Mentor at Quarantine Events

The Art Spirit 2025 event

 Robert Henri’s Boot Camp

 Dates: April 7 – 13, 2025

 Deadline to apply: December 31, 2024

The Art Spirit Mentors:

Michael Hussar

Jeremy Mann

James McCrae

Nadezda

Sainer

Martin Wittfooth

Each guest mentor on The Art Spirit programme will be overseeing their own boot camp, guiding participants through the book’s philosophy from different perspectives. The approach aims to allow a much deeper expansion of each participant’s mind, allowing every participating artist to come to their own conclusions and access the knowledge and practices shown to them to best support their individual pathways forward. “A multifaceted individual is a golden-handed genius of potential uniqueness.” Says Jeremy Mann. “Usually, you get one teacher who stunts and directs a path. Here, the beauty is that in the end, the attendees will be exposed to multiple viewpoints and in the aftermath, they will digest it how best fits their own life compass.”

Learn more about The Art Spirit 2025 event here

In keeping with the book itself, Jeremy will be focusing on “neither, and both [Henri’s] philosophy and practices, giving neither more importance than the other”. The aim will be to instill the concept of balance in all forms of experience within the formula for ‘successes’. “And of course, I will be sharing in no logical order… just like the book!” he shares with a mischievous grin.

While this may sound a little chaotic – because it is – it’s important to note that chaos isn’t the enemy of progress. Jeremy is confident that his approach will help the attendees best: “Maybe my favourite facet of the book is, as many who’ve recommended it have said, ‘you can open to just about any page, start reading anywhere’.”

Because it’s not about steps to an end. It’s about an open-ended lifestyle, about forming your life into a fully inspiring and creative experience. What results from living this way, is art.

Jeremy Mann, Mentor at Quarantine Events

The evolution of Quarantine Events

The Quarantine Events team are an ever-evolving hub, working with feedback and pushing boundaries to continue their goal in helping artists to truly flourish. As such, The Art Spirit 2025 event will include some new ideas and challenges for the next batch of brave artists signing up to experience Lazaretto Island. Similarly, mentors such as Jeremy Mann and Michael Hussar will continue to bring their own ever-evolving experiences to the table:

“As I grow, so do my teachings and experiences at workshops. Mostly because I learn more about what I could say or do to actually help artists, instead of a clearer idea of what I myself am doing. But the path and pathways, their interconnections, the deeper meaning, the bigger pictures to all I’ve been through as an artist which have guided my own experience of life: I’m learning how to translate into experiences that will help artists guide their own journey into more wondrous directions of their choosing.

“That will be the most important thing I wish to focus on at this edition of Quarantine. Helping the attendees awaken to their potential and giving them enough of a kick in the ass to develop their own confidence to choose their creative life, not let the world of others choose it for them.”

Still unsure?

In-line with past events, Quarantine Events are notoriously secretive, never unveiling the full timetable and keeping what happens on the island, on the island. One thing they can share is that whether you are a seasoned artist or a budding enthusiast, their workshops will provide invaluable insights and inspiration to propel your artistic practice to new heights.

Jumping into the unknown can be daunting, and for those of you who are still unsure, Jeremy has some parting thoughts to consider about what you can expect…

“In some of my dreams, I live in a quarantine world. It’s pure heaven to me there… The site itself is enough to wobble the knees. Creative sproutings from the grounds of a twisted history. No phones, no bullshit, no ego, a mental hospital for the art spirits, a cleansing retreat for world weary souls which can rekindle the fire of life in the hearts of those in need. It can’t solve your problems; it can however present you with the right ones to pursue.”

For more information and to apply to join The Art Spirit 2025 programme, check out Quarantine Events website. Be sure to also sign up to their newsletter to receive further updates!

Quarantine Social Media Accounts + additional blogs

Website | Instagram | Telegram  | Fire Walk With Me article | Deep Dive into Quarantine Events

The post Celebrating Quarantine Events’ “The Art Spirit”: What results from living this way, is art. appeared first on Beautiful Bizarre Magazine.

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

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

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

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

Interview with Jennifer Allnutt

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

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

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

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

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

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

Tea and coffee = reflection time

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

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

Audible = getting into flow state

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

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

Whiteboards = organisation

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

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

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

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

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

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

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

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

How do you prep your surface?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jennifer Allnutt Social Media Accounts

Instagram | Beinart Gallery | Big Cartel

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

From poetry to art

Beginning with just a published magazine, Didi Menendez soon expanded to form an international art community, publication, and subsequently bespoke curated exhibitions as well. Originally, Didi also published poems alongside the visual art: “When I created PoetsArtists in 2008 I [had also been] publishing MiPOesias since 1998, which was centered on just poetry. I thought that publishing a magazine which also included art would bring in more readers to the poems, but the opposite happened. The art took off and the poems started to become less and less. Eventually, it was just about the art.” With strong relationships now built with various talented artists, Didi saw it was time for a change. “I reached out to several galleries to see if they wanted to partner with me in selling the art – and Sergio Gomez with 33 Contemporary said yes.”

This evolution led to the recent rebranding, and now 33PA stands tall in the contemporary art world.

Fear not, however, if you thought more was changing! “The rebrand has not changed the way I work with artists” Didi assures, much to the delight of the hundreds of artists and creatives who form the 33PA community. Forming a broad spectrum, 33PA offers multiple levels at which to join. Each tier has been created to provide bespoke perks and focal points to boost activity and promotion.

33PA Artist Spotlight

Are you an artist seeking a new community to chat with like-minded creatives? Or looking to submit to bespoke monthly themes and shows, promoted on Artsy in partnership with 33 Contemporary? Perhaps you are you seeking a marketing representative with which to form a deeper working relationship? Whatever your goal, 33PA can help.

Below is more information, but we wanted to also shine a light on four members to celebrate some of the talent already within the 33PA’s community! Read ahead to learn more about Viktoria Savenkova, Kate Van Doren, J. Adam Mc Galliard, and Erica Calardo.

Viktoria Savenkova

A long-time member of 33PA since 2017, Belarusian-born Viktoria Savenkova’s works build an emotional and psychological dialogue with the spectator. Focussing on the concept of unfinished stories, she invites the viewer into her scenes to become immersed within Viktoria’s own inner world. In doing so, the spectator becomes, psychologically, a part of the art, more intricately and emotionally involved than perhaps first thought.

One of her best practices is to trust her “intuition fully in the creative process”, which has encouraged her to embrace spontaneity and explore unconventional ideas, leading to more authentic and personal artworks. She has been a part of multiple 33PA publications and exhibitions which has led to her engaging with a broader audience and furthering her sales.

My goal as an artist is to translate the essence of my inner world into art and express my feelings about the world. Through my artwork, I share my experiences and emotions, aiming to connect with others on a deeper level. I create pieces that resonate with people’s own feelings and experiences. Ultimately, I want my art to tell a story and inspire those who see it.

The creation of Untold Stories of my Garden and Untold Stories of my Garden 2 (featured) was deeply inspired by Viktoria’s memories of spending summers in her parent’s country house, where she would spend entire days painting amidst apple orchards and lush greenery. “These artworks encapsulate the essence of those nostalgic moments, where each brushstroke recalls the naturalness, tranquillity, and beauty of the surroundings. Through these pieces, capturing my feelings, I aim to share the serene and intimate narratives of my memories from the summer garden.”

Kate Van Doren

American artist Kate Van Doren’s overarching themes as a painter focus on human resiliency. She holds a particular spotlight supporting the voices of women and the LGBTQ community around the world, also seen through The Healing Words Project, a now-global workshop initiative which Kate founded in 2020 during the national strike ‘A Day Without Women’ in Mexico. “The project [has] women worldwide using the platform to share, connect, and heal.” Kate says.

The project is woven closely with her own emotive works. Many of her paintings are based on photography from The Healing Words Project, with participants interviewed as part of the artistic process. “My work [highlights women’s] struggles, triumphs, and the ongoing fight for justice and human rights. By incorporating elements such as cultural symbols and personal narratives, my paintings aim to uplift, emphasizing the power of shared stories and healing through artistic expression.” Her work, Oración Por Las Desaparecidas (Prayer for the Missing), was a Finalist in the Beautiful Bizarre Art Prize in 2022 – a moment which “affirmed” her journey as an activist in art and highlighted a global commitment to raising awareness for causes crucial to the healing of women everywhere.

“My activism is generational; I grew up with justice-seeking parents who instilled in me the importance of human rights.” Kate shares proudly. As a psychotherapist and art therapist, she has worked with many women who have experienced trauma and violence.

Through art, I realized I could reach a global audience about violence against women and the healing power of shared stories of resilience.

She is ever grateful for 33PA’s support: “Having someone believe in and support my work is incredibly special. Through 33 Contemporary, Didi Menendez and Sergio have given me amazing opportunities, affirming my artistic voice. I am beyond grateful for their belief in my work.”

J. Adam McGalliard

J. Adam Mc Galliard always felt destined to be an artist, even before fully understanding what that meant. Masterfully blending traditional oil painting with modern technology, he explores themes of identity, myths, and the divides shaping today’s society. Drawing from a wide range of influences, including Old Master Painters like Rembrandt, Jan Van Eyck, and Bronzino alongside his love for dystopian storytelling, his muses have accumulated beautifully into his new series, Erewhon.

Blending dystopian visions with the reality of our environmental and societal crises, Erewhon is a series exploring the intertwining of human existence with a rapidly changing environment. It reflects themes of societal collapse and a redefinition of human-nature relationships amidst extreme polarization and never-ending climate change. Creating “unreal figures in unreal settings”, J. Adam’s works allow for a deep dive into the speculative and the surreal, offering a mirror to our present challenges and future possibilities.

“Collaborating with Sergio Gomez and Didi Menendez has been incredible; they bring extensive art world experience and a genuine understanding of the artist’s perspective, which is a rare and valuable combination,” he shares about 33PA.

Balancing his role as an Assistant Professor of Painting and Drawing at the University of North Florida with his personal art career is admittedly challenging, yet deeply rewarding. “Teaching demands considerable time and energy but breaking down my process to make it teachable has allowed me to scrutinize my own methods more thoroughly, giving me a fresh perspective when I return to my own work.” He muses.

While his favourite pieces in Erewhon are “likely the ones [he hasn’t] painted yet”, Boudica (featured) shines brightly in his heart. Evoking a blend of futuristic and medieval aesthetics, the juxtaposition of natural and technological elements creates a surreal and thought-provoking atmosphere. Named after the legendary warrior queen who led an uprising against the Roman Empire, Boudica symbolizes resilience and defiance in the face of adversity: “this piece particularly resonates with me as it encapsulates the ongoing struggle against and harmony with nature that defines our era.”

Erica Calardo

Working in oils, watercolours and pencils, figurative painter Erica Calardo lives and works in the enchanting city of Bologna, Italy. Her mixed media works allow her to fully utilise each medium to its fullest, wrapping beauty and magic into an enhanced mirror of the world. “Art mediums are like instruments in music: any image, any emotion, calls for a specific voice” she shares. A self-proclaimed traveller and dreamer, Erica’s 17^th century, church-like atelier is at the heart of her creative journeys. Here, she paints, “travelling along the dreams of others”, imbuing each painting with her own history as a self-taught artist, enhanced with further tutelage under Roberto Ferri and his treasured Old Masters’ workshops.

Her one “true love” however, falls back to oils, her primary medium. “They are rich in texture, allowing for both bold thick brushstrokes and fine details as well as gentle subtle glazes for a delicate effect. Oils offer a great variety of possibilities and different brushing techniques: experimenting and studying is a lifelong journey. The combination of different brush techniques within one painting is the key to creating striking images. This is especially true because oils allow for different methods: I don’t usually paint alla prima, but I rather go for an indirect layered style. I am constantly looking for the balance between lose bold strokes and delicate refined details. It takes time, but seeing the painting growing towards its final shape is such an intimate experience. It is a meditation, a deep dialogue and exchange between the painter and the painted image.”

Above all Erica enjoys painting female nudes: “achieving the perfect skin tones is a lifelong journey. The human body offers both a hard technical challenge, and the opportunity to express philosophical ideals in an allegoric way.” She explains. “And Didi and Sergio at 33PA provide the most supportive environment, from the professional perspective as well as the creative one. They’re always there for me and their enthusiasm towards the arts is amazing. They focus on the growth of their artists and are constantly providing opportunities to improve. They understand what an artist goes through.”

To learn more about 33PA click on the links below!

33PA Social Media Accounts

Website | Patreon/Memberships | Twitter | Facebook | Instagram

The post 33PA: A new name, but still a major player in the Contemporary Art World appeared first on Beautiful Bizarre Magazine.

There are plenty of galleries around us in Petaluma, it’s quite an artist hub, but not one is doing what we are. In bringing these artists to a new area, they’ll hopefully be seen and appreciated by a whole new audience.

If you’re reading this, chances are that you appreciate art that exists outside of mainstream circles. If chances are serendipitous enough for you to be around the North Bay Area of California this Friday, you can also be a part of something special, as Nanny Goat Gallery prepares for its Grand Opening!

Taking roots in the Petaluma arts scene, Nanny Goat Gallery celebrates new and contemporary representational art, predominantly in the pop surreal, narrative, and fantasy genres. Their Grand Opening kicks off with over 70 artists from around the world bringing heart-lurchingly good artworks together under their maiden exhibition, Ephemeral. From original paintings to intricate sculptures, these enchanting artworks accrue to the perfect collection to be enjoyed within the gallery’s riverfront mid-19th century brick building – an original from Petaluma’s Gold Rush era.

Its founders Emily and Paul Eccles have come a long way since starting Nanny Goat Gallery online in 2022. Having overcome multiple challenges including personal health issues, securing their dream building and then dealing with renovation delays, the couple are more than ready to celebrate their big opening. “While running the online gallery I had completely fallen in love with the community and the artists I was working with.” Shares Emily. “I wanted to do something to make them proud, as well as make us proud.”

Their hard work has not gone to waste. Far from the minimalist white walls experience, Nanny Goat Gallery happily leans into its historical foundations. The gallery boasts a two-room space with rustic brick walls, across the street from the river in downtown Petaluma. “It’s a beautiful space!” Emily smiles. “I plan on us being a little non-traditional. Our space will be cozy and inviting. We’ve brought in some antique furniture and traditional pedestals to complement the antiquity of the space. I want people to feel really welcome and I want us to fit the old Victorian style of the neighborhood we’re in. Stark white rooms just wouldn’t do. I’m a maximalist and that will show in the gallery as well.”

We have put all of our heart into this passion project and are humbled by all of the hard work put in by the artists. If it weren’t for their enthusiasm and dedication to the gallery, none of this would be possible, of course. 

Ephemeral

Nanny Goat Gallery

215 N Water St in Old Downtown, Petaluma, CA, USA

Tel: 707-329-6388

Opening Reception: Friday, July 12, 2024 | 5pm – 9pm

Supporting the bond between artists and collectors

The opening of Nanny Goat Gallery is a celebration of Emily and Paul Eccles’ love for the arts, allowing them to further their support of local and international creatives within the fantasy, surrealist and other less mainstream genres. Paul, a Shakespearean actor for over 15 years, loves collecting art as much as Emily, whose studies in literature and art history make it no surprise that they ended up in the beautiful cultural arts hub of Petaluma.

Both collectors themselves, the founders understand the positive power that art can have. For Emily, however, this connection runs even deeper: “I had always wanted to collect art. Over a five-year period, I had five invasive surgeries due to stage 4 endometriosis and really struggled. Walking through the hospitals, I remember how happy the art made by local artists would make me. I was grateful they had donated their work to the hospitals and realized it was a way to bring joy into my life when not much did. I started looking into collecting art at home soon after. Paul had a Jeremy Miranda commissioned for my 40th birthday and it continued from there.

“I started following more artists and galleries on social media platforms and have enjoyed getting to know both gallerists and artists alike. Honestly, I had always been intimidated by the idea of collecting but found the art world quite void of pretense. I found out that collecting art was fun and brought me so much joy!”

An accessible gallery

At the heart of it all, Nanny Goat Gallery exists to bring underrepresented styles of art into the limelight of the North Bay Area. To ensure accessibility, Paul and Emily aim to introduce collectors to beautiful works at a range of prices. “Having something for everyone is important to me. I want to show art that people can really connect with.” explains Emily. “I love a good landscape or still life, but Paul and I connect more with the art that tells a story and is open to interpretation.”

It’s also important to me to show emerging artists, something collectors haven’t seen before. All of the solos we have lined up through next June feature artists newer to galleries. In some cases, we’re the first time an artist has worked with a gallery. I love that!

Emily Eccles, Nanny Goat Gallery

The Grand Opening

For those expecting a fun party – you won’t be disappointed! Situated in the heart of wine country, there will be wine and beer, complimented by the beer garden next door with live music to get you in the groove. Get there early to enjoy Nanny Goat Gallery’s small ribbon cutting before being welcomed inside at 5pm to look at over 70 beautiful works of art.

“Downtown Petaluma really comes to life on Friday nights.” Emily exclaims, excitedly. “A warm night by the river in wine country. What else is there?”

Nanny Goat Gallery Social Media Accounts

Website | Facebook | Instagram

The post Join the Grand Opening of Nanny Goat Gallery for a new style of art in the North Bay Area appeared first on Beautiful Bizarre Magazine.

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

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

Interview with Claudia Six

What is your earliest memory of art?

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

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

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

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

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

What are some of your favourite animals and why?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Where have you been looking to for inspiration lately?

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

Claudia Six Social Media

Website | Instagram | Facebook

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

“Growing up on Long Island, I always felt so inspired by the ocean and loved hearing old tales and folklore about the sea. From shipwrecks to stories about haunted lighthouses, I am and forever will be curious when it comes to nautical myths.” She shares. This interest has been so powerful, that Juliet has centred her entire upcoming show at Nahcotta Gallery around this theme.

Nautical myths and legends

Opening at Nahcotta Gallery this July 2024, this new series of stippled works celebrate the heart of nautical east America with Juliet’s signature collection of animal characters. The event will unveil whole new pieces, concluding almost eight months of work.

“As soon as I figured out my theme, I immediately began drafting the stories about the characters and places that I wanted to feature in the show. These stories, which served as the guiding narrative reference for many pieces in the show, were largely inspired by the countless hours I’ve spent over the last several years taking reference photos throughout coastal New England.”

I have been working so hard in the studio on this series (some of the larger pieces in the show took more than 80 hours to complete), and I can’t wait for the magical moment of seeing it all come together in Nahcotta’s beautiful space!

Juliet Schreckinger

Alongside this, Juliet Schreckinger will also be unveiling bespoke tales of her own – one for each artwork in the show. These tales mirror modern-day myths, celebrating the history and influences of the east coast of America. Juliet has relished the experience: “This series allowed me to draw some of my favourite places that I shot reference of, while letting my mind wander into the “what if” territory that comes along with surrealism. While these myths I wrote are not real, many are based on kernels of true legends that I read about during my research for this show. I am very grateful to my wonderful gallerists for allowing me to have artistic freedom when coming up with the theme for this show, as it is always so amazing to let my innermost narratives come out without restriction.”

Nahcotta Gallery

Nahcotta Gallery is located in the beautiful city of Portsmouth, New Hampshire, which is the “quintessential nautical New England town”, surrounded by many lighthouses and ocean views. Not only is Juliet looking forward to partnering once again with Nahcotta Gallery; she hopes that this series will connect with the locals who cherish these nautical landmarks and the local wildlife around them, both of which served as her biggest inspirations for this show.

In turn, Nahcotta Gallery are just as excited to be hosting Juliet:

Nahcotta’s collaboration with Juliet began with our Enormous Tiny Art shows, and her latest nautical collection beautifully showcases her evolving talent and unwavering dedication. By continuously pushing the boundaries of her creative expression, Juliet’s work has become highly anticipated in our gallery.

It has been a true joy to witness her remarkable growth as an artist over the past few years, and we are deeply honoured to present her new solo show to our community in July.

Emily, Nahcotta Gallery

A sacred space for growth

Juliet’s excitement for her upcoming solo is infectious. If you have read any of my other articles about Juliet, you will know that stippling is an artistic practice for the ultra-patient; she laughs with delight as things finally wrap up in the wake of her show. “This series has been both rewarding and fulfilling,” she stresses, only mildly fazed by the hundreds of hours that she has put into creating the show.

“It’s rewarding to see the light at the end of the tunnel after many tedious days spent drawing for hours come to a close. It is fulfilling in that I wrote many of the narratives before ever sketching out the images, so to see the characters from my stories come to life feels so special. It is a truly wonderful moment when I finally get to look into the face of a character who before only lived in my mind (and my heart, as I do genuinely love each and every one of the characters I draw).”

My studio time with these pieces has been a sacred space, a time that I was able to witness the emotions that my characters face in each narrative – love, adoration, fear, courage – and attempt to hold onto these emotions while drawing each character.

I feel grateful every day that I am alive and get to live this dream.

Juliet Schreckinger

Follow Juliet Schreckinger to learn more about her upcoming solo show and be the first to see new artworks!

Juliet Schreckinger Social Media Accounts

Website | Instagram

Nahcotta Gallery Social Media Accounts

Website | Instagram

The post New works by Juliet Schreckinger celebrate nautical myths at Nahcotta Gallery appeared first on Beautiful Bizarre Magazine.

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

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

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

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

Interview with Laura Thipphawong

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Who inspires you and why?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pavel Guliaev

Interview with Pavel Guliaev

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

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

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

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

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

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

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

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

Do you consider yourself as a contemporary artist?

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

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

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

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

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

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

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

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

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

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

Pavel Guliaev Social Media Accounts

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

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

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

Interview with Pavel Guliaev

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

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

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

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

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

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

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

Who/what inspires you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pavel Guliaev Social Media Accounts

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It is very rarely that, as a writer, I find myself drawn between two diametrically opposite stories to tell of an artist I have interviewed. The first, and most uplifting, is the tale of Taiwanese artist Lo Chan Peng, the Grand Prize winner of the 2023 Beautiful Bizarre Art Prize. Having entered and been a finalist twice previously, Chan Peng’s 2023 entry Eternity Dawn was an overwhelming favourite of the judges.

Those who know his work will be familiar with his stunning realistic portraiture, and the soulful deconstruction that he utilises to emphasise the emotions in his pieces. With the works represented on these pages you can appreciate the mastery that he brings to his craft, but to truly experience their texture and depth, to allow the full impact of their beauty and despair, you must, if at all possible, see his works in person.

What is the job of an artist? Art is a form of communication, in the most authentic form of the artist. When viewers enter the form chosen by the artist, they enter the artist’s domain or realm – and that’s how communication happens soul to soul. This is the job of an artist.

To follow the artistic journey of Chan Peng is to follow a similar trajectory to that of many artists, an evolution of style as experimentation and new inspirations lead them to break new ground, explore new themes. Although his style could always have been described as “dark”, in the earlier years of his career there was often bright colour and use of quirky surrealism to bring a lightness to the canvas. Then, in 2016, tragedy struck, with the death of Chan Peng’s beloved wife through illness.

Always a deeply spiritual person, with an innate need to create connection and empathy through his work, Chan Peng had arrived at a nexus whereby his very world was shaken. Always driven to keep creating, the works that Chan Peng has created since, both drawings and oil paintings, have shared a common theme, no matter the subject portrayed. The results have cut to the very heart of the human condition – to live is to experience sorrow – but as Lo Chan Peng’s art so clearly shows, there is also beauty in the world.

Congratulations on being selected as the Grand Prize winner of the 2023 Beautiful Bizarre Art Prize! How did you feel when you learned that you had won, and what do you hope that your win means for your practice?

Thank you! As artists, we eagerly look forward to participating in your Art Prize, as it has undeniably become a significant and influential event. Now, regarding your question, this was my third year participating in the Beautiful Bizarre Art Prize. I had been a finalist in the previous two years, and I always approached it with a sense of equanimity, treating it like an enjoyable process regardless of whether I would win.

So, when I hadn’t won in the past, I tried to keep my emotions as steady as possible. Now that I have won, I still strive to maintain that calm, though I’ll be honest, I did allow myself a day of happiness (laughs). It’s not that I’m not content with the win; I’m thrilled.

However, maintaining that equilibrium and focus is crucial to me. It’s a form of mental discipline. Because painting is a rather direct art form, it flows directly from our hands onto the canvas. This means that a part of the artist’s soul is also directly captured in the artwork when they can paint as naturally as they breathe.

As for my practice, I’ve always aimed to immerse myself in a broader world, to travel to different countries, learn more, and continually grow without constraints. I’ve been trying to do this all along, but there have been limitations. I hope that this award will enable me to realise this long-term goal and continue to find joy in growth.

Please tell us about the work you submitted to the Art Prize, “Eternity Dawn”. What were your thoughts and inspiration when creating this painting, and why you selected this work in particular for your entry.

At a certain point in my life, I went through a period of darkness, during which I feared the arrival of night. I would wake up at five in the morning, lying in bed, waiting for dawn. I imagined myself lying on a beach, with the waves washing over me, submerging me, and then receding, and I would remain there, waiting until the sky gradually brightened. It was at that moment that I felt profound tranquillity, and I prayed for time to stand still, as it was the truest sense of serenity I had ever experienced.

There is a fine line between tranquillity and madness, and I felt like I was standing on that line, as fragile as a strand of hair. I had to concentrate entirely to stay on the side of tranquillity and prevent myself from slipping into the realm of madness.

Since then, I’ve felt that every painting I create is an attempt to capture that moment. In Indian philosophy, there is a deep understanding of the concept of a moment, with different words in their language denoting various durations of a moment. They believe that there are eighteen different units of time within the concept of “a moment”. I experienced something similar at that moment—it can be remarkably lengthy.

As for why I chose this particular work for the competition, I mentioned earlier that I have participated in the Beautiful Bizarre Art Prize for three consecutive years. Each year, I submitted what I believed to be my best work at that time. So, the reason is quite simple: when I was preparing for the 2023 competition, I had just completed this piece.

What was your process for creating “Eternity Dawn”, from conception to finished work?

The image in my mind for this piece was clear from the very beginning, and everything flowed smoothly. I knew it would be a good piece from the first stroke. I only struggled during the final stages. At that point, I was debating whether to introduce more “destruction” into the composition. My works typically go through a phase of destruction and then rebuilding, as I feel that I need to go through a certain level of struggle to truly infuse my soul into the canvas.

There is a sense of sorrow in the expressions in much of your portraiture, what brings you to convey this in your art?

Yes, in 2016, I went through the painful experience of losing my wife to illness. During that time, I experienced unimaginable grief and had many profound and mysterious encounters. However, I don’t want to dwell too much on the experiences that might make me sound like a madman (laughs). I want to focus on the rational aspect. In essence, I went through a unique state where spirituality and reason interacted, and it was difficult for me to distinguish what was the “reality” of this world. In retrospect, I found that this experience was quite similar to the realm of art.

You participated in your first exhibition in 2004, how do you feel that your work has evolved over the years since then?

Oh, yes, I think you’ll notice that I’ve always focused on portraiture, but the layers of concern have evolved. Initially, I depicted friends and people in my immediate surroundings. Then, as I grew personally, I attempted to capture the culture of a part of Taiwan’s population. In recent years, I’ve started portraying historical figures and children affected by wars (I call them “Historic Movers & Shakers, and the Doomed”). I believe the themes I care about have continued to expand.

Many artists I have spoken to who have fine art qualifications have said that figurative art was often looked down upon by their institutions and lecturers. What was your experience like as a student?

Every school has its own positioning and style. The school I attended is considered one of the best for figurative painting in Taiwan, so I didn’t encounter that kind of situation. However, I completely understand that such attitudes can prevail in schools that prioritise different styles. Nevertheless, figurative art, like all forms of art, has both good and bad works. When we assess a piece of art aesthetically, we inevitably consider context. In my opinion, I don’t judge the quality of art solely based on its form.

Can a bad concept become good just by changing its form? Or does it suddenly become worthy of discussion? I know many young artists struggle with this, and some even compromise and become something other than their best selves. It’s regrettable. I hope that my success in winning this award can serve as encouragement. We only need to be ourselves, strive to be our best selves, and do the most elevated version of what we feel we’re capable of. Don’t succumb to the world, never.

Now, on the other side of the lectern as an Associate Professor in the Department of Art of Creative Design at Hsuan Chuang University, what do you hope to impart to your students?

I believe that in this era, there are too many things vying for our attention, making it difficult for us to focus. Even various forms of media encourage us not to focus. However, ultimately, it’s only through focus that dreams can be achieved.

For the first time this year we have added an Emerging Artists category to the Beautiful Bizarre Art Prize. Do you have any advice for artists at this stage of their career and perhaps on the value of entering competitions such as ours?

I think that’s what makes the Beautiful Bizarre Art Prize great. I can feel the founders’ passion for art in their words and actions, and they put it into practice. This is truly remarkable, and I have great respect for it. I also hope to contribute to the Beautiful Bizarre magazine community after receiving this award.

I believe my experience can be shared with young artists. I participated in the Beautiful Bizarre Art Prize three times, and yes, I was certainly disappointed when I didn’t win. But I didn’t give up. I hope we can all enjoy both success and failure. My past experiences have taught me to be cautious at the peak of success and to be prepared when I find myself in the depths of failure, because opportunities can arise at any moment. Success and failure are never the focus; the focus is whether we are pursuing the highest version of ourselves.

Your works are in the collections of many museums internationally, could you tell us which brings you the most personal satisfaction, and why?

I have great appreciation for all the museums, but if you had to ask me which one is unique, I would choose the Hoki Museum in Japan. Firstly, this remarkable museum exclusively collects post-World War II to contemporary Japanese realistic artists, which is their renowned focus. Being included as one of the very few non-Japanese artists in their collection is a tremendous source of satisfaction for me.

Moreover, there is a bridge between the Hoki Museum and me, and that bridge is Mr. Suchi, the owner of Gallery Suchi, a highly discerning gallery owner. Unfortunately, he passed away from this world the day before I learned about winning the Beautiful Bizarre Art Prize.

I deeply regret that he couldn’t see his astute eye validated through this honour. I believe all of this has forged a profound connection between me, Mr. Suchi, and the Hoki Museum.

I have noticed that you have included ornate gold leaf embellishments on some of your recent
paintings. What were your thoughts behind this, and is it something that you will continue?

This was inspired by my travels in Italy. When I was in Italy, I noticed decorative frames everywhere. These decorative frames originally came from architecture, where beams and columns in buildings became frames for murals. Later, when oil paintings were done on canvas (which could be moved), the frames became portable alongside the paintings.

Similarly, many places in architecture were adorned with frames, and in noble architectural designs, these frames often carried the family’s patterns. Each of these patterns had its own story. In some cases, these patterns weren’t presented in sculptural form but were painted, using gold to create a realistic illusion.

At the time, there was a concept – the symbolic presence of figures within the frame (often Greek gods or Christian figures like Jesus) – and it was seen as a “real entity beyond the window.” This meant that we and the divine existed in the same space in the pre-Enlightenment era.

All of these concepts became inspirations in my paintings. Of course, I wanted my work to encompass past and contemporary, Eastern and Western cultures, so I’ve undergone many contemporary transformations and incorporated symbols and metaphors I’ve designed from various cultural and historical relationships. It’s like a game for me.

I’m currently working on a large painting for this series, and if everything goes well, I plan to continue experimenting with this approach.

Are there other ways that you would like to evolve your practice, other mediums that you would like to incorporate into your work?

What is the job of an artist? Art is a form of communication, in the most authentic form of the artist. When viewers enter the form chosen by the artist, they enter the artist’s domain or realm – and that’s how communication happens soul to soul.

This is the job of an artist. So, what I consider is whether what I’m doing is the most authentic expression of myself. When I discover that there are other mediums that allow me to be more true to myself, I’ll explore them. I want to emphasise that choosing a medium must have a deeply personal reason; otherwise, it’s meaningless.

We are eager to see your work for the Serendipity exhibition at Haven Gallery in Northport, New York, in November! Do you have any longer-term artistic dreams that you wish to pursue?

Thank you! I’m looking forward to it and honoured to be a part of it! I’m working on it, and I hope everyone will enjoy the piece.

As I mentioned earlier, I have always wanted to settle in different cities around the world and create for a while to pursue my growth. I hope my art can become a summation of human culture, bridging the past and the present, the East and the West.

Lo Chan Peng Social Media Accounts

Website | Instagram

The post Lo Chan Peng: From Sadness Comes Beauty appeared first on Beautiful Bizarre Magazine.

After I covered the upcoming INTERZONE residency in an earlier article, readers were eager to learn more. Thankfully, the Issue #37 cover artist and 2nd Prize Winner of the RAYMAR Traditional Art Award 2021 is no stranger to Beautiful Bizarre Magazine, and was happy to be interviewed about his involvement with Quarantine Events. So, dear readers, we hope that this glimpse behind the veil will entice you to learn more about Quarantine Events and their revolutionary series of art programmes. Enjoy!

Interview with Henrik Uldalen

Let’s start at the beginning; with this being a new endeavour and fundamentally, one big experiment, talk me through how Carles and the Quarantine Events team pitched this to you initially.

It started during summer 2022, when I received a mail from Carles Gomila about this exciting new approach to workshops they’d been working on. Something that would essentially be anything but a traditional teacher-to-student approach. I’ve personally always had problems with the traditional school system, and always had a hard time coming to terms with that when approached by companies wanting my services for workshops. I had previously rejected their offer of teaching at Menorca Pulsar, their previous project, four times in the past for this reason.

Obviously, something changed then with the creation of Quarantine Events. How did their invite make you feel?

Their promise of a structure that was fundamentally different, combined with a highly ambitious programme and artists I’ve been admiring for years already onboarded made me reconsider. That said, me, working and “teaching” in front of about a hundred artists was not something I was ecstatic about. But over the last few years I’ve promised to put myself out of my comfort zone as often as I can, in my artistic practice and in life.

As a mentor, did you work with Quarantine Events to mould the ever-so-secret plan for the earlier “Muse Hacking” artist residency?

Yes, we worked back and forth for a long time to tailor my part of the programme for the week. The programme itself came into life effortlessly as we were very much on the same page from the get-go.

The common schedule was largely left as a surprise, to myself as well, which I’m grateful for. It ended up being a journey of exploration for all the mentors involved, and I think the untamed chaos for us to be confronted with left us all with something more.

From student to artist

In my earlier chat with Carles Gomila, he stressed that “the secret to getting students to stop acting like students is to avoid treating them like students, but instead as true artists”. Did this concept change how you approached your mentorship role?

Yes, it absolutely did – but it also coincided with things I’ve learnt in the past and used in other teachings.

The first thing I always say is that there are a hundred goals that you might have, and there’s a thousand ways to reach that goal. I don’t have the solution for YOU; I have a handful of observations that along the way, might be of help. I don’t know how to succeed in the goals that you have set out for yourself, but you trying to become ME will most definitely be a failure. Alpha omega for me and the way I teach is to try to help the artists find themselves.

Did everything go according to plan (well, as much as is possible when you have the element of chaos as one of the event’s pillars!)?

A few things that happened were definitely not what I planned, but turned out to be a blessing. I try to always embrace the organic processes, and if things lead me down a certain path even though it’s not what I set out to do, I will follow it. One of those moments was sobbing uncontrollably for almost ten minutes in front of the group I was leading. In life, there’s only an illusion of order. If you spend most of your time trying to tame chaos then you’ll spend most of your time doing just that.

That sounds like an intense journey. I know that most of the experience is kept secret, so we won’t go into detail on that, but I’m interested to learn more about the mentor / student relationship. Quarantine Events’ residencies feel more like a community partnership – artists learning together more than the traditional student / teacher dynamic. How did you navigate teaching while avoiding traditional tropes and how did students respond to this?

It was definitely something that felt very different from a normal workshop structure. The first thing I let the artists know was that I don’t know it all. I really don’t. I don’t know what will work for each individual person out there. I would take them through exercises, but if I could tell their style and modus operandi was entirely different, I would try my best to guide them from that vantage point and strengthen what’s already there as opposed to molding that artist to my liking. It also helped to see all the different ways of the other mentors, making it obvious that everyone has different ways of making art, different goals for their work, and that there’s no one-size-fits-all in art.

What do you personally feel is the most important thing that artists coming on the upcoming INTERZONE residency should prepare for?

Besides having an open mind, I think it’s important to know that you’re not there to make a masterpiece, not there to become me or any of the mentors coming, and not there to show off in front of your fellow peers or mentors.

It’s the start of a journey for you and you alone.

New realisations

You obviously enjoyed the experience enough to agree to come back once again. I imagine that you witnessed some moments of true vulnerability, and epiphany, during the original “Muse Hacking Programme” last April. How did the experience affect you personally?

The week touched me in ways I couldn’t have foreseen. Not only because of the wonderful genuine people I got to meet, but the realisations I made about myself and how I want to live my life.

Can you share some of these realizations?

First of all, I came to realise who I should be making art for and what my art needs to be in order for me to be fulfilled. I also had deep conversations with many of the artists and mentors about the idea of community, realising how important it has become for me over the last years.

I was under the impression I didn’t need people around me, especially in art, and that I preferred working in solitude. It’s absolutely not the case for me. I just need people around me that share in the passions for life. Not to sound like a cliche motivational poster, but I need to be together with people that marvel at the food they eat, the art they make, how the light hits the trees.

Given how you yourself have evolved as a result of the earlier residency, are you planning on trying anything new in the upcoming INTERZONE event?

I have a few new ideas I want to try, and the organisers’ plans seem to have changed quite a bit. It will definitely be a new experience for me and for the artists coming to INTERZONE. It will be unknown territory for all involved.

That sounds pretty exciting! To finish: what are you most looking forward to at INTERZONE?

The people. I can’t wait to meet them all and share moments, hardships, and experiences.

Applications are now open for the INTERZONE artist residency taking place from October 14 – October 20, 2024 – and the deadline has just been extended! New application deadline: 10 June 2024 (unless tickets sell out beforehand). For more information and to apply, click here.

Quarantine Social Media Accounts + additional blogs

Website | Instagram | Telegram  | Deep Dive into Quarantine Events  | INTERZONE

The post Exclusive interview with Henrik Uldalen: Exploring Quarantine Events artist residencies appeared first on Beautiful Bizarre Magazine.

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

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

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

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

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

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

Jean Luc Iradukunda

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

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

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

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

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

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

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

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

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

Jean Luc Iradukunda

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

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

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

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

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

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

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

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

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

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

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

Jean Luc Iradukunda

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

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

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

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

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

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

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

Jean Luc Iradukunda Social Media Accounts

Instagram | Bender Gallery

Bender Gallery Social Media Accounts

Website | Instagram | X | Facebook

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

Unlike digital additions crafted into an image at a later date, physical sets ensure a fully immersive experience while shooting. It creates a photoshoot in which the models can wholly interact with their surroundings. “Handcrafting set props also allows for a unique and personalized touch to the overall aesthetic of the photography.” Tobias explains. The act of designing and building his sets also provides Tobias with an unparallelled authenticity. Every element, from his choice of props and lighting to the arrangement of space and composition, can be meticulously tailored to suit the desired narrative and mood.

This isn’t to say, however, that Tobias doesn’t digitally tweak his images afterwards. Rather, he doesn’t need to rely on this part of the process in order to produce strong outcomes. Building many of the sets by hand, we see how his final images are the product of a genuine journey. But what, exactly, does this entail? And what sort of challenges can occur along the way? I delved into this voyage of creation with Tobias Meier to learn more about his approach to design and set creation.

Exclusive interview with Tobias Meier a.k.a. 2b+photo

Developing the story

Like many artists, Tobias’ relationship with creating started early on in life. He smiles: “My family likes to talks about one scenario where I saw someone presenting a hand crafted animal on TV – and the next second I sat down and crafted my version of it using the same materials and expanding it to a little zoo.” This youthful interest expanded as Tobias learned how to operate mechanical machinery, adding metalwork and woodwork to his roster of talents.

These days, Tobias appreciates shaping a project from the early conceptual drawings, continuously developing it further in order to reach a stage that feels intuitively like the “final completion”. Usually, three key images represent the story. This most often takes the form of sketches, some colour hues, and other reference images. From here, more shots are often worked out with a rough idea as to how it can all be actualized regarding location, set builds, and all other essential logistics. This process can be both fun and challenging, a puzzle within itself to move from theory to workable concept.

I have a drawer full of ideas in different development stages. Sometimes it can take years until I finally get the right opportunity to shoot a particular story. For example, one of the larger projects I am eager to shoot requires a significant number of large, voluminous dresses, a set build which will require several days to complete, and a few different models.

Tobias Meier, 2b+photo

With the solid foundation of design being a key tool in Tobias’ ethos, he always prepares and brings to each set an outline of the different scenes that he will shoot. Impressively, this will include information regarding each individual set build and set change, pre-planned light set ups, exact photo compositions, specific model poses, and information regarding hair, makeup, and wardrobe. This outline ensures the final photos taken are as close as possible to the exact concepts shown to clients (something of great importance to Tobias) while also helping the shoot day itself to run as smoothly as possible.

An insight into set building

What many people may not realise is that even a small set is enormous.

Tobias Meier, 2b+photo

“Even though the process of handcrafting set props can be a labor-intensive and time-consuming task, it provides the ability to think outside the box and problem-solve creatively. It’s also fun to coordinate and manage the logistics of transportation, from truck loads of props for shoots such as ‘My Precious Terrarium’ and ‘Enchanted Forest’ to sometimes, just a simple taxi.” He explains.

“The ice cave for ‘Nomad’ was built in a studio. It required lengthy drying periods for the different layers and took over two weeks to complete. Several layers of paint were used, partly painted, and sprayed overhead where the paint started dripping.”

For his famous “Cherries” editorial, when designing the oversized cherries, the main objective was for the construction of each cherry to be light enough to be able to be moved by one person. At the same time, each cherry also had to be stable enough to support the model. As such, Tobias designed each cherry base to incorporate a wooden frame structure. Additional materials were layered onto each set piece, then carefully shaped into form before several coats of paint and varnish were added.

“The desired aesthetic was for them to not look too cartoonish or super realistic, but somewhere in between.” He muses. These props were then combined with a total of four solid colour backgrounds, each lit to achieve different gradient values.

This technique – and the subsequent various gradient values – provided more depth to each photo without the need for Tobias to repaint props or digitally manipulate the images so much afterwards.

One of the most satisfying parts of creating props, sets or set design itself is the sense of accomplishment and creative fulfillment that comes from bringing a vision to life.

Additionally, the opportunity to problem-solve, innovate, overcoming challenges, experimenting with different techniques, and finding creative solutions during the creation of set designs is satisfying and supports personal growth. 

Tobias Meier, 2b+photo

The intricate puzzle of ‘Pieces of Me’

We’ve all heard of filmmakers hauling set designs around the world, but in an age of digital photography, it can be rarer to come across a photographer who plans large and travels wide in a similar fashion. It’s a delight to see that photographers such as Tobias Meier are keeping the tactile, handmade nature of physical set design alive – and always finding intuitive ways to overcome potential problems. Tobias nods: “For ‘Pieces of Me’ each individual puzzle piece was hand-crafted and together they form an approximately 9 ft x 6 1/2 ft puzzle. For each scene the puzzle is rearranged, and the model interacts with the different puzzle arrangements.”

The parts for ‘Pieces of Me’ were built on the West Coast before being flown to the shooting location on the East Coast – quite a feat! In order to make transportation less bulky, Tobias designed flat puzzle pieces which would be able to be extended on location so that they could stand by themselves, as well as having the ability to carry the weight of multiple stacked puzzle pieces.

As the whole shoot had to be completed in one day, Tobias shot the model’s portraits – which would later go on the puzzle pieces – first, before shooting her posing with the different puzzle arrangements. He later digitally placed her portrait shots on the different puzzle arrangements to create the final images.

The road ahead

Perusing Tobias’ drawer full of ideas, it’s clear this Canadian-based photographer has ample ideas left with which to play. It’s always inspiring to see an individual breaking the often-perceived boundaries between mediums, and his hands-on approach continues to fulfil all the creative urges which have defined him since childhood. “I am happy that I’m able to do the creative build while executing my Photography and Creative Direction.” He says. “As mentioned, I see set design and set build as part of the process of conceptualizing an idea and transforming it to a final photo.

“As much as I like to do more or all myself, the nature of the work is still requires a team effort to create those kind of photos. As a Photographer, I do also enjoy working alongside fellow Creative Directors and Set Design teams.”

Whatever the future holds for 2b+photo, we can be sure that Tobias will still be pushing boundaries with his creative flair. Fashion photography has never been so playful!

2b+photo Social Media Accounts

2b+photo Website | Tobias Meier Website | Instagram | Artsy

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

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

Ana priscila rodriguez

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Interesting question.

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

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

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

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

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

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

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

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

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

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

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

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

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

Ana Priscila RODRIGUEZ

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

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

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

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

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

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

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

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

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

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

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

AnaPriScila RODRIGUEZ

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

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

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

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

Do you have any upcoming projects, shows or exhibitions?

Actually February-March is very busy already.

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

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

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

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

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

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

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

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

Ana Priscila Rodriguez Social Media Accounts

Website | Tumblr | Instagram | Youtube

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

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

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

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

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

Interview with Jennifer Allnutt

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jennifer Allnutt Social Media Accounts

Instagram | Beinart Gallery | Big Cartel

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

One could assert that architecture and sculpture sometimes blur their formal boundaries to the point of merging. Indeed, sculpture has always borrowed elements from architecture, and conversely, the latter has used the forms and structure of the former – let us simply think of the statue-columns, the caryatids of the Erechtheion on the Acropolis of Athens, or even the sculpted religious icons of European Catholic churches.

This interaction between architecture further underlines the fact that sculpture is a specific art insofar as it intervenes directly in the common space, whether private or public, real or symbolic. In this way, sculpture combines its aesthetic issues with the anthropological, political, and historical questions of human communities.

Whether pigmented red or forged in bronze, Giulio Cinti’s statues bear the mark of a certain spirituality of modern times. Pious saints, faces that melt into themselves, and melancholic gazes are shaped in such a way that they trigger, in all spectators, a kind of deep reverence, which transcends each person’s religious or political convictions. Giulio Cinti wants to provide everyone with the possibility of escaping the real world through his art which he intended to be free from any label while maintaining a form of homage to the artists of the past.

Moreover, one of Giulio Cinti’s main concerns is to participate in the enrichment of all facets of humanity through his art and to go beyond the clichés assigned to contemporary Italian sculpture.

It is with pleasure and deep admiration that we interviewed the artist Giulio Cinti about the meaning of his art and his creative vision.

I believe art should contain both a narrative and a vision, to help us escape.

 EXCLUSIVE INTERVIEW WITH GIULIO CINTI 

Tell us more about your journey as an artist! When did you know you wanted to become a sculptor? Did you receive formal training?

I believe I was born with an innate drive to mold matter and materials. From a young age, I’ve always felt the need to physically realize my ideas. My true beginning was around the age of 21 when I tried to win my wife’s heart. At the time, we had just started dating, and I gave her a silver bracelet in the shape of a swan that I crafted especially for her.

After that, my entire family urged me to explore this talent. My training has been self-taught; I have no formal academic background in sculpture. I am an architect by profession, and it was during my architectural studies that I also delved into sculpting, driven by an inner need.

What are some common misconceptions about Giulio Cinti’s art?

It varies. My artistic language has developed independently, creating an original and standalone voice, distant from academic influences. To those heavily influenced by the figurative, hyperrealism, or classical styles, my art may seem misaligned with the mathematical beauty that many aspire to. Conversely, those rooted in abstract or conceptual art might sense figurative inclinations in my work that counter their tastes.

Especially in Italy, religious references can be unnerving or even scorned, perhaps due to lingering traces of modernism or provincial clichés. I believe art should contain both a narrative and a vision, to help us escape. No categorization, as valid as it might be, should determine what is good or bad art but should merely enrich the facets of human expression.

I see my sculptures as silent protagonists in a theatrical scene.

Walk us through a typical day in your studio.

I divide my day into two phases. Mornings are dedicated to architectural planning for my firm, and afternoons focus on sculpting and artistic research. The work schedule changes depending on the production phase I’m in. I might be sketching in clay, assembling the structure onto which I’ll mold the clay for an art piece, or in the final stage of creating molds for reproductions.

What are your principal sources of inspiration?

Fundamentally, drama, theater, and literature greatly inspire and reflect upon me. Often, I see my sculptures as silent protagonists in a theatrical scene, as if they are the frozen main characters of an imaginary play or story. Music also plays a crucial role, helping me capture the atmosphere surrounding my creations. For instance, the musician Burial consistently underscores my research and remains one of my significant inspirations.

Which sculptures of your own are your favorites?

I believe my favorite is “Congiura.” It emerged spontaneously and significantly impacted social media, resonating with many people’s understanding of my vision. Additionally, “San Giovanni,” part of the sculptural group of the Four Evangelists that will be placed on the facade of the San Pio X church in Balduina, Rome, holds a special place in my heart. “Penombra” also stands out for its unique weight and simplicity.

A valuable piece is one that, given time to mature, asserts its presence and is recognized as Art.

Your art offers a pretty unique and soulful perspective… Do you think uniqueness is a trait all artists should have?

Absolutely, I strongly believe in art’s getaway power. Art should transport us to a dimension that allows better self-understanding. An artist’s role is to create a vision or scene to immerse the audience in a narrative. Inevitably, this process will possess a trait of uniqueness, as each artist is unique. So, artists should deeply explore and embrace this trait.

Do you, Giulio Cinti, encounter any challenges when creating your art?

Yes, I constantly face a multitude of challenges. These span from content research to the practical execution of artwork production. Challenges emerge from ideation, content expression, modeling to align with the original idea, and later in material and color choices, mold creation, and art reproduction in the chosen medium.

Your piece seems to transcend time and space… what is your relationship with time as an artist?

I view time as the most refined and tangible form of Spirit. Works gain their significance over time, and time becomes an essential ingredient during the crafting process, binding me to my creations. A valuable piece is one that, given time to mature, asserts its presence and is recognized as Art, fulfilling a need to convey a story or message.

You, Giulio Cinti, are an experienced and prolific artist… what piece of advice would you give younger artists looking to hone their skills?

I’d advise them to develop their language, vision, and unique way of telling a story or conveying a thought or reflection. In doing so, they will make mistakes and might not always receive support, but passion will drive them forward.

Are you, Giulio Cinti, a reader of Beautiful Bizarre? What do you enjoy about the magazine?

I am deeply enamored with Beautiful Bizarre. I believe it closely aligns with an ultracontemporary artistic vision that resonates with newer generations. It’s a magazine that shines a spotlight on significant authors of our century, effectively conveying new languages pertinent to our era. In my view, one can only have a complete understanding of contemporary culture by knowing Beautiful Bizarre Magazine.

Giulio Cinti Social Media Accounts

Website | Instagram | Facebook

The post Sculpting Souls: 10 Questions with Giulio Cinti appeared first on Beautiful Bizarre Magazine.