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The Lord’s Macramé, 2016
Jennifer Gori
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J O N A T H A N
V I N E R
“A WORK OF A RT D OE S NO T A N SWE R QUE STION S, I T PROVOKE S THE M; A N D I T S E S S E N T I A L M E A N I NG I S I N THE TE N SION BE TWE E N THE C ON T RA DIC T ORY A N SWE RS.” LE ONARD B E RNST E I N There is something indisputably cool in the work of American painter Jonathan Viner, the women elegant and nubile, the men sophisticated. There is more than a touch of early James Bond movies where style and panache reign supreme, and each interaction concludes with a wry but witty repartee. Imagine yourself transported to a time when mid-century modern was new, relaxing in an Philip Johnson designed house, sprawled on a Le Corbusier lounge; you then cast your mind forward from that time, imagining what the near future may hold … this is where Jonathan’s recent work seems to dwell. Cool can also be used to describe the palette of Jonathan’s work, the pale blues and snow-covered backdrops in his Cold Snap series, carrying through to the more recent works for his Strange Math solo show at Seattle’s Roq La Rue Gallery. For Jonathan, however, the use of these colours is not a deliberate theme; he explains wryly, “In general I just use the colours that feel right. Why did Picasso have a blue period, a rose period, etc? Your guess is as good as mine! The cool colour scheme is a context in which certain intense colours can really pop. It’s like finding the welcoming glow of civilization in a dangerous and indifferent universe. Or the warmth of a shot of whiskey on a cold winter night, or something. So that’s my guess.” The cool also emphasizes the seriousness of the thinking behind these series, where he has used the style of the 20th century Cold War period – or the popular movie-based conception of that style – to comment on “what is now shaping up to be a new 21st century Cold War.” Jonathan has always been entranced by the dramatic and theatrical, from his adolescent infatuation with Baroque art and an eclectic range of early influences from comics, fantasy and sci-fi fiction, computer games and heavy metal, to old fine art and classical music. All grist for the mill for an artist born. “While normal teenage boys were playing sports, sneaking booze, and chasing girls, I was copying some dramatic photo of Leonard Bernstein from a RimskyKorsakov CD cover, and then copying a paused still from Metallica’s video for “The Unforgiven”, and then
copying grainy old black and white photos of preHolocaust shtetl life by Roman Vishniak. This was just the stuff lying around my house when I was growing up. A few drops in the ocean of random things that influenced my creative development.” Following the completion of his Bachelor of Fine Arts and the Rhode Island School of Design, Jonathan happened upon a dissertation that was to cement his personal style in the face of the prevailing opinion of the establishment. “Shortly after art school, Dave Hickey’s essay “Enter the Dragon” opened my eyes to the dissonance within the art world and the psychosocial mechanisms of taste. I knew figurative painting was frowned upon at the time, and it made no sense to me. Even though I didn’t share Hickey’s taste in art, this essay gave me hope. It also led me to Foucault, who wrote about systems of power and ‘the gaze’ of authority figures.” With the growing acceptance of the figurative in new contemporary art over recent years Jonathan has been perfectly placed to ride this increasing swell of popularity, which has in large part been driven by the increased exposure available to artists through the internet. This has also, conversely, been an increasingly difficult environment for galleries, and artists such as Jonathan have had to adapt to the evolving market to make sure their work reaches the public eye. Fortunately for us this is a challenge that this talented painter is rising to meet. “There has been a wave of galleries closing in recent years. Social media is taking up more and more of everyone’s attention. It’s a confusing time in the art world right now, so I’m keeping all of my options open. I’m working on a new body of work that I’m very excited about and looking forward to exhibiting when the right gallery comes along. There seems to be a major shift of some kind underway. I’m just going to keep painting until the dust settles.” Meanwhile the admirers of Jonathan’s work can follow his socials, purchase prints on his website, or contact him directly about available work. He is also showing six smaller paintings at Arcadia Contemporary in LA during an upcoming summer group show.
www.v i n e rst u d io . c om | Wor d s : Ric h a r d P u r s s e y
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Me e t Me in He ls ink i , 2015 Oil on pa n e l, 36” x 48 ” p r e vi o us p ag e: Forc e P roje c tion, 2015 Oil on pa n e l, 36” x 48 ”
Ba c k at the C hate au, 2014 Oil on pa n e l, 36” x 48 ” o p p o site pag e to p : P re s s Your Luc k , 20 16 O il on pa n e l, 36” x 48 ” o p p o site p ag e b o t to m: C o up d’ État, 2016 O il on lin e n , 18 ” x 22”
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t op: Again Wit h t he Horror Vacui?, 2 01 6 O il on panel, 1 6” x 2 0” bot t om: Hey Neighbor, 2 01 6 O il on li nen, 4 2 ” x 42 ” oppos it e page : War Bride, 2 01 6 O il on li nen, 48” x 48”
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Be n e ath th e Cr y s tal Cle at s, 2 0 1 6 O il on l in en, 2 0 ” x 3 6 ”
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C ult C l as s ic , 20 14 Oil on l in e n , 60” x 7 2” o p p o s i t e p ag e to p : T h e Vis i b le Re g ion, 2016 Oil on l in e n , 18 ” x 22” o p p o s i t e p ag e b o t to m: L’ C h aim Dande lion, 20 12 Oil on pa n e l, 36” x 48 ”
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EXCLUSIVE CONTENT Click Here!
I L Y A
K U V S H I N O V
“ S T ORI E S H AV E T O B E T OL D OR THE Y DI E , A N D WHE N THE Y DI E , WE C A N ’ T RE ME M B E R W HO W E A RE OR WHY WE ’RE HE RE .” SU E MONK K I DD
Ilya Kuvshinov’s expressive, pop-culture infused artistry is built on endless hours spent reading and drawing as a child. He was consumed with animation, comics and video games, and his love for vibrant stories, all-consuming characters, and a rollercoaster of plots left him hungry for more. But it wasn’t until about three years ago he realised that this is what he wanted for his life. Plagued by insecurities about his future and his place in this world, Ilya did not trust himself enough to make these decisions until very recently. Now he’s having the time of his life in Yokohama, following his passion for manga and anime as an art form, and his interest in Japanese literature and culture. “The storytelling style is concentrated on character development, attention to detail, and a desire to find joy in the simplest things,” he explains. “I wanted to be a part of the industry, work with the people I deeply respect so much, be on the same wavelength with them; so I decided to move to Japan.” Growing up in Russia under the keen eye of a mother who encouraged his knack for illustration meant he received the level of scholarly training necessary to hone his skills and widen his repertoire. Following six years of secondary education in the arts he decided to study architecture, but failed the entrance exams. This unlikely sequence of events pushed him towards animation instead. After a year of animation he retook the exams and made it in this time, and followed these years with a career as a concept artist in game development. “Then I got to direct a sci-fi motion comic called Knights of the Void where I did my first storyboards – 22 episodes of the show including concepts, colour design and animation check – and I started to do illustrations every day to improve my drawing skills.” Although Ilya has always struggled with career choices, this was his moment of truth; realising that he actually wanted to choose this art form. “I want to be an animation director, I want to be a video game director, I want to write a comic, I want to write a book, I want to direct a music
video for a favourite band, I want to create my own college of art and design for the entertainment industry, and I want to draw illustrations just for fun,” he says, “the last one is easiest for now.” His process is rather straightforward. Usually, after inspiration hits, he will sketch his initial idea and then flesh it out with Photoshop CC and Clip Studio, or Procreate on his iPad. “More often than not, I don’t have any plan for my daily illustration, so I give myself 10 or 15 minutes to brainstorm – I usually find 3 words I like, mix them together, and try to introduce the idea with it making sense in terms of composition and colour design. This way I change it a lot along the way.” His personal pieces take about two hours to complete, while commissions usually take up an 8-hour working day. Ilya has a large, avid following on social platforms, particularly on Patreon. He constantly keeps fans updated with film references like Leon or Harry Potter, and of course heaps of his own extraordinary work. The detail in the eyes, facial features, and wisps of hair are breathtaking, while the emotions conveyed are profound and almost instantaneous in their ability to connect with his audience. “I’m a big fan of deep, carefully written characters and plots that can change the viewer, make him think, make him a better person,” he says of the anime genre. “There’s an unbelievable amount of good stories with even better characters in the contemporary world, in games, comics, movies, TV series, and of course literature.” Although he dabbles as an art director, illustrator and comic artist, what Ilya truly enjoys is storyboarding. He says this love for visual storytelling began as a child, imagining the books he read as movies in his head. “This is the best time in history for an artist,” he says, explaining how the digital age has changed the industry entirely. “The biggest challenge is to finally decide if I want to create videogames or comics and animation because there are so many opportunities now! Thanks, internet.”
ww w. i n st a gra m . com / k uv sh i n ov_ ilya | Wor d s : K i m C row ie
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T, 20 15 Dig ital p r evio us p ag e: G love s , 2015 Dig ital
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oppo s i te pag e: G re e n , 20 15 Digit al to p l ef t: Liquor ice , 20 17 Digit al to p ri g h t: Shian , 20 16 Digit al m i ddl e: Shir t, 20 16 Digit al b o t to m l ef t: Ao , 20 16 Digit al bot to m ri g h t: Midori , 20 16 Digit al
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Momo , 20 17 D igit al l ef t to p: Co ckatie l , 20 15 D igit al l ef t m i ddl e: Cur ve s , 20 16 D igit al l ef t bo t to m : Bubble g um, 20 17 D igit al
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Ce m e te ry, 2 01 5 Digit al r ight t op: Pa s s a ge, 2 01 6 Digit al r ig ht middle : Sus pe nde rs, 2 01 6 Digit al r ig ht bot t om: Train, 2 01 6 Digit al
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We are working on the new and improved website
www.imaginaryrealism.com We will be expanding our visibility on different social media platforms so we can share with you the great artist within the realm of Imaginary Realism. In November we will start off with the 6th edition of the DREAMSCAPES exhibition accompanied with the high quality art book. For now be sure to follow us on our Imaginary Realism facebook page to keep yourself updated!
EDITION
DREAMSCAPES SIX CONTEMPORARY IMAGINARY REALISM
Tomasz Alen Kopera
Pedro de Kastro
Bruno Di Maio
Michael Parkes
David M Bowers
Gil Bruvel
Lukáš Kándl
Siegfried Zademack
Hans Kanters
Daniel Merriam
AUSTRIA - TRAUN - 9 NOVEMBER 2017 TILL FEBRUARY 2018 For more information on all artists participating and future dates of this traveling exhibit please go to www.imaginaryrealism.com
Hikari Shimoda
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H I K A R I
S H I M O D A
“ T H E FU T U RE I S NO T A S TR A IGHT L I N E . I T I S F I L L E D WI TH MA N Y C RO S S ROA D S . T H E RE MU S T BE A F UTURE THAT WE CA N CHOOSE F OR OU RSE LV E S.” K I YOKO I N AK I R A Fluorescent, highly saturated landscapes gleam and glitter, like galaxies of unknown planets. Children play, their globe-like eyes deep pools filled with cataract colours, black, blues, and violets, that twinkle and stare; these young creatures peer out of their world with a wisdom beyond boundaries. It’s no wonder really, Hikari Shimoda, an artist who creates chimerical science fiction fantasies with oil paint and more, notes that the manga that attracted her as a child still inspires her today. “...around five years old I used to imitate manga girls with sparkling eyes that my friends drew. I think that this memory of drawing those sparkling eyed characters are one source of inspiration for my art now.” The monolithic heads of Hikari’s characters float in a space that has its origins strongly pulled from the world that is manga; the darkness and light come together to delightfully play upon her canvases. Hikari admits that when growing up she felt inferior to her friends who could draw and create more prodigiously than she. Turning towards the broad subject matter and style of anime, she found an outlet that was a visual narrative; the story told was just as, if not more important than the imagery itself. This exploration eased Hikari’s childhood anxiety and internal perspective, at the age of ten she felt “I have no talent to create attractive drawings.” But with her teenage years there came an important discovery: modern art. This encounter, “taught me freedom of expression.” For many, the role of an artist is to be a mirror to society, to reflect the realities, discrepancies, and ugly truths often repressed by humanity. Hikari may paint what on the surface looks merely like children playing, but in actuality her work is very much a mirror to civilization. The world is literally her inspiration, the opinions she forms on the socio-political, ecological, and philosophical events of the globe fuel her paintings and concepts. The vacant eyes and stern lips of her characters, the cute but terrifying details like horns and necklaces that
could actually be razors, stitches or cut throats, and even the names of her creations like, Epic Annihilation and Gazing at Never-ending Ruin and Despair, quickly turn her paintings from puff pieces to heavily analytical entities. Cartoon creatures and children may seem like an interesting way to funnel brutal ideas about life out into the world, but Hikari has very particular reasons for using these seemingly passive characters. “Children belong to less social categories which are derived from sex, gender, and age. The more people age, the more social categories are added to their personalities and identities such as ‘being a student’, or ‘working for xxx.’ What I would like to express in my art is not a particular person, but a concept or object as ‘human beings.’” Although they are empty forms in which Hikari imbues her world view, they are not self-portraits. It is almost as if they are animatronics, playing out the end of the world, wearing superhero capes and magical amulets in small hopes of changing the imminent future. Hikari admits that every three months or so she’ll find herself in a slump. “My brain is exhausted and starved periodically. That condition seems to be brought about by lack of inputs, so I always let myself look, hear, and touch everythiing around me.” Then, soon enough, she’ll be creating again with fervency and direction. Although she dreams of many things for her career, such as opportunities in animation and film, one of her ambitions is currently in the works. Hikari’s kawaii characters are to be made into figurines and sculptures. An exciting, and incredibly apt prospect, she looks forward to their production and “perfections”. Like with most significant things of this earth, Hikari’s work is a reminder that everything deserves deeper contemplation. Her visually stunning and stimulating works are bewitching in colour and form, but plead with the viewer to ponder this world, and their actions within it.
www. h i k a r i sh i m o d a . c om | Wor d s : Ju s t i n e Mor row
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Re c c yc ling Hum anit y , 2 01 6 Mixe d me dia , 64” x 51 ” p r evio us pag e: He ro of the D ile mma, 2 01 6 Mixe d me dia , 9.5 ” x 1 3”
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C hildre n of This Planet #2 9, 2 01 5 Oil on c anv as, 1 6” x 1 2 .5” o p po site page : C hildre n of This Planet #9, 2 01 3 Oil on c anv as, 2 1 ” x 1 8”
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He llo Wor ld , 2 0 1 4 Mixed m e d i a , 1 2 ” x 1 2 ”
to p l ef t: I Do Not Know My Enemy (G ir l ) , 20 17 Mi xed medi a, 3 6 ” x 46 ” bot to m l ef t: Deat h and Ange l # 1 , 20 17 O il on canvas , 18 ” x 21”
to p ri g h t: D e ath an d An g e l # 2 , 20 17 O il on canv as , 18 ” x 21” bo t to m ri g h t: I D o Not Kn ow My En e my (Boy ) , 20 17 Mixed m edia, 3 6 ” x 46 ”
to p l ef t: W hereabout s of God # 2 5 , 20 17 O il on canv as, 2 8.5 ” x 28 .5 ”
to p ri g h t: W h e re a bo uts of G o d # 2 3, 20 17 O il on canv as , 28 .5 ” x 28 .5 ”
bo t to m l ef t: W hereabout s of God # 3, 20 12 O il on canvas, 2 8 .5 ” x 28 .5 ”
bo t to m ri g h t: W h e re a bo uts of G o d # 2 6, 20 17 O il on canv as , 28 .5 ” x 28 .5 ”
W h e re ab outs of God # 11, 201 4 Oil on c anva s, 28 .5 ” x 28 . 5 ”
An g e l of His tor y , 20 16 Mixed m edia, 21” x 18 ” o ppo s i te pag e: Inve r te d Wor ld , 20 16 Mixed m edia, 21” x 18 ”
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Aron Wiesenfeld
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A R O N
W I E S E N F E L D
“ I SE E MY PAT H , B U T I D ON’T KNOW WHE RE I T L E A DS. NOT KNOWI NG WHE RE I ’ M G OI NG I S W H AT I N SPI RE S ME TO TR AV E L I T” ROSALI A DE C AST RO
In stories untold, Aron Wiesenfeld portrays thoughtful moments against mysterious backdrops that sow insatiable intrigue. His drawings and paintings appear as a culmination of his early work as a comic book illustrator with elements of mysterious and painterly romanticism. At once familiar and ambiguous, Aron’s works invite us to experience, vicariously, mysterious moments of uncertainty. “…I think the most interesting thing is to show a character right before the moment of decision, before the journey begins. The paintings are about staying within a moment of uncertainty, in which all possibilities are still open.” Aron’s scenes are portals to enormous worlds that continue past the edges of each piece, multiplying exponentially in the imagination of the onlooker. “I feel more like a midwife to the paintings than a creator,” Aron explains, as ambiguous subjects in mysterious pursuits leave the plot open to audience impressions. He says, “I want the settings to feel very specific, and I want the characters to be not specific, almost like empty shells. Sort of unreal and real.” Producing impressively convincing worlds, and an ease of empathy for his characters, Aron’s images direct unconsciousness into consciousness. The imagination, sentiment, and conviction of the onlooker fills in storied embellishments. Born in Washington D.C., Aron’s upbringing was a fated journey into the arts. He said, “There was a lot of art around when I was growing up, and paintings on the walls. My grandmother was a very good watercolour painter. My first love was comic books. I started copying comic books, and then drawing my own. When I was about 12, I was determined to one day be a real comic book artist.” He went to art school in New York right after high school. However, the focus on abstract and conceptual art eventually disinterested him, and he left early to pursue a career in comics. At 24 he returned to his studies, this time studying painting at the Art Centre College of Design in Pasadena, California, and now lives and works in San Diego. Aron’s journey has ever been a winding road. The things that have motivated, as well as the hurdles that he has overcome, are unique to his personal
journey. Aron reflects on the greatest challenges of his artistic journey, describing, “Lack of confidence, especially when I was younger, which was expressed as perfectionism. That’s been my biggest struggle to overcome. It took time and a lot of conscious effort to be comfortable with the fact that not every painting is going to be a masterpiece. Sometimes ‘good enough’ really is good enough.” Luckily for Aron’s following, his “good enough” is, precisely, a prolific masterpiece. Aron’s narrative paintings usually focus on isolated female subjects in various twilight surroundings. Subjects are beautiful, and the settings impose a dichotomous motion, toward both a romantic and vaguely ominous ambience. He describes the joy of conception as telling a story through images. “My favorite part is the initial sketching of an idea, initially getting it on paper to tell the story, and visualizing it as a composition. That’s the most fun for me because it’s making something out of nothing.” Something out of nothing seems understated, as Aron’s works spark wildfires in the imagination, with all the mystery, emotion, and intrigue of a prizewinning literary novel. Aron Wiesenfeld has been the subject of eight solo exhibitions in the U.S. and Europe. Since 2006 Aron has held eight solo shows at galleries in the US and Europe, and his works have been featured in several museum exhibitions, including the Long Beach Museum of Art and Bakersfield Museum of Art in California, and the Museum Casa Dell’Architecture in Rome. His artworks have graced the pages in a multitude of publications, including Juxtapoz, Hi-Fructose, Art In America, and The Huffington Post; as well as the covers of 9 books of poetry, and a large monograph titled “The Well,” published by IDW Press. Aron’s favorite vehicle to reach his audience is through books. “I like the intimacy, and tactile quality of books. I always saw art in books. I love that you can hold an artist’s entire life’s work in your hands.” Aron says he has started a story-in-pictures that he has considered making into a new book. He also has an upcoming exhibition of paintings in the works for 2018, to be announced. For now, Aron continues to inspire intrigue; telling us stories of unknown journeys, in misty twilight backdrops, and moments of reflection and uncertainty.
www. a ronwie se n fe l d . c om | Wor d s : K r i s t y Se n ko -H all
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G re e n h o u se , 2 0 1 2 O il on canv as , 3 3 ” x 3 0 ” prev i o u s p a g e : Home comin g , 2 0 1 4 O il on canv as , 26. 5” x 3 4 ”
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B unke r, 20 16 Oil on c a nva s, 32.5” x 4 4.5”
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Br ide , 20 14 O il on canv as , 26 ” x 3 9 .5 ” o ppo s i te pag e to p: Th e G ar de n , 20 12 O il on canv as , 3 6 ” x 3 0 ” o ppo s i te pag e bo t to m : Th e Re tur n , 20 14 O il on canv as , 3 0 ” x 3 3 .5 ”
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o ppo s i te pag e: Lan dfall , 20 0 9 C h arco al on p ap er , 5 0 ” x 3 8 ” to p: Thicke t, 20 0 9 C h arco al on p ap er , 19 .5 ” x 12.5 ” bo t to m : Fis h G ath e re r , 20 0 6 C h arco al on p ap er , 5 0 ” x 3 8 ” ri g h t: G ir l With D o g , 20 0 8 C h arco al on p ap er , 5 2” x 29 ”
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D rop o ut , 2 0 1 2 O il on canv as , 3 3 ” x 2 4 . 5”
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WORKS ON PAPER SEPTEMBER 2017
“You are You” Mixed Media on Paper, 2017, by Michael Alan
Michael Alan
• Jennybird Alcantara
Jean PierRe Arboleda • Sergio Barrale Rick Berry
•
Bill Carman
•
Sam Wolfe
Connelly • Justin Hopkins • Chris Lieb Francis Livingston • Alessandra MariA Steven Skollar • Pol Turgen aron Wiesenfeld • Martin Wittfooth Hannah Yata • AND OTHERS
54 Greene St. New York, NY 10013 |
[email protected] | www.afanyc.com | 212-226-7374
Modern Symbolists
Aloria Weaver Carrie Ann Baade David Heskin Erich Moffitt Graszka Paulska Gromyko Semper Jason Mowry
Juile Baroh Kim Evans Liba WS Maj Askew Mark E Nelson Martin Stensaas Michel Bassot Oliver Benson
Reiko Murakami Roku Sasaki Samuel Araya Timea Tallian Vladimir Ovtcharov Yoann Lossel Yuko Ishii
www.krabjabstudio.com
image: Roku Sasaki
August 23rd November 5th 2017
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A S H L E Y
J O N C A S
“ Y ES ; I A M A DRE A ME R. FOR A DRE A ME R I S ON E WHO CA N ON LY F I N D HIS WAY BY MO ON L IG H T, A ND HI S PUN I SHME N T I S THAT HE SE E S THE DAW N B E FORE T H E RE ST OF THE WORL D.” OSC AR W I LDE Falling down a rabbit hole by mistake is perhaps one of the best ways in which to find your calling. Ashley Joncas stumbled upon photography when she became captivated with light and shadow on forms while doing photo references for her work as a painter and illustrator. “The only way to grasp it fully was to buy a camera and get a feel for it, and instantly I became obsessed with photographing people.” Fast-forward eight years and Ashley now has her own photography and design studio, Enigme, based in Seattle, with a fluid vision for the medium in which she works. “I always combine my traditional art techniques as a painter when editing, so I almost always refer to myself as a multidisciplinary artist before photographer.” Enigme is a fusion of all the creative mediums Ashley dabbles in, with her studio work split 50/50 between client commissions and “a small swirling hurricane of photography, post production, and creative directing”, which she confesses is her favourite part. Being her own boss has not only allowed her to jump in and out of roles, and although the work is tough, she believes in her potential to trail blaze the industry. This, she says, outweighs the instability and the constant need to hustle. “People will spend years living for other people, and I had a moment of ‘fuck it, I could die tomorrow,’ and didn’t want to look back at what I’ve done with not enough chances taken. Since making the decision, I’ve never been happier. I sleep a lot less but I smile more.” Many of the dark, ethereal and visceral scenes she creates are derived from dreams she has had. Vivid nightmares and dreamscapes are the inspiration for some of her pieces. “Most of the fire-infused images I’ve done are direct reflections of nightmares. Most of the trauma I’ve gone through earlier in life is also a catalyst, as well as various moments of rebirth from those unstable times. For portraiture, I sometimes will be asleep and something will spark an idea, so I keep a notebook with me at night for those moments.” She explains that in photography and art she has found a way in which to transcend whatever
fear these dreams instil, creating beauty out of terror. Of Earth is her favourite series of personal works she has done to date for this very reason. “I wanted to find the more intense elements of nature, such as fire and desolate burnt land, and make it feel tranquil. For me it was therapeutic because it helped me channel a lot of internal turmoil into art.” She is also deeply inspired by music, film, and gothic literature. Edgar Allan Poe is one of the few poets who speak to her in a most intuitive way. Reading his work paints intense, resonant pictures in her head, while Steven King’s body of work is “forever an ongoing inspiration”. As a self-described ‘design disruptor’, Ashley is all about introducing new thinking, ideas and elements through the work she does. “To me disruption is just a lot like a strong wave or energy… I run in the opposite direction of what is ‘popular’ while still attempting to stay relevant and true,” she explains. “It doesn’t guarantee success or even a proper place for me to succeed, but staying safe in the arts is catastrophic to your soul. So disruption is less like destruction, and more of an inherent conversation starter, which I believe is the true catalyst for the progression of art across all spectrums. I honestly just want the world to take more risks with what they see as beautiful, and so I aim to keep it weird and fresh.” Ashley is currently working on a collection of pieces inspired by a recent trip to Iceland, where she will showcase the country’s contrast-filled landscapes in a new way. She has also been working in video and creative directing, and has a slew of secret projects underway in which she hopes to change perceptions of what a photo is, and what it can be. “I’m hoping to eventually get more into directing and set design for movies or television. My brain thinks in scenes and atmospheres, so doing portraiture and small scale stuff is something I eventually want to phase out. At the end of the day I know my purpose in life is to create, so I’m leaving the future open to whatever mediums, projects, and paths find me.”
www. e n igm e st u d io . c om | Wor d s : K i m C row ie
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Eve r Falling , 20 15 Mode l, Ha ir, Ma ke - up, St y li ng: Ashley Joncas p r evio us p ag e: Nig ht Craw le r, 2017 Mode l, Ha ir, Ma ke - up, St y li ng: Ashley Joncas
to p: Rituals , 20 16 Mo del , Hair , Make-up , St yl in g: As h l ey Jon cas bo t to m : Bor n of Fire , 20 16 Mo del , Hair , Make-up , St yl in g: As h l ey Jon cas
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He ath e n Child , 20 16 Mo del , Hair , Make-up , St y l i n g : As h l ey Jon cas
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Nig ht Te rrors , 2015 Mode l, Ha ir, Ma ke -up, Stylin g : As h le y Joncas
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Forg ot te n Lands , 20 15 Mo de l , Ha ir, Ma ke - up, Sty li ng: As h l e y Jon c a s o p p o s i te pag e to p : C ur s e d Grounds , 20 15 Mo de l , Ha ir, Ma ke - up, Sty li ng: As h l e y Jon c a s o p p o s i te pag e b o t to m: T h e S ha dow You Us e d to Know, 2 01 5 Mo de l , Ha ir, Ma ke - up, Sty li ng: As h l e y Jon c a s
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Loss Of Innocence • 18” x 30” • Oil on Masonite
Representing the work of
Kierstin Young
Tosena Splendida • 10” x 8” • Oil, Ink and Acrylic on Panel
1412 Wazee Street | Denver, CO 80202 | 303.355.0950
abendgallery.com
Opening Reception: Saturday, October 21st, 6-8pm October 21st – November 26th, 2017
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Healer, 2016 Acrylic on mesh and panel, 25” x 35”
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w ww. z of iaa r t .c o m The Shepherd, 2016 Oil on wood panel, 48” x 48”
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w w w. m ira n d a m e e k s . c o m Dusk, 2014 Digital
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w ww. z oelacc h ei .c o m Dagiraz Girl, 2016 Mixed media on recycled paper, 20 cm x 30 cm
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w w w. s h a d ow s c a p e s . co m She Sleeps, 2015 Watercolor on paper, 10” x 10”
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w ww. adr ian bo rda.co m Follow Me, 2015 Oil on canvas, 100 cm x 80 cm
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L E V I A T H A N w w w. c h e levia t h a n . c o m Arson, 2016 Oil on panel, 9” x 12”
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M C K E R N A N
w ww. kell y m c ker nan.c o m Curiouser and Curiouser, 2016 Acrylic and watercolor on paper, 16” x 20”
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w w w. h a r u m ih iro n a ka . b ig c a r t e l. co m Sick, Sad World, 2016 Mixed media on paper, 40 cm x 45 cm
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w ww. f acebo o k .c o m/g raeme.bal c hi n The Girl Who Got Eaten by a Tree, 2017 Oil on linen, 150 cm x 100 cm
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Tracy Lewis
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T R A C Y
L E W I S
“ T H E POE T RY OF T HE E A RTH I S N E V E R DE A D”
JOHN K E AT S
In the years after World War One the economy flourished worldwide. A global cultural movement originated and took the world by storm. We now know this period as the roaring twenties, or as the French would say: ‘Les années folles’; the crazy years. In the ever sunny City of Angels the film industry was booming. One movie classic after another was made on the sets of Hollywood. Reporting on all this glitter and glamour was Hollywood Life, a magazine owned by the grandfather of artist Tracy Lewis.
How Tracy transforms watercolour into something so natural is a sign of true craftsmanship. Watercolour is often described as one of the toughest mediums to work with: where you can correct tiny mistakes in acrylic or oil - when the paint is still wet that is - there’s no second chance with watercolour. Not a problem for Tracy though, as she states: “I love that watercolour wants to do its own thing, and by observing what that is you can work with it in a kind of partnership to help it do what it wants.”
Tracy Lewis grew up in Southern California, meaning she got to spend a lot of time in Hollywood. Young Tracy loved dressing up in twenties attire and attended screenings of all the classics at the Silent Movie Theater on Fairfax. It was then and there that a deep connection with the dark and mysterious secrets of Hollywood emerged. Secrets hidden away in a hazy glow of perpetual sunshine.
If you’re intrigued with Tracy’s watercolour skills you’re in luck: she’s a teacher too. From the knowledge she got from her teachers Gary Pruner and Jeannie Vodden, to the tips and tricks she acquired over the years: she loves to share her skills with students both offline and online. “I’ve had so many wonderful opportunities come about as a result of Instagram alone. Everything from connecting with other artists or with fans of my work to amazing gallery shows. It’s also nice when you spend so much time alone in the studio to share your work and connect with people that enjoy it, that alone can be really motivating. I’m grateful for everyone that takes the time to like and comment on my work.”
The dualism found in Hollywood’s brightest and darkest moments is something that can still be found in Tracy’s feminine portraits today. “A woman can be both very delicate and feminine while being powerful and fierce at the same time”, Tracy tells about her portraits. “I think the women in my portraits desire to draw you near, yet possibly for their own protection, also like to keep you at arm’s length. I see them as otherworldly beings, protectors of the natural world and of themselves.” Speaking of nature, the natural world is another theme that makes a vivid appearance in Tracy’s paintings. It’s not only the sublime flowers that look so fresh you can almost smell them - it’s in the details. With meticulous, translucent layers of paint Tracy creates lush and lifelike tones, like the layered petals of a fragile flower or the wings of a butterfly. When asked what it is about nature that appeals to her so much Tracy says: “I’m fascinated by the gentleness and fierceness, by the innocence and lack of ego that nature is. We are all one, all interconnected. Animals are our more quiet selves.”
At the moment Tracy divides her time between creating new work for various upcoming group shows and a very special project, opening an art gallery called Alchemy with friend and fellow artist Lynda Trujillo. The gallery opens a window of opportunities, from a new place to host watercolour classes to room for bigger sized work. When asked if there’s anything left on her bucket list Tracy doesn’t need to think twice. “I’ve been wanting to do a collaborative show with my daughter, Gretchen Lewis. Our work is so completely different, but it would be fun to pick a theme and do a dual solo show with at least one piece that we both paint on. We’ve talked about it many times, I’ll have to see if we can make it happen soon!” A wish that might become a reality very soon, keep an eye on Alchemy Gallery!
www. t r a cy le wi sa r t . c om | Wor d s : Ja nt i n e Z a n d b e r g e n
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Cl an de st in e , 2 015 Wat erco lo u r on 3 0 0 l b. Arch e s Ho t P re ss w at erco lo ur p ape r , 1 6 ” x 1 6 ” pr e v i ou s p a g e : As Within , So Wit h o ut , 2 017 Wat erco lo u r on 3 0 0 l b. Arch e s Ho t P re ss w at erco lo ur p ape r , 1 2 ” x 1 8”
Ben evo le nt P rop h e cy, 2 0 1 6 Wat erco lo ur , 12” t on do ri g h t to p: Alle g or y, 2 0 1 6 Wat erco lo u r , 17” t on do ri g h t bo t to m : Reve r an ce , 2 0 1 6 Wat erco lo u r , 10 ” x 13 ”
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Sil k Mot h , 2 014 Wat erco lo u r on 3 0 0 l b . A rc h e s Ho t P res s w at erco lo ur pape r , 1 3 ” x 1 7 ”
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Bre at h e , 2 015 Wat e rc o lo ur, 1 0 ” x 10 ” op p o s i te p ag e to p : Fait h , 2 0 15 Wat e rc o lo ur, 4 ” t ondo op p o s i te p ag e b o t to m: C h ar it y, 2 015 Beautiful Beautiful BizBi a rre za rre M aM gag zianzien e Wat e rc o lo ur, 4 ” t on do
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Fadin g , 2 015 Wat e rc o lo u r , 8” x 1 0 ” o p p os i t e p a g e l e f t : St e r lin g , 2 016 Wat e rc o lo u r , 5” x 7 ” os i t e| p a25 ge right: B e aut i f ul Bi z a r re Ma g a zo ipp ne Har b in g e r, 2 016 Wat e rc o lo u r , 5” x 7 ”
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ARTWORK ©2017 MARTIN WITTFOOTH
THE 12TH ANNUAL BLAB SHOW
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F O R E S T
R O G E R S
“ T H AT V I RT U E OF ORIG I NA L I TY THAT ME N SO STR A I N A F TE R I S NOT NE W N E S S , A S T H E Y VA I N LY THI N K, THE RE I S NOTHI NG N E W; I T I S ON LY G E N UI N E N E SS.” JOHN RU SK I N Forest Rogers has the creative charm and humble open wit of a Renaissance play actor in a traveling troupe. Even her name speaks to the heightened awareness of nature, and the probing philosophical literary leanings of that era. Her work itself is also robust in expression, though it defies any real connection to time or place. The sculptures feel otherworldly, with touches of Art Deco, Baroque and more. They are wonderfully belletristic, it is as if each of these creatures has an entire life and narrative within them. While most adults remember their artistic beginnings as awkward play with crayons and colourful pipe-cleaners, Forest applied her efforts elsewhere. “Many of my earliest sculptures were created in the bright red wax off the rinds of my Aunt Lucia’s round cheeses. I’d peel off some wax, crawl away into a corner or under a table, and make little animals.” This unassuming outset led Forest to receive her BFA in stage design, and then continued her education with an MFA in costume design. However, life is often not placable or controllable, and upheavals led Forest to turn in other directions. “The icky and wonderful fact that caterpillars apparently melt almost entirely to a kind of pulp in the chrysalis before turning butterfly is a useful metaphor at times of pivotal trauma. I’ve been shredded and squashed more than once, and while I wouldn’t choose it, I’ve come to believe it plays a vital transformative role, like forest fires and caterpillar goo.” Transformation is key, not only for Forest herself, but also for her artwork. Wire and clay do not magically assume a form in the night, but come to life through the talented fingers of a dedicated creator. Books and stories greatly influence Forest’s pieces but the start is very much unfettered. “I scribble the same subject repeatedly, as a way of contemplating it. I keep these drawings very loose. That allows freedom when I go to sculpt, and lets the piece talk back to me and change. After the initial sketching
stage I usually create the head of the being. The head helps me make decisions, as heads carry identity. Headhunters everywhere agree.” It is this constant conversation she has with her pieces in process that ends in the embodiment of something emotionally stirring. The sculptures have movement; there is no stillness to be found within these clay bodies. It is not only the actual objet d’art that stimulates the air around it, it also begs response and moves the viewer. “The more one draws deep on unique internal qualities and individual experience, the closer one strikes to the heart of a subject and the more universally eloquent the result is likely to be.” Forest not only reaches others through her creations, she also helps them with their own artistic endeavours. There is an entire blog on her website called “How To”, which is dedicated to answering questions and elucidating information about materials and techniques. This is something that is of great importance to Forest. “In pursuit of sharing, I’ve begun an informal teaching effort on Patreon. A work in progress, but it excites me.” She also freely gives advice on artist’s block and cultivating motivation in a world that continually crushes dreams. “Remember you are in good company: some, many, of the artists and writers you admire most have likely paddled the same leaky, doubt-swamped boat. What a loss if they’d flipped over the side and not painted, written, sculpted or sung the thing that spoke to you!” The future holds much for Forest. “I’m mightily excited about the Hearts Blood show, guest curated at the Haven Gallery by — yes! — Beautiful Bizarre Magazine in spring, I’m plotting a one-person show with IX Art’s IX Gallery online, perhaps called Seven Tales of Wonder, with Annotations. Her work breathes life into its environment, whether viewed online or in person, and is, no doubt, a powerful cathartic viewing pleasure for any audience.
www. for e st roger s . c om | Wor d s : Ju s t i n e Mor row
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O c t op oid , 2 0 1 3 Po lym er, al um inu m a r m at u re , 1 2 ” t all p r e v i ou s p a g e : Octop oid D e c e n din g , 2 0 1 7 Po lym er , ep ox y, b r a ss ro d s & s t ain l es s s te e l w i re , 4 3 ” t all
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to p l ef t: Be an Sid h e (Ban s h e e ) , 20 12 Po lym er, mul ber r y p ap er, wo o d & m oh air, 12” t all to p ri g h t: Yu ki Onn a , 20 14 Po lym er, s il k gau z e & ram i f iber , 8 ” t all bo t to m : E a s t Of Th e Sun , 20 12 Jap an es e air-dry cl ay, ep ox y cl ay & wo o d, 14.5 ” t all o ppo s i te pag e: Faun For Th e Se a Of Tre e s , 20 14 Po lym er, bras s , wo o d, gar n et s & onyx , 15 ” t all
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Faun For Th e Se a Of T h e e s I I , 2 0 1 6 Po lym er , wo o d, ga r n e t s, 1 9 ” t all o ppo s i t e p a g e l e f t : Th or n e d Faun , 2 0 1 6 Po lym er, s t ain l e ss st e e l w i re & ga r n e t s, 1 5” t all o ppo si t e p a g e r i g h t : Nig ht Blo om , 2 0 1 6 Po lym e r , wo o d , b r a ss & ga r n e t s, 1 9 ” t all
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t op: Kit sune, 2 01 4 Poly mer, st ai nless steel wi re & silk gauze, 8” tall bot t om: Mot her of S ecret s (WIP), 2 01 4 Poly mer, st ai nless steel wi re & wood, 1 8” t all oppos it e page : Wint er’s Night Mermaid, 2 01 4 Polymer, mohair & wood, 12” tall
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Hor n e d Fr a g m e nt , 2 0 1 2 Poly m e r , wo o d & al u m inu m ar m at u re , 1 2 ” t all
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AMY SOL
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A M Y
S O L
“ YOU S E E T H I NG S ; A N D YOU SAY, ‘ WHY?’ BUT I DRE A M THI NGS THAT N E V E R W E RE ; A N D I SAY, ‘ WHY NOT?’” G E ORG E B E RNARD SHAW
Rising gently off the grass, nature’s palette fades into softer hues, browns and golds whisper as a soft invisible dew dreams itself into the vestiges of collective consciousness. Amy Sol’s work sings a lullaby to nature and those that stir within its roots, she creates an intimacy between imagination and the harsh winds of reality; exploring, dreaming through half closed eyes and discovering a connection between the worlds of the two and four legged. The essence of nature is captured as animals fall gently and romantically onto the page, inviting you to embellish the interconnection of kindred spirits that often lays hidden beneath our existence, but it isn’t distorted, rather heightened, magnified and deepened. Amy uses her art as an anchor to feel connected to the world around her, and although she is incredibly talented, painting doesn’t always come easily. Spending many hours perfecting her pieces, she sees the process like “climbing a mountain, hiking alone and then arriving home in one piece, with a memento of my journey,” a memento that can be shared by her enraptured audience. For the most part Amy considers herself a self-taught artist as she has had no formal training, but there was no lack of influence on her journey. Born into a highly creative family under the lights of Las Vegas and then spending her childhood in South Korea, before moving back to Nevada, she was surrounded by books that provided the visual imagery that carried itself into her work. Her flair for the arts formulated itself at a very young age “I don’t recall a time in my life in which I wasn’t immersed in some kind of art, but I have picked up techniques and methods here and there from books, videos, teachers and other artists I’ve met. A huge chunk of my process of painting and making comes from experimentation.” Amy reflected that she has gone through many phases and styles of work in her early years. “I feel my work now resembles more closely what I was most interested in as a child. Soft coloured dreamlike worlds with fantastical characters, plant life, and animals.” Part of the alluring charm of Amy’s pieces are the muted tones used to express the intimacy and engagement
she has with reality. Amy captures these moments and builds a representation of what was found, she details how the painting Night Be Still materialized “it started with a floating Kirin like animal. I wanted to capture the creature in still motion, that was all I had to begin with. But over time other elements began to gather. One of them happened after seeing blooming flowers lit by a street lamp and imagining a scene coming together. It was spurred by a feeling of complete peace and mystery but also knowing that moment was temporal. I start drawing a study for the piece, then I begin painting. Sometimes new ideas come to me in the stages and the painting changes along the way.” As many artists can attest, painting is a sedentary experience and she manages those hours staying inspired in subtle ways, exploring her environment on her daily walks around her home in Oakland. Amy describes how the many hours of lonely self-reflection spent can be tainted with worry and doubt, eventually balancing itself with the elation of completing a piece. However it’s not long before the feeling of being off kilter and lost emerges and beckons her to begin the process again. The affection for Amy’s work may come from her ability to pull intricate details from shapes and colour, music and books. Listening to classic audiobooks like Moby Dick and East of Eden, there is no doubt they would weave a great tale and dream their stories into her studio helping her to remain optimistic and brave. “Being creative is all about exploring the unknown and taking chances. The most important advice I’d give to myself retroactively would be to - be kind to yourself and be brave.” As that desire emerges again and again to fulfil her creative urges, Amy has no plans on slowing down. Inspired from her recent road trip through grand deserts and mountain landscapes, expect to see their influence in a new body of work for her Solo next spring at Thinkspace Gallery in Culver City, California, an exhibition at the “Life is Beautiful” festival in her hometown of Las Vegas, and the upcoming Beautiful Bizarre Magazine curated exhibition Hearts Blood at Haven Gallery, Newport, New York this September.
www. a my s o l . c om | Wor d s : Kyl ie De xt e r
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Sp ir it Flam e , 2 0 1 3 Acr yl ic on wo o d p an el , 1 6 ” x 2 0 ” prev i ou s p a g e : Bo un d , 2 0 1 3 G o uach e an d gr ap h it e on bo ard, 1 2 ” x 1 2 ”
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Miora s C up , 20 16 Oil on wo o d pa n e l, 18 ” x 24” op p o s i te p a ge lef t: Mor nin g Lig ht, 2017 O il on Fab r ia n o a n d wood , 12” x 2 4 ” op p o s i te p a g e r ig ht: Tow ar d s Ev ening , 20 16 O il on p ap e r, 14” x 18 ”
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B e a c on , 20 14 Ac r y l ic on pa n e l, 12“ x 12“ o p p o s i te pag e to p : Midnig ht Garde n, 2015 O i l o n w ood, 24” x 24” o p p o s i te pag e b o t to m: Nig ht b e Still, 2013 Ac r y l ic on wood, 24” x 24”
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middle : Cosmic Lichen, 2 0 13 Acry lic on Panel, 14” x 14” t op: O riel and Blu, 2 01 2 Acry lic on Wood pan el , 3 0 ” x 3 6 ” bot t om: Pouring of Cups, 20 13 Gouache & i nk on Pap er, 11” x 14” oppos it e page : Brambles, 2 01 1 Acry lic on Wood, 9 ” x 14”
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Nig ht G arde n I I I , 2016 Oil on p a n e l, 12” x 16”
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kelogsloops the art of hieu nguyen
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Kindra Nikole
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N I K O L E
“ ON E T OUC H OF NAT URE MA KE S THE WHOL E WORL D KI N.” W I LLI AM SHAK E SPE ARE
The love of a mother can nurture the creative soul of a child as, in its own bittersweet way, the loss of a mother can too. For American photographer Kindra Nikole, mourning the passing of her mother allowed her to give life to her own fantastic universe, for as well as her imagined tales of chivalry it is also partly therapy. From death emerges new life, from darkness, light. Kindra’s imagery is an answer to her fear of death and to her audience’s at the same time. But don’t expect anything macabre to come from the young artist. For her, there’s a fine line between exploring darkness and succumbing to it, a line she treads carefully but does not cross. She muses “Validating the darkness within myself by nodding to my fears and reservations has been one of the most liberating practices of my art.” Her photography is a visual mantra, both for it’s creator and womankind: “I want women to know that no matter what the world throws at them, they aren’t alone.” The heroines in her work are not lonely, only solitary, her photography reflecting the fortitude one can find in solitude. But, according to Kindra, we’re never fully alone, there is always a soothing and invisible presence, which is, of course, nature. The artist spent countless hours clambering up trees and romping through forests as a child and still spends as much time outdoors as possible. “It brings me peace no matter how distraught I might feel,” she says, “in many regards, nature has been a stand-in parent for me throughout the years.” A passionate ecologist, she is saddened by the state of the world and our treatment of the environment. As technology advances, we disconnect more and more from the earth, and this issue is a major motivation for Kindra’s work. She claims “Nature often steals the scene in my images, and that’s by design. I hope that my work reminds the viewer of our inherent connectedness to the planet. Even though we regard ourselves as evolved beyond most other species, it’s important to remember our deep roots. We are no greater than the trees and no less than the stars. We need to find a way to live in harmony with our one true home.”
In this way, she perceives her work more like a reflection of a reality she wants to make real rather than an escape. Her fantasy inspiration comes from her early years, hiding away in blanket forts with piles of books around her, learning about mythology. Growing up, movies also polished her imagination and visual education. Buying a camera was just one step away, and she jumped over, starting a 365 project that consolidated her photographic calling. Kindra recalls, “It was a wild ride, and I had no idea committing to that project would end me up where I am right now. I will never allow myself to shelve my creativity again. Not while I’m still breathing.” Always enthusiastic about her work, she enjoys sharing the emotions and thought processes behind her pieces. Many of them are therapeutic self-portraits but she also often indulges in larger productions involving other models, as well as creating props and elaborate costumes. The outdoor settings can present some very unique challenges, particularly in the Pacific Northwest, where the weather can be unpredictable, but Kindra loves this wild ingredient. This authentic vibe is also perceptible in the final touch. Kindra adds mixed media to her completed images, which are printed onto fine-art archival paper and mounted to hand-stained wood panels before she embellishes them with acrylics. She then resin glazes her works for a lustre effect. You can admire the results at one of her many upcoming exhibitions, including the Summer of Love group show at San Francisco’s Modern Eden Gallery, where she will release her first triptych. The energetic Kindra has several irons in the fire, including a book collaboration with oil painter Redd Walitzki, based on their travels to Iceland in 2016. She will also explore her short movie skills, with a script and collaboration with friend Cassie Meder. “Further ahead, I’m planning to begin dabbling in a larger body of work exploring some new themes” she concludes. “It will touch on ancient mysticism and dive pretty deep into the dark end of the ocean for me.”
www. k i n dra n i ko le . c om | Wor d s : Je n n i fe r G or i
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O f Wit h e r ing Ab undanc e , 201 5 Mo de l : Su zA n n e He le n Ste b e n P h o t o g r ap h p r i nt e d on wood pa n e l, re s i n, 16 ” x 20 ” p r e v i o u s p ag e: C aml ann Fie lds , 2016 Mo de l : Me re dith Ade la ide A rc h iv al fi n e - a rt print m o u nt e d t o wood pa n e l, ac r yl ic s , re s in , 24” x 30”
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Sle e p e r, 20 14 Mo del : C as s ie Meder Digit al p h o t o gr ap h Hair , m akeup & s t yl in g: Kin dra Niko l e o ppo s i te pag e: G e r min ation , 20 14 Mo del : Meredit h Adel aide Hair , m akeup & s t yl in g: Kin dra Niko l e P h o t o grap h p r int ed on wo o d p an el . res in , 20 ” x 3 0 ”
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T h e Quic ke ning , 20 15 Mo de l : M ia Alle n Hai r & m a ke up: Ch ristin e Shields Syl i ng : Kin dra Nikole D ig it al p h otog raph o p p o s i te pag e to p : T h e Fore st’s Se c re t, 20 14 Mo de l : Me re d ith Ade la ide Hai r & m a ke up: L aure n Young St yl i ng : Kin d ra Nikole P h o t o g r aph printe d on wood panel, re s i n, 20 ” x 30 ” o p p o s i te pag e b o t to m: As h e s t o As he s , 20 17 Mo de l : Kin dra Nikole M ake up : Re d d Walitzki D ig it al p h otog raph
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T h e Pathle s s Woods , 201 4 Mo de l: K in d ra Nikole D ig it al ph otog raph o p p o s ite pag e: Alic e’s Se c re t, 20 15 Mo de l: K in d ra Nikole D ig it al ph otog raph
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Th e L as t of He r Fa ding Pow e r, 2 01 4 Mo de l , h ai r & m a ke up: Ca s sie Meder He adp ie c e : Ele me ntal Ch ild Dig it al p h otog raph
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MARIA ABAGNALE
SYBILE ART
You’re Invited! The Gallery of Good Art Artist Collective Online Art Auctions Next:
ENYS GUERRERO
Sep. 12-15 “Wildlife” Nov. 12-15 “Landscapes” @GoGAcollective
GIULIO INGROSSO
gogacollective www.thegalleryofgoodart.com CARLA SECCO
SAYUKA BLØODSTONE
LYNDA BELL SALLY JACOB
TRACY EIRE
HAKKACHAN
Ben Smith
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B E N
S M I T H
“ I’VE T RI E D T O DE S IG N T H E WORK SO THAT I T CA N L A ST BE YON D THAT I M M E DI AT E PE RCE PTION OF I T.” LE ONARD C OHE N
The art of Australian painter Ben Smith speaks of change, of transition, both in a physical sense and through metaphor. For the physical, doorways are often featured, with the protagonist peering through to an uncertain future, from light to dark or dark to light. Similarly modes of transport are used to portray this allegorical journey, be they vintage cars, busses, mopeds, on horseback or just walking. However fraught with uncertainty, perhaps for Ben these are positive transitions, for in his works where the subject has already passed through their portal they are shown as uplifted or at peace. The overt and physical are only the simplest representations of the metaphors for change that Ben employs, the true joy in his work is delving into the layers of meaning that he imbues into each of his paintings. Figurative morphs into abstraction, realism merges with the surreal, and each point of transference cumulates into the journey of understanding. Ben has undertaken his own journey, his own personal transition to become an artist. From studying engineering at university and starting to work in that field he came to the understanding that creating art was where his life’s dreams would be realised. From there, Ben was determined to make painting his career come what may. “Growing up I never thought I would be able to become an artist. However after a couple of years of working as an engineer I threw everything at getting a scholarship to art school and fortunately I got one. I then spent several years working part time while also working very hard at my art. In a strange way the GFC helped me as I was made redundant from my engineering job and I decided to spend a year doing nothing but paint. At the end of that year I was almost broke, but I fortunately I suddenly started winning art prizes and I haven’t had to do engineering work since.” Studying, and later teaching at the Julian Ashton Art School in Sydney gave Ben the grounding in the techniques and skills he has since expanded on in his own practice. The artists that he admires most, from Rembrandt and Francis Bacon in his younger years, to Neo Rauch, Justin Mortimer, Adrian Ghenie, Alex
Kanevsky and Louise Hearman more recently, have the same strength of narrative as his own work and also utilise both realism and abstraction. In 2010, a breakthrough year for his career, Ben won both the Waverley Art Prize and the Amanda Phillips Emerging Artist Award at the Mosman Art Prize. These awards, along with numerous finalist selections in some of Australia’s most prestigious art prizes over recent years, have well and truly brought his work to the attention of an appreciative audience. In common with many figurative artists in Australia in recent years, however, he has had to deal with a fine art establishment which places less value on his chosen oeuvre. But Ben has persisted in his practice and feels that the winds of change may now be blowing favourably for work such as his. “It can be tricky being a figurative artist as it seems many commercial and non-commercial galleries are a little figure shy. However things have been getting better in recent years and figurative work is making a comeback, especially internationally. Resistance to the figure has made me think harder about what makes a good piece of figurative art. Often the key is a strong concept. I don’t see necessarily figurative art and conceptual art as being mutually exclusive.” Generally starting a new piece with only a rough concept of the final work, Ben is a great believer in playing with different staring points through drawing and collage before finalising on an idea to progress. Indeed more recently this play with colour, text, and abstraction lasts until the final brushstroke. The point at which to strike a balance between figurative and abstraction in each piece is perhaps his most problematic creative puzzle. “I really wish I knew the precise answer to this question as it would save me a lot of anxiety. It is an exciting but difficult part of my painting process.” Currently, Ben has been drawing new works themed on Australian megafauna, a concept he is beginning to explore but is still maturing in his imagination. Given his past work we eagerly await this new direction, a further personal transition from this talented teller of tales on canvas.
www. b e n sm it h a rti s t . c om | Wor d s : Ric h a r d P u r s s e y
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Be a d s an d Wo lf O il on bo ard, 5 0 cm x 6 0 c m prev i ou s p a g e : Tr an sit ion O il on bo ard, 8 4cm x 1 2 2 c m
t op: The S hif t Oil on board, 1 2 2 cm x 1 90cm bot t om: A charact er marked by cont radict ion O il on board, 122 c m x 16 5 cm oppos it e page : It i s all s traight forward f rom here Oil on board, 1 87cm x 1 95cm
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Grif f in Cub Oil on board, 1 00cm x 1 2 2 cm o p pos it e page : Nick II Oil on board, 60cm x 80cm
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Fox an d La dy O il on bo ard, 5 0 cm x 75 cm o ppo s i te pag e: Th e little lion O il on bo ard, 6 0 cm x 8 0 cm
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Por t al O il on bo ard, 9 1c m x 1 2 2 c m
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2017.9/26~10/7 Tomohiro Takagi Exhibition
2017.11/7~11/19 Midori Hayashi Exhibition
2017.9/26~10/7 Ayumi Doll Exhibition
2017.11/21~12/3 TAMA Exhibition
SHOP OUR BACK ISSUES ISSUE 17 | JUNE 2017 FEATURED ARTISTS:
ON THE RISE:
MARTIN WITTFOOTH Edith Lebeau Tran Nguyen Emilie Steele Agostino Arrivabene Matt R Martin Glenn Arthur Nona Limmen Ingrid Baars Melanie Delon..
Lora Zombie June Leeloo Marta Adán Martínez Akiko Ijichi Lisa King Relm Jin Chrystal Chan Collin Elder Adipocere
ISSUE 16 | MARCH 2017
ISSUE 15 | December 2016
ISSUE 14 | September 2016
ISSUE 13 | june 2016
FEATURED ARTISTS: FIN DAC JOEL REA CHRIS GUEST Laura Makabresku Kate MacDowell Camilla d’Errico Sarah Dolby Darla Teagarden Lois Van Baarle Alyssa Monks
FEATURED ARTISTS: Anna Dittmann Rodrigo Luff Yoko d’Holbachie Miho Hirano Hannah Yata Elizabeth McGrath Soey Milk Rebecca Leveille POLINA WASHINGTON NEIL CRAVER
FEATURED ARTISTS: Jeremy Mann Jeremy Geddes Derek Gores Jasmine Becket-Griffith Dorielle Caimi Julie Filipenko Nicomi Nix Turner Ellen Jewett Brian Ziff Nicol Vizioli
FEATURED ARTISTS: Dino Valls Sergio Lopez Tamara Dean Igor Skaletsky Katarzyna Widmanska Sas Christian Kent Williams Kim Simonsson Chris Berens Bao Pham