Dorothea Van De Winkel

Dorothea is an independent textile artist and designer since 1985. She operates her own gallery “Galerij Theaxus” from September 1992 with exhibition rooms and the possibility to visit the studio, where the hand-woven tapestries are designed and made.
ATB13 Highfield Hall Gardens, MA, USA 27 01-27 03 21

Moving Circle V, 2010 - Tapestry 80 x 80 cm

"I lived in the center of the town of Oudenaarde (East-Flanders, Belgium), a historic city renowned for its ancient hand-woven tapestries. I was very impressed by the skills needed and the fine art behind this craft. From this background, I started searching and collecting any information I could find on materials (wool, silk,…), the tools, the colours and the patterns. I wanted to know everything about it, from design to realization."

The designs of Dorothea Van De Winkel are abstract. She realizes wall and floor tapestries, which can be wholly integrated into a house (colours, form and size). The realizations can be seen as living, stand-alone art objects, or as the center point, elementary piece or material for interior design. Furthermore, tapestry can be used in modern buildings for muting sound transmission and it adds a feeling of warmth.

 


 

Select exhibitions

2021 ATB 13 Highfield Hall & Gardens, MA, USA – January 27, 2021 – March 27, 2021

San Jose Museum of Quilts and Textiles, CA, USA - July 18, 2021-October 3, 2021

2020 The 13th International Textile Art Biennial “Scythia”, Ivano-Frankivs’k, Ukraine

2020 The Virtual Exhibition of UNESCO & MEADOWS artists against COVID-19, Beirut, Lebanon

2018 Solo Exhibition, Contemporary Tapestries, Mou Museum of Oudenaarde and Flemish Ardennes, Townhouse de Oudenaarde, Belgium

2017 7th International Biennial of Contemporary Textile Art: DIVERSITY, the SUBTE, Montevideo, Uruguay

2016 From Lausanne to Beijing, 9th International Fiber Art Biennale, Guan Shan Yue Art Museum, Shenzhen, Guangdong, China

2016 The 11th International Biennial Exhibition of Contemporary Textile Art "Scythia", Kherson, Ukraine

 

Select Awards

2016 Bronze Medal, Scythia, the 11 International Biennial Exhibition, Kherson, Ukraine.

2008 Excellent Price, From Lausanne to Beijing 2008, Beijing, China

Tornado In The Field II, 2016 - Tapestry 185 x 240 cm
Blue Landscape I, 2018 - Tapestry 100 x 120 cm
In The Open Field I, 2014 - Tapestry 185 x 240 cm
Blue Landscape II, 2018 - Tapestry 100 x 120 cm

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Marie Diane Bessette

“Painting the dance of the birds; mainly the crow, the falcon, the goose, the eagle —these subtle beings with their broad wings and feathers that spread like fingers in the great circle of the living kingdom.”

“Peindre la danse des oiseaux, principalement le corbeau, le faucon, l’oie, l’aigle, ces êtres subtils avec leurs larges ailes et leurs plumes qui s’écartent comme des doigts dans le grand cercle du règne vivant.”

Refrain - Acrylic and watercolour on wood 152 x 76 cm
“C’est pas les papillons Qui dérangent vraiment; C’est les 22 oiseaux Qui décollent en même temps.”

From Canada, Marie Diane Bessette is a semi-figurative painter of nature, and above all of trees and birds. She has chosen Laurentians to live at and create. For Bessette it was always easy to express herself through drawing.

She studied arts at CEGEP du Vieux-Montréal where she worked in several media. Subsequently, she continued her artistic training at the Center des arts visuels and at Concordia University, in drawing, in oil painting, then in emotional painting with Madame Rita Brianski. Her evolution towards the semi-figurative was when she joined the Sfumato workshop in 2012. Her work is important and allows the artist to explore other corners of her creativity. She produces, with various media on both small, medium and large format paintings, several of which are also diptychs and triptychs.

Bessette practices and teaches a method of drawing that cultivates creative potential by silencing logic to better see the world to which we are linked. Out of time, the whole being participates in it.

 


 

Peintre semi-figurative de la nature, et avant tout des arbres et des oiseaux, elle a choisi les Laurentides pour y vivre et créer. Elle a toujours eu de la facilité à s’exprimer par le dessin. Elle étudie les arts au CEGEP du Vieux-Montréal où elle touche à plusieurs médias. Par la suite, elle poursuit sa formation artistique au Centre des arts visuels et à l’Université Concordia, en dessin, en peinture à l’huile, puis en peinture émotionnelle avec Madame Rita Brianski.on évolution vers le semi-figuratif, s’effectue lors de son adhésion à l’atelier Sfumato en 2012. Son œuvre est importante et lui permet d’explorer d’autres recoins de sa créativité. Elle produit avec des médiums variés autant des tableaux de petite dimension, que de format moyen et de grand format. Plusieurs de ses tableaux composent des diptyques et des triptyques.

Elle pratique et enseigne une méthode de dessin qui cultive le potentiel créateur en faisant taire la logique pour mieux voir le monde auquel nous sommes liés. Hors du temps, l’être entier y participe.

Au rythme du printemps (The Rhythm of Spring) - Acrylic on wood R. 101,6 cm
J’entends les cris des oiseaux migrateurs qui se dirigent en formation vers le nord. La bernache vit au rythme des saisons : le printemps suit l’hiver, l’été suit le printemps et l’automne suit l’été. Comme l’oiseau, toute chose a ses cycles. Il fait bon de faire partie de tout cela. (1 /4 série Au Rythme des saisons)
I hear the cries of migrating birds flying north in their V formation. The wild goose lives to the rhythm of the seasons: spring follows winter, summer follows spring, and autumn follows summer. Everything has its cycles. It feels good to be part of it all. (1/4 Series The Rhythm of the Seasons)
Au rythme de l'été (The Rhythm of Summer) - Acrylic on wood R. 61 cm
Pendant la saison de nidification, le mâle défend les abords du nid contre les intrusions. La bernache vit au rythme des saisons : le printemps suit l’hiver, l’été suit le printemps et l’automne suit l’été. Comme l’oiseau, toute chose a ses cycles. Il fait bon de faire partie de tout cela. (2/4 série Au Rythme des saisons)
During nesting season, the male defends the perimeter of the nest against intruders. The wild goose lives to the rhythm of the seasons: spring follows winter, summer follows spring, and autumn follows summer. Everything has its cycles. It feels good to be part of it all. (2/4 Series The Rhythm of the Seasons)
Au rythme de l'automne (The Rhythm of Fall) - Acrylic on wood R. 61 cm
Les oies sauvages s’envolent à l’automne pour des contrées plus chaudes. La bernache vit au rythme des saisons : le printemps suit l’hiver, l’été suit le printemps et l’automne suit l’été. Comme l’oiseau, toute chose a ses cycles. Il fait bon de faire partie de tout cela. (3/4 série Au Rythme des saisons)
The wild geese fly away to warmer climes in fall. The wild goose lives to the rhythm of the seasons: spring follows winter, summer follows spring, and autumn follows summer. Everything has its cycles. It feels good to be part of it all. (3 /4 Series The Rhythm of the Seasons)
Au rythme de l'hiver (The Rhythm of Winter) - Acrylic on wood R. 61 cm
Par ce froid glacial, un nuage a épousé la forme d’une oie sauvage. La bernache vit au rythme des saisons : le printemps suit l’hiver, l’été suit le printemps et l’automne suit l’été. Comme l’oiseau, toute chose a ses cycles. Il fait bon de faire partie de tout cela. (4/4 série Au Rythme des saisons)
In the glacial cold, a cloud takes the shape of a wild goose. The wild goose lives to the rhythm of the seasons: spring follows winter, summer follows spring, and autumn follows summer. Everything has its cycles. It feels good to be part of it all. (4/4 Series The Rhythm of the Seasons)
Between the Branches of Time - Acrylic and watercolor on wood 76 x 76cm
Nocturnal round - Acrylic and watercolor on wood 61 cm
Presage - Ink with acrylic with Japanese paper on wood 61 x 30cm
Mirage - Acrylic with Japanese paper on wood 36 x 51 cm
Morning round - Acrylic and watercolor on wood 61 cm

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


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Hong Liu-Sertti

“I moved to Finland, lived in a Finnish-Chinese family and received art education in both places for nearly 20 years. Over the years, my creative themes have always been freedom and love in conflict and harmony.”

Love to be free - Mixed media on rice paper on canvas 80 x 60 cm

“I have moved to Finland, lived in a Finnish-Chinese family and received art education in both countries for nearly 20 years. Over the years, my creative theme has always been freedom and love in conflict and harmony. People, birds and stamps are the main elements of my works. People are shown meticulously in the context of freehand brushwork. The bird is a metaphor for freedom. The stamp has been regarded as an important element since the composition of the painting and is closely integrated with the image. The words of the stamp include ancient Chinese poetic phrases, such as "流水香 Flowing Water Fragrant", "草惊风 Wind Blowing Grass ", etc., and some inscriptions, such as "Love" and "自由 Freedom"; there are Chinese and English as well as Finnish, such as "Running tree" and "Vapaus" and many more.

With the use of ink, color and gold foil, stamps and patterns, concrete and abstract, exaggeration and realism, I constantly transform contradictions into harmony. The forests and lakes of Finland are the backgrounds of my work. The wonderful forest contains various life forces. Everything takes its place in the crowd. The lake reflects the brilliance of various spirits. The individual's soul poured out in the silence, joyously in the constant flow. Multiculturalism gives creativity an endless drive."

Hong Liu-Sertti has had solo shows at Pori Art Museum, Finland and South China Art Museum. She has been in group shows including the Official Pavilion of Bangladesh 58th Venice Biennale as well as Art Basel Miami Beach among others.

Featu2021
Spring - Mixed media on rice paper on canvas 80 x 60 cm
Walking Tree Flying time - Mixed media on rice paper on canvas 20 x 15 cm
Bliss - Mixed media on rice paper on canvas 20 x 15 cm
Dream in Coronavirus Pandemic - Mixed media on rice paper on canvas 80 x 60 cm

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Abdelfettah Karmane

Born 1969, Sidi Slimane, Morocco

Lives in: Rabat, Morocco

Describe your art in three words: expression, création et maîtrise (expression, creation and mastery)

See More Work:  Google: Abdelfettah Karmane

Nature morte avec instruments de musique - Watercolor on paper 81 x 113 cm

"Je suis lauréat de l'école des arts plastiques de Rabat, mon parcours s'étend plus de 36 ans d'expérience artistique dans laquelle j'ai organisé plusieurs expositions individuelles et collectives au niveau national et international, j'ai aussi plusieurs interview ,reportages et articles de presse dont le dernier était une très belle rencontre avec le magazine des aquarellistes l' art de l 'aquarelle."

"I am a laureate of the School of Plastic Arts in Rabat, my career spans more than 36 years of artistic experience in which I have organized several individual and collective exhibitions at the national and international level I also have several interviews, reports and press articles, the last of which was a very nice encounter with the watercolorists' magazine l'art de l'aquarelle."

What themes does your work involve?
Mes peinture est basée techniquement sur l'aquarelle et la peinture à l'huile qui appartient à l'école de superrealiste avec des thèmes inspirés de la vie quotidien et la vie des petites gens ,la Medina, les vieillards ,aussi des Nature morte avec des objets de l'artisanat, je travaille généralement sur la mémoire culturel traditionnel populaire marocain ,qui donnent à mes oeuvres d'arts une relèvent de l'âme du social et de l'humanitaire sans oublier l'identité et l'originalité qui se manifeste au patrimoine marocain andalous avec ses aspects culturels traditionnels, entre l'ambre et la lumière le clair et l'obscure le plein et le vide, à travers lesquels j'essaye d'apports mon support pour les souffrances artistiques sensibles avec des sentiments profonds et un goût particulier...

My painting is technically based on watercolor and oil painting which belongs to the superrealist school with themes inspired by daily life and the life of small people, the Medina, the old people, also Still life with handicrafts, I generally work on the traditional popular Moroccan cultural memory, which gives my works of art a touch of the soul of the social and the humanitarian without forgetting the identity and the originality which is manifest to the Andalusian Moroccan heritage with its traditional cultural aspects, between amber and light, clear and dark, full and empty, through which I try to bring my support for sensitive artistic suffering with deep feelings and a particular taste...
Describe your creative process.
Avant commencer à réaliser une toile j'y penser premièrement et satisfait d'un thème comme projet artistique, ensuite je fais des recherches avec une série d'exercices comme esquisses et croquis a partir d'une études d'observation et documentaires au niveau de composition plastique en Termes de forme et de couleurs harmonie rythme et équilibre et avec un beau dessin au crayon sur toile, sans brûler les étapes, tout ce la me donne une superbe travaille finale bien réussite .après j'arrive à savoir que ma peinture terminée, lorsque je me sens bien satisfait que j'ai eu une bonne lumière et un contraste parfait et une variations de couleurs magiques ensuite et en fin je cherche le bon endroit pour ma signature.

Before starting to make a canvas I think about it first and satisfied with a theme as an artistic project, then I do research with a series of exercises like sketches and sketches from observation and documentary studies at the level of plastic composition in terms of shape and colors harmony rhythm and balance and with a beautiful pencil drawing on canvas, without skipping steps, all this gives me a superb final work very successful. after i get to know that my painting is finished , when I feel very satisfied that I had good light and perfect contrast and magical color variations then and in the end I look for the right place for my signature.
What influences your work? What inspires you? Why do you make art?
Quand j'étais petit à l'âge de six ans ,loin de nos maisons avec mes amis voisins ont pu s'introduire dans un immense bâtiment abandonné ,pourtant toujours gardé, la surprise C'est quand j'ai découvert que tout les murs de nombreuses chambres s'étaient ornés de milliers de dessin de corps humains, d'avions terrifiants, Portrait, animaux. A partir de cet instant la fascination et la passion pour l,'art sont nées chez chez-moi et depuis ces moments là mes souhaits d'avenir ont toujours être artiste peintre, mes sources d'inspirations viennent de la nature les paysages les voyages l'entourage le patrimoine et l'être humain, je fait de l'art tout simplement parceque je l'adore depuis mon enfance, je fait de l'art parceque c'est un moyen de vivre et partage vos émotions avec les autres.

When I was little at the age of six, far from our homes with my neighbor friends, they were able to break into a huge abandoned building, yet still guarded, the surprise was when I discovered that all the walls many rooms were adorned with thousands of drawings of human bodies, terrifying planes, portraits, animals. From that moment the fascination and passion for art were born in my home and since those moments my wishes for the future have always been to be a painter, my sources of inspiration come from nature, landscapes, travel the entourage the heritage and the human being, I make art quite simply because I adore it since my childhood, I make art because it is a way of living and sharing your emotions with others.
What is good art? What makes a piece of art great?
Quand en respectant et en faisant un bon travail avec amour et sensation reflètent des émotions humaines profondes sans sortie et Sans dépasser les éléments plastiques principaux concernant la composition das l'espace d'une œuvre d'art qui se manifeste dans la création l'expression et la maîtrise, avec ces éléments fondamentaux de l'art en peux avoir une œuvre d'art géniale.

When respecting and doing a good job with love and feeling reflect deep human emotions without exit and Without exceeding the main plastic elements concerning the composition das space of a work of art which manifests in the creation the expression and the mastery, with these fundamental elements of art, can have an awesome work of art.
What is the role of the artist today?
Je choisis l'art parceque c'est un dont depuis mon enfance qui se développer avec le temps et deviennent métier et travail professionnel c'est avec l'art je vie et je respire à travers l'art aussi j'adresse des messages nobles émotionnels ,avec laquelle je partage des moment de passé de présent et d'espoir plein de joie et de bonheur. en trouve l'at par tout ,dans la vie humaine et quotidien dans la science la technologie l'architecture la décoration intérieure et extérieure en trouve l'art dans le design l'ameublement l'immobilier les voitures ect....tout ça c'est a cause de l'art qui joue un rôle essentiel dans la mise au niveau de goût sensoriel et visuel pour les sociétés humaines.

I chose art because it is something that develops from childhood over time and becomes a profession and professional work it is with art I live and I breathe through art also I send messages emotional nobles, with which I share moments of the past, present and hope full of joy and happiness. finds it in everything, in human and daily life in science, technology, architecture, interior and exterior decoration, finds art in design, furniture, real estate, cars, etc. it is because of art which plays a vital role in upgrading sensory and visual taste for human societies.
Fleurs et tapis de paix - Watercolor on paper 65 x 91 cm
Nature morte aux tapis et pêches - Watercolor on paper 71 x 110 cm
Nature morte avec objets traditionnels - Watercolor on paper 56 x 76 cm
Nature morte avec tapis et citrons - Watercolor on paper 56 x 76 cm

 


This interview was published by Circle Foundation of the Arts. © CFA Press ∙ Images are courtesy of the artist


Peter Backhaus

Born 1947, Germany

Lives in: Holsljunga, Sweden

Describe your art in three words: Expressive, unpredictable, archetypal

See More Work:  www.peterbackhaus.net | instagram.com/artatbackhaus/

Shadow Movement I - Oil on canvas 200 x 150 cm

"My art is uncompromising and direct. It is unique in its poetic, musical expression. The heart is its abode. It connects with the soul's longing for freedom, co-creation and participatory commitment.. I call my style ‘Archetypical Expressionism’."

What themes does your work involve?
As I said, I work as uncontrolled and spontaneous as I can, with no plan or particular idea from the beginning. Just trying to remain in the Now as long as possible. So, from inside of me comes nothing but emptiness and life-energy without any underlying messages. On the outside it may look different, I don’t know and honestly, I try not to care. Every spectator has her or his own world to associate to, her own pair of glasses that give her ideas about what she sees and what she remembers when being confronted with my mountains of scratched, dripping paint. To me it’s just color and energy.
Describe your creative process.
Every creative process starts on the floor. On a large area of canvas, paper or wood, entranced I strive to act out myself on the surface. All tools, paints and solvents that could possibly be used are at hand in the activity area. When the process ends after an hour or two, I leave the place and let everything dry. Then a search for attraction begins. The subsequent over-paintings and adaptations are almost always in oil. The further process is sitting, looking at things, empathizing, listening to my inner voice, making decisions, remaining in the now ... each time different and unpredictable. I’ve developed this to be able to make discoveries, to be able to surprise myself.
What influences your work? What inspires you? Why do you make art?
For me painting means survival, exploring my creativity is a way to keep my mental health. My paintings are internal images. They come from a level beyond time and space, beyond the personal ego, where complete stillness and total chaos coexist. They are like layers in the archetypal landscape which are deep inside of each person, regardless of culture or color.

Art has helped me to process my personal German history. My exhibition, “Unwanted lives” in 1996 was my final effort to deal with Nazi Germany, shown in different Swedish museums. After that performance, I felt liberated from the past. It was a catharsis, the end of my mourning process. Now my inspiration comes from my inner joy to be human and a free creator of my own world, without being drifted into sentimental sweetness.
What is good art? What makes a piece of art great?
A great piece of art is always a personal statement. It has nothing to do with what it looks like but the commitment of the artist has to shine through. Then there is the aspect of communication of course. There has to be SOMETHING that is understandable, caches the eye otherwise we wouldn’t see it. For me personally, I want to be touched, I don’t have to understand, even better if I don’t and the question WHY, WHAT IS THIS? hits me strong…
What is the role of the artist today?
I don’t know what an artist’s role in society is and I find it hard to grasp that from perspective above. In different societies art has had very different roles depending on the spiritual level at any given time, the power structures, the culture, the dominating way of thinking and much more. I’m not a sociologist but for me, in our time, an artist’s actions are an important signal to his/her fellowmen to be brave, stand up for their opinion, be creative and look for the truth from a personal, subjective perspective.
Red Death - Oil on canvas 175 x 135 cm
Morning Oil - Oil on canvas 200 x 160 cm
Homage to my teachers - Oil on canvas 120 x 100 cm
Compact energy - Oil on canvas 120 x 100 cm
Grez - Oil on canvas 200 x 205 cm
Haus am Wörthsee - Oil on canvas 200 x 160 cm
Shadow Movement III - Oil on canvas 200 x 150 cm
Shadow Movement II - Oil on canvas 200 x 150 cm

 


This interview was published by Circle Foundation of the Arts. © CFA Press ∙ Images are courtesy of the artist


Arjun Kamath

Born 1987, India

Lives in: Bengaluru, India

Describe your art in 3 words: Vivid, aesthetically-rich, thought-provoking

See More Work:  https://kamatharjun.com | Instagram@arjunkamath87

My mind, a shining guillotine

"At large, my photographic works revolves around fascinating faces and characters. To put it simply, I love photographing people. My projects range from documentaries to fashion portraiture and advertising campaigns to tasteful weddings. But at the core, I enjoy telling stories and portraying the unique flavor each person brings to the world. At times, these stories are simple and endearing, taken during my travels, on fashion assignments while I collaborate with artists of the Indian film industry, or during wedding projects. At other times, they are complex and drive a social message. My photo stories called ‘Avani’, ‘Color of Our Skin’, and ‘The Anxiety Series’ are a testament, exploring grim realities of gender discrimination, racism, and mental illnesses through pictures and prose."

What themes does your work involve?
At large, my photographic works revolves around fascinating faces and characters. To put it simply, I love photographing people. My projects range from documentaries to fashion portraiture and advertising campaigns to tasteful weddings. But at the core, I enjoy telling stories and portraying the unique vibrance each person brings to the world. At times, these stories are simple and endearing, taken during my travels, on fashion assignments while I collaborate with artists of the Indian film industry, or during wedding projects. At other times, they are complex and drive a social message. My photo stories called ‘Avani’, ‘Color of Our Skin’, and ‘The Anxiety Series’ are a testament, exploring grim realities of women subjugation, racism, and mental illnesses through pictures and prose.
Describe your creative process.
It begins as a vivid thought which I translate into a final photograph. I start by listing ideas on paper, after which I research and read to ensure my approach is genuine. I also take the time to understand what about that story is important to me. Then comes the pre-production stage. I etch out the theme and story, which are accompanied by the mood board and storyboard. Then, it is all about blending all elements to craft a picturesque mis-en-scene. For fashion portraiture, it’s the make-up, wardrobe, and the overall setting and colours in my images. For photo stories, I have to build intricate worlds through characters, colours, sets, and props. Finally, after multiple inspections and revisits, when I still find my work aesthetically appealing, that’s when I know it is finished..
What influences your work? What inspires you? Why do you make art?
As an artist, this beautiful world that we live in, full of vibrant colours and stories, is my greatest inspiration. My work is also profoundly influenced by my roots and my connection with them. I like telling stories close to home because relating to them gives me the biggest playground to create. A third factor that plays a part in impacting my work is any kind of imbalance in society. Because then, I wish to talk about it in a way that touches people and passes on a message of hope, love, and empathy. To know that I have created something, that will hopefully become a part of history and be remembered is a humbling and elating thought, and it helps me to keep going at the end of the day.
What is good art? What makes a piece of art great?
I honestly don’t think art can be so simply defined or segmented. Any genuine artist creates from the bottom of their heart and soul, so putting it into any bracket is not ideal for me. As long as artists are creating with their heart and soul, and staying true to the form, it is likely that the art they make will transcend all barriers, and somewhere in the process, become timeless. Even if the work of art ends up impacting a small bunch of consumers, it has done the magic it was made for. And for me, that is the bottom line– if your work inspires, moves, or changes even just a single person in a small way, it is a great piece of art.
What is the role of the artist today?
I believe that the artist’s role today is to recognise that people are consuming more art now than ever before, thanks to the power of the internet. More importantly, as responsible citizens, artists need to be mindful of what they are putting out into the world. Your art should be a relevant and breathing piece, born out of awareness. And when I talk about art in itself, I think every artwork should be a building block, thereby strengthening the world of art in its unique way. There is no stringent rule about what function it should have, but I encourage that your art evokes emotion. Even if you’re making art about something that’s dark and dreary, in the end, it should be a conversation starter or something that is able to stimulate feelings and help awaken one’s emotions from slumber.
The little boy from Hampi
The societal gambit: marriage over happiness
Holding on...
Congruence

 


This interview was published by Circle Foundation of the Arts. © CFA Press ∙ Images are courtesy of the artist


Nyle Major

Born 1983, New Zealand

Lives in: Auckland, New Zealand

Describe your art in 3 words: Traditional. Time. Timeless.

See More Work:  https://major-art.com/

Repulse - Oil on canvas 50 x 100 cm

"Realism is charming when it borrows a gleam of poetry from the imagination." - Sigfried Nettement quoting William Bouguereau, 1906

What themes does your work involve?
Classical realism is a driving force behind this painting. Coupled with a contemporary framework, the work is drawn from traditional inspiration & methods to replicate and expand on the 19th century French art movements, while using a theme familiar to traditional art.
Describe your creative process.
As with any new work, it spawns as an idea or concept, sometimes you can visualize an end product, sometimes you can't. A developmental process follows where composition and colour palette are worked out which goes a long way to illustrate what is expected in the final art work.These are usually conceived and created as a series of works, as I think it is important that they read well together and bounce off each other when being exhibited together. Therefore, there are usually elements present in these paintings which flow with other paintings in the same series. The paintings go through an underpainting process followed by a second pass. This is usually where a painting is complete, though extra work often goes into finishing it off to a high standard.
What influences your work? What inspires you? Why do you make art?
Art is always something that has made sense to me. It just helps that a little technical aptitude has been learned to make it a strength. I'm inspired by the greats who came before us and the desire to replicate the harmony their paintings have. Artists such as William Bouguereau, Alma Tadema, and Gotfried Lindeaur. Being able to make art is a huge joy that has come from years of perseverance, and my art practice is now reaching a point where the work I have completed inspires the next one on its own merits.
What is good art? What makes a piece of art great?
Asking what good art is can be a touchy subject, as it is ultimately subjective.. The definition of art has morphed and changed so much in the last one hundred years. I have always believed that art requires time and skill in order be called 'art'. The end result needs to be able to provoke a reaction in the viewer- for better or worse, and whatever the idea is in the artwork that the artist is trying to convey- needs to be seen and understood by as many viewers as possible.
What is the role of the artist today?
The role of the artist hasn't changed in essence. It is to communicate an idea through (in this case), a visual means. How art is seen by others is where contemporary society has changed what an artist creates. As mentioned, I believe art requires a level of talent that sets them apart from everyone else, but the modern definition of art is a lot broader now than in the past. Therefore while art is to still communicate ideas & provoke reactions, contemporary art has diluted the intensity of those ideas, therefore making the art of the past more revered and inspiring.

 


This interview was published by Circle Foundation of the Arts. © CFA Press ∙ Images are courtesy of the artist