ARTBAAZAR ONLINE MAGAZINE ISSUE #10 AUGUST 2020

ARTBAAZAR Connectng Art Lovers and Artsts Online

#10 August 2020

ArtBaazar's Online Monthly Magazine promotes both emerging and established artsts via their galleries on our online art platormm Every month we feature interviews with our artstss as well as showcase artworks from various artsts alleries. If you have an interest in a partcular artsts work or want to submit your artwork for promoton on the platorms contact us at info@artbaazarmcom Follow Us:  Subscribe for Latest News  Instagram  FACEBOOK  Pinterest

Copyright©2020 – ArtBaazarmcom - All content and ima es cannot be reproduced without written consent from ArtBaazar.com.

CONTENT Artst Interviews  Questoning the Social Concepts of Female Beauty – Su Yang  A Land Free of Society’s Grip with Phil Leith-Tetrault  An Unavoidable Exile with David Beeri Featured Artworks  Leykun Girma  Peter Day  Arthur Bernard  Cata Goffinet  Sandeep Rawal  Sanjay Sahai  Samiran Sarkir  Madan Lal  Anjum Khan  Dipt Pandey

Cover Artwork  

Front Cover - “Abstract Love” by David Beeri Back Cover - “DISK_CoRRUPTION” by Roland Kaiser

ART FROM ADDIS ABABA

“Farewell”, Leykun Girma, Acrylic on Canvas, 2019

Leykun Girma is a contemporary artst currently residin in Addis Ababas Ethiopia. I earned a diploma from ETVET colle e specialized in paintn and also ained a certicate from Addis Ababa University of Fine Arts and Bachelor De ree from Ethiopian Orthodox Thewahedo Holy Trinity Theolo ical University Colle e.

“Coldest Market”, Leykun Girma, Acrylic on Canvas, 2019

My main media concentraton is paintn . Most of the tme I experimented with various techniques in my studio. Over the yearss I have partcipated in several roup and solo art exhibitons. I have built a small followin of patrons from my work of art. My art work is very personal to me. Sometmes I am infuenced as an artst by personal experiencess other tmes my work of art is a result of my limitless ima inaton and creatvity. I place hi h standards upon myself and my works.

“Unity”, Leykun Girma, Acrylic on Canvas, 2019

“Beyond the Generaton”, Leykun Girma, Acrylic on Canvas, 2019

The Creatve Freedom of Plein Air Paintng

“Boats at Low Tide”, Peter Day, Watercolours, 2020

Peter Day became a total convert to watercolour some 25 years a o havin previously en a ed in Oil Paintn and Screen Printn for 25 years. He is ofen seen around sketchin and paintn with a board on his laps rather than an easel.

“Fishing Boats at Marsaxlokk”, Peter Day, Watercolours, 2020

“The Loire at Angiers, France”, Peter Day, Watercolours, 2020

His styles producin lively and lowin ly colourful landscapess is easily reco nisable and not easily imitated.

“Narrow Boats, Gloucester Quays”, Peter Day, Watercolour, 2018

Questonin The Social Concepts of Female Beauty with Su Yan

"Stripping Off Face 1", Su Yang, Oil on Canvas

Su YANG �� is an artst from Beijin s China and Melbournes Australia. Yan holds a Ph.D. in Visuals Asian Culturals Gender and Sexuality Studies from the University of Melbourne in Australias a Master of Fine Arts in Paintn from the State University of New York at Bufalo in the USs and a Bachelor of Arts in Desi n from Tsin hua University in China. Currentlys she is a faculty member in Art and Desi n at The University of Melbourne.

Su Yan ’s multdisciplinary practce conveys her feminist invest aton on female representaton and her sense of social responsibilites for contemporary social issues includin ant-racisms de/ant-colonialisms and social justce. Yan works across paintn s photo raphys videos and short ilm.

Yan is also a scholar in Chinese feminism and feminist art studies. Her doctoral research project re-theorizes Chinese feminist art throu h the case studies of Chinese women artsts and the new eneraton of Chinese feminist artsts.

Chinese artist, Su Yang

“My current art practce complements my creatve artstc research that invest ates the representaton of women in China from the 1990's up to the present with feminism methodolo y. The art of my paintn ss photo raphs and videos about but beyond unnecessary harmful non-therapeutc cosmetc sur eries questons the invisible ideolo ies that encoura e women to conform their appearances to the ideal beauty in lobal consumerisms marketn and the patriarchal ideolo ies in Chinese Confucianism in China.

These works are to challen e the hierarchical representatons of women and the conventonal deiniton of women’s art as to present femininity in contemporary Chinese art. My contnuous feminist art project rebuilds the female ima es that have been utterly disrupted by patriarchal socials sexuals le als cultural and reli ious structures.”

"Double Faces Pre-post Cosmetc Surgery 2", Su Yang, Oil on Cnavas, 2016

"Face-Lif", Su Yang, Oil on Canvas

What initally drew you towards becoming an artst?

I learned paintn in my father’s studio. I painted my irst oil paintn when I was six and have been trained by my father in the traditonal European academic way of paintn and drawin since I was ten years old. I could also o to a music insttute for my under raduate studys but I found I excelled in art and decided to take the enrolment exams of Tsin hua University.

What pushed you in that directon and how can you see your work evolving in the future?

I started my feminist series paintn s about cosmetc sur ery in my MFA study at the State University of New York at Bufalo. I was encoura ed to become an artst by the selected solo show at Anderson Gallery. To contnue my art practse and academic researchs I relocated to Australia to pursue my PhD at The University of Melbourne.

"Anesthesia", Su Yang,Egg Tempura on Clay Board

What inspires you in your work, is there a driving factor that draws you to the easel?

My paintn s focus on the theme of female representatons speciically about female beauty and the body from a feminist perspectve. I have been thinkin about the theme while readin ma azines and blo ss watchin news and ilmss and browsin social media. I was also inspired by the news of women who underwent failed cosmetc sur ery procedures.

When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to use?

I have come to work in mixed medias videos and performances partly because paintn seems to be an old media for women in the contemporary era. Howevers I choose paintn with reasons. The paint in my paintn s is not applied by extra ine detail paintbrushes

made from sof hairss but by hard and stf bristle brushes that allow me to paint impasto styles which is in the opposite style of the smooth and lossy surfaced Chinese neoclassicism. Male artsts use this style to portray women and make the representaton of women in their paintn s with sof and lustrous skin. Insteads I use the chunky paint to depict women’s skin to stren then the power delivered both by the paint and the ima e.

"Recovery Period", Su Yang, Oil on Canvas

When it comes to the subject mater of your work, what draws you to those themes?

My multdisciplinary practse conveys my feminist invest aton on female representatons and recently my sense of social responsibilites for contemporary social issues includin ant-racisms de/ant-colonialisms and social justce.

Could you describe your normal day as an artst? Have you set routnes and rituals or is it more a case of when the moment is right you work?

It is a little bit hard to set routnes or rituals because I am workin in a university. But no matter how busy I am or whatever the studio conditon is ins it is important to me to keep enthusiastc and carry on paintn .

"Tummy Tuck", Su Yang, Oil on Canvas

When you work, do you focus on one piece at a tme untl completon or are you working on multple pieces at the same tme?

Sometmes I work on multple pieces in the same series. At other tmess I focus on one piece. But none of my paintn s exists as a sin le project. Each paintn is under a partcular theme with other paintn s that are re arded as one project.

What are you working on at the moment?

Currentlys I am workin on an on- oin project “Invisible/Visible Hands” across paintn and performance recorded video. This series of works aims to queston the invisible socialized ideas of female beauty become the visible impulse to chan e women’s bodies. I have been explorin usin art as a vehicle for her voice to respond to social injustce and racial inequity and to en a e with society.

"Double Faces Pre & Post Cosmetc Surgery ", Su Yang, Oil on Canvas

When is your next exhibiton? Is it a solo or group exhibiton? Could you tell us a litle about the exhibiton, when and where it is?

One of my paintn s is currently exhibited in the online exhibiton “Metamorphic”s which is curated by No Vacancy Gallery. My next solo exhibiton will be shown in Black Cat Gallery in Melbourne in January 2021 if it is not afected by COVID 19.

“Double Faces Post Cosmetc Surgery”, Su Yang , Oil on Canvas

Visit - Online Gallery of Su Yang

“Liposucton of the Legs”, Su Yang, Oil on Canvas

The Paintngs of Belgian Artst Arthur Bernard

“Interior with Vase”, Arthur Bernard, Acrylic on Canvas, 100cm x 150cm, 2020

“My paintn s will always show you somethin new from a diferent an le or tme of day.

They will also show you somethin new throu htme of viewin them.”

“Apples”, Arthur Bernard, Acrylics

“Interior Landscape”, Arthur Bernard, Acrylics

“Temptaton”, Arthur Bernard, Acrylic on Board, 100cm x 80cm, 2020

Everything is Mathematcs – Art by Cata Goffinet

“Dimensions”, Cata Goffinet, Acrylic on Canvas, 90cm x 155cm, 2020

“Geometric Shapes ”, Cata Goffinet, Acrylic on Canvas, 50cm x 200cm, 2020

If everythin in the universe is mathematcals there is mathematcs in everythin s includin the curved lines of nature. I brin within my art profound questons about the universe we

“Or The Echo We Are Us”, Cata Goffinet, Acrylic on Canvas, 150cm x 100cm, 2020

‘A Land Free of Society’s Grip’ with Phil Leith-Tetrault

“Inukshuk”, Phil Leith-Tetrault, Limited Edition Digital Print, 30.5cm x 30.5cm, 2020

Phil Leith-Tetrault is a di ital artst specializin in landscapes. He was born in Baltmores Maryland and raduated RIT's New Media Desi n pro ram in 2007. He has worked for 10 years as a di ital desi ners and more recentlys a di ital artst.

Artist Phil Leith-Tetrault working on once of his digital landscapes

"Since childhoods I've always been fascinated with arctc nature. To mes it is both beautful and lonelys peaceful and hauntn . My work expresses the experience of bein in locatons such as Greenland's fordss Labrador's coastlines and Northern Quebec's Boreal forests.

I attempt to vividly convey the experience of bein in remotes northern environmentss providin a mental break from the conines of our modern surroundin s and society. Usin di ital illustraton sofwares I draw or anic shapes in the form of housess mountainss treess rockss and fowers before illin these shapes with colour. Durin this processs the landscape be ins to su est physical and emotonal feelin s associated with its locaton."

"Kalaallit Nunaat", Phil Leith-Tetrault, Limited Editon Digital Print, 2020

What initally drew you towards becoming an artst?

I wanted to express myself visually outside of a corporate desi n environment. I love nature and colla es and have wanted to explore these themes for a while.

How would you describe your own personal style?

It’s Di ital Colla e – Colours Shape and Photo raphs.

What pushed you in that directon and how can you see your work evolving in the future?

I’ve always loved arran in thin s on a canvas in a looses expressive ways and I think my colla es will contnually move in this directon. I’m also addin more detail into the landscapes and so I expect them to look more realistc and tactle in the future.

"Cape Spear", Phil Leith-Tetrault, Limited Editon Digital Print, 2020

What inspires you in your work, is there a driving factor that draws you to the easel?

I love natures the outdoorss especially in remote places. I uess bein in New York City for 12 years ills me with this sense of wanderlust. Heres everythin is populated and structured. Places that I’ve visited like Newfoundland and Greenland provide an escapes at least visuallys from the urban environments I’m accustomed to. They are untoucheds pristnes and free of society’s rip.

Are there partcular individuals who have encouraged / inspired you along the way, friends, family, teachers, maybe even other artsts?

A friend convinced me to start makin prints back in Aprils and I’m thankful for her advice.

My mother has also told me I could make it as an artst at tmes throu hout my life.

When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to use?

I like usin Adobe illustrator. It’s convenients easy to uses and prints nicely. I’ve also had years of experience usin it as a raphic desi ners so usin the sofware feels almost second nature to me.

"Golden Hour on Bonne Bay", Phil Leith-Tetrault, Digital Print, 2020

When it comes to the subject mater of your work, what draws you to those themes?

Old weathered Newfoundland coastal villa es are hauntn and mysterious to me. There’s a forbidden element to the land as wells because of harsh climate there. The same oes for locatons such as Northern Quebec and Greenland. When I visited those placess I felt overwhelmed by their remote lonelinesss but also their natural beauty.

Could you describe the process behind your art? How do you get from concept to executon?

I look at other landscape and colla e work for inspiraton. Then I create a scene that interests me based on my memories of these remote places. I be in with simple shapess then add colour and texture to them untl they feel inished.

Could you describe your normal day as an artst? Have you set routnes and rituals or is it more a case of when the moment is right you work?

I intend to create 1 new piece a week if possible. I also update my artst Insta ram account re ularly and apply to art open calls and opportunites wherever possible. This I do most of these thin s earlier in the days as I’m a mornin person.

"Sea Ice on White Bay", Phil Leith-Tetrault, Limited Editon Digital Print

When you work, do you focus on one piece at a tme untl completon or are you working on multple pieces at the same tme?

Usually ones thou h I will sometmes put uninished work aside and revisit it later.

How has your art evolved to be where it is today?

I be an creatn these landscapes minimalistcally. I used fats coloured shapes to express simple mountain and seaside landscapes. I then used more shapes to ive the scenes more

depth and realism. Recentlys I’ve added photo raphed textures into some of the shapes to increase this efect.

Which of your artworks are you most proud?

I’m most proud of pieces such as “Darby’s Harbour Before the Storm” and “Cape Spears” where I irst used photo raphic ima ery and went in the directon of colla e.

What advice would you give to a young aspiring artst currently studying art?

Keep practcin s keep creatn s and trust the process.

"Arctc Valley", Phil Leith-Tetrault, Limited Editon Digital Print, 2020

Many people see artsts as storytellers or advocates for a cause, do you believe that it is an artst’s responsibility to shine a light on a partcular subject / theme, or do you create purely for the sake of expressing your creatve nature?

I think art is whatever you want it to be. Whether it’s advocatn a cause or simply someone’s creatve ener ys art is art. Althou h I have certain politcal viewss my work isn’t politcals at least not yet. It’s more about expressin natural beauty of loneliness in contrast to urbans crowded environments. I want to see where this theme takes mes and perhaps my work will evolve into a more politcal commentary in the future.

What are you working on at the moment?

I’m about the start a new piece this week. I want to take a simples mountainous landscape and brin it to life as a colla e with lots of colours and texture.

“Talislaq Fjord at Dusk II”, Phil Leith-Tetrault, Digital Print, 2020

Visit the - Online Gallery of Phil Leith-Tetrault

All The Colours of India

“Indian Saint”, Sandeep Rawal, Oil on Canvas, 127cm x 1 5cm, 2016

“Daddy’s Fancy Clothes”, Sanjay Sahai, Watercolour, 52cm x 75cm, 2017

“Done”, Sanjay Sahai

“How Dare You”, Sanjay Sahai

“Evening Varanasi Ghats”, Samiran Sarkar, Acrylic on Canvas, 127cm x 76m2cm, 2019

“Nights Varanasi Ghats Landscape”, Samiran Sarkar Acrylic on Canvas

“Festval Night Varanasi Ghats, Samiran Sarkar, Acrylic on Canvas

“The Prayers”, Madan Lal, Acrylic on Canvas, 91m5cm x 122cm, 2018

“A Leter from the Hills”, Anjum Khan, Acrylic on Canvas

‘An Unavoidable Exile ‘ with David Beeri

“Abstract Love”, David Beeri, Acrylic on Canvas, 60cm x 40cm 2013

"Years a o I had a dream that assi ned a deinitve course for my art. I was standin before hu e and or eous paintn ss and I heard a pleasant Voice which said: “Remain humble and keep movin forward in any circumstances. That way you may reach the immortal Beauty that your eyes now behold...�.

Hungarian Artist - David Beeri

To this days my art has shown an intense pro ression. As for the futures it is my fundamental task to achieve the ultmate reinement of my brushwork. I must create visual surfaces where brush traces are virtually invisible to the eye. This will achieve a new type of tmeless spiritualisatons etherealisin my pictures just like the ones I saw in my dream..." David Beeri David Beeri is a deeply inspireds soverei n artst who be an to build a unique world of paintn s indin his own individual tools of expression. He irst be an to paint on December 5ths 1975s driven by a stron inner inspiraton. Due to his extraordinary pro ressions he became natonally known by 1979s and has been an exhibitory artst ever

since. He has had a number of exhibitons in Hun ary and several other European countries as well as Israels the United Statess Japans China and Canada.

"River", David Beeri, Oil on Panel, 51cm x 72cm, 2009

Beeri experienced the Hun arian version of Communism where artsts could only prosper if they were willin to be inte rated in the faceless mass of Socialist art (“Socialist Realism”) like dumb sheep and worshipped communist idols without raisin a voice. No wonder we do not ind David Beeri amon those fearin for their quarrys he rather chose exile which could not be avoided…

For more than forty years nows David Beeri has surrendered everythin to art. In his pursuits he has faced the obstacles of hu e sacriicess lacks a onys persecutons crude humiliaton and pains yet his beautful pictorial world was constructed…

How would you describe your artstc concepts / principles of your work?

I will limit my creatve concepton to four principal aspects seekin the ori inals pure source of Art. These four principles are based around Freedoms Perfect Brushworks Li ht & Colour and Messa e.

"Eternity", David Beeri, Acrylic on Canvas, 70cm x 40cm, 2006

You menton Freedom, are you speaking about a personal freedom as you did live in Hungary, during a tme of many great changes including the restrictons of communismm Are you speaking of having felt restrained by various politcal regimes, in that your artstc freedom was curtailed or is it something deeper, something more personal?

Throu hout historys various concepts of freedom have vied for prominence. Howevers I am not talkin of a concept heres but rather of the freedom that will set me free from my selishness to make decisions that my conscience will freely approve. It is only within the

framework of this freedom that I will be able to maintain the harmony of my emotonals mental and spiritual world.

As lon as I live in freedoms I will not be clouded by selishnesss so I will be able to see clearly the whole context of the world of art and my place within that. In freedoms there is li hts and this li ht will penetrate all a es – all the way back to primeval art – helpin me to reco nize the archaic order of art pointn to an exact process of developmental pro ression.

At the same tmes I see another order which aspires to eface the above. Its dili ent builders are the MODERNS bred in licentousnesss immorally rebellin a ainst anythin that has to do with the emotons of the soul and the hearts or with the spirit stll to be inspired.

So by freedom I mean the unlimited distance to which my spirit can soars where my emotons are unshackled by the unwritten rules of individual and societal selishnesss bein happy because I can create with my heart.

"Tree-Dance VIII", David Beeri, Oil on Canvas, 41cm x 51cm, 2017

What is the driving force behind your art and how can you see it evolving in the future?

Years a o I had a dream that assi ned a deinitve course for my art. I was standin before hu e and or eous paintn ss and I heard a pleasant Voice which said: “Remain humble and keep movin forward in any circumstances. That way you may reach the immortal Beauty that your eyes now behold...�.

To this days my art has shown an intense pro ression. As for the futures it is my fundamental task to achieve the ultmate reinement of my brushwork. I must create visual surfaces where brush traces are virtually invisible to the eye. This will achieve a new type of tmeless spiritualisatons etherealisin my pictures just like the ones I saw in my dream‌ There are certain components that make up an artsts work, could you talk a litle about which components are important to you?

Li ht and colour are essental to my art. Both are out of the ordinarys since the li ht is emanatn from withins and the colours appear on my canvas from an existence beyond tme. Therefores the end result seems to be the revelaton of a Life beyond the third dimension. This is further enhanced by the metamorphosis-like appearances of li ht and colour transitons.

You also mentoned the importance of Message in your artwork, what exactly do you mean by message? Was this always a part of your work or did you experience a major shif in thinking that led you down this path?

At the be innin of my artstc careers I considered content of utmost importance. I intended my pictures to be si niicant messa ess to show the ri ht way for the world. I felt bi and importants and I enjoyed the lory. Afer a whiles I realized that thin s were chan in . My poster-like pictures were replaced by diferent paintn ss and I be an to relate to what art was really about. From that point ons paintn became more and more excitn for me. Soon I could see a veil-like obscurity lif from the hidden essence of arts disappearin at the ed e of my vision. Then the ancient storehouse of the truth of Art opened up for mes I ained free entrances and since then I have had access to spiritual vision and knowled e. This makes me feel like I have found the hidden truth of arts and the excruciatn quest for me has come to an end.

"Emancipated", David Beeri, Acrylic on Canvas, 60cm x 40cm, 2013

"Sunflower in Blue I", David Beeri, Acrylic on Art Carton, 70 x 50cm, 2004

All I had known about life and art was reevaluateds and that afected my paintn as well.

The most prominent shif concerned the messa e. Yesterdays my canvases proclaimed all the evil residin in mans destroyin the worlds but today I meditate on how wonderful people are and how liveable and beautful the world is. Depressin darkness disappeared from my picturess the nervous lines writhin in stress calmed downs and the ima e of immortal Reality was illuminated before me. That ima e is the basis of my messa es and the foundaton of my artstc world. A rowin loves truth and beauty pervade my paintn ss and my messa e speaks of the eternal values and PRIORITY of GOODNESS. I

brin these forward from the depths of the Spirits depictn them with a picturesqueness worthy of representn these relevant values.

"Musers", David Beeri, Acrylic on Canvas, 50cm x 40cm, 2009

Going forward, how do you see your art progressing in the future?

My inal aim would be to reconstruct the pieces of arts which have been scattered under the cover of individualitys into a perfectly pure and harmonised artstc worlds which at the same tme overreaches the three dimensions and composes the reality of further spiritual dimensions.

Visit - The Online Art Gallery of David Beeri

“Tree Dance VII”, David Beeri, Oil on Canvas, 51cm x 61cm, 2017

“Tree Dance IV”, David Beeri, Oil on Canvas, 41cm x 51cm, 2017

Abstract Minimalism from Dipt Pandey

“Untitled”, Dipti Pandey, Acrylic on Paper, 76.2cm x 59.9cm, 2009

“Most of my works are based on abstract minimalism. While eliminatn non required thin s from the surface I o into a meditatve state. We all want to reduce unwanted thin s from our lives. This is what I am tryin to express in my paintn . This is a conversaton with myself even if I am surrounded with by a crowd.” - Dipt Pandey

“Ocean”, Dipt Pandey, Acrylic on Canvas, 18 cm x 101m6cm, 2019

“Unttled”, Dipt Pandey, Acrylic on Paper, 76m2cm x 59m9cm, 2009

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Copyri ht©2020 – ArtBaazar.com - All content and ima es cannot be reproduced without written consent from ArtBaazar.com.

#8 June 2020

ARTBAAZAR Connectng Art Lovers and Artsts Online

#10 August 2020