ARTBAAZAR ONLINE MAGAZINE #8 JUNE 2020

ARTBAAZAR

Connectng Art Lovers and Artsts nline

#7 May 2020

#8 June 2020

#5 March 2020

INTERVIEWS  A Bird Perspectvee with Nicky Shelton  Confronted with a Euphoric Epiphany - with Meghan Oare  Unsuspectng Angles – with André Baldet

FEATURED ARTW RKS •

Iryna Kastsova

•

Danko Merin

•

Theophile Delaine

•

Ta Thimkaeo

•

Shiv Kumar Soni

•

Sokrats Evgenidis

•

Robert Szczebiot

•

DB Waterman

•

Kirsten Neudorf

•

Kateryna Bortsova

•

Decadent Kity

To find out more about our artsts and services – Get in Touch • •

Front Cover - “Swoop” by Nicky Shelton Back Cover - “Road Between Trees and Flowers” by Gerardo Gomez

“Sea At Dawn”, Iryna Kastsova, il on Linen

“Amber Surf”, Iryna Kastsova, il on Linen

“The Mysterious Flame of Anima 5”, Danko Merin, il on Canvas, 2017

“The Mysterious Flame of Anima 3”, Danko Merin, il on Canvas, 2017

“The Spirit of the Island e pus X”, Theophile Delaine, ils, 2018

“Towards Serenity”, Theophile Delaine, ils on Canvas, 2019

A BIRDS PERSPECTIVE with Nicky Shelton

“Swoop e Australian Magpie”, Nicky Shelton, il on Canvas, 2018

Nicky Shelton is an emerging Western Australian Artstt who has has fully embraced her journey into the world of fine art since 2012t afer leaving behind a highly successful corporate career in order to fulfil her lifelong dream of becoming a professional artstt Australian Birdlife is what ignites her passion to paint in oilst capturing the unique charisma and personality of each feathered subject she gets to knowt

Nicky Shelton, Resident Birdlife Artst at Whiteman Park, Western Australia Nicky Shelton’s highly skilled and detailed artworks have been acknowledged and received natonal acclaim as an emerging talentt in 201i she was picked as a finalist in three leading Australian art awards including the Asia Pacific Clifons Art Prizet Holmes Art Prize for excellence in realistc Australian Birdlife and the biennial Midwest Art Prizet Nicky Shelton is currently the Resident Birdlife Artst at the Village Art Galleryt Whiteman Park a major wildlife and tourist destnaton just outside of Pertht Western Australiat Nicky is an exhibitng member of the Wildlife Art Society of Australasiat She is also an advocate for conservaton and supports Birdlife Australia by making a donaton from each bird paintng she sellst Her works are commissioned and collected by birdlife and fine art enthusiasts worldwidet

What initally drew you towards becoming an artst?

For as long as I can remember I have always had an interest in art and a love for drawing and paintngt Afer finishing High School I intended to follow a career in Fine Arts but found myself in a corporate career in sales and recruitmentt When I retred in 2012 my childhood dream of being an artst was reignitedt I swapped a desk for an easel and atended a series of art classest and have since lovingly dedicatng every spare moment to developing my artstc skillst

"Rudy's Refecton", Nicky Shelton, il on Canvas, 2017

How would you describe your own personal style?

I am a realistc birdlife artst who dabbles in Plein Airt Through my art I try to capture the beautyt unique personality and magnificence of each of my chosen subjectst I love spending hours working on detail and interpretng each bird’s characteristcst What pushed you in that directon and how can you see your work evolving in the future?

My love for birdlifet I spent a year studying portraiture and considered being a portrait paintert This gave me skills in structuret line and balancet but as the year progressed I kept being drawn back to paintng birdlifet I believe it is beter to paint what I feel passionate about - which is birdst I am in awe of their beautyt freedomt agility and unique personalitest I want to capture these characteristcs in my paintngs and be proud of the work I producet My aim is to become internatonally recognised as a realistc birdlife artstt What inspires you in your work, is there a driving factor that draws you to the easel?

I love the whole creatve process from start to finisht Some of my paintngs take monthst even years to createt The satsfacton of creatng a high quality paintng to the best of my ability is a true driving forcet I want to be proud of my creatonst Are there partcular individuals who have encouraged / inspired you along the way, friends, family, teachers, may be even other artsts?

The encouragement I receive is overwhelmingt I receive support from my familyt friends and birdlife admirers/photographers who graciously give me reference photost But two people are distnctly important to my career as an artstt my devoted husband and an amazing art teacher who has become a good friend and mentort When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to use?

I paint in oilst I have tried other mediums but keep revertng back to oilst This medium takes longer to dry but I love the end productt I have lots of fun using my fingers and big brushes to block in and/or create the background and tone the canvas before I concentrate on refining detailt My preferred brushes are Rosemary & Co and Neef synthetc fats usually numbers 10t 8t 4 and lots of thin Rigger brushes for fine feather detailt

"Lenny e Australian Red-tailed Black Cockatoo", Nicky Shelton, il on Canvas, 2017

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

I am totally besoted with birdst I am in love with their uniquenesst beautyt personalitest and sense of freedomt fragility and survival techniquest I am constantly on the hunt for reference material and spend hours looking for an image that grabs my atentont This could be the beauty of the birdt an image showing individual or group personalites or depictng specific survival habitst Could you describe the process behind your art? How do you get from concept to executon?

My process initally involves hours of research seeking reference material of birds that I am atracted tot I then contact the photographer to obtain writen permission to use an imaget The photo is then rato sized to determine the correct size canvast I then draw the image in charcoalt and then under paint and tone the canvas in Raw Umbert When dry I block in the colourst I then pick up my size 4 fats and tny thin Rigger brushes and go to work on the detailt This is the most tme consuming part of the paintng processt

"Jacko e Australian Red-tailed Black Cockatoo", Nicky Shelton, il on Canvas, 2017

I let the paintng tell me when it is finishedt When it is finished I leave it to dry for a week and then spray the canvas with retouching varnish to protect the surface before framingt I like to frame all my workst

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

Mornings are for exerciset researcht reviewing promotonal ideas and personal refectono I like to paint from 1pm to 5pm Monday to Fridayt I paint in natural light and find less glare at this tme of the dayt Time devoted to drawing and/or paintng can vary depending on deadlinest 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?

I generally work on 2 paintngs at a tme - both at diferent stages of progressiont Sometmes I have a drawing happening toot How has your art evolved to be where it is today?

Over the past 5 years my work has progressed in leaps and boundst With the assistance of a good teachert D’hange Yammaneet an established Australian artstt I have learnt advanced techniques and been encouraged to develop my own stylet This has built my confidence to not only create quality artworks but also be fearless about what I choose to paintt Which of your artworks are you most proud of?

"Nelly" the Red-tailed Black Cockatoot She has consistently made me proudt I have watched people gasp when they look at hert Her competton accolades have also lifed my recogniton as a birdlife artstt Is there a fellow artst alive today that you admire? If so, why?

I admire the talents of many artsts for a number of reasonst stylet interpretatont skillt and successt If you could travel back in tme, is there a partcular artstc period / era that you would like to have been involved in?

Being an Australian Artst I am partcularly drawn to the Heidelberg School of Australian Art movement of the late 19 th century described as Australian Impressionismt This was a tme when painters worked together in artst camps drawing on naturalist and impressionist ideas in order to capture Australian lifet the bush and harsh sunlight that typify the countryt

The works of these artsts are notable not only for their merits as compositonst but as a part of Australia’s cultural heritage and folkloret Some of the paintngs created by the painters involved in this movement have become icons of Australian artt

"Nelly Cockatoo", Nicky Shelton, il on Canvas, 91cm x 61cm, 2017

What challenges do you feel the 21st century artst has to overcome?

Earning a living as an artstt and the need to be both artst and businessperson – having to learn how to market your productt atract atentont stand out from the crowdt and find your niche market in a period where technology changes so rapidlyt What advice would you give to a young aspiring artst currently studying art?

Learn techniquet Paint what you are passionate aboutt Don't be afraid to promote yourselft Learn how to market yourself and your productt

"Dillon - Litle Black Cormorant", Nicky Shelton, il on Canvas Board, 2016

Despite having developed your own distnctve style, is there another style of art that you are immediately drawn towards and admire? Why? Plein Air - I love the freedom of paintng in the great outdoors and having to think on my feet to quickly interpret a scene and capture the natural lightt This is a lovely alternatve from spending hours focussing on the detail involved with creatng a realistc paintngt

We have all heard of the unfnished masterpiece, even Da Vinci laboured away at the Mona Lisa for years and years, have you works that are in a contnual process of evoluton? When working on an artwork do you fnd it hard to let go? Knowing when enough is enough?

I have some pieces that I have lost interest in and then return to again and againt Some have been on the go for yearst The paintng will tell me when we are finishedt Many people see artsts as storytellers or advocates for a cause, do you believe that it is an artstt’s responsibility to shine a light on a partcular subject / theme, or do you create purely for the sake of expression your creatve nature?

As a realistc birdlife artst I am extremely concerned about the future of the world’s birdlife populatont I believe it is my duty to be an actvist in support of our feathered friendst I am an actve member of Birdlife Australia – the naton’s largest (and afliated to the world’st largest bird conservaton organisatont A porton of every original bird paintng I sell is donated to this organisatont What are you working on at the moment?

The silhouete of a Magpie for a major Western Australian competton - and a paintng of three retailed black cockatoos for a Realistc Wildlife competton in Londont Have you ever been part of an artstc group / movement? How did your work beneft from that experience?

Yes I have been a member of an artstc group of painters for yearst I love the sharing of techniquest ideast supportt critque and friendships that have evolved from this groupt My artwork has definitely benefited from being associated with these amazingly talented peoplet 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?

I am currently the Resident Birdlife Artst at the Village Art Gallery – Whiteman Parkt Western Australiat This is one of our State’s premier wildlife tourist destnatons and is just 30 minutes from the capital city of Pertht Here you can view my artworks (both originals and printst and also see me working on new piecest In Australia my works are also represented by Jahroc Galleries - a prominent art gallery located in Margaret Rivert a major

tourism destnaton and premium wine-growing region in the South West of Western Australiat

“Lily e Lilac Breasted Roller�, Nicky Shelton, il on Canvas, 2015

View - The nline Art Gallery of Nicky Shelton

“Magnifcus�, Nicky Shelton, il n Canvas, 2019 Finallyt one last wordt if you are interested in supportng or finding out more about Australian Birdlife please click this link - Support Australian Birdlife

“Childhood Treasure IV”, Shiv Kumar Soni, Acrylic on Canvas, 2020

“Conspirators Conspire”, Ta Thimkaeo, il on Canvas, 2020

“The Life”, Sokrats Eveginidis, il on Canvas, 2020

“Detera”, Robert Szczebiot, il on Canvas, 2013

“C NFR NTED WITH A EUPH RIC EPIPHANY” with Meghan are

"Drew", Meghan are, Acrylic on Canvas, 2017

Melbourne based artst, Meghan are What initally drew you towards becoming an artst?

Since I was youngt I had always enjoyed drawingt colouring and creatngt I would ofen look at a Disney character’s picture and draw from the image I was viewingt From theret I ofen drew from realityt It wasn’t untl I studied overseas in university that my style shifed and I began creatng works inspired by Abstract Expressionismt You menton that atending university and studying art has led to a change in creatve style, how did that come about?

December 2005t marked a turning point in my artworkt I had received an academic scholarship to complete an art history course in Berlint Germanyt The course required the students to visit at least 2 museums or galleries per day and listen to the lecturert At the end of the course the students would have to write a paper and create a presentaton about a work that the students had researched from any of the museumst

During our tme exploring the magnificence of Berlint we had seen and breathed in an actual Munch original only inches from our brautwurst covered and beer-stenched fingerst stood lethargically in front of the Pergamon Altart gazed up at the Kaiser Wilhelm Memorial Church remains for World War II and many more breath-taking relicst As we hoppedt skipped and jumped to every museum and church throughout Berlin admiring the infamous works of art and notable architecturet it wasn’t untl we stepped in

"Benedict", Meghan are, Acrylic on Canvas, 2017 the Neue Natonale Gallery that my world would changet There it hung in all its gloryt Atelier!

Hanging on the large gallery wallst Ateliert a modernt vibrantly coloured triptych paintng by Gerhard Richtert commands the roomt Since taking my breath away and filling my eyes with

tears with a euphoric epiphanyt which I did not fully understand at the tmet I realised I would have to further investgatet At that momentt my process of creatng artwork would forever be changedt A passion for Abstract Expressionism had been ignited and became the beginning of true self-exploraton and how colour is a key component in my workt This introducton spiked my curiosity and interestt and I began to research and read about artsts like Robert Rauschenbergt Susan Rothenbergt Larry Poonst Jackson Pollockt Lee Krasner and many moret As a result of this artstc epiphany, do you receive support / mentorship on this journey of discovery from anyone, such as fellow artsts / teachers?

Ron Snappt who was my paintng studio professor and mentort notced a significant shif in the producton of my work afer being introduced to Abstract Expressionismt Snappt a 35 year tenured professor at Old Dominion Universityt and an artst himselft bluntly shared that prior to studying in Germanyt my work was colourfully badt Afer discovering Richter’s

"Oscar", Meghan Oare, Acrylic on Canvas, 2018

workt Snapp said it was as if someone had switched the light on and my work quickly transitoned to work with depth and was becoming goodt How did much infuence did Professor Snapp have on the evoluton of your artwork? Did he guide you in that directon or was his role focused more on critiuing your work afterwards?

Snappt graciously finesse guidancet yet never telling them what to producet observed the sudden shif in the producton of my workt Howevert he did not acknowledge the developments immediatelyt He had wanted to see if the changes were temporary or if the work would further developt To his delightt the investgatons and development of the work proceededt

"Clarence", Meghan are, Acrylic on Canvas, 2018

Semesters later while studying in my senior year at Old Dominiont some fellow studentst Snapp and I were openly chatng about the producton of art and Snapp chose this moment to light-heartedly share his thoughts about my workt At firstt I was shocked that he had been so brazen about my previous work being awfult but his kind-hearted chuckle diminished the feelings of in-adequateness quicklyt I must add a bigt “Thanks!� to all my classmates and Snapp for enduring my singing while creatng in the back corner of the paintng studiot As an artst taking on the responsibility of fnding your artstc voice, were there points along the way where you knew you were heading in the right directon creatvely? If so, what were the signs that encouraged you to keep going?

Leopold was the first abstract paintng that I produced afer my visit to Germanyt I remember plantng myself on a can of paint and stroke afer stroket I had started to play with texture and building the paint on the canvast I remember the feeling vividlyt It was a feeling of freedom and the desire of having controlled foated awayt Later used in my senior exhibiton and became a piece of interest to one of the English professors at Old Dominion Universityt He eventually adopted and gave it a nice home where he could display it in his living roomt Francist a paintng that was displayed during my senior showt was acknowledged as my most successful paintng of my show by my professor and mentor Frederick Bayersdorfert Though there were two separate canvases that created the whole piecet Bayersdorfer was more partcular to the right canvas with yellow background and snake-like image that appeared in the foregroundt From his admissiont I began to explore and experiment with this style of paintng and thus began a series of these images that lasted for around five yearst Which of your artworks are you most proud?

Francist has become a popular piece with men more so than woment Itt like other images of the works from the seriest has been used as the designs on music album covers and other event advertsementst Some of the images from the series appeared in my first exhibiton in New York at Agora Galleryt Franniet Gerhard and Siegfried graced the walls of the group exhibiton and James was used in some of the press releases and other promotonal work for 2009 January showt

"Evelyn", Meghan are, Acrylic on Canvas, 2017 Are there partcular artsts that you admire? If so, why and how have they infuenced your current works?

Artsts I have learned to greatly admiret well at least their work not necessarily their lifestyle choices were Jackson Pollockt Lee Krasnert Robert Rauschenbergt SĂŠraphine Louist William DeKooningt Gerhard Richter and most recently added have been Olafur Eliassont Xul Solar and artwork from the Aborigine communitest The artsts used vibrant colours and experimented with incorporatng unconventonal objects and techniques that would not be found in traditonal forms of artworkt

Jackson Pollock chose to use oil paint from cans which possessed a fuid-like quality that made it easier to dript throw and splater paint across the canvast When I was younger my opinion of this techniquet was laziness and these painted splatered canvases could not be considered artt I was young and naïve and drawing and paintngs that were not technically challenging and aesthetcally resembling realismt in my eyest could not be considered fine artt Howevert afer discovering Gerhard Richtert my views and opinions changedt hence the shif in the producton of my work and selecton of materialst Rauschenberg also captured my interestt It was refreshing and an intriguing experience in the atempt of applying objects to the paintngs and altering their physical statest When I was creatng workt firtng with Rauschenberg’s approacht I created a series where broken glass and mirrors could be found in the workt This altered the appearance of the work depending where one stoodt the tme of day and what light would refect on the paintngt

"Franceska", Meghan Oare, Acrylic on Wool, 2017

DeKooningt with his approacht lured me into his executon of art productont I admited I had to research and read about his art philosophies and why he made certain artstc decisionst The series he did on women was fascinatng to me and in one lightt they did not seem to be female because of their masculinityt but in the other they seemed to embrace femininityt This kaleidoscope of change intrigued me and infuenced to play with the creaton of figures in my workt Most have a female figure with curvest but also possess androgynous qualites as wellt In additon to Gerhard Richter’s beautful collecton of stmulatng Abstraktes Bildt in German meaning abstract picturest which have stolen my heartt Olafur Eliasson’s captvatng installatons have also taken space in my heartt I view Eliasson’s installatons as if he has given Richter’s paintngs a physical formt Though afer further investgaton a distncton exists between the artstst I also seem some similaritest I believe culture and past associatons of events that occur in one’s life shapes an individualt either to explore and become diferent from what they know or embrace and hold tght on to everything they have been taughtt Since Richter is German and Eliasson is Icelandic-Danisht I see similarites in their approaches to artt Languagest which a part of one’s culturet infuences the thought processes and since both artsts’ language is Germanic in nature that may afect their approach to creatng artt utside of the works and philosophies of other artworks, are there other elements that have shaped your creatvity?

Further adding to my appreciaton for Richter and Eliasson and why I menton language and culture are because these elements inspire the producton of my workt Art does not solely exist for aesthetc purposest but are also forms of communicatont Artsts are not the only people who inspire my workt A great deal of my work is infuenced by travelling and facing the challenges of language and cultural practces that may be foreignt From these experiences learning and observing how people approach cognitve thought is intriguing and has become the foundaton for my workt Another inspiraton contributng to my work would be the study of psychologyt This science in conjuncton with observing a people’s cultural practces and languages are the primary foundatons for my workt “The Brain That Changes Itselft” by Drt Norman Doidget MDt is a book that had furthered my interest in psychologyt Drt Doidge’s assessment of how the brain functons in collaboraton with the chemical consttuton and neuroplastcity of the brain had me questoning how the brain approaches thoughtt

" liver", Meghan are, Acrylic on Canvas, 2018

When presented with a paintng and how it is interpreted is dependent on how one may perceive colourt shapest sizes and inanimate objects from past experiencest one’s surroundings and the chemical compositon of the braint When the brain is confronted with obstacles and challengest all the prior mentoned elements spark my fascinaton and result in assemblage of my workt How would you describe your current artwork?

Organized chaos would be an appropriate descripton for the appearance of my paintngst Howevert let’s further explore alternatve motves to the creaton of the workt

Time and tme again I am asked for an explanaton and the motvaton that is responsible for executon of my workt I generally respond witht “They are psychological landscapest�

"Herald", Meghan are, Acrylic on Canvas, 2018

Since being introduced to the worldt we are presented and exposed to a plethora of informatont This informaton is then internalizedt processed and storedt From this stored informaton we refer to our past experiences and associate them to the experiences we are currently encounteringt Our perspectves are then manipulated by opinionst prejudices and beliefs that our subconscious has altered by referencing our past associatonst My paintngs are intuitve fabricatonst Hencet my intentons for how the viewer perceives my work is irrelevantt The viewer is free from the constraints of my intentons and is instead freely allowed to let their past associatons infuence their percepton of my paintngst

In additon to further infuence the viewers’ perspectvet I use names intended for people to ttle my workt As a resultt the viewer is further pushed to refer back to their prior experiences to provide a responset

“Benjamin”, Meghan are, Acrylic on Canvas, 2017

An example of this would be if the paintng were ttledt “Miket” and the viewer had a wonderful experience with someone named Miket they would then have the probability of extractng the positve qualites of the workt Thereforet having a positve response to the workt Whereas if their encounter with someone named Mike were negatvet would then theoretcally result in a contemptuous responset In shortt the work is in the absolute control of how much the viewer permits their past to infuence the perspectve of the presentt

View - The nline Art Gallery of Meghan are

“Lust for Life”, DB Waterman, Mixed Media Collage, 2020

“To Move Mountains”, DB Waterman, Mixed Media Collage, 2020

“Dreamer”, Kristen Neudorf, il on Canvas, 2017

“Nymphs”, Kateryna Bortsova, il on Canvas, 2016

“UNSUSPECTING ANGLES” with André Baldet

“New York_streetview-01”t André Baldett Acrylic on Canvast 2019

André Baldet is a painter-illustrator-graphic designer-posterist-comic artst and a passionate travelert In parallel with image assignments for communicaton or editngt he leads a global and original artstc projectt "Caravan"t which brings together the works that the world and its extraordinary diversity inspiret

Unlike the painters-travelers who work on a motvet AndrĂŠ does not work directly on the spott butt rather he makes field surveys by taking notes of views and quick sketchest The real work of creaton is done in the neutrality of his studiot He rewrites the journeyt reinvents it and re-interprets it in complete freedom by relying on his know-how of the imaget

AndrĂŠ Baldet at work in his studio in France

Considering that each trip of AndrĂŠ's is unique and has its own language of shapes and colourst he applies to a permanent stylistc renewalt letng the places visited infuence and guide his artt It is the plurality of expressions that makes the singularity of this projectt The variety of original propositons is therefore very larget but the coherence efect dominates with a luminous palete and an impression of lightnesst tranquillity and cheerfulness that permeates the essence of the workt The idea of pleasure feeds the creatve processt What initally drew you towards becoming an artst?

As a child I was very shy and the only way to get the atenton of others was to drawt Papert pencil: everyone has it and there were no musical instruments in my houset How would you describe your own personal style?

A mix of cubismt pop artt minimalism and impressionismt

"BANGK KBYNIGHT-15C", AndrĂŠ Baldet, Acrylic on Canvas, 2019

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

In a first life I was more illustrator/graphic-designer than paintert It taught me to get to the pointt to refine my workt to go to essental and to be more formalt What inspires you in your work, is there a driving factor that draws you to the easel?

I have two main passions: art and travelt My work as a painter is almost exclusively inspired by my travel experiencet

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

My older brother convinced my mother to let me do an art schoolt When I was teenager we had set up with 3 other cartoonist buddies a small comic studiot We encouraged each othert dreaming of making our passion a professiont I was the only one who could get into an art schoolt

"VENICE-02C", AndrĂŠ Baldet, Acrylic on Canvas, 2020

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

No preferred mediat I like working with gouache for small sizes and acrylic for biggert When it comes to the subject mater of your work, what draws you to those themes?

I am a passionate travellert curious of places and peoplet I strive to transform my impressions and emotons of travelling into paintngt I gather imagest notest informatont sketches as well as writen notest texts of authors on the spott This is the raw material for my future paintngst Could you describe the process behind your art? How do you get from concept to executon?

There are dozens of drawingst drafst models (sometmes hundredst before moving on to the original paintngt Could you describe your normal day as an artst? Have you set routnes and rituals or is a more a case of when the moment is right you work?

My morning routne: first draw my "life diary" and then choose 3 or 4 projects in progresst I always have several projects I am working on and I go first to the one that inspires me the mostt How has your art evolved to be where it is today?

My work is constantly evolvingt I don’t like to repeat myselft I’m curious about the work of other artstst there are some that inspire me solutons when I’m stuckt But I also draw my inspiraton from decoratont advertsingt graphic artt sculpturet architecture or any other visual artt Which of your artworks are you most proud?

No doubtt these are the last workst Is there a fellow artst alive today that you admire? If so, why?

I am a rather figuratve painter even if my work is close to abstracton sometmes but my admiraton goes rather towards abstract painters as Sean Scullyt Sarah Morrist William Lachance …

"VENICE-09", Andre Baldet, Acrylic on Canvas, 2019 If you could travel back in tme, is there a partcular artstc period / era that you would like to have been involved in?

Maybe in the art movements of the seventest I was too young at that tmet What challenges do you feel the 21st century artst has to overcome?

Art should be more involved in people’s lives and associated with the major issues of educatont environmentt urban projectsttt

"VEGAS-05", Andre Baldet, Acrylic on Canvas, 2020 What advice would you give to a young aspiring artst currently studying art?

Digital art is OKt but if I had to give advice it would also be to practce crafst hand work with natural and noble materials - keeping close contact with nature has never been so indispensablet Despite having developed your own distnctve style, is there another style of art that you are immediately drawn towards and admire? Why? I admire artsts who are not "sclerotc"t who are constantly renewing themselves (like Picasso or Hockneytt who seekt are inspired by others artsts (but not onlyt and by cultures of the world in movementt

We have all heard of the unfnished masterpiece, even Da Vinci laboured away at the Mona Lisa for years and years, have you works that are in a contnual process of evoluton? When working on an artwork do you fnd it hard to let go? Knowing when enough is enough?

There are some projects that resist and I keep coming back to themt very regularly untl a soluton appearst It is rare that I abandon a projectt I experience it as a failuret Many people see artsts as storytellers or advocates for a cause, do you believe that it is an artstt’s responsibility to shine a light on a partcular subject / theme, or do you create purely for the sake of expression your creatve nature?

"T KY -3D-02", Andre Baldet, Acrylic on Paper, 2019

I think that artsts invite us to shif our gaze on the world and to see it from unsuspected anglest What are you working on at the moment?

I am working on a series of paintngs that tell the world in a single format (40x 40 cm twith small colour fateners that cut out guidelines linest 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?

Next exhibiton coming soont by the end of this montht called «winter salon» : a group exhibiton in my home townt with twenty other selected artstst

“New York_streetview-05”, Andre Baldet, Acrylic on Canvas, 2019

View - nline Art Gallery of Andre Baldet

“Lonely Beauty”, Decadent Kity, Ink on Cardboard, 2016

“Refecton”, Decadent Kity, Ink on Cardboard, 2016

“EV L”, Decadent Kity, Ink on Cardboard, 2016

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#8 June 2020

ARTBAAZAR

Connectng Art Lovers and Artsts nline

ARTBAAZAR Connectng Art Collectors and Artsts nline

#8 June 2020