ARTBAAZAR Connecting Art Lovers and Artists Online
#11 September 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
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ARTIST INTERVIEWS ‘What I Have Found’ with Roland Kaiser ‘A Constant Dialogue- with Dipt Pandey ‘Woven From A Thousand Legends’ with Elena Petryk FEATURED ARTWORKS
Phil Leith-Tetrault
Johnny Brisko
Theodore Kennett-Raj
Riky Van Deursen
Rafail Aliyev
Dake Wong
Ezshwan Winding
Kateryna Bortsova
Annu Gupta
Helen Connolly
Lisa Carney
Niki Dufy
Mikhail Faletkin
Aofe Herriott
Frederic Belaubre
Cover Artwork
Front Cover - “DISK_CoRRUPTION” by Roland Kaiser Back Cover - “Fresh Breeze” by Iryna Kastsova
Phil Leith-Tetrault
“Cold Autumn Morning”, Limited Editon Print
“Kulusuk in Late Afernoon”, Limited Editon Print
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.
“Arctc Valley”, Limited Editon Print
“Nightall”, Limited Editon Print
“I attempt to vividly convey the experience of bein in remotes northern environmentss providin a mental break from the confnes 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 fllin these shapes with colour. Durin this processs the landscape be ins to su est physical and emotonal feelin s associated with its locaton..
Johnny Brisko
“Indoor CCTV Cameras”, Acrylic on Canvas
Russian artsts Johnny Brisko's artwork explores the uniqueness that exists in the world around uss ofen inspired by his travels or the juxtapositon of objectss buildin s or landscapes.
“8848 Calmness”, Acrylic on Canvas
“8586 Ego Denaturaton”, Acrylic on Canvas
Theodore Kennett-Raj
“Little Syd”, Acrylic on Canvas “My Artworks are a cross cultural art forms refectn my country of birth India and my adopted countrys Australias for the past 46 years. The artworks that I produce are a contemporary form of primitve art. As I am my own muses I let my ideas out to create satrical narratves with exuberance usin colourss motfs and textures - Theodore Kennett-Raj “-
“Eden Thrashed”, Acrylic on Canvas
Riky Van Deursen
“Abstract 2018-03”, Acrylic on Canvas
“My intuitve abstract works are showin my experienceT sometmes exuberant with lots of colour and movements sometmes subdued with sof colours and sof shapes. My inspiraton comes from everyday thin s like ima es of a citys natures a picture in a ma azines somethin I see on televisions a thou hts musics a work of arts a conversaton.” Riky Van Deursen
‘WHAT I HAVE FOUND!’ With Roland Kasier
"Disk_Corrupton",Roland Kaiser Acrylic, 3x3m5''DiSK on Wood, 2019
.Roland Kaiser was born in 1962 in Pulheims Colo ne- areas Germany. Later durin his early youth he had to spend a considerate amount of tme hospitaliseds it was durin this period that Roland found art as an outlet for his personal expression via drawin and paintn and contnued to developed it further.
In 1990 Roland's artstc journey led to him inventn the Recyclin -Art-Concepts which basically is founded on the principle to use only used and found material for creatn art and developin it to a better self - lookin and feelin brand new. Exhibitons in the 90's in Colo ne followeds as did his frst Internet- exhibiton “Back to Basics“ at the be innin of the year 1997. The idea was and stll is to create sustainable Art and at the same tme savin resources due to the responsibility modern man has with re ards to material and nature; lon before this was discovered by the public. Dr. Ernst Franzs former deputy art- director of the Rheinisch- Westflisches Kunstmuseum in Münsters wrote 1996 in March about Roland's artworks and stated that they had „…a smooth and silent form of ener y when colours clash…“.
"C", Roland Kaiser, Unique Print: Lacquer on Coloured Carton, 1997
What initally drew you towards becoming an artst? As a little boy I was fascinated by colours and shapess the possibility to create somethin with my own mind and hands. Then came a crucial event in a hospital in my early youths I felt so lonelys sad and lost there and then I also felt the ur e to draw. It was like a sof but very stron voice was uidin me to do so. So I followed it and did that rainy July- day- view from out of my hospital- room- window in 1971. I was so astonished that I just did its
because for the frst tme in my lifes I wanted to show my feelin s on paper and welleducated as I was - thou ht even that this would be a bit inappropriates but fnished the drawin nevertheless. I contnued paintn and drawin s and at the a e of fourteen I wanted to become an artst. How would you describe your own personal style? Hard to tells maybe ....Abstract- open- minded- concrete- free- style- christan- Recylin Art. ?! *Lol What pushed you in that directon? The need to express myselfs my experiences with materials my lifes my experiencess circumstances and even hardshipss other humans and God did so. How can you see your work evolving in the future? Goin back to where I be an the SC_ART- series (for example) and evolvin that further. Afer some decades you may not be able to do the .old- stuf.s because you have developed and maybe you are even more .popular.. I pay close attenton to the .threat. of too smooth and too .seamless. works. I am not a machine. I must see the work in each pieces even in the prints. So I not only invented the SC_ART (Scar- Art named afer my wounds from all the sur eries which I have one throu h (which I didn't immediately reco nized when doin the frst pieces))s but now I am workin on and in the area of .SCARs&Stripes. a subset of SC_ART with focus on the Americas. Four pieces are really fresh and almost completeT - SCARs&Stripes No.1T INDePENDENCE - SCARs&Stripes No.2T BUiLDING_USup SCARs&Stripes No.3T CiTIES - SCARs&Stripes No.4T GroWTH
What inspires you in your work, is there a driving factor that draws you to the easel? Empathys prayers inspiratons the need to create somethin on my own and sendin the messa e to the hearts of the viewers.
"Cummorrah Hill",Roland Kaiser, Mixed Media, 2020
Are there partcular individuals who have encouraged / inspired you along the way, friends, family, teachers, maybe even other artsts? Of courses a lot of persons dids the old masterss modern artstss when people told meT .you will never make it.s 'you can do this stuf .by the way.'; my mothers because she showed me how to paint plates in the arden with water when I was a few years old. The sun would come and dry thems and I had to do it all over a ain. My very open- minded former artteacher tellin me at ffeenT .All you draw looks like a comic. Crazy!. or when I copied
famous art- pieces he saidT .Create somethin of your own!.; friendss buyerss collectors and of course family- members also. A lot of them sorted out their materials and ave it to me. Last not leastT my wife inspirin me. One days when I wanted to stop and leave it all behinds she saidT .Why don't you han some pictures of yours in our roomss then we have ori inal art at home?!.. And then I saws what I had created and it ave me inspiraton and trust a ain to o on. All the famous and not so famous artsts alsos I studied them and their works and ot even known to some of them at exhibitonss fairss shows and in their studios. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to use? As I am workin on basis of my 1990- invented Recyclin - Art- Concept that depends on what I have .in store. or what I have found and what is brou ht to me via friends or familymembers or even fellow artstsT a piece of cartons some old colourss penss a piece of woods ... When it comes to the subject matter of your work, what draws you to those themes? Sometmes when creatn a new piece I et a sudden impulse how to name its if it stands the whole creaton processs I have the name. Very ofen the name comes to my mind by lookin at the new piece over and over a ain and even prayin about it. For all thin s there is a tmes you know ... ?! Could you describe the process behind your art? How do you get from concept to executon? Studyin the materials in my archive over and overs brin them in a diferent order as they where the day befores layin them on the foors of my studios prayin s etn a vivid picture on my mind. So I literally take all thiss or anize its view that stufs think about it over and over a ains then I prays and suddenly I et an idea what to do. Then I o checkin the materials if they are matchin to the idea/ inspiratons if yesT I start to works if notT I start the process all over a ain. 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 mixtureT my rituals consist of etn in contact with my collected materialss best at a fxed tme each days as art needs a lot of disciplines the ponderin and the prayer of courses the or anizin and watchin at the stuf to work withs then the idea can et to me more
easily how and when to start of with the new pieces. When you love what you dos you must be surrounded by the thin s/ themes and et in contact with it all the tme. 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 try to focus on ones but if it works out wells more ideas may come as wells and then it is really oin to et interestn ... ;)
"Zion", Roland Kaiser, Watercolour, coloured Paper on Paper Carton, 1996
How has your art evolved to be where it is today? Bein open for all kind of infuencess keepin the ood oness keep on tryin s creates never trash any pieces keep thems studyin your and others works trainin patences listenin what others have to says be open for letn the work o in another directon as you may have planned it - I call this step the .Creatve Jump. - be THE insttuton for your own worksT the creators the viewers the critc. Never ive ups be thankful for the people around you bein so patent with you. Reinvent yourself re ularlys have the rit and the heart to do so. Keep on prayin . That's all really hard works the only alternatve is to stop workin s and that is never an opton for a true artst - even when it ets close to this point sometmes.
Which of your artworks are you most proud? All of them are my babiess so that is hard to tell... the inventon of the Recyclin Art Concepts especially the SC_ART- and DiSK_ART- Series are really Quantum Leaps for me. The spirituality and the power the works send out when they are in a room makes me ponder a lot and fll me up with rattude thinkin .Was that really me?. ;) Is there a fellow artst alive today that you admire? If so, why? There are quite somes especially when they mana e to et colour- areas in a form and a structure which is fascinatn me. That way I don't loose the capability to be astonished and ponder. Those artsts and their works really touch my heart. If you could travel back in tme, is there a partcular artstc period / era that you would like to have been involved in? Yeahs In my own past back in the 90'ss and I am really happy that this is what I am doin ri ht now with my new subset- series .SCARs&Stripes. of my Recyclin Art Concept. What challenges do you feel the 21st century artst has to overcome? Stayin in contact with other humans and God; otherwise artstc- life would be only a oneman- show and a monolo ue. That is not what it is all about but touchin others hearts with my art- workss that's it What advice would you give to a young aspiring artst currently studying art? Art is not an objects it is creaton. What do you wanna create/ achieves especiallys when you usually learn to drop your own ideas and et the sense of art you are actually tau ht bein at the art- school/ colle e or university? 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? Yes I have / had such pieces; some of them needed 25 or even more years to et completeds in fact a Compact- Cassette- Object took 41 years and was completed last year. And yesT some of them I fnd hard .to let o.. It is a daily lovin f ht for the ri ht balance between letn o and just see and even more FEEL it when and how it is to be completed
and not to be overdone. Without inspiraton and also putn a lot of thou ht into its that would be impossible for me to do. 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?
"A",Roland Kaiser, Unique Print: Lacquer on Coloured Carton, 1997
I also think that should be the case. Besides the intmidate process which is shown to the viewer/ public with the fnished art- pieces (and think about thatT it shows what the artst does consist of!)s as an artst I have also an obli aton to show the viewer not only somethin about myself but as well pointn to a directon how thin s should be (seen)s sendin them a vision and touchin their heart. Have you ever been part of an artstc group / movement? How did your work beneft from that experience? Yess I was. It was a challen e to have the lovin stru le inside the roups to et better .results. for all. I learned to take myself not too serious without losin the serious aspects of my art- works;)
View the - Online Gallery of Roland Kaiser
Rafail Aliyev
“The Parable of The Blind”, Oil on Canvas
Rafail Aliyev is an accomplished artst and sculptor from Azerbaijan. His work is collected around the world and has featured in many internatonal exhibitons. A leadin f ure within the Azerbaijani art sector his works are hi hly collectble.
“Fish”, Acrylic on Canvas
Dake Wong
“Jumping Rope at the Square”, Spray Paint on Canvas
Dake Won is an oil painter and raft artst. He has focused on f uratve paintn since 2000 brou ht about as a result of his stron interest in people and the individual. He be an workin with Stencil Graft in 2010s as he felt it has a simplicity that can't be achieved in oil paintn . 'Stencil raft is an other way of expressions which juxtaposes a ainst the detail and precision of oil paintn . By removin excessive decoratons the art work is streamin and bolds its messa e clear.' he explains. The li ht-hearted works on display show Won 's view on contemporary society in China's capital.
“Sweet Unit Nom6”, Spray Paint on Canvas
Ezshwan Winding
“A Sprinkling of Roses”, Oil on Canvas
.Once a ain I am drawn to create ima es of women in quiet moments of thou ht and/or self refecton. I have used my favourite model who can chan e the ener y of the pose almost as easily as chan in her costume. In this world where we are bombarded by news of violences an er and hatreds I choose to paint my model in poses of stllnesss contemplaton and thou htulness; perhaps connected to nature or a tranquils private space where no u liness can reach her. “ - Ezshwan Winding
“Remembering When We Met”
“Thoughtul Refectons”
Kateryna Bortsova
“Nymphs”, Oil on Canvas
Kateryna Bortsova is a painter and raphic artst with a Bachelor in Fine Arts in Graphic Arts and a Master in Fine Arts. Kateryna's artwork has been shown in many internatonal exhibitons in Taiwans Moscows Munichs Spains Macedonia and Budapestm Kateryna was also awarded a silver medal in the .Realism. cate ory for her partcipaton in the 'Factory of Visual Art's New York and the 2015 'Emirates Skywards Art of Travel' compettons Dubai.
“Treasures”, Oil on Canvas
“It’s My Party”, Oil on Canvas
A CONSTANT DIALOGUE with Dipt Pandey
"Unttled", Dipt Pandey, Acrylic on Paper, 2009
Dipt Pandey is an Indian artsts who was born and brou ht up near the suburbs of Mumbai city. Now she is based in one of the suburbs of Mumbai. Dipt completed her formal educaton from two states of Indias ainin a Diploma in Fine Arts from Mumbai and Post Diploma in Fine Arts from Gujarat. Her distnctve style is based on minimalism and she enerally likes to work in mixed media. .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..
"Untted", Dipt Pandey, Mixed Media on Canvas, 2016
What initally drew you towards becoming an artst? It was in my school days I decided to do paintn all my life. I always liked the paintn class as it was stress-frees no burdens no expectatons of hi her marks. So if anyone asked me what I wanted to do in my future then always my answer was that� I want to be an Artst� How would you describe your style? My works are more towards abstract minimalism.
What pushed you in that directon and how can you see your work evolving in the future? Abstracton always ives you the liberty to see work in all possible ways. At the same tmes minimalism helps to eliminate the thin s which are not appropriate for my works. What inspires you in your work, is there a driving factor that draws you to the easel? Everythin that touches my heart I want to express. It may be an animals bird. Trees buildin s persons situatons or even cloth can inspire me to do work. Are there partcular individuals who have encouraged/inspired you along the way, friends, family, teachers, maybe even other artsts? My family has always encoura ed me. Yes… I am fascinated by other artsts. In Indian artsts it’s Nasreen Mohammadis Zarina Hashmis Anish Kapoors and in internatonal artstss A nes Martns Mark Rothkos Anslem Keifers Jackson Pollock.. the list will o on. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to use? I enjoy workin in mixed media. Most of my works have multple mediums such as white cements papermaches silver leafs old leaf. It depends on the concept of what medium will be appropriate for the work. some tmes I use only white paper pulp. When it comes to the subject matter of your work, what draws you to those themes? I like to work on human emotons. Sos it is more of my connectons reactonss thou hts about outer worldss and events. Could you describe the process behind your art? How do you get from concept to executon? Even thou h I am not paintn it’s always in my subconscious mind. I always try to be in connecton with myself. It’s a constant dialo ue between mes my minds and the outer world. Usuallys I et connected to the concept durin this conversaton and then I decide about the material or which surface or medium to execute the work. 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 do my studio practce from home. My day is like every normal human bein . I don’t have any set routne. I balance my tme between my household work and studio practce. 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? Some tmes I focus on one work. Buts many tmes I start workin for the next work tll the previous work’s layers dry. I don’t want to miss the fow of my connecton. So I keep workin tll I et tred. How has your art evolved to be where it is today? If I look back and evaluate my process I see that my concepts thou ht process is more clear now. From abstractons it has moved to minimalism. Which of your artworks are you most proud? Amon st all my work the favourite is “Silent Conversaton”. This work is most close to my heart. Is there a fellow artst alive today that you admire? If so, why? I admire artst Sudhir Pandey who happens to be my husband. I am married to him only because of his works. His way of usin found objects are spontaneous and not restricted. Like mes he also follows his heart. If you could travel back in tme, is there a partcular artstc period/era that you would like to have been involved in? Yes… I would love to o back to the era when minimalism started. What challenges do you feel the 21st-century artst has to overcome? 21st Century Artst are facin the challen e of the di ital era. The computer has made communicaton and informaton easys but it is also takin away humans from each other. Everythin has become personalized which is makin mankind self-centred. This is very harmful to any Artst. Despite having developed your distnctve style, is there another style of art that you are immediately drawn towards and admire? Why? Yes. I like Antony Gormley's works. He has a specifc way to simplify the human form.
"Ocean", Dipt Pandey, Acrylic on Canvas, 2019
"Silent Conversaton", Dipt Pandey, Mixed Media on Canvas, 2019
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 do have a habit of workin on one work over and over a ain tll I come to the point that there is nothin more I can do in this work. sometmes I rework on the same canvas even afer feelin that this work is completed. Few works turned out to be completely diferent than what I started.
“Unttled”, Acrylic on Paper, 2009
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? Yes… I do believe that an artst should be able to explain his/her artwork because it is the artst who oes throu h the process frst. In my countrys there is a very specifc class who like to see Abstract work. The lar er audience has a diferent idea about the abstracton. Sos in such a society one needs to explain the process to create awareness or to educate the viewer. What are you working on at the moment? Coronavirus brou ht everythin on standstll. I live in the city where even if you don’t want your ban to someone and others. But because of lockdown no movement. Everyone is on Pause mode. Sometmes I et frustrated to see people. Currentlys I am workin on this concept. I have not decided on the ttle yet. Have you ever been part of an artstc group/movement? How did your work beneft from that experience? I have partcipated in many roup shows but was never a part of any movement When is your next exhibiton? Is it a solo or group exhibiton? Could you tell us a little about the exhibiton, when and where it is? Nothin soon. Due to the uncertainty that surrounds us all at the moment.
View the - Online Gallery of Dipt Pandey
Annu Gupta
“Changing Skylines II”, Etching
My creatons are sourced from the social environment and happenin s for the sake of development. This development is a bi necessity for today’s man and thus remains thirsty for that undefned limited space. With the passa e of tmes the need of an individual takes its own shapes which in turn refects on the society as a whole. My series of work portrays that never endin space to the ever fllin space.. - Annu Gupta
“Where To Nest VI”, Etching
Helen Connolly
"Forest Bathers I – Shinrinyoku", Japanese Ink and Graphiite
Helen Connolly is a classically trained artst residin in Sydneys Australia. She has worked extensively as a textle desi ners raphic desi ner and illustrator. For the last decade she has dedicated her tme solely to fne art practce.
"Forest Bathers I – Shinrinyoku", Japanese Ink and Graphiite
Lisa Carney
“Petal Burst #14”, Acrylic on Canvas
Lisa Carney is a multdisciplinary artst who was raised in an artstc family on the Gaspe Peninsulas in Quebecs Canada. She earned a de ree in Visual Arts from the University of Quebec in Montreals and has since developed technical prowess in many diferent artstc mediums.
“Petal Burst #14”, Acrylic on Canvas
Niki Dufy
“Look At This”, Oil On Linen “I believe my work has been infuenced by my proximity to flm. I focus on intmate and mundane sceness with a view to sensitve expression in li ht. In my current works I'm tryin to draw attenton to the quiet and beautful drama ofen overlooked in everyday moments. I usually work with friends as models to create my paintn s.” - Niki Dufy
“In The Hallway”, Oil on Linen
“At The Window”, Oil on Linen
WOVEN FROM A THOUSAND LEGENDS with Elena Petryk
Elena Petryk paints in the style of esoteric practcalism. Her love of art appeared in early in her childhood and already at the a e of 10s she entered art schools and later raduated with honours from the Ukrainian Academy of Arts in Kiev. For a lon tme she worked as an
architects she has helped create various buildin s and at the moment she is a licensed architect. The cornerstone in Elena's work was the rethinkin of art as a whole. She travelled a lots met many personalites and saw with her own eyes the many wonders of architecture. In 2015s she created ASPAR-ARTs and to this day she is the directors inspirer and artst of this company. Aspar-art creates amazin panels and furniture usin mosaics and also creates mosaic wall decor.
Elena Petryk in her studio with some of her artworks
What initally drew you towards becoming an artst? I have been drawin since childhood and have always dreamed of bein an artst. At the a e of 9s I started attendin a children's art school. Later I raduated from the Academy of Arts and Architecture. Afer raduatons chan es took place in my lifes a child was born and for some tme it was necessary to earn a livin . I worked as an architect and there was practcally no tme lef for creatvity. Now that the child has rown up and I have achieved fnancial stabilitys I want to reveal the second part of my educaton as an artst. How would you describe your own personal style? My style tends to be closer to the classical Russian schools since I studied the classical school at the Academy. But since I am a multfaceted and deep nature and love bri ht colourss my style is esoterics classical paintn . I try to look at familiar thin s and events from a diferent an les to see their soul. To express my vision of the characters in the li ht of their divine primordial nature. I want to show the world the true beauty of the human
body and soul. My characters carry that beauty that we usually are not realitys dazzlin s bri ht and ma nifcent.
"Eva", Elena Petryk, Oil on Canvas, 2020
What pushed you in that directon and how can you see your work evolving in the future? I am invariably inspired by the movement of the human bodys the perfecton of lines and the natural beauty of nature - fowerss rass and everythin that surrounds us. I really like to represent ancient myths and le ends and splash my vision onto the canvass where intertwine the fairy tale and reality.
What inspires you in your work, is there a driving factor that draws you to the easel? More than anythin in my life I want to create somethin monumental and randiose. When I visit cathedrals and see paintn s on the ceilin and wallss I am very envious of the artsts of that tme who had such a wonderful opportunity. It is very difcult to ft into a small format what I think and represent. These are just fra mentss fra ments of my thou htss but I want to tell the full story. The drivin factor is the desire for realizaton. It is a natural state that brin s peace and balance in life. For mes paintn is my break from the routne.
"Carrier", Elena Petryk, Oil on Canvas, 2018
Are there partcular individuals who have encouraged / inspired you along the way, friends, family, teachers, maybe even other artsts? I have had many reat teachers who tau ht perspectves classical drawin s and classical paintn . But the main thin that they instlled in me is to observe nature and the surroundin world and learn from everythin that you see. It is very important to be able to convey the moment. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to use? In materials I prefer primed canvass oil paints and small round synthetc brushess they ive subtle little strokes. If I am not paintn a portraits then the canvas should be lar e enou h at least 60cm x70cm. I like lar e formatss but they are difcult to transports so I limit myself to a format that is more or less convenient to transport.
"Moira, Atropos", Elena Petryk, Oil on Canvas, 2018
When it comes to the subject matter of your work, what draws you to those themes? Most of all I am attracted by human emotons and the movement of the human body. For mes man is the crown of creaton. I am fascinated by the corrects perfect human proportons. I really like the Renaissance and its relatonship to the world around it. I want to capture and show a moment of movements a feetn smiles or overfowin bliss.
"Moira, Lachesis", Elena Petryk, Oil on Canvas, 2018
Could you describe the process behind your art? How do you get from concept to executon?
Usuallys at frst the concept of a future paintn appears. Sometmes she comes in a dreams sometmes when I do somethin unrelated to arts for examples at a party or when I travel. Then all it is pondered and drawn in the head. A suitable nature is selecteds sketches are made. Thens when 80% has already been thou ht outs the colour scheme has been selecteds I be in to draws in parallel thinkin over the last details. I draw Nature and immediately blend it into the environment so that it doesn't look torn of. In the ends I paint the back round and details on it. 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? There is no special schedules but I try to work untl I et tred. Usuallys I have a plan for a day or two days - to create some part of the work. Laters the oil dries up and all has to start over. I also paint picturess when I'm stresseds paintn relaxes me and I for et about everythin in the worlds except how best to draw one or another part of the picture. How can you see your work evolving in the future? In my art I try to improve myself so that each paintn is more perfect than the previous one. It doesn't always work outs but I try. Every day I become more and more experienced in life and in my work toos I learn to more consciously observe the worlds my feelin s and my place in it. Which of your artworks are you most proud? I am most proud of the paintn s of the last 5 years realized. And I think that 10 years will passs and I will be proud of the last 5 years a ain. Besidess my best pictures have not been created yet. I am on the ways on the road of development and perfecton. Is there a fellow artst alive today that you admire? If so, why? I admire many contemporary artsts. I like classical paintn s surrealism. There are so many artsts around the world who paint wells and I am captvated by their endurance and hard work. I know it takes a lot of dedicaton and many hours of work to paint really wells ins just like any other art form. Despite having developed your own distnctve style, is there another style of art that you are immediately drawn towards and admire? Why?
I love travellin around Europes visitn museums of paintn and sculpture. You can be in the Louvre a thousand tmess and each tme discover somethin new for yourself. If I didn’t paints I would become a sculptors I also really like this kind of art.
"Day and Night", Elena Petryk, Oil on Canvas, 2018
If you could travel back in tme, is there a partcular artstc period / era that you would like to have been involved in? I like our tmes but if I could travel in tmes I would like to visit the Renaissances learn paintn at one of the schools of the reat masters. What challenges do you feel the 21st century artst has to overcome? In my opinions 21st century artsts should convey their vision of reality to the publics preserve their individuality. It's no secret that if you want to sell your work wells you need to study consumer demand and draw somethin that is easily sold. In my opinions this is a
crafs not an art. Many reat artsts were not understood by their tmes but they did not lose their individualitys their personal manner of paintn . What advice would you give to a young aspiring artst currently studying art? As a matter of facts this is my advice to youn artsts - to be themselves in any situaton.. 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 don't have unfnished paintn s like da Vinci's. I try not to start a new paintn untl I fnish the one I'm workin on. Unless my ofcial job requires me to interrupt and draw somethin else. I think that instead of constantly improvin one Mona Lisas you can create many Mona Lisass each of its period. You need to be able to stop in tme and start somethin new. It's difcults because every tme I see my work I know I can draw betters more perfect. But this can be done in the next work. I stop when it seems to me that I have told everythin I wanted in my work and I can start a new story. 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 believe that the artst himself has to choose whether he tells a storys improves society or defends somethin . Afer alls an artst is not only a person who draws wells but also a person with his own world-view and understandin of this life. Artsts are all diferents like peoples and this is what makes our world so colourful and rich. What are you working on at the moment? I'm currently workin on the Greek myth of Pandora. I love ancient myths and le ends very much. They breathe with antquity and mysterys when the world was not so reals but woven from thousands of many-sided le ends.
"Sky and Earth", Elena Petryk, Oil on Canvas, 2017
View the - Online Gallery of Elena Petryk
Mikhail Faletkin
“Target”, Fine Art Photography
“Since 2010s I be an to et involved in photo raphys and every year I love it more and more. I am inspired by natures arts theatres musics female beautys li hts and in eneral life itself! My favourite artstc techniques are shadowss refectonss refractonss lares and intellectual photo raphy. “ - Mikhail Faletkin
“Surreal Zebra”, Fine Art Photography
“Zebra with a Fan”, Fine Art Photography
Aoife Herriott
“Leaves II”, Lumen Print, Limited Editon
“There is a beautful transience and a certain ma ic to the process of creatn lumen prints. They retain for me an air of the mysterious and of the ephemeral nature of tme as they themselves are objects in a state of constant chan e.. - Aoife Herriott
“Umbrella Plant”, Lumen Print, Limited Editon
Frederic Belaubre
“Insurrecton I�, Oil on Canvas
French artsts Frederic Belaubre was born in 1958s he completed his studies at the Natonal School of Fine Arts in Paris (Beaux-Arts de Paris) in 1976. Since then has further honed his skills at Evenin Art Classes of the city of Paris (Montparnasse) and also under the tutela e of Carlos Pradals a Spanish artst who mainly worked in Toulouse. Frederic focuses on paintn as an act of understandin s as a search for fulflment; constantly renewed attempts of transf uraton of reality into one beyond the li ht.
“Insurrecton II”, Oil on Canvas
“The Old Sun”, Frederic Belaubre, Oil on Canvas
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