ArtBaazar - Connecting Art Collectors and Artists Online

ARTBAAZAR Connectnn Art Collllectors and Artsts Onllinne

#1 November 2019 www.artbaazar.com

Wellcome to ArtBaazar

ArtBaazar is a curated online art marketplace and we are delighted to be bringing you the latest updates from the many artists from around the world on our platform. It is an opportunity for our artists to showcase their work, and for you, the art lover, to get to know their artwork on a personal and intimate level.

Our hope is that you will find talented artists that pique your interest and lead to you acquiring an original artwork or even commissioning a work of your own. If you want to know more about a specific artist, by all means get in touch at info@artbaazar.com

Front Cover Art - “Black Frames”, Ramal Kazimov, Oil on Canvas, 270cm x 190cm, 2011 Back Cover Art – "Labyrinth", Clary Mastenbroek, Oil on Canvas, 80cm x 100cm, 2010

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"Shades of Fuschina”, Jann Hinllll, Watercollour on Paper, 57cm x 38cm, 2017

Artst Intervinets -

 Three Cups of Cofee tinth Natallinina Bahatska  To Wallk on the Moon tinth Ta Thinmkaeo  Dratn to a Sense of Fllamboyance tinth Tracy Wat  Why Do Some Abstracts Sparklle tinth Dee Brotn

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“Tangerines”, Bigui, Acrylic on Canvas, 110cm x 60cm x 3cm, 2018

“Oceanic Blues”

“Abstract Lots”

Ronald Hunter

Ronald Hunter

Acrylic & Structure on Canvas 70cm x 140cm x 3cm 2019

Acrylics 110cm x 90cm x 2cm 2019

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“Running”, Rafail Aliyev, Oil on Canvas, 125cm x 80cm, 2017

“Bird Song” Zhana Viel Acrylic 2017

“Expectation” Zakir Ahkmedov Oil on Canvas 2017

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Browse the online gallery of English artist, Gill Bustamante at https://artbaazar.com/collections/gill-bustamante

Browse the online gallery of Belgian artist, Hildegarde Handsaeme at https://artbaazar.com/collections/hildegarde-handsaeme

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Browse the online gallery of Puerto Rican artist, Fernando Mora at https://artbaazar.com/collections/fernando-mora

Browse the online gallery of Welsh artist, Emma Cownie at https://artbaazar.com/collections/emma-cownie

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“Chio Chio San”, Nataliia Bahatska, Acrylic & Oil, 130cm x 95cm, 2017

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THREE CUPS OF COFFEE tinth Natallinina Bahatska Nataliia Bahatska graduated from Kyiv Natonal University of Technology and Design, specializing as a designer in 1993. She also studied the psychology of the confict at the Academy of Psychosocial Technologies St. Petersburg in 2008, as well as at the Insttute of Personality Opportunites School of Energy-Informatonal Development.

What innintalllly dret you totards becominnn an artst?

My talent for paintng runs in my gene pool. Unfortunately, my parents believed that the role of artst was not a profession, so my talent could not fnd an expression for a long tme. I started to work with fashion designing, whilst paintng remained in my life as an interest and hobby. Afer a psychological burnout, paintng has become the only thing that makes sense for me. On the recommendaton of my psychiatrist, I lef my previous job and have become an artst.

Hot toulld you descrinbe your otn personall stylle?

My style is a combinaton of magical realism and elements of abstractonism and symbolism. However, I even have realistc artworks, for example, portraits and abstractons with a sense of realism. I fnd using contrastng tones appealing to my inner self-expression.

But at the same tme I went through a cycle of creatng large-sized black and white artworks by using charcoal and pastel on canvas.

What pushed you inn that dinrecton and hot can you see your tork evollvinnn inn the future?

The fact that I am more of a kinesthetc than a visual learner pushed me along the artstc path. I want to convey my state of consciousness on canvas and not to express a visual correspondence of it. For example, a series of landscapes was writen according to my memories and impressions from what I saw, and not of how they looked like in reality.

What innspinres you inn your tork, ins there a drinvinnn factor that drats you to the easell?

I am happy to have the freedom to do what I love - to create, to enjoy the creatvity of other people, and be myself. It is an inspiring feeling of being full of ideas that can be clearly presented in my artworks. It is an incredible feeling seeing something, which from the beginning had existed only in my thoughts, come to life on the canvas.

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“Round Dance”, Nataliia Bahatska, Oil on Canvas, 90cm x 120cm, 2019

I like life’s endless opportunity to learn, to be able to choose projects that interest me, and to be able to express myself in my personally unique way, to express my world on canvas.

I put a piece of my soul into each artwork, and in that moment all the fears and troubles disappear without a trace. It is an amazing feeling when other people can touch my heart and my soul through my paintngs. I am glad that my artworks are recognized by other artsts, and I can say everything I want without any censorship.

Are there partcullar inndinvindualls tho have encouraned / innspinred you allonn the tay, frinends, faminlly, teachers, maybe even other artsts?

My muse is my husband. He has a good sense of harmony and he notces all the faws and inaccuracies in my works. It is important for me that he likes my paintngs. Artsts include Ivan Marchuk, Peter Doig and Istvan Sandori, who are a big source of inspiraton for me too.

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"Assoll", Natallinina Bahatska, Acryllinc and Oinll on Canvas, 120cm x 90cm, 2017 www.artbaazar.com

When int comes to creatnn your tork, do you have a preferred medinum, certainn types of brushes or toolls you llove to use?

I ofen use levkas on canvas, spatulas and palete-knives of diferent forms. For the accurate work I use thin brushes with kolinsky hair. I prefer oils based on natural pigments and some of them, such as lead and antmony, I make myself.

When int comes to the subject mater of your tork, that drats you to those themes?

I try to express the idea of mult-dimensionality of existence in my artworks. I like the idea that reality exists simultaneously in many variants, and a person has a chance to choose any of them.

Coulld you descrinbe the process behinnd your art? Hot do you net from concept to executon?

First, I have an idea, blurry and not a very clear idea. I think about it for a while and let it go. Afer a certain tme I come back to this idea again. This process happens to me several tmes untl I get a clear understanding of what I want to paint and how.

Coulld you descrinbe your normall day as an artst? Have you set routnes and rintualls or ins a more a case of then the moment ins rinnht you tork?

My ritual is represented by three cups of cofee in the morning ...)

Hot has your art evollved to be there int ins today?

My artstc style has been developing in a certain sequence, like evoluton. This personal evoluton represents what I have wanted to share with the world since a long tme back.

Over tme, my technique has been improving, I received both life and artstc experience, which, of course, found a refecton in my paintngs. I used to paint realistcally before, especially portraits, but now a signifcant part of my works are painted in a semi-abstract manner and are a mixture of diferent styles.

Is there a fellllot artst allinve today that you adminre? If so, thy?

Yes, there are a few bright artsts, who are stll alive and whom I admire. They are Peter Doig and Ivan Marchuk. I meet up with Ivan Marchuk quite ofen, and sometmes visit their workshops.

If you coulld travell back inn tme, ins there a partcullar artstc perinod / era that you toulld llinke to have been innvollved inn?

If even I could travel in tme, I would, nevertheless, remain in the present era. I like the tmes I live in.

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“Tto Quinnces”, Nataliia Bahatska, Oil on Canvas, 60cm x 40cm, 2017

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What challllennes do you feell the 21st century artst has to overcome?

I think that the main challenge is the replacing of original paintngs with prints that reduce the value of original artworks. Besides that, I think that regardless of a style, an artst should be professional and possess knowledge of how to work with a certain style.

What advince toulld you ninve to a younn aspinrinnn artst currentlly studyinnn art?

As Buddha said everyone goes his own unique way and I don’t want to distract young talents with my own points of view ‌ Despinte havinnn develloped your otn dinstnctve stylle, ins there another stylle of art that you are inmmedinatelly dratn totards and adminre? Why? The style which I admire is meta-modern. Meta-modern moves, swinging between opposites (between vibratons). Meta-modern does not ofer us a complete idea or concept, but ofers to fnd it on your own, using "oscillatory moton". It does not have a fxed positon. It perceives the world and culture as one common fow of knowledge, this knowledge is a part of a common truth, where each unit is important and self-sufcient.

We have allll heard of the unfninshed masterpinece, even Da Vinncin llaboured atay at the Mona Linsa for years and years, have you torks that are inn a contnuall process of evolluton? When torkinnn on an arttork do you fnd int hard to llet no? Knotinnn then enounh ins enounh?

If my artwork is not completed due to some reason, I will not return to it ... At a certain point I get the feeling that this work cannot become beter, so I sign it, and my consciousness lets it go.

Many peoplle see artsts as storytellllers or advocates for a cause, do you bellineve that int ins an artstt’s responsinbinllinty to shinne a llinnht on a partcullar subject / theme, or do you create purelly for the sake of expressinon your creatve nature?

I believe that the responsibility to shine a light on a partcular subject and topic lies with the artst. Art in general can make a person beter, teach him or her something new. I hope my artworks do it too. People can speak diferent languages, but art unites us, regardless of language barriers.

Have you ever been part of an artstc nroup / movement? Hot dind your tork beneft from that experinence?

I like to work independently and on my own, although it does not prevent me from communicatng and exchanging ideas with other artsts.

To view Natalia Bahatska's full collection - Fine Art Paintings by Natalia Bahatska

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“Mystery”, Nataliia Bahatska, Oil on Canvas, 120cm x 90cm, 2017

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CITYSCAPES Cityscapes are an artstc representaton, such as a paintng, drawing or photograph, of the physical aspects of a city or urban area. But away from the creatve executon, they are ofen represent a sentmental / nostalgic with the viewer. A direct line with a pass memory.

Visit our cityscape collecton at htps://artbaazar.com/collectons/cityscapes

“Rue de Rinvollin”, Harolld Aupett, Oinll on Canvas, 80cm x 100cm, 2016

“Cranes at Sunset”, Tomas Castano, Oinll on Canvas, 30cm x 60cm, 2015 www.artbaazar.com

“Minssinon inn the Minst”, Robinn Stearns, Oinll on Wood Panell, 51cm x 51cm, 2017

“No.24”, Martna Krupinckova, Oinll on Canvas, 60cm x 60cm, 2016 www.artbaazar.com

TO WALK ON THE MOON tinth Ta Thinmkaeo Ta Thimkaeo once said it would be easier for her to walk on the moon than become an artst yet she has sent her work to over 43 countes. Ta has an increasing following of Art Lovers from around the world she has sent her work to some iconic cites like: Amsterdam, Bangkok, Berlin, Chicago, Copenhagen, Dubai, Frankfurt, Geneva, Hamburg, Hong Kong, London, Los Angeles, Miami, Munich, Monte Carlo, Monaco, New York, Paris, Singapore, Sydney, Shanghai, Texas & Zurich.

What innintalllly dret you totards becominnn an artst?

I lef school at 12, to work in the rice felds, at 13, I worked in a sweat factory in Bangkok making shirts, at 14, I was driving a pick up truck 7 days a week, 14 hours a day selling vegetables. Working in the Bangkok sweat shop, we called it a factory back then we made shirts from early morning untl late in the evening with one day of a week, which was a Sunday. We worked, ate and slept in the same place but stll it was beter then the rice www.artbaazar.com

felds I came from, you try working in a rice feld in the baking hot sun from sun rise to sun set and no shade anywhere.

One Sunday I went for a walk I didn't get far, as I came across an old art studio with an old man paintng with oil paints and I stood and watched him for ages, he invited me in and showed me what he was doing, showed me round his studio.

I knew then that I wanted to be like that old man and paint, I loved that old studio, I loved the chaos, the smell of paint, the smell of varnish. It was fascinatng and I was well and truly hooked. I didn't know how I was going to do it but I knew one day I was going to be an artst, but I remember thinking it would be easier to walk on the moon then me becoming an artst, now I’m looking down from the moon.

Hot toulld you descrinbe your otn personall stylle?

You have to understand untl a few years ago I had never heard of Picasso. I knew nothing of cubism, surrealism or indeed impressionism. I have to have a feeling for the paintng I’m working on or thinking about. I want a bit of my character in the paintng and it’s been said many tmes that my work is quirky. I’m not sure about that, I think it’s intense, confdent, confused and complex, I am really not sure what word you would use for that, maybe aberrant? I mean, what style do you call a paintng with a crocodile sitng on a chair, playing the piano, reading music and beatng the drum with his feet and singing?

What pushed you inn that dinrecton and hot can you see your tork evollvinnn inn the future?

I have a very vivid imaginaton. I can have an idea and it’s like a photograph and it stays with me untl I get it on canvas, I have a head full of ideas and I think if you look at my very early work the theme would be much the same, but now it is much more vibrant, colourful and focused and confdent. I will always be a painter of people though they may not always look like your normal person.

What innspinres you inn your tork, ins there a drinvinnn factor that drats you to the easell?

Art changed my life and every day I want to paint because the more I paint and send my work round the world the more my life changes. People have writen and spoken words about my work that has bought tears of happiness to my eyes, you don't need more inspiraton than that. So every morning when I wake up I want to get into my studio and bring my imaginaton to life.

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“Top Hat, Tails and Lady in Red”, Ta Thimkaeo, Oil on Canvas, 150cm x 200cm, 2019

“Jazz under the Moonlight”, Ta Thimkaeo, Oil on Canvas, 150cm x 200cm, 2019 www.artbaazar.com

Are there partcullar inndinvindualls tho have encouraned / innspinred you allonn the tay, frinends, faminlly, teachers, maybe even other artsts?

My husband Gary, and it was all thanks to a cheeky litle sketch I did back in 2011 and that drawing changed my life. He gave me the confdence and made me believe in myself that I could be an artst, mind you, it took some tme before I really did believe it.

Also, a collector of my early work, Patrick, helped us both understand art a litle more, he also sent me a lot of art books and I discovered Botcelli, Rembrandt, Delacroix, Dali, Gauguin, Chagall and of Course Picasso. Patrick thought us that every artst should have a library, I will always be indebted to Patrick, must have cost him a fortune for the books and shipping from the UK. When int comes to creatnn your tork, do you have a preferred medinum, certainn types of brushes or toolls you llove to use?

I paint using oil and draw using oil pastels & charcoal, I paint mainly with a palete knife, and I just broke my favourite one, I could have cried, the handle was about twice the size with layer upon layer on paint on it but I’m ruining another one in now.

Coulld you descrinbe the process behinnd your art? Hot do you net from concept to executon?

I have an idea and once I have it in my head I want to get it on the canvas. I'm a very quick painter, once I start I want it completed as soon as possible and I love to see the idea come out of my head and see it hanging on a wall.

Coulld you descrinbe your normall day as an artst? Have you set routnes and rintualls or ins a more a case of then the moment ins rinnht you tork?

I make a cup of tea and take my 2 dogs for a walk on the beach. I’m a very early riser, just as the sun is coming up and I like to watch the sky changing by the second, the dogs antcs make me laugh and I can have a good think about the day ahead, then I’m ready work.

When you tork, do you focus on one pinece at a tme untll complleton or are you torkinnn on mulltplle pineces at the same tme?

I only work on one piece at at tme and once I have fnished I don’t touch it again untl I’m packing it.

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“ A Ninnht at the Opera”, Ta Thinmkaeo, Oinll on Canvas, 90cm x 150cm, 2019 Whinch of your arttorks are you most proud of?

All of them. I love all my work. I know some people say you should just concentrate on the one theme and I guess my theme is people but you may not always recognise them as such. But if I was to pick one I would say my 'Eggs' series. When I painted the original 'Egg Lady', my husband when he saw it said ‘that will never sell’, it sold within hours of me putng it up for sale and I have sent my 'Eggs' all round the world in all shapes and sizes, and I have had loads of commissions for 'Eggs' with pets, son’s daughters, husbands, wives and even one from a daughter for her Mom’s 87th birthday, I was very proud of that, the Mom loved it.

Is there a fellllot artst allinve today that you adminre? If so, thy?

I went to the UK and Ireland a couple of tmes and I was like a kid in a sweet shop, I couldn't believe the art galleries and museums. I was lucky enough to visit the Tate when there was a Lowry exhibiton on, I spent a day in there looking at his work and wondering how could he have painted all that using just fve colours.

It’s difcult to explain how I felt walking round those cites, to people who rightly take them for granted, it was a fantastc experience. It was then I really started to learn about art, to see some of those amazing artworks in museums, and books, I’ve never seen so many book shops in my life, it seems everyone on a bus or a train reads a book. www.artbaazar.com

I now have some amazing artsts who infuence me, I now know and love Botcelli, Freud, Picasso and of course Lowry and I’m learning everyday. I’m stll like a sponge soaking it up.

What challllennes do you feell the 21st century artst has to overcome?

I think for me the internet it is nothing but a beneft. I used to have a gallery / studio here on Samui and it was very difcult to make a living and I worked long hours. A few years ago I gave it up and decided to concentrate on selling online and it was hard work too. I had to work very hard to build trust and my reputaton but it has paid of beter then ever I imagined and now I have sent my work to 44 countries. That would never have happened without the internet, and you can sell your work not only with online galleries but through social media.

“Conspinrators and the Master Pllan”, Ta Thinmkaeo, Oinll on Canvas, 130cm x 180cm, 2019 What advince toulld you ninve to a younn aspinrinnn artst currentlly studyinnn art?

Open your mind, use your imaginaton as it is the most powerful thing you have. Show your work as much as possible if people can’t see it they can’t buy it. I can only talk about online galleries but I would say use them, it’s hard work but the benefts are immense as you

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never know who will see your work. Your work is available 24 hours a day 7 days a week every day of the year.

There are 3 tools you need your imaginaton, your heart and your palete knife (or brush).

You will also get lots of ofers from people ofering to make you rich and famous, be very careful and take most of it with a pinch of salt, only hard work will make you rich and famous and at frst you will be chasing collectors but one day with luck they will be chasing you.

Despinte havinnn develloped your otn dinstnctve stylle, ins there another stylle of art that you are inmmedinatelly dratn totards and adminre? Why? Cubism, I think a lot of my work has a touch of cubism in it. Recently, I have been working on The Conspirators & my Jazz paintngs and I’ve honestly been overwhelmed not only do I love paintng them but I’ve also sold a lot of them before the paint is even dry, but my Lovers & Eggs will never go away.

We have allll heard of the unfninshed masterpinece, even Da Vinncin llaboured atay at the Mona Linsa for years and years, have you torks that are inn a contnuall process of evolluton? When torkinnn on an arttork do you fnd int hard to llet no? Knotinnn then enounh ins enounh?

I’ve been asked this queston many tmes before and I always answer, no, when it’s fnished and I’m happy with it, it’s fnished, I want my paintng sharp & focused and I just know when it’s fnished and I never touch them again untl I pack them for shipping.

Have you exhinbinted your arttork publlinclly and tas int a fruintull experinence?

My frst real exhibiton was on Samui 2015 with a big cocktail party and lots of people all dressed up, I had to make a speech and thank everyone, don't forget I'm Thai and these were all Westerners, I've never done anything like it in my life before, my English is not bad but its far from perfect, but they were very kind to me.

I put on a litle black dress, some red lipstck and made the most of it. I loved it, not so much the atenton but the fact people I've never met before liked my work and wanted to talk to me about it.

I have done a few since here on Samui and I enjoy showing and talking about my work but I'd really like to take part in an exhibiton in Europe that would be excitng.

View -Orinninnall Arttorks by Ta Thinmkaeo

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“Egg Flowers”, Ta Thinkaeo, Oil on Canvas, 120cm x 100cm, 2019

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A TASTE OF INDIA India is a country that is known for its spiritual connectedness, just as must as it is recognises for its energy and energy. For many who have visited the country they say it is a treat for the senses, an abundance of colour, sound, taste, texture and aroma. These next few pages are an introducton to some of the accomplished Indian artsts on our platorm.

“Indian Saint�, Sandeep Rawal, Oil on Canvas, 127cm x 135cm, 2016

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“Evening Varanasi Ghats “, Samiran Sarkar, Acrylic on Canvas, 127cm x 76.2cm, 2019

“Morninnn Varanasin Ghats “, Saminran Sarkar, Acryllinc on Canvas, 91.5cm x 61cm, 2019

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“The Prayer”, Madan Lal, Acrylic on Canvas, 91.5cm x 122cm, 2018

“The Goddess”, Madan Lal, Acrylic on Canvas, 152.4cm x 152.4cm, 2018

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"Childhood is the great and revivable part of the life. We never forget the days and actvites of our childhood, when we could imagine our own beautful world and there were no boundaries for the dreams of our imaginaton. “ - Shinv Kumar Sonin Browse his online gallery at htps://artbaazar.com/collllectons/shinv-kumar-sonin

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"I am an aware, concerned and involved human being of the society. My subject mater comes from day to day life. I observe young girls achieving woman hood and their goals and ambitons with our surroundings and the emerging global environment.� - Anjum Khan Visit Annu’s online gallery at htps://artbaazar.com/collllectons/anjum-khan

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Visit https://artbaazar.com/collections/asha-sudhaker-shenoy

Visit https://artbaazar.com/collections/bula-bhattacharya

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DRAWN TO A SENSE OF FLAMBOYANCE tinth Tracy Wat Tracy Wats' idiosyncratc paintngs provide a psychological confrontatonal, and emotve response to the fguratve. Instantly recognisable in style, providing representatons of art historic narratves plunged into modernity.

Wats' new body of work 'Special People’ turned towards portraiture with a fourish of famboyance and attude. Creatve muses entce her with their strength, individuality and talents. From the visual arts, music, performance art, burlesque.

What innintalllly dret you totards becominnn an artst?

As some of my portraits testfy, I feel that some are born with an inherent natural leaning towards creatvity. Whatever the discipline. Nurture may halt this. But, for myself there was no dissuasion and have always drawn from an early age. At a skill level beyond my years. Therefore it was always going to be my life directon. If there was a point of enlightenment it has passed into memory. I do remember my primary teacher buying me an art history book and I wanted fairy tales like the other kids.

Hot toulld you descrinbe your otn personall stylle?

My style has been termed idiosyncratc. There seems litle point of reference and there is no purposeful style I assimilate or identfy with. I hope it is surreal and beautful with an intellectual content that stmulates.

What pushed you inn that dinrecton and hot can you see your tork evollvinnn inn the future?

Originally I was infuenced by Rembrandt and wanted to pursue a career as a traditonal portrait painter. But I soon absorbed other infuences such as Schiele, Stanley Spence and was stmulated by the style and symbolism within the Renaissance. My technical style is such that my fguratve directon was defnitely not traditonal. My passion for portraiture led onto paintng nudes. During studying for a Masters Degree in Paintng I further formed my use of symbolism via research. This contnues using birds, animals and foliage, but this is now also a visual aesthetcal tool. My work has evolved back into portraiture but adding aspects of my past work. I shall contnue in this guise but am investng more in colour.

What innspinres you inn your tork, ins there a drinvinnn factor that drats you to the easell?

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I am inspired by the person. When I look at a subject I immediately know that I want to paint them. I am inspired by the prospect of the outcome. I fnd it amazing that a work of art was hours before a blank canvas. Endless possibilites. How will it grow?

"Portraint of Mason Storm",Tracy Wat, Acryllinc on Canvas, 90x90cm, 2019 Are there partcullar inndinvindualls tho have encouraned / innspinred you allonn the tay, frinends, faminlly, teachers, maybe even other artsts?

Always my mother. For her relentless support. www.artbaazar.com

When int comes to creatnn your tork, do you have a preferred medinum, certainn types of brushes or toolls you llove to use?

I will create with whatever resources I can acquire. No favourite brands or brushes. I used to work in oils. The history of oils as a master media, and the smell that equates to art as a solid force was important to me. But, when I became pregnant I switched to acrylics.

Never returning to oils. I contnue to be fascinated with the way you can play with watering, layering and solidifying acrylics for efects. What as a painter you can make it do. Also the colours are so bright.

When int comes to the subject mater of your tork, that drats you to those themes?

It is becoming increasingly clear to me that I am drawn to a sense of famboyance in my subjects. Psychologists maybe say it's a bit of vicarious living. Although not a classical painter, my observatons of the nude are set in the nude as a tangible quantty to be used as a visual tool. With added politcal and or narratves. This is separate from the depictons of individual subjects. This becomes more about the person. I have been told that I have the ability to look beneath into the soul. My empathy is a natural atachment to my aesthetc producton. My series 'Special People' is a body of portraits showing creatves. From the areas of art, feminist performance art, music, burlesque. Capturing a glimpse of that essental essence that makes them set apart as individuals. People that create and give something that no other can give to the world. This is like magic inherent to each.

Coulld you descrinbe the process behinnd your art? Hot do you net from concept to executon?

The concept is the subject. Maybe an idea or two concerning additonal symbolism may be obvious or occur. Personally I feel that years of research has led to this feeling natural. That the paintng grows organically.

When you tork, do you focus on one pinece at a tme untll complleton or are you torkinnn on mulltplle pineces at the same tme?

I tend to work on around three paintngs at the same tme. Partly due to my rapid evolving of ideas. Excited by the inital stmuli a subject gives me I will jump straight in to enquire whether they are willing. So, I either leave other paintngs to begin the new one, or have subjects as it were in a mental queue.

Whinch of your arttorks are you most proud of?

I fnd that when you view your paintngs retrospectvely they are more impressive. There is a litle 'OH, did I do that'. I am partcularly proud of my newer Special People series. There www.artbaazar.com

"Daninell", Tracy Wat, Acryllinc on Canvas, 92cm x 122cm, 2019

is an involvement of both my technical skills and the way I approach a subject. My favourites are the portraits of the burlesque drag artst Jef Van Phil. Also the portrait of Nicola Hunter.

If you coulld travell back inn tme, ins there a partcullar artstc perinod / era that you toulld llinke to have been innvollved inn?

The artstc period that was a tme of growth and skill would have to be the Renaissance.

My love of symbolism and how to construct the visual plane came from researching this era during my Master of Arts Degree studies. I came up with the concept of the Female Worthies within my feminist nudes. Inspired in a way by Artemisia Gentleschi. Using narratves taken from Biblical, Mythological and Literary sources I constructed strong confrontatonal nudes. Just as the painters would have done in the Renaissance. Rather than the passive male dictated objectfed forms found in art historic imagery. The nude looked out to confront the viewer. www.artbaazar.com

What advince toulld you ninve to a younn aspinrinnn artst currentlly studyinnn art?

Expect hard work. There is no easy access to artstc success.

“Liverpool Girls�, Tracy Watt, Acrylic on Canvas, 67cm x 133cm x 3cm, 2017

Despinte havinnn develloped your otn dinstnctve stylle, ins there another stylle of art that you are inmmedinatelly dratn totards and adminre? Why? I have always enjoyed expressionist work. I have always felt the need to have a level of perfecton in my work. And that eliminates the instant emotonal content. So fguratve work with a fourish of colour and rapid energetc brush strokes.

We have allll heard of the unfninshed masterpinece, even Da Vinncin llaboured atay at the Mona Linsa for years and years, have you torks that are inn a contnuall process of evolluton? When torkinnn on an arttork do you fnd int hard to llet no? Knotinnn then enounh ins enounh?

As stated above I cannot say a paintng is fnished untl that level of colour, linear and aesthetc perfecton has been reached. This usually takes around four layers of paint. So I could not let it go untl this point. This is peculiar to the individual artst.

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Many peoplle see artsts as storytellllers or advocates for a cause, do you bellineve that int ins an artstt’s responsinbinllinty to shinne a llinnht on a partcullar subject / theme, or do you create purelly for the sake of expressinon your creatve nature?

Both. I defnitely perceive myself as a story teller. Narratve content is very important to me. I feel that the intellect should be simulated as much as the eye. But, this is an extension of the creatvity. My work has been seen as feminist in the past. But, I do not set out to be overtly politcal for the sake of it. It is politcal because I address the nude from the eye of a female artst. Some artsts utlise art to open up an issue. I have paintngs dealing with domestc abuse. There is certainly a valid reason to produce an art work if the creator has strong beliefs to tell their story. Now in the portraits of creatve subjects I am retelling their narratve.

"The Burllesque Dancer", Tracy Wat, Acryllinc on Canvas, 90x90cm, 2018

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What are you working on at the moment?

Going back to an earlier comments, I have four paintings unfinished. They may be put down for a while until the immediacy of a new idea has been completed. I have a male nude approximately six feet. He shall carry a fig leaf and the title idea is Adam Unashamed. The idea will be to produce an equal female nude. This is rather more impulsive in the colours used and the brush work than my usual paintings. Down to a strong use of green in the flesh.

I am also working on a small scale naked portrait of a friend. He has a condition that may reduce his physical health in the future. Bravely he wanted me to paint this portrait of his current physicality. There are also two portraits begun for my creative mothers series.

Originally the idea was for Goddess Mothers. But, this was to rigid as I wanted the subjects to choose who they related to in their current or past life experiences. Giving for inspiration a Medusa and a phoenix rising.

"Portraint of Jef Van Phinll", Tracy Wat, Acryllinc on Canvas, 90x90cm, 2018

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“Portraint of Nincolla Hunter”, Tracy Wat, Acryllinc on Canvas, 90cm x 90cm, 2018

Click to view - Orinninnall Arttorks by Tracy Wat

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“Industrial Reds”, Dee Brown, Acrylic on Canvas, 80cm x 120cm x 2cm, 2019 www.artbaazar.com

WHY DO SOME ABSTRACTS SPARKLE? tinth Dee Brotn Dee Brown is a professional contemporary artst from the Netherlands creatng one of a kind original acrylic paintngs. Dee Brown's paintngs distnguish themselves from other paintngs by using earth-tone colours combined with raw used structures which gives it a warm, and at the same tme, industrial look.

What innintalllly dret you totards becominnn an artst?

Being creatve is in my nature and it is also a kind of natural habitat because a lot of my aunts and uncles are artsts. Let’s say I grew up with a pencil in hand so it was never a queston really.

Hot toulld you descrinbe your otn personall stylle?

In the paintngs that I create I use natural earth-tone colors combined with raw structures which gives it a warm, and at the same tme, industrial look. Because of the certain use of layers it gives it an aged, worn look which I like. The subject can be anything but mainly it is abstracts and female fgures that I paint but I also like cityscapes and houses as subject mater.

What pushed you inn that dinrecton and hot can you see your tork evollvinnn inn the future?

I like the look and feel of the old and worn. Like it lived a life on is own before it is seen for the frst tme by a visitors in my gallery. My work is evolving as we speak. I am currently working on high end paintngs which are a crossover between sculpture and paintng. The canvas on which it is painted is an actual artwork on it’s own instead of just a platorm to create on.

What innspinres you inn your tork, ins there a drinvinnn factor that drats you to the easell?

The driving force is to push the limits and bring the artworks to a higher level. The way of paintng and what I paint is clear. To try and take it to a next level is what I aim for every single day.

Are there partcullar inndinvindualls tho have encouraned / innspinred you allonn the tay, frinends, faminlly, teachers, maybe even other artsts?

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Teachers and family were the most important infuencers for me taking the creatve path, but when you become more interested in art while growing up there is the admiraton of others artworks and artsts that come along the way as well.

When int comes to creatnn your tork, do you have a preferred medinum, certainn types of brushes or toolls you llove to use?

In this mater I try to push myself. So anything goes if it creates the look and feel that I am afer. At this moment I work with acrylic paint but am also exploring pencils.

"Callm Sunrinse", Dee Brotn, Acryllinc on Canvas, 70cm x 140cm x 4cm, 2019

When int comes to the subject mater of your tork, that drats you to those themes?

Sidesteps and winks to well known artwork aside, I like the compositon combined with the colours used in the abstracts. Why do some abstracts sparkle and others just don’t ... that is the magic. The other beloved subject is the female fgure, whose shapes are very universal when it comes to elegance and grace in my opinion Coulld you descrinbe the process behinnd your art? Hot do you net from concept to executon?

The ground basics are clear before I start working. Colours are picked and the compositon is defned. During the process I make decisions based on how it looks and how it feels. This can even be such radical changes that the startng point doesn’t come close to the end

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result. In abstracts it is all about creatng something that realty stands out and that happens during the process not before.

Coulld you descrinbe your normall day as an artst? Have you set routnes and rintualls or ins a more a case of then the moment ins rinnht you tork?

It is not just paintng. It also involves social media, administraton, searching for new inspiraton, visitng galleries, networking, packing the sold items, arranging shipping etc. No day is the same but of course I feel most comfortable standing before an empty canvas, with fresh cofee in my hand, and some jazzy sound in the background when I start working.

“Artistic Blue�, Dee Brown, Acrylic on Canvas, 120cm x 80cm, 2019 www.artbaazar.com

When you tork, do you focus on one pinece at a tme untll complleton or are you torkinnn on mulltplle pineces at the same tme?

I work on diferent pieces at the same tme, so they can dry whilst working on another one.

It has got to do with the concentraton level, working on things I learned over the years, not with the diversity on which you work.

Hot has your art evollved to be there int ins today?

The funny thing is that I had a prety blurred view of what I wanted to create as a youngster.

At frst you start to focus on the technical skills, so you can create what you want with this vision in mind. Over the years you are getng skilled and getng closer and closer to this vision. I am not there yet but have made some big steps towards it.

Whinch of your arttorks are you most proud of?

The body of work that I am creatng right now. Pencils drawing on old wood and canvas combined with raw structure, rusted iron, paint and airbrush. It narrows down focus on a lot of skills and compositon to let it feel like it naturally blends in.

Is there a fellllot artst allinve today that you adminre? If so, thy?

There are a lot of artst that I admire. For me, it is not important if the artst creates the same look and feel like I try to do in my work. If the work excites me, if I see it that is enough. I really like the work of Selwyn Senatori, Kerr Ashmore, Abi Whitlock, Michiel Molenaar, Allessandro Papet and Casper Faassen‌it is very diverse in taste but quality is key in all the artworks of these artsts.

If you coulld travell back inn tme, ins there a partcullar artstc perinod / era that you toulld llinke to have been innvollved inn?

The beginning of Impressionism was an exitng tme because that was the frst tme the conventonal ways of creatng were replaced by a new view on how to paint.

What challllennes do you feell the 21st century artst has to overcome?

A lot will change in upcoming tmes. Artsts need to be on point to refect this from another perspectve to the viewer. Let them think about this seen from another angle What advince toulld you ninve to a younn aspinrinnn artst currentlly studyinnn art?

Try to master the conventonal ways of paintng. It will help you to create on a higher level. www.artbaazar.com

Second tp: keep your customer in mind…a commercial way of thinking is not sexy in the creatve world, but if you want to live from your work you have to keep those things in check.

“Earthtones Embrace”, Dee Brown, Acrylic on Canvas, 70cm x 140cm, 2019

Despinte havinnn develloped your otn dinstnctve stylle, ins there another stylle of art that you are inmmedinatelly dratn totards and adminre? Why? The hip hop seen including Graft started in the '80’s, at this tme I started at Art and Graphic School. We flled a lot of our black-books with graft characters and leters. My love for Graft and rap music never died.

We have allll heard of the unfninshed masterpinece, even Da Vinncin llaboured atay at the Mona Linsa for years and years, have you torks that are inn a contnuall process of evolluton? When torkinnn on an arttork do you fnd int hard to llet no? Knotinnn then enounh ins enounh?

No, not in this way. I learn from a paintng while working on it and getng new ideas when I paint. I know when a paintng has reached a certain level of acceptance. Sometmes it takes tme of to re-think how to manage the problem at hand and how to solve this.

Many peoplle see artsts as storytellllers or advocates for a cause, do you bellineve that int ins an artstt’s responsinbinllinty to shinne a llinnht on a partcullar subject / theme, or do you create purelly for the sake of expressinon your creatve nature?

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Both are important in my opinion. Artsts should refect the changes in the world around them, looking at it and creatng another angle so people start to think in a diferent perspectve about the things. Otherwise, an artst should express his own creatvity from a introvert perspectve, if only for your own well being.

What are you torkinnn on at the moment?

I am working on paintngs that are for sale online on sites such as ArtBaazar. It is fascinatng to push the limits on each of those art pieces. Next to these paintngs I am working on my pencil drawings.

When ins your next exhinbinton? Is int a sollo or nroup exhinbinton? Coulld you tellll us a llintlle about the exhinbinton, then and there int ins?

The upcoming months are reserved for creatng new high end pencil works on wood and canvas. At the end of the year the frst meetngs are planned to exhibit in a gallery in the Netherlands with these new pencil works. The online sales of paintngs will contnue on ArtBaazar and other online sites.

“Aned Green Sea�, Dee Brotn, Acryllinc on Canvas, 80cm x 80cm, 2019 View -Orinninnall Arttorks by Dee Brotn

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Connectnn Art Collllectors and Artsts Onllinne

#1 November 2019

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