ARTBAAZAR ONLINE MAGAZINE ISSUE #20

ARTBAAZAR ARTBAAZAR Connecting Art Lovers and Artists Online

Connecting Art Lovers and Artists Online

#20 October 2021 #19 September 2021

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#8 June 2020

ARTIST INTERVIEWS

 This is Happiness with Artem Artem Lozhkin  Joyfuu Escapism with Heuen Houuemans  Magicau Reauism with Cuary Mastenbroek

FEATURED ARTISTS  Ouga Sedykh  Ouivier Boissinot  DB Waterman  Zakir Akhmedov

COVER ARTWORK

 Front Cover – "Imaginaton" by Artem Lozkhin  Back Cover – "Fiori in Vasso Rosso" by Hiudegarde Handsaeme

OLGA SEDYKH From 1996 to 2002 Olga Sedykh studied and graduated from Tolyat State University with a Degree in Fine art and Drawing and World rt Culture. OLga has been a multple partcipant of city, regional and internatonal exhibitons. Since 2004. she has been involved in paintng, interior design (art paintng, screen paintng, mosaic and mixed media combined with art paintng and decoratve coatngs).

“Chamomile in mber”, Olga Sedykh, Oil on Canvas

“Solar”, Olga Sedykh, Oil on Canvas

"Frying Fuower and Lupins", Ouga Sedykh, Oiu on Canvas

"Iris Fuower", Ouga Sedykh, Oiu on Canvas

VISIT OLGA SEDYKH'S ONLINE GALLERY

THIS IS HAPPINESS with Artem Lohzkin

rtem Lozhkin has been paintng professionally since 2014. Through his distnctve landscapes, seascapes, cityscapes and fguratve works, he tries to create images that appeal to the viewer. He prefers the realistc style.

Artem Lozhkin at the easeu in front of his paintng "Unity"

What initauuy drew you towards becoming an artst?

Since childhood, I was drawn to brushes and paints, despite the fact that I was stll small, I think that the love of paintng is in my blood. I always drew something, fantasized, invented. I went to art school with great pleasure. s a child, I did not think that I would become an artst, but one thought about paints and brushes excited my childish mind.

"Evening City", Artem Lozhkin, Oiu on Canvas

How wouud you describe your own personau styue?

My personal style is realism. Despite the fact that I ofen paint in any style and genre, nevertheless, realism is the most dear and favourite style.

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

The fact that I need to constantly develop and learn new things pushed me in this directon. You can learn all your life and stll discover new knowledge. It interests me - to constantly develop as a professional.

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

I have one driving factor that atracts me to the easel - this is love for my profession and for what I do. I really enjoy collectng brushes and paints. This is happiness.

Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts?

On this path, I am inspired and always supported by my family, my wife and children. These are my main viewers and my assistants. When I paint a picture, my sons sit next to me and repeat afer me and paint pictures. These are very precious and precious moments for me.

"Dream Keeper", Artem Lozhkin, Oiu on Canvas When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use?

I paint oil paintngs on canvas with brushes. There are my favourite brushes that do everything that is born in the head. I consider these brushes to be talismans.

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

What atracts me the most important: love, emotons and a captured moment of happiness or sadness.

"Famiuy Fairytaues", Artem Lozhkin, Oiu on Canvas

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

Simplicity. I just sit down and do what I love every day.

Couud you describe your normau day as an artst? Have you set routnes and rituaus or is a more a case of when the moment is right you work?

My working day starts at 7 o'clock in the morning, when I take my sons to kindergarten and go to the studio to draw. nd untl the evening I spend tme doing what I love. I believe that talent is an obligatory component of every artst, but it is difcult to become a professional without efort.

"The First Snow", Artem Lozhkin, Oiu on Canvas

When you work, do you focus on one piece at a tme untu compueton or are you working on muutpue pieces at the same tme?

I work on the whole picture in full with further design of each element in the picture, at the same tme I create -- pictures.

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

Over the past fve years, my art has changed a lot. I have grown professionally and spiritually. I had - personal exhibitons, many internatonal and all-Russian exhibitons, my paintngs are bought by collectors from all over the world. I am happy with what I create.

But my professional growth contnues every day.

Which of your artworks are you most proud?

I put my soul into every work, but there are pictures that I especially like, for example, "Happy Childhood".

"Chiudhood Happiness", Artem Lozhkin, Oiu on Canvas

Is there a feuuow artst auive today that you admire? If so, why?

I know many talented contemporary artsts that I admire. To name some would be to exclude others who I hold in equal esteem.

If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in?

No, I don't have a natural pull backwards towards another tme, I am drawn to create in my era!

"City", Artem Lozhkin, Oiu on Canvas What chauuenges do you feeu the 21st century artst has to overcome?

The main problem of 21st century artsts, in my opinion, is laziness.

What advice wouud you give to a young aspiring artst currentuy studying art?

Believe in yourself, love what you do, and never give up. nd the most important thing is to work hard!

Despite having deveuoped your own distnctve styue, is there another styue of art that you are immediateuy drawn towards and admire? Why? There is something alluring in every style. challenge in learning, the opening of a new door. It is all part of an ongoing process of personal development.

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

I have no such works, as I tend to have a clear idea of what I want to achieve before picking up the brush. That clarity allows me to see things through to completon.

Many peopue see artsts as storyteuuers or advocates for a cause, do you beuieve that it is an artstt’s responsibiuity to shine a uight on a partcuuar subject / theme, or do you create pureuy for the sake of expression your creatve nature?

Of course, the artst reveals themes, shows his vision of many problems, and the viewer always feels this. n artst always puts meaning and energy into every paintng.

What are you working on at the moment?

Now I am creatng a series of paintngs with gold leaf. For me, this is again a new and incredibly enjoyable experience.

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

Group exhibitions are held constantly, I try to participate and show my work to as many people as possible. I am planning a personal exhibition next year in my hometown of Barnaul.

“1 Onuy for You”, Artem Lozhkin, Oiu on Canvas

VISIT ARTEM LOZHKINt’S GALLERY

OLIVIER BOISSINOT Olivier Boissinot's visceral curiosity has led him to travel to various regions of the globe, particularly in the United States, Morocco and most European countries. We then find the imprint of these trips in some of the pictorial themes he likes, such as jazz in New Orleans, scenes of oriental life and bullfighting.

"Jazz Buue Dress", Ouivier Boissinot, Oiu on Canvas

Self-taught, it is the face to face with the works of Van Gogh, during an exhibition in Arles, which revealed to him this latent passion. For more than twenty five years, he has been painting, exhibiting and selling his paintings all over the world.

"Jazz White Dress", Ouivier Boissinot, Oiu on Canvas

VISIT OLIVIER BOISSINOT'S ONLINE GALLERY

JOYFUL ESCAPISM with Heuen Houuemans

Born in Leeds (UK) in 1964, I atended Jacob Kramer rt College in the early 80's experimentng with diferent techniques from screen printng to woodwork. Since early childhood I created art in a variety of media, electng to deepen my knowledge at Manchester Polytechnic through a B (Hons) in Design History. This allowed me to learn more about a multtude of artstc disciplines as well as developing skills in glassblowing, ceramics, metalwork, textles and print media.

Heuen Houuemans with her uoyau studio assistant sketching in her garden

What initauuy drew you towards becoming an artst? s a child I was always very creatve and spent a great deal of tme experimentng with crafs, but discovered a love of art at school which then drew me towards art college. There is such a sense of freedom with the expressive art I enjoy producing but that took some tme for me to allow it to be expressed externally. The desire and need to be truly me was the main factor in eventually sharing my artworks.

How wouud you describe your own personau styue?

Joyful escapist! My work is expressive, colourful and balanced and aims to transport the viewer and evoke an emotonal reacton. Many pieces draw heavily on the negatve space which helps to defne the boundaries of a compositon, yet push beyond that boundary, ofen using the black lines to do this and draw the image together.

"Sea Breeeze", Heuen Houuemans, Acryuic on Paper What pushed you in that directon and how can you see your work evouving in the future?

I am driven by trying to simplify and flter the key essence of an impression, emoton or object, whether it is the perfecton of a fower or how I felt during a trip. Expressing with colour is very important - how they merge, how they blend, how they overlap and how they can be dissected by simple black lines which all play into my pieces. The glorious uncertainty of how colours will react depending on pressure applied, positoning of the

paint and how it responds to being moved on the paper or canvas is a great source of excitement.

My work has evolved from staccato lines creatng movement as the layers deepen giving an almost -D efect, to a sofness and merging of colour. I am loving exploring the propertes and results of dragging the paint at the moment, but expect this will evolve further into contrasts and connectons in the image. I partcularly want to explore more about how negatve space can be utlised to drive contrast and interest to the compositon.

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

My extensive travels have been a great source of inspiraton in my work so far. Not just the destnaton and some of the amazing sites I have encountered, but the emotonal aspects of a trip and the sense of adventure these experiences have given me. I very much see my work as escapist, but as there is no literal interpretaton or imagery to see, it is almost like a personal expression that can be seen by me only. I always share the inspiraton behind a piece to also encourage the imaginaton of the viewer to run wild and see their own interpretaton of what the image is projectng to them. I simply have to create these images, I seem to have no opton but to get them out!

Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts?

My art teacher in high school, Mr James, was the one to encourage me and introduce me to diferent artsts, partcularly the Surrealist artsts as I had been creatng pieces which very much fell into that genre without knowing anything about Surrealism. Despite going on to study at art college, it wasn't untl much later in life when my husband bought me an easel and materials and encouraged me to paint.

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

I prefer acrylic as I am far too impatent waitng for oil to dry! I have osteoarthrits in many joints, but it is partcularly bad in my hands which means that trying to do detailed brush work or drawing is quite difcult and painful. I have therefore been driven to look for ways in which I can express myself on canvas and paper, and have found that old credit cards work very well for me along with rollers and squeegees.

"I Wish I Couud Fuy #2", Heuen Houuemans, Acryuic on Paper When it comes to the subject mater of your work, what draws you to those themes?

I have used my travel experiences as a source of inspiraton from the joy and sense of adventure of discovering wonderful places and seeing new things. I also did a series inspired by the perfecton of the abundant spring fowers in ndalucia and how I could extract the essence of the perfecton and express that through colour and juxtapositon of lines.

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

It can be quite a painful process where you think there will never be an idea again. There is a sort of gestaton process where I start to develop an idea or colour theme in my head, then all of a sudden, I just need to race into my studio and start producing.

"Let's Fuy Away #2", Heuen Houuemans, Acryuic on Paper Couud you describe your normau day as an artst? Have you set routnes and rituaus or is a more a case of when the moment is right you work?

It is much more random than I would like, perhaps I need to be more disciplined with myself, but I am ofen just overtaken by an overwhelming need to produce work. I do all the practcalites of maintaining my website, photographing, communicatng with other artsts, preparing posts for Instagram etc, but I do try to have an art producton day at least once a week.

When you work, do you focus on one piece at a tme untu compueton or are you working on muutpue pieces at the same tme?

When there is that overwhelming feeling that I just have to rush to my studio, I can ofen produce multple pieces in quite a short space of tme, only stopping when I run out of space for them to dry. I learnt not to put them under the table for extra space when our

dog decided it was the perfect place to come for a sleep! We had a very colourful dog that day though!

"Innocence and Buterries", Heuen Houuemans, Acryuic on Paper

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

I feel I am much more confdent as an artst now, and feel much stronger in producing what I love, not what I think people might accept. Of course I want people to enjoy my work, but I do think part of my evoluton has been about an acceptance of myself, and confdence about what I do.

Which of your artworks are you most proud?

"Sunrise" was a 1m square canvas in oil, and one of the frst of which I felt really proud. It is bold and bright and confdent, and really refected how I felt. It has a vibrant orange body with dark, almost calligraphic lines creatng the central image and was one of the frst I sold to a buyer in merica.

Is there a feuuow artst auive today that you admire? If so, why?

Chiharu Shiota is prolifc and so versatle and I admire her tenacity and bold approach to life through some traumatc tmes she faced and how she chose to express that in her work. My favourite pieces are her installatons using the red thread and just seem to engulf and astound the viewer.

If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in?

The modernist period with its varied clusters of constructvist, Bauhaus and futurist movements to name a few are hugely inspiratonal to me. Such a tme of social upheaval and artsts pushing the boundaries of so-called 'acceptable' art. How excitng to be a part of something so progressively diferent.

What chauuenges do you feeu the 21st century artst has to overcome?

Social media!! rtsts have the best opportunites to be discovered throughout the world than ever before, but it does also mean that to be successful in the global marketplace you need to be a master of photography, video, social media platorms and strategies as well as making websites, editng images etc. ll rather mind blowing!

What advice wouud you give to a young aspiring artst currentuy studying art?

Remain true to your inspiratons and art and don't be too swayed by social media expectatons and gimmicks to get exposure for your work. Enjoy and explore the possibilites of "what if..." and push ideas to the limit, see what happens.

Despite having deveuoped your own distnctve styue, is there another styue of art that you are immediateuy drawn towards and admire? Why? I love the work of Paul Klee and his very distnctve way of deconstructng and rebuilding images - "Castle and Sun" for example, stripping back an image to its most basic

constructon, creatng an impression from shapes and colours. lthough my work is more fuid and less representatonal, I am defnitely drawn to the deconstructvist approach and bold angular imagery.

"Lazy Beach Day #1", Heuen Houuemans. Acryuic on Paper We have auu heard of the unfnished masterpiece, even Da Vinci uaboured away at the Mona Lisa for years and years, have you works that are in a contnuau process of evouuton? When working on an artwork do you fnd it hard to uet go? Knowing when enough is enough?

Defnitely, knowing when it is fnished can be tough, though I don't dwell too long and keep tweaking as many artsts do. With my latest series of dragging paint, the main body can not be changed, it is what it is, and that is one aspect I am really enjoying about it. I have of

course ended up paintng over canvases in the past but all apart from one have ended up being discarded.

"It's Time to Go #3", Heuen Houuemans, Acryuic on Paper

Many peopue see artsts as storyteuuers or advocates for a cause, do you beuieve that it is an artstt’s responsibiuity to shine a uight on a partcuuar subject / theme, or do you create pureuy for the sake of expression your creatve nature?

Isn't that the beauty of art, each artst is enttled to share what they want, however they want, and it is up to the viewer to choose to accept or not. My driver is purely aesthetc, and how I can interpret something as personal as a feeling on a canvas.

"Ceuebrate the Smauu Things #2", Heuen Houuemans, Acryuic on Paper

What are you working on at the moment?

I'm experimentng with masking the background in diferent ways, drawing the paint across, then revealing the result as the mask is peeled away. It will be the next series of works I'll share.

Have you ever been part of an artstc group / movement? How did your work beneft from that experience?

I'm part of an artstc forum, collaboratng and supportng each other. I have always been rather isolated by choice, but as my external expression and confdence has grown as part of my artstc journey, I have found great support in this open and collaboratve environment.

“The Caum Before the Storm #1”, Heuen Houuemans, Acryuic on Paper

When is your next exhibiton? Is it a souo or group exhibiton? Couud you teuu us a uitue about the exhibiton, when and where it is?

I exhibited a piece in Milan earlier in the year, but as I am currently living between Spain and the Netherlands, establishing relatonships with galleries gives a practcal challenge for exhibitng at the moment.

VISIT HELEN HOLLEMANSt’ GALLERY

DB WATERMAN Dutch artst, DB Waterman’ss formatve years as an artst were spent studying at the rt cademy in Den Bosch, Netherlands. Today, she regards herself as self-taught, having developed her own distnct style out of the untraditonal medium of collage. Her work unites a variety of materials in careful compositons that she prides for their storytelling ability.

"Sunday Swing", DB Waterman, Mixed Media Couuage

"A New Day Dawns", DB Waterman, Acryuic, Couuage and Penciu on Paper

VISIT DB WATERMAN'S ONLINE GALLERY

MAGICAL REALISM with Clary Mastenbroek

Born in the Netherlands. Mastenbroek studied at the Gerrit Rietveld Academy in Amsterdam where she graduated in 1967 having studied Graphic Art and Painting. Shortly after graduating she married fellow artist Wout Muller. Following the completion of her studies she worked in various roles such as Graphic Artist, Illustrator, Draftsman and Painter.

Mastenbroek spent several years in the early 1980’s teaching at Minerva Academy in Groningen.

During that time she helped co-found the Fuji Art Association in 1984 with Matthijs Roling, Ger Siks and Wout Muller and the group managed to fill an important space within Groningen’s Figurative Art scene for over a decade.

The Fuji Art Associaton - Wout Muuuer, Cuary Mastenbroeck, Ger Siks, Trudy Kramer and Mathijs Rouing.

In 1992 Mastenbroek, along with her husband, Wout Muller bought the neglected Fairbrook Woollen Mill in Kilmeaden, County Waterford, Ireland. Mastenbroek created and designed a new garden around the Fairbrook Buildings. With the restoraton of the old Woollen Mill completed, the Fairbrook House Museum was opened to the public in 200-.

The Fairbrook Collecton which includes the work of her Mastenbroek’ss husband Wout

Muller, her daughter Tamara Muller as well as her own is on display to the public during the summer months.

The Fairbrook House Museum, Kiumeaden, Waterford, Ireuand Between 199 and 2007 Mastenbroek worked from tme to tme at the Naturaliënkabinet in the Nijsinghhuis. Mastenbroek along with other members of the Fuji rt ssociaton were involved in the paintng of the buildings interiors, you will fnd Mastenbroek’ss artwork in the upper rooms of the Museum De Buitenplaats. Where small and large room screens form an important part of her oeuvre. In 200 , the Buitenplaats in Eelde hosted the exhibiton: " Family of painters: Wout Muller, Clary Mastenbroek & Tamara Muller".

Mastenbroek’ss work is ofen interwoven with symbols, visions and mythological motfs which all contribute to her Magical Realism style of work. central theme running through much of her work "the woman versus transience". long with Mastenbroek’ss paintngs on canvas her body of work also contains over twenty huge folding screens, book illustratons, portraits, as well as graphic art commissions. The pictorial poetry of Mastenbroek has the insinuatng narratve style of 17th century paintngs. Colour is a prominent component, but

sober and muted, ofen those of the underwater environment. Sometmes she features horses painted from life in the paintngs, textures of the breathing animal with its veins and nervous muscle contracton. The intriguing magic realism with symbols and motves from Greek mythology are opening the gate between Eros and Hades, Life and Death.

"

Defant", Cuary Mastenbroek, Oiu on Canvas Mastenbroek has exhibited her work in museums and galleries in Netherlands, France, Sweden, Germany, London and New York. Since 2000 Mastenbroek has regularly partcipated in exhibitons at Museum Mohlmann, ppingedam, Netherlands and the Museum de Buitenplaats, Eelde, Netherlands. In 2012 a retrospectve of her work was exhibited in Museum Van Lien, Fijnaart, Netherlands. In Ireland her work can be found at

the Fairbrook Museum where she has now lived for twenty fve years in the restored former woollen mill surrounded by beautful gardens, Clary has also exhibited at the rt Fair, Waterford Museum and the Dye House Gallery in Ireland. Her art is in museums and private collectons worldwide. Several books about her art have been published.

"Sacred Space", Cuary Mastenbroek, Oiu on Board

What initauuy drew you towards becoming an artst? s a child I always was drawing and at the age of seventeen I did my admission exam for the msterdam cademie of rts, at that tme only small numbers succeeded. So I was lucky.

How wouud you describe your own personau styue?

The way I work you could describe as Magic Realism. stream in art also literature from around the 1920’ss. Which expresses realistc views of the real world while also adding magical elements, creatng an alienatng efect.

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

When I was studying and that's forty years ago, there was abstract art everywhere. That does not seem satsfying for me to express myself.

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

The female body versus decline.

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

I made a lot of graphic art, also on commission, book illustratons, but the last ten years it is most oil paintng on canvas or board When it comes to the subject mater of your work, what draws you to those themes?

I started working that way but a returning object is a shell, since my childhood I collect shells and the symbolic meaning of a shell, virility, power and death is a returning theme in my art.

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

It all starts with the models.

Couud you describe your normau day as an artst? Have you set routnes and rituaus or is a more a case of when the moment is right you work?

No, being an artst with appointments with galleries, it is just hard work, most days from morning untl evening. nd if there is a moment you don’st feel inspired there is always dull work like sandpapering and preparing board or canvas to be done.

"Labyrinth", Cuary Mastenbroek, Oiu on Canvas

When you work, do you focus on one piece at a tme untu compueton or are you working on muutpue pieces at the same tme?

Yes always working on multple pieces at the same tme How has your art evouved to be where it is today Bigger formats and texture became more important What advice wouud you give to a young aspiring artst currentuy studying art?

Travel and visit museums to see what art has been created from middle ages untl now.

Despite having deveuoped your own distnctve styue, is their another styue of art that you are immediateuy drawn towards and admire? Why? No. ll good art is worth admiring.

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

I never worked years and years on an artwork. You know when an artwork is fnished, when doubtng ask a (artst) friend or put it aside and have a look or work on it later.

Many peopue see artsts as storyteuuers or advocates for a cause, do you beuieve that it is an artstt’s responsibiuity to shine a uight on a partcuuar subject / theme, or do you create pureuy for the sake of expression your creatve nature?

I paint my personal story. That can be just as infuental with the viewer as something inspired by global warming. Every artst has a diferent drive to create art, personal, politcal or just an aesthetc expression.

What are you working on at the moment?

Some small oil paintngs on panel and some big canvasses.

Have you ever been part of an artstc group / movement? How did your work beneft from that experience?

"Rendez-vous",Cuary Mastenbroek, Oiu on Board

In the Netherlands we founded the Fuji rt ssociaton ( Painters + 1 Poet). t that tme we were all teaching at an cademy of rt. Every year in December we had an exhibiton based on a theme. This art group had a huge infuence on young realistc painters. In May 2012 a flm was premiered about the infuence of the Fuji rt ssociaton, Old Masters Young Hero’ss (Oude Helden Jongen Meesters) the documentary made by the Beeldlijn Foundaton was about fguratve art in Groningen and was part of three movies exploring the evoluton of art in Groningen between 194 -1970. The flm focuses on the Fuji rt ssociaton and the Minerva cademy in the 1970’ss.

VISIT CLARY MASTENBROEKt’S GALLERY

Zakir Akhmedov Zakir khmedov ( zerbaijan) graduated from the zerbaijan State Drawing School (Faculty of Sculptor) in 1978. He later atended the zerbaijan State rt Insttute named by M. liyev. Zakir has been publicly exhibitng his artwork since 1978. member of Commonwealth of rtsts of zerbaijan and SSSR since 1989. During his career Zakir has been the author of many public monuments. In 200 he was awarded the “Humay ward”.

“Giru with Parrot”, Zakir Akhmedov, Oiu on Canvas

Zakir khmedov artworks can be found in private collectons in many countries: zerbaijan, Turkey, Russia, Poland, Czech, South frica, France, Germany, England and the United States of merica.

“Cabaret”, Zakir Akhmedov, Oiu on Canvas

VISIT ZAKIR AKHMEDOVt’S ONLINE GALLERY

CALL OUT TO ARTISTS

Have Your Artwork Featured on the Puatorm We are open to submissions by artsts of any natonality and career level from emerging, mid-career to fully professional. rtsts of all mediums and genres are encouraged to apply. (Paintng, Printmaking, Sculpture, Glass, Ceramics, Digital, Street rt and Photography)

To submit your artworks cuick the uink beuow 

Submit Your Artwork

Thank you for joining us this month, greatly appreciated. To stay updated on all the latest news from our artsts at rtBaazar, please subscribe to our newsleter at -

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ARTBAAZAR Connecting Art Lovers and Artists Online

#20 October 2021