ARTBAAZAR ONLINE MAGAZINE ISSUE #12 OCTOBER 2020 by artbaazar

ARTBAAZAR Connecting Art Lovers and Artists Online

#12 October 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 galleries. 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

ARTIST INTERVIEWS  ‘A Modernity Ofen Devoid of Meaning’ - with oose Higuera  ‘Concept is My God’ with Panos Antonopoulos  ‘Never Visible to the Naked Eye’ with Ella Prakesh  ‘Moving Towards the Unknown’ with Mark Fleming FEATURED ARTWORKS 

Ta Thimkaeo



Thierry Faure



Thu Nguyen



Theophile Delaine



Rémi oouandet



Leykun Girma



Maga Fabler



Metn Yasarturk



George Darash



Phyllis Mahon



Bogdan Yermakov

 Hildegarde Handsaeme 

Hirotaka Suzuki



oayma Forman

Cover Artwork  

Front Cover - “Fresh Breeze” by Iryna Kastsova Back Cover - “Morning Thunder” by Denise Dundon

TA THIMKAEO

"My style is Figuratve with a touch of Surrealism and Expressionism thrown in for good measure. aut my real passion is in colour and how the arrangement of colour can produce a diferent emotonal experience of artâ&#x20AC;? - Ta Thimkaeo

THIERRY FAURE

Thierry Faure paints in oils with palette knives. These techniques allow a total freedom as well as a sincere spontaneity and leads to permanent questoning. His themes are : Horsess musics abstract paintng. Thierry uses a wide variety on his palette : ocress hots colds and breaks.

Thu Nguyen

â&#x20AC;&#x153;This body of work inspired by my trips back to Vietnam. I fell in love with this partcular locaton because of its beautful rice terraces and the Hmong people. Sapa is located in a very mountainous region of North Vietnam which gives it breath taking scenery and a harsh climates it sometmes snows there.â&#x20AC;? - Thu Nguyen

Theophile Delaine

After years of artstc studies in Pariss Theophile Delaine lived in various places of the world like Cretes Limousins aenins or Madagascar. Since 2015s he has been living in Reunion Island where the very varied mountain and ocean landscapes are a great source of inspiraton for his lyrical abstract paintng.

A MODERNITY OFTEN DEVOID OF MEANING with oose Higuera

"Summer", oose Higuera, Oil on Canvas, 116cm x 81cm, 2014

Jose Higuera is a Spanish realist painters who was born in 1966. From an early age he showed a defned interest in drawing and paintngs being this a tendency notced by his school teachers. Encouraged by his teachers and his familys Jose was provided of the needed material to pursue his artstc talent resultng in the fact that at the age of ten years he had already produced his frst oil paintng. His grandmother decides to put him under the tuiton of local artsts to initate him in the knowledge of some techniques of this art and start him paintng mainly landscapes; although it should be noted that JosĂŠ is basically a self-taught artst with the inevitable infuences of the creatve movements that he develops with his own style being realism the basis of all his work.

Spanish artst, oose Higuera at work on his paintng "Summer"

What initally drew you towards becoming an artst? I suppose that in my cases it was a process from a very young ages paintng and drawing was something natural for me every day that I could. I do not remember a specifc moment in which I decided to turn this into a professions it was always my hobby and stll is.

How would you describe your own personal style? I am deeply attracted to reality. The struggle that one has to capture a moment of reality on a canvas. Its atmospheres its light. As for the styles I try to be looses not licked in the brushstrokes there is a point of focuss while the rest can be secondarys so look at our eyes. What pushed you in that directon and how can you see your work evolving in the future? It is very likely that the most current and fguratve Spanish paintng has much to dos it seems to me the most interestng thing that is done todays Antonio Lรณpea's vision is the maximum expression of Vanguard.

"Rest",oose Higuera, Oil on Canvas, 81cm x 116cm, 2015

What inspires you in your work, is there a driving factor that draws you to the easel? It is often an ideas a message to be transmitted. That brings me to the studios the easel is more complicateds I have to process the inital idea untl I have it very clears only then do I start drawing. Are there partcular individuals who have encouraged / inspired you along the way, friends, family, teachers, maybe even other artsts?

At frsts as a childs my family is clear. My mother always gave me paintngs and pencils. aut it was my grandmother who most encouraged me to make this my profession. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to use? My methods are very traditonal. I have a good bunch of brushess and used almost exclusively the primary colourss of these fve or six I extract the rest. I always paint on canvass giving a preparaton to it and in diferent sessions after drying between them.

"Siesta al Sol", oose Higuera, Oil on Canvas, 81cm x 116cm, 2014

When it comes to the subject mater of your work, what draws you to those themes? Wells they are simply ideas and feelings that one wants to convey. I do not limit myself to deciding on something just based on its aesthetcss I always pretend that it has a messages reality is in my opinion the best language to transmit and communicate Could you describe the process behind your art? How do you get from concept to executon?

The form is very simples frst the ideas what one wants to conveys then there is a process of maturaton of its untl it is defned within. This process can be even longer and more tedious for me than the fact of paintng the work. Once the decision is mades I choose a format on canvass and start with the drawings then the stains and a successive work based on sessionss only tme tells me if I have succeeded in the process and if the work deserves to be fnished. Could you describe your normal day as an artst? Have you set routnes and rituals or is a more a case of when the moment is right you work? My day starts when I wake ups there is no schedule or routnes I deeply hate the routnes it fts you into a methodology and dwarfs your world. When it comes to works experience tells me that; To do something that is really worthwhiles it is necessary to paint when the tme is appropriate. It is true that in my beginnings I painted 10 hours every days this for many years. Having done this allowed me to have a mastery of the profession that I now appreciate. I think that without perfect mastery of the tools it is very complicated to be able to communicate through art. In these casess extensive rhetoric is necessary to explain a works and the work to speak for itself. 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? It depends a lot on the moment of my life and the commitments. aut I generally like to work on a single work untl it is at a tme that is quite close to what is being pursued. Then I can do another one simultaneouslys as long as it is at the same point in the processs very advanced. How has your art evolved to be where it is today? I guess the queston refers to the technique. The constant work over the years means that the acquired trade allows one to be able to carry out works whose complexity is increasings without any reducton in quality. The maturity that one is taking personally means that his evoluton as an artst also takes diferent directons. Which of your artworks are you most proud? This queston is very difcult to answer I suppose that for any artsts the works are diferent children and each one supposed diferent challenges at diferent moments of life.

No work satsfes me after a while. So I could answer that my favourite work is what I am working ons and will contnue to be a few days after being fnisheds untl I move on to the next one.

"Prisoner of her Own Wishes", oose Higuera, Oil on Canvas, 65cm x 81cm, 2017

Is there a fellow artst alive today that you admire? If so, why? I deeply admire the work of Antonio Lรณpeas his tenacity and his fght against tmes that way of realitys to capture things devoid of beauty and transform them into an instant of tme captured forevers loaded with nuancess atmospheres and a magnifcent talent. And the same can be said of Eduardo Naranjos with his honest and imaginatve paintngs and with enormous talent as well. I think these two artsts will go down in art history with capital letters and without any doubt. I also love the work of Lita Cabelluds her huge faces and those magnifcent cracked giantss their faces are capable of telling each other the story of her life as if it were a movie. Or Ricardo Sana with his cleanliness in the colourss his magnifcently arranged lightss and an enormous tenderness in his doing.

If you could travel back in tme, is there a partcular artstc period / era that you would like to have been involved in? The nineteenth-century Spanish paintng seems to me to be one of the most important art periodss all the knowledge acquired over centuries is added in a period to give rise to works of an incredible siae in terms of quality. I also believe that it is a period that has not been given the justce it deserves. What challenges do you feel the 21st century artst has to overcome The main challenge of the artst of the 21st century is undoubtedly to stop being pigeon holed in a modernity often devoid of meaning and qualitys I think that art is much more than thats but there are those who tried to tell us that this false modernity accompanied by Intentonally rhetorical was the future. I do not think sos art is well above economic businesses and interests of complicateds empty and superfcial mystcs whose sole purpose is confusion and provocaton as a paths and the most absurd explanatons as an accompaniment to their journey. What advice would you give to a young aspiring artst currently studying art? You cannot aspire to be an artsts it is or is not. If it iss and decides to choose this path as a professions if you understand that art above all is a trade. I would tell you frsts decide honestly towards yourself if you are an artsts if you have something to tell and talent to do its and then if your answer is yess fght for it untl the ends never seek recogniton of mystc charlatanss do it so that it flls the void that you have to have inside yous do it for yourselfs and then share it with the publics and alwayss alwayss choose the public as the only supporter of your art and your talents never let any guru " modern and contemporary "decide on you or your creaton. Despite having developed your own distnctve style, is there another style of art that you are immediately drawn towards and admire? Why? Of course. Every tme he contemplated a work done with talent I admire and envy hims there is no style that I likes I like them alls provided they are made with talents with qualitys with trade. Deeply repudiate the absence of talent in arts banality and superfciality with which some pretend to call themselves artstss when all their achievement is to do the stupid everywheres using provocaton and typecastng as all talents with the only search of numerical approval in social networkss and of those who need a successful writer every tme they have to explain a "work"

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? As important as knowing how and when to start a works is knowing when it is completely fnished. It is necessary to know how to stop on tme. It is not easys how it is not easy to know when is the appropriate tme to start it.

"Nostalgia", oose Higuera, Oil on Canvas, 100cm x 81cm, 2014

View - Original Artworks by oose Higuera

RĂŠmi oouandet

For several years nows RĂŠmi Jouandet has been approaching expressionist fguraton from a purely abstract felds and attempts to bring the alchemy of automatc writng by colour to the conscious mastery of drawing to each paintng. His series of portraitss which began about ten years agos includes some anonymous and many contemporary icons of cinemas pop cultures rock and jaaa.

Leykum Girma

â&#x20AC;&#x153;My main media concentration is painting. Most of the time I experimented with various techniques in my studio. I have built a small following of patrons from my work of art. My art work is very personal to me. Sometimes I am influenced as an artist by personal experiences, other times my work of art is a result of my limitless imagination and creativity.â&#x20AC;? - Leykun Girma

CONCEPT IS MY GOD with Panos Antonopoulos

"The Ego and His Own", Panos Antonopoulos, Limited Editon Print, 2013

aorn in 1981s Panos is an emerging artsts from Thessalonikis Greece. Originally being formed as an engineers having a civil engineering degree at the Aristotle University of Thessaloniki and a MSc. Environmental Protecton and Management from the University of Edinburghs his art fair and life itself have transformed him into a conceptual artst. Panos spent some tme of his life studying writers like Henry Millers Jack Londons Jack Kerouacs Allen Ginsbergs among otherss charmed by the decadence of their writngs.

"Wall Street Bull", Panos Antonopoulos, Limited Editon Print, 2016

What initally drew you towards becoming an artst? My parents were always into arts as my father had one of the most contemporary galleries in Greece when I was a kid. As suchs visitng art museums was a quite often phenomenon. Thens when I moved to Paris in 2012 not sure what I would do with my life I saw it as a great opportunity to turn the numerous concepts I had in my mind into art pieces. How would you describe your own personal style? Concept is my god and then comes the medium. I have an art concept in my minds mainly related to sociopolitcal issuess which defnes the medium to be used to be depicted in the best possible way

What pushed you in that directon and how can you see your work evolving in the future? From day 1 I had multple concepts and ideas for art pieces. Some of them I managed to transfer them into canvas or as an installaton successfullys while others stll remain ideas. I started more with oil paintngs but then when i found out about the directness and the edginess of spray paint I went more into this directon.

"Slippery Life", Panos Antonopoulos, Stencil, Spray & Acrylic, 2017

What inspires you in your work, is there a driving factor that draws you to the easel? Sociopolitcal phenomena and stereotypes of our society Are there partcular individuals who have encouraged / inspired you along the way, friends, family, teachers, maybe even other artsts? As saids my father was much into arts a former gallerist and collector himself thus in the beginning I was often asking for feedback regarding my ideas/executons. A street artst friend of mine (SYD street art in London) was the one who showed me the great potental of spray paint and street art

When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to use? As saids the concept defnes the mediums but lately spray paint is my hero. I love installatons but unfortunately you usually need high budget/sponsors for large scale ones. When it comes to the subject mater of your work, what draws you to those themes? Whenever I have an idea that I think it can be well converted into an impactul artwork. This is the reason that I do not produce many artworks per year. Every art piece needs to have a background behind it.

"Selfe", Panos Antonopoulos, Stencil, Spray & Acrylic on Canvas, 2018

Could you describe the process behind your art? How do you get from concept to executon? More or less already menton it above. Once I have the idea in my mind I try to think ways to convert it into an artwork experimentng with various mediums. Sometmes it workss sometmes not

Could you describe your normal day as an artst? Have you set routnes and rituals or is a more a case of when the moment is right you work? I do not have a routne as an artst as I may not produce something for a long tme or vice versa. 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? Mainly one work at a tmes or at least one series of works. How has your art evolved to be where it is today? Started more with oil paintngs and collages and then moved to bigger pieces with spray as the main medium. Which of your artworks are you most proud? The concept behind The Ego and His Own paintng defnes me as a person and as an artst (based on Max Strner's homonymous book where he explains that by nature we are unique egos and nothing else). In terms of my best piecess I consider the God Bless series as my artworks of the highest quality to-dates in terms of concepts executon and impact. Is there a fellow artst alive today that you admire? If so, why? I really admire aanksy and Ai Weiwei mainly because they are proper contemporary artsts (especially the second one)s having put themselves into the public scenes quite often with high personal risk and danger. If you could travel back in tme, is there a partcular artstc period / era that you would like to have been involved in? The Duchamp eras when art started to coming out of the canvas. What challenges do you feel the 21st century artst has to overcome? A lots actually. Social media is quite dangerous as they support in a way very commercial art that has nothing to say. It is a bit sad in my opinion to see art being done with the same way as decades ago. This is not contemporary art (although it is by defniton :-). Another issue is that the art world nowadays is over-saturateds in terms of ideas and number of

artsts. Unfortunately it is very tricky to suggest a new way of art in all meanings. Finallys galleries have become mainly a way of taking money from artsts and not vice versa (so many examples from galleriess spaces exhibitons that they ask from artsts to pay).

"American Dream", Panos Antonopoulos, Stencil, Spray & Acrylic, 2018

What advice would you give to a young aspiring artst currently studying art? Accept everything that happens in their life (e.g. multple rejectons from galleriess minimum income) is part of the being an artst process. Despite having developed your own distnctve style, is there another style of art that you are immediately drawn towards and admire? Why? As saids I love installatons. I think they can be very impactul and of the few mediums that can propose new things in the art world. I will always admire street art (but mainly the illegal ones not commissioned pieces). 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?

This is true. A paintng can be improved forever. Howevers you need to step up and realiae that the potental defects you see as an artsts you are probably the only one to notce them.

"Experiment in Berlin", Panos Antonopoulos, Limited Editon Print, 2013

Many people see artsts as storytellers or advocates for a cause, do you believe that it is an artstâ&#x20AC;&#x2122;s responsibility to shine a light on a partcular subject / theme, or do you create purely for the sake of expression your creatve nature? For me art is very personal and apparently cannot change nothing in society (history can easily prove that). Howevers it can make you think something that skipped your mind or see another approach on a topic. Then it is 100% up to the viewer of how he/she will deal with it. This is at least what I try to achieve as an artst. What are you working on at the moment? I had an idea about evolving my God Bless series and add an installaton to the projects but stll working on it. Pluss I am seriously thinking of producing some street art pieces.

Have you ever been part of an artstc group / movement? How did your work beneft from that experience? I am the founder of 9th Art Wave groups unitng artsts from all over the world with whom we share the same concept of contemporary art. You can check our manifesto here and our limited editon catalogue here. My involvement in the group was highly benefcial as I learned a lot from fellow artsts and helped to open more my mind.

"Escape", Panos Antonopoulos Spray & Acrylic on Canvas, 2016

View - Original Artworks by Panos Antonopoulos

Maga Fabler

â&#x20AC;&#x153;My art tends to focus on the nature of a subject. Like emotions and energy caused by complementary colours; simplified geometry of a composition; map of wrinkles on old human faces; endless variety of green shades in a landscape. Whatever is the subject, I try to reach its quintessence. In as simple manner as possibleâ&#x20AC;? - Maga Fabler

Metn Yasarturk

"If you listen to the violin, piano or saxophone everyday, someday you may be inspired to play like the great John Coltrane, and the same was very true with my art. By immersing myself and studying the works of others, I kept the fire burning within, until such a time as I was able to sit in front of the easel and create my own art works and personal style" - Metin Yasarturk

Cata Goffnet

â&#x20AC;&#x153;I am passionate about liness colours and shapes. In my art I try to fnd a bridge between straight lines and the sensitvity of art. Transforming geometric shapes into art is my biggest challenge. I seek a new vision for geometrism that goes beyond colours and shapes. Sometmes I look for an organic sense for these lines.â&#x20AC;? - Cata Goffnet

George Darash

“All abstracton is projectves it always refects some idea. Such games with the imaginaton helps us to learn something new about our self. It’s a possibility to fnd our deep unconscious worlds to begin a so called inside cultural revolutons to give a human beings longing for renovatons desires and catharsis.” - George Darash

NEVER VISIBLE TO THE NAKED EYE with Ella Prakash

Artst, Ella Prakash are work in her studio

aorn and based in aahrain Indian artst Ella Prakashs founder of Ella art Gallery & Ella Impressionss fashion accessoriess she is an Ambassador to aahrain for Arts of Indias an acclaimed artst for feminine-fguratve-modern-contemporary arts she showcases positvely the liberal art thought process of a highly opinionated artsts she is best known for her inventve techniques and vibrant use of colours. She started her art career in 1984s with a lifelong fascinaton with paintng. She focuses on the topic of discriminaton and double standards faced within the walls of her society. Art for her has been a way to express her perceptons dreamss and aspiratons of womens she visually manages to incorporate all the elements of this topic and create an impact insincere positvely. What initally drew you towards becoming an artst? I had passion to draw and paint at the age of 8 years and had always dreamt to become a processional artst. How would you describe your own personal style? Abstract and contemporary style. What inspires you in your work, is there a driving factor that draws you to the easel? My daily life experiencess my travelss people around nature inspiress it draws me to the easels it wonderful to capture various emotons that are unfettered and entrely compatble with my life. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or tools you love to use? I work in acrylic and oil medium and while using acrylic medium I use bigger brushes for more fow and I use diferent palette knives for my oil techniques. Could you describe the process behind your art? How do you get from concept to executon? When I have an ideas I work like craays but you canâ&#x20AC;&#x2122;t really get a feeling for the piece untl you go through. Preliminary sketches are absolutely critcal to creatng a fnished piece of artworks but I completely bypass preliminary sketches. I mostly work in larger scale canvasess keeping the inital stage of a sketch in mind then I start the process keeping very limited palette colourss once I come up with my potental idea and concepts sometmes it gets difcult to portray the emotonss but I hold my story within me and start with lines

shapes forms colours textures values and spaces slowly all comes togethers my works are with palette knife the technique I use is very diferent which needs lots of transparent layerss it goes through many fnales befores I consider its completed.

"Evoluton", Ella Prakash, Oil on Canvas, 80cm x 80cm, 2019

Could you describe your normal day as an artst? Have you set routnes and rituals or is a more a case of when the moment is right you work? As an artsts gallerist and business owners and with the household responsibilitess sometmes it gets too hectc all togethers but I make sure I have enough tme to paints I mostly paint late at night as it gives me a peaceful tme to be with my work.

"The Path of ooy", Ella Prakash, Oil on Canvas, 50cm x 50cm, 2019

How has your art evolved to be where it is today? If i look back the series I painted enttled “Journey of a woman” “Alleviaton “Inner Quest” are very diferent from my recent works. I have seen tremendous change in life as well with the technique. Art has evolved and impact spiritually in my work new perspectve has been refected in my recent series “The Change” -Transformaton. The cosmos is constantly changing and so is every tny being that is a part of it. In us lies a conscience that grows and bends and molds itself into an entty that the energies we create infuence.

"Evoke", Ella Prakash, Oil on Canvas, 100cm x 100cm, 2019

This Collecton refects that growth. When one embraces the curve balls life throws and takes that to create an energy that refects the choices we makes then the process of transforming initates. This change and subtle growth and depleton is never visible to the naked eye but our aura will always carry a refecton of it and this is never constant. Watching the evoluton of the world arounds gave the me a new perspectve to this chaotc world. In this seriess it depicts the transformaton that has taken place around me and the language it has spoken with in me. A divine interventon about change and how it is the only constants struck a conversaton between the artst and the medium. This conversaton translated so diversely on the canvas lead to a new style which is more evolved and more contemporary in language and colours than her previous work. Which of your artworks are you most proud? â&#x20AC;&#x153;Inceptonâ&#x20AC;? was very challenging to express the message wanted to conveys but achieved successfully through the technique.

"Nurture", Ella Prakash, Oil on Canvas, 80cm x 80cm, 2019

What advice would you give to a young aspiring artst currently studying art? â&#x20AC;&#x153;We have to keep going. Even when no one else understands what is important to uss you have to hold on to its importance. Never give ups on your dreams. Always believe in yourself and donâ&#x20AC;&#x2122;t ever give up in what you believe ins if you have burning passion to reach your goals then no one can stop yous face and overcome all the obstacles in life and keep moving towards your journey.

View -Fine Art Paintngs by Ella Prakash

Phyllis Mahon

Women and lovers have always been her fascinatons but more recently the Lincolnshire landscape with its dark skies and layers receding for miles has made a strong impression on her. It initally provided a pastoral backdrop for her subjectss but she now depicts rolling skies and light-flled trees as landscape pieces in their own right - a perfect metaphor to convey emoton and spirituality.

Bogdan Yermakov

aogdan Yermakov was born into an artstc family and from an early ages aogdan loved drawing and often came to his father`s workshop. His teachers and mentors were Ermakov A.V.s Kovalchuk V.I. The master was engaged in self-developments a great infuence on his paintng had the artworks of Levitans Monets Aivaaovskys Clover.

MOVING TOWARDS THE UNKNOWN with Mark Fleming

"Guinness and Lifey",Mark Fleming, Digital - Limited Editon Print, 2020

Mark Fleming is an illustrator/artst working in Dublin. He draws stylised images on a range of subjectss including his home towns Dublin. His style is loosely abstract and expressionists sometmes dealing with social or environmental issues. Most of the artworks he produces are done digitallys and is experimentng with a mixed medium of digital and acrylic. Mark has recently had his frst exhibiton in The Ireland Insttutes Dublin.

Mark Fleming at a recent exhibiton of his work

What initally drew you towards becoming an artst? My father was a commercial artst and he had a lot of books and stuf lying arounds so I was exposed to visual art early on. I think I also inherited his love of art as well. How would you describe your own personal style? If I have a style at all I suppose it could be considered semi-abstract. I love 'modern' expressionism. I'd like to see if that style can develop intos I don't knows the 'unknown' : )

"Heuston Bridge, Dublin", Mark Fleming, Digital - Limited Editon Print, 2020

What inspires you in your work, is there a driving factor that draws you to the easel? I'm really just inspired to create for the sake of its to make something that wasn't there before. Although politcal issues can sometmes be on my mind. Homelessnesss for example. Could you describe the process behind your art? How do you get from concept to executon? Concept to executon would be very much a mental doodle to a quick sketch and whatever medium I'm in the mood for. Digitals acrylics etc. Could you describe your normal day as an artst? Have you set routnes and rituals or is a more a case of when the moment is right you work? I don't have a strict routne but I love to work late at nights early hours. Unfortunately for my sleep patterns : ) Alsos since my mood changes during the day I tend to be working on more than one thing at a tme.

How has your art evolved to be where it is today? I think my work is defnitely evolving to a more abstract style.

"oames ooyce",Mark Fleming, Digital - Limited Editon Print, 2020

Which of your artworks are you most proud? I don't really have a favourite artwork of my own as I seem to always prefer the one I've just done. One I partcularly like though is the sleeping homeless people in the alley that look like rubbish bags. Though that's more for the content than the style.

Is there a fellow artst alive today that you admire? If so, why? Not alive todays but Jean Michel aasquiat would be an artst whose work I really like. And David Hockney. If you could travel back in tme, is there a partcular artstc period / era that you would like to have been involved in? I'd like to have been around to have a drink with Van Gogh and Gauguin. Just one : ) What challenges do you feel the 21st century artst has to overcome? I thinks for the futures there needs to more acceptance of new technology in creatng art. Digital art is a great new medium.

"The Mark 1961",Mark Fleming, Digital - Limited Editon Print, 2020

I don't think it's the artst's responsibility to shine a light on world issuess but like musics it can often helps as it has an audience.

"The Fiddler",Mark Fleming, Digital - Limited Editon Print, 2020

Visit - Online Art Gallery of Mark Fleming

Hildegarde Handsaeme

"Hildegarde Handsaeme paints mainly women and follows a harmonic and constructively perfect pattern . The figure in itself is dominating but she knows how to put it the right surroundings where nature and cosmos play a symbolic part . With a set of straight lines she builds a mysterious haze of inner feelings on the canvas in a simple but penetrative way.â&#x20AC;?

Hirotaka Suzuki

â&#x20AC;&#x153;Perhaps I am painting the cruelty of contemporary life because it is in opposition to my naive outlook. In contrast with the physical features of my paintings, I think I am visualizing my feeling of anxiety in contemporary life. Though I do not think I am fully aware of the relationship between this cruelty and my anxiety, I represent this unsure feeling as figuratively as possible, and I am trying to figure it out in my painting.â&#x20AC;? - Hirotaka Suzuki

oayma Forman

Forman's work features bold colour and rough textures created from diferent toolss though most commonly used is a palette knife. Rarelys if at alls are subjects depicted with realistc features. Her artwork is predominantly abstracts using blind contour to distort their features and asking the viewer to use their knowledge of the subject to truly identfy with it.

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