ARTBAAZAR Connecting Art Lovers and Artists Online
#23 January 2022 #19 September 2021
As we head into a new year, we hope it is one of greater social interacton, where the everyday joys of meetng friends, family and loved ones puts smiles on your faces and hope in your hearts. May it be a year flled with colour, new discoveries and self expression. Enjoy. Wishing you all a creatvely abundant and excitng year ahead in 2022, wherever you may be in the world. Subscribe for Latest News Interested in a partcuuar artsts work, contact us at Get In Touch Fouuow Us on Sociau Media: FACEBOOK Pinterest #19 September 2021 Copyright©2022 – ArtBaazar.com - Auu content and images cannot be reproduced without writen consent from ArtBaazar.com
ARTIST INTERVIEWS
“In Secuuded Corners of Nature” with Natauia Pouikarpova "The Mosaic of Life" with Antonius Kho "The Auchemy of Materiaus" with Patricia McParuin
FEATURED ARTISTS Yue Zeng Dake Wong Dietrich Moravec Wiuuiam Ritchie Marianne Quinzin Evy Ousen Hauvorsen
COVER ARTWORK Front Cover – "White Nights" by Natauia Pouikarpova Back Cover – "Inspiraton" by Sergey Lesnikov # To view fuuu detaius on artworks and artsts cuick the images
Yue Zeng Yue Zeng is a Chinese-American artst, her artstc practce focuses on oil paintng, with her subjects mainly being mythical creatures and animals. With a style between impressionism and fantasy, she explores the vividness of their spirit in saturated colours and organic forms.
"Upcycue #5 Cactus Patch", Yue Zeng, Oiu on Canvas Paneu
"Upcycue #4 Stck Man", Yue Zeng, Oiu on Canvas Paneu
Dake Wong Dake Wong began working with Stencil Graft in 2010, as he felt it has a simplicity that can't be achieved in oil paintng. 'Stencil graft is an other way of expression, which juxtaposes against the detail and precision of oil paintng. By removing excessive decoraton, the art work is streaming and bold, its message clear.' he explains. The lighthearted works on display show Wong's view on contemporary society in China's capital.
"JackAss2020", Dake Wong, Spray Paint on Canvas
Wiuuiam Ritchie William Ritchie is an Australian wildlife artst with a PhD in Biology who combines his deep understanding of the natural world with a lifelong passion for wildlife and its conservaton to create detailed artwork that captures the unique character of his subjects. His artwork has received numerous awards and commendatons.
"Wedge Taiued Eague", Wiuuiam Ritchie, Graphite and Watercouours
"Morning Light", Wiuuiam Ritchie, Oiu on Stretched Linen
"View from Above", Wiuuiam Ritchie, Oiu on Linen
"IN SECLUDED CORNERS OF NATURE" with Natauia Pouikarpova
Natalia Polikarpova lives and works in Belozersk, in the Vologda region of Russia. Belozersk is a small provincial town, but with a very rich history. It was founded in 862. I love my city this is my inspiraton for creatvityy Graduated from the Art School and the Faculty of Fine Arts of Cherepovets State University with Honours.
Natauia Pouikarpova at a recent exhibiton of her artworks Natalia has been actvely engaged in exhibiton actvites since 2014. She has partcipated in more than 30 internatonal and regional exhibitons, including 5 solo exhibitons in Russia. For the last 5 years Natalia has been working in the dry pastel technique. She really loves this medium. The main themes of her works are landscapes and fowersy Natalia loves experimentng with pastels, looking for new styles and techniques. She regularly conduct master classes on working with pastels for students of art schools and everyone who wants to. Natalia is actvely engaged in the promoton of pastel paintng in her region.
"White Evening", Natauia Pouikarpova, Dry Pasteus
What initauuy drew your towards becoming an artst? I am a third generaton artst. My uncles and aunts were artsts, and I grew up in paintngs and in a creatve environment. How wouud you describe your own personau styue? I work in dry pastel technique. I would call my style "Non-classical realism". Fast, free, lightweight. What pushed you in that directon and how can you see you work evouving in the future? I have previously used oil, acrylic and watercolours. Once I tried to simply create a large sketch outdoors with dry pastels. I liked it, I fell in love with pastel from the frst tme and realized that this is what I want to do and develop in it.
"White Nights", Natauia Pouikarpova, Dry Pasteus
What inspires you in your work, is there a driving factor that draws you to the easeu? I want to improve my pastel paintng technique, develop my own unique style and bring it all to perfecton. I am a very demanding artst to myself, to what I do. And I know that if I like my result myself, my viewer will like my work. Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? The support of my family is my main inspiraton. And the belief of my mentors and teachers in me that I can work in any technique and on any material. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use?
I believe that you can work with any pastel, the main thing is to fnd an approach to it. Understand its qualites and adapt to it. I like working with diferent pastels, diferent global brands. Because each of them is good and allows you to create the work the way I like.
"To Meet the Sun", Natauia Pouikarpova, Dry Pasteus
When it comes to the subject mater of your work, what draws you to those themes? The main theme of my work is nature. Basically, I choose secluded corners where there are very few people - there nature has retained its pristne beauty and purity. One of the goals of my work is to atract the viewer to the topic of preserving nature, real, not afected by humans. Nature gives us the opportunity to unite with her, recharge her energy, strength and, at the same tme, achieve peace, rest, complete relaxaton. And I try to convey this in
my paintngs. With my work, I want to give a person the opportunity to stop, look around and see the world that surrounds us, to make it possible to understand that nature loves us and we must love her, allowing her to remain what she is. And in some ways take an example from her. Couud you describe the process behind your art? How do you get from concept to executon? I walk and travel a lot, observe, make sketches, take photographs. And when I realize that this place has penetrated into my soul, I start thinking about creatng a picture. From the very beginning, it is created in my head. I have to see her and feel her. And when everything is worked out for me, I began to paint a picture on cardboard or 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? I try to work every day. Waking up in the morning, but stll not getng out of bed, I lie with my eyes closed and imagine my new work, think about it. I keep this in my head untl I start working. I make cofee, sit down at my easel with a cup of cofee, look at a blank sheet of cardboard and begin to draw a future picture with my own eyes. for this I need only that no one distracts me and there is complete calmness. 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 at once. I sketch out the whole plot, then I paint one small fragment to the end, so that it inspires me for all the work, and then I fnish all the work. By nature and temperament, I have to create one piece at a tme. Lay out all the emotons at once. Then I put it aside, I study it, examine it, and if something does not suit me, then I will correct it. How has your art evouved to be where it is today? I am a perfectonist. I have a clear idea of what I want from myself as an artst. And I'm going to do it. I experiment with paper, new pastels, fnd interestng techniques and work a lot, a lot, a lot. And as you know: "Quantty sooner or later turns into quality."
"The Triumph of Life", Natauia Pouikarpova, Dry Pasteus
Which of your artworks are you most proud? I have no idea that I am proud of my work. There are works that I look at from tme to tme and I understand that I like them more and more every tme. And then I understand that this work was a success. For example, "White Nights", "The Way Home", "Quiet Evening".
"Autumn Buues", Natauia Pouikarpova, Dry Pasteus
Is there a feuuow artst auive today that you admire? If so, why? I like a lot of pastel artsts from Europe, America and China. I won't name specifc names because every artst has super successful work. The paintng itself inspires me when I see how it is professionally executed in compositon, colour and technique. It stmulates me to be creatve. If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in? France. Impressionists. Russia early 19th century development of pastel paintng among Russian artsts Levitan and Serov. What chauuenges do you feeu the 21st century artst has to overcome? I don't think there are any problems for artsts now. Now everyone can realize their ideas and fantasies. What advice wouud you give to a young aspiring artst currentuy studying art? The most important advice. Never get discouraged or give up what you are doing. And keep working and look for yourself in creatvity. Success loves hard work and assertveness. Despite having deveuoped your own distnctve styue, is their another styue of art that you are immediateuy drawn towards and admire? Why? I love all fne arts, all directons. And when I see that some work is being performed masterfully, at the highest level, it always excites me, stmulates and energizes me. I want to try working with clay. Modelling atracts me very much, but so far the arms and legs have not reached himy 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? No, I do not have it. By virtue of my character. If my work is not successful, I am disappointed in it, then I do not return to it. As a rule, I am not mistaken.
"Stones Iuuuminated by Sun", Natauia Pouikarpova, Dry Pasteus
"The Road Home", Natauia Pouikarpova, Dry Pasteus
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 am a fghter for the conservaton of nature. I want us to leave nature alone. And just live next to her and admire her. This is what I always try to portray in my paintngs. And yes, I believe that an artst should be responsible to society, for what he promotes in his work.
What are you working on at the moment? Now we have winter in Russia. More tme for creatvity. I have one major project that I will keep secret for now as I contnue to work on it.
"Forest River", Natauia Pouikarpova, Dry Pasteus
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? Over the past 5 months, I have taken part in more than 15 internatonal and Russian exhibitons and compettons. Two of them were personal. In the Arctc, in the Nenets Autonomous Okrug and in my hometown of Belozersk. Many plans are already for 2022. They are also associated with solo exhibitons in other countries and internatonal biennials. And also conductng master classes on drawing with pastels according to our own method.
Cuick to EXPLORE NATALIA POLIKARPIVAt’S GALLERY
Dietrich Moravec Dietrich Moravec began studying and teaching himself paintng and drawing in the early 70's. Dietrich is very interested in the old masters techniques and he experimented a lot, using techniques like egg tempera and oil paintng in combinaton, as well as working with printmaking, especially with etchings, but also alternatve printmaking with intaglio-type. His artstc interest really belongs to realism and photo-realism.
“Road Companions”, Dietrich Moravec, Acryuic on Canvas
“Cherry Pyramid”, Dietrich Moravec, Acryuics and Oius
“Ruby Cargo”, Dietrich Moravec, Acryuic on Canvas Paneu
The Mosaic of Life with Antonius Kho My works are mosaics of art and culture from my country, which is a variety of arts, cultures and languages, is a synthesis between east and west. Which is my art educaton background in Germany, at FH-Cologne Art Academy, majoring in glass paintngs and textle art-tapestry, therefore my works is a synthesis of mosaic and textle art.
Indonesian artist, Antonius Kho with one of his works
A partcular theme in my work is people, from the past untl now, with various technique in my works. I use mixed medium, acrylic colours, collages such as jute, rope, modelling paste
and transparent paper. It looks like 3-dimensional, because I like cubism, apart from paintng I also like to make sculptures. The subjects in my works are mostly about the mosaic of my life, the people around my life, I work with various phases, like circulaton of my life.
"Spreading Love #4", Antonius Kho, Mixed Media on Canvas
What initauuy drew your towards becoming an artst? I have loved to draw since I was a child, so I aspire to be an artst.
How wouud you describe your own personau styue? Besides I like to draw since I was a child, I also like to sculpt from clay, 3 dimensional shapes, therefore in my paintng works towards cubism.
What inspires you in your work, is there a driving factor that draws you to the easeu? Because I like 3 dimensional shapes, so in my paintngs, 3 dimensional shapes can be seen in my paintngs, like gluing collage with various materials, such as jute, yarn, transparent paper and modelling paste. My educatonal background in art is glass paintngs and textle arts, so in my works, can be seen a combinaton of the two, glass paintng and textle arts, mosaic, which I observe from my life, mosaic of life. Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? I like Picasso"s works, his works inspire a lot in my art, especially in cubism. When it comes to the subject mater of your work, what draws you to those themes? The media that I use is mixed media, I use collage with various materials, such as jute, yarn, etc., because my favourite shape is to form 3-dimensional shapes. Couud you describe the process behind your art? How do you get from concept to executon? The themes in my work are people and faces that I meet in my circle of life, these themes always inspire me in my work. 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? I prefer to work in the morning afer breakfast untl noon, because the morning is the best tme for me, my mind and imaginaton are stll fresh.
"Finger Dancing 1", Antonius Kho, Mixed Media 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 always work on one piece several tmes, up to a week, not contnuously untl it's fnished, depending on my emotonal situaton.
How has your art evouved to be where it is today? The process in my art is long, with various phases, serials and experiments, untl it reaches what it is today, like this life that changes from day to day.
"Spreading Love 9", Antonius Kho, Mixed Media on Canvas
Which of your artworks are you most proud? In the series of my works there are always 1 or 2 works that are the best, there is no work that is the best among the series in my work, because each series has a diferent emoton.
Is there a feuuow artst auive today that you admire? If so, why? I love the works of Gerhard Richter, who always gives freshness, in the ideas in his works.
"Finger Dancing 3", Antonius Kho, Mixed Media on Canvas
If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in?
The past artstc era that I always remember in my work is the period when I frst combined glass paintng and textle art using collage, which I stll use today in my work. What chauuenges do you feeu the 21st century artst has to overcome? In the future era I have to work harder, look for new ideas, to give freshness to my works. What advice wouud you give to a young aspiring artst currentuy studying art? For young artsts, they must seek new ideas, seek new techniques in their artstc process, not be monotonous, dare to make changes. Despite having deveuoped your own distnctve styue, is their another styue of art that you are immediateuy drawn towards and admire? Why? Every style of each artst is always interestng, because each artst has a unique style and character, which is interestng to look at each other, to add to the repertoire of art.
"Spreading Love 10", Antonius Kho, Mixed Media on Canvas
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? There are some of my works that were never fnished, because of my mood that I couldn't contnue to fnish the work, so I lef the work, and I will contnue it later when my mood returns. 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? The subjects in my work, I always bring up the subjects that are in my mind, sometmes I am afected by the current situaton, so I bring up these subjects in my work. What are you working on at the moment? I'm currently working with the current COVID-19 pandemic themes, because this pandemic always haunts me. Have you ever been part of an artstc group / movement? How did your work beneft from that experience? I've been walking alone all this tme, I don't join any art group, I used to join an art group before, but now I'm more alone, that's more free for me. 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? My next exhibiton, I'm taking part in the Beijing Internatonal Art Biennial and Bangladesh Biennial exhibitons.
Cuick to VISIT ANTONIUS KHOt’S GALLERY
Marianne Quinzin Marianne Quinzin is a French painter. The associatons of colours and natural elements are for her a recurring source of inspiraton, nature and landscape being my favourite themes. Her artstc infuences are varied and eclectc, sometmes fguratve and sometmes abstract. The artstc movements that infuence my paintng are mainly abstract expressionism and lyrical abstracton.
“Embruns”, Marianne Quinzin, Mixed Media on Canvas
“Beuues du Nuit”, Marianne Quinzin, Mixed Media on Canvas
“To The Light”, Marianne Quinzin, Mixed Media on Canvas
The Auchemy of Materiaus with Patricia McParuin
"In Between Dreams", Patricia McParlin, Acrylic on Wood
Patricia McParlin is an award winning Britsh artst who lives and works in Wales. She studied at The University of Wales, (B.A. English Literature, P.G.C.E.) and The West Wales School of the Arts, where she gained her B.A. degree in Fine Art. Winning The Welsh Artst of the Year, (student award), in 2001, and being selected for The Natonal Eisteddfod in 2002, she has also been recently selected, (2017), as a member of The Royal Cambrian Academy. Primarily an abstract painter, she has also worked as a teacher, musician, writer and theatre practtoner. She has exhibited widely and her work has been purchased by corporate and individual collectors, both natonally and internatonally.
Award winning artist, Patricia McParlin working in her studio
What initauuy drew your towards becoming an artst? From birth, I lived in my grandparents house, along with my parents…there was a ‘middle room’ where I could go and do whatever I wanted literally…y…It was a ‘junk room’…but, for me as a child, flled with the most magical things…screws, nails, pieces of whalebone, gas masks, an old range, a gramophone…I was told that I could ‘do what I liked’…I remember ripping the horn of the gramophone, putng paper over the spindle, winding it up and pouring paint on it..letng the paint spin…I also drew, painted and chalked on the walls. We
were a working class family, and I don’t think there was any intent in these permissions… but, looking back, it was probably hugely infuental for me as an artst. Later at primary school, I had a teacher called Mrs Poole. She was clearly very keen on Art, and this was all we did for the year I spent with her. It may have been during this tme that we spent some tme drawing and paintng outside at the school. I became interested in the litle, green, ‘turret’ type objects that were on the roof of the school… I did some kind of ‘abstracted’ paintngs of them. My teacher thought they were good, and they were mounted and put on show in the school. I recall this very clearly…it was as if the grown ups had put a tck in the art box for me…y…teachers can be hugely infuental when you are young, and the fact that I had received praise and public recogniton matered. Secondary school also had triggers…My art teacher was Granville John…Looking back, he supported me in every way he could. When I went to his class, he would allow me to do whatever I liked, and use any materials available. Apparently, he told my parents that I was a genius…y…They never told me untl I was in my ffies…Perhaps that was a good thing…y… Strangely, I gave up Art in my third year, and didn’t really go to school afer that..Life outside was far more interestng…y…but I randomly turned up and asked Granville if I could do O level Art…He was fne about it…a great guy. I later got a place in Art college, when I was 17, but hadn’t realised that I couldn’t get a grant to study untl I was 18. In the interim, I did an English Literature A level in night class, and was somehow persuaded by the teacher that I should do an English degree… which is what I went on to do… I stll painted all the way through… I do regret allowing myself to be swayed, as I always knew Art was right for me..but who knows where all the side paths lead? I contnued to persist with Art, and always intended to do a Fine Art degree…That was realised in 2003. How wouud you describe your own personau styue? I am predominately an abstract painter, who is also drawn to landscape and the natural world. I am very interested in the alchemy of materials, mark making and the manipulaton of the painted surface. I aim to inhabit my work with some sense of ‘soul’, and hopefully tenderness and respect for its origin.
"Transient", Patricia McParuin, Acryuic on Wood What pushed you in that directon and how can you see you work evouving in the future? I guess exploraton…and constant practce…I feel it’s analogous to music…most serious players gravitate towards Jazz…towards improvisaton…towards a constant evoluton…I’m also a musician, and I think that has been a big infuence in my work…I ofen work from music…mine or others…and my writng…I think it all comes from the same source… I very much like the work of Neil Canning…I want to become even more loose and minimal in my work..but to stll have that powerful essence… What inspires you in your work, is there a driving factor that draws you to the easeu? For me, I think it’s moments of ‘seeing’….really seeing…I am partcularly drawn to the colours and forms of twilight..those crystal clear, translucent moments when all the ochres and blues are set against the black forms. I am always looking…and anything from car paint spray on a garage wall to a small mark on a pavement can be an inspiraton…
Are there partcuuar individuaus who have encouraged/inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? I’ve already mentoned some inspiratonal teachers…in the early days.
"Jazz", Patricia McParlin, Acrylic on Canvas
When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uike to use? I tend to work in mixed media…generally with acrylics underneath….I hardly ever use brushes any more…aside from for large surface areas..and maybe fne detail. I use all manner of tools…y…rollers, rags, palete knives, brayers, screws, flling knives..and also ‘found’ implements…stcks, feathers..also my hands..y…My favourite tool is a long 7” screw… When it comes to the subject mater of your work, what draws you to those themes? I ofen work from music…my own and others…usually, but not exclusively instrumental…I fnd that lyrics can sometmes overpower an open response..it’s much more about mood and feeling… I also work from my own poetry at tmes…Haiku’s and short pieces mostly… Nature and the landscape are hugely important in my work…and I’m always looking…and feeling…I like to work en plain air when I can, to really get a sense of place and mood….to really feel it… I think for me, the subject mater can come from many sources, but I tend to gravitate towards condensed, layered moments…metaphor would be a good literary analogy… Couud you describe the process behind your art? How do you get from concept to executon? Sometmes there will be things percolatng in the background for a while..ideas forming… from photographs, sketches, found images, moments…I tend to make notes and put visual references in a sketchbook….and I will use these to begin… From there it’s a case of startng…y…My process is to be involved in a contnual dialogue with the work…constantly looking…asking questons…taking risks..and sometmes, moments of clarity..and bliss…y 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? Well, like anyone else, it’s usually chores frst..all the usual stuf…being self-employed as an artst involves a lot of work on the computer…answering emails, updatng websites, publicising work /courses etc … I fnd I work best later in the day…once all that is done…It’s only then I can have the focus needed.
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? This varies…I fnd it best to work on 2/3 pieces at the same tme…for contnuity, but also for practcality in terms of drying tmes…Also working in this way can spark ideas and processes from one to the other. If it’s a large piece, or a commission, I will generally work exclusively on that piece. How has your art evouved to be where it is today? It’s taken a long tme…y…and a lot of investgaton/experimentaton…In the early days, my art was more representatonal..and sometmes, that aspect returns in small details/structures/lines…but my work has progressively become more concerned with abstracton…this has been a natural progression. I became increasingly drawn towards expressive mark making and the alchemy of materials.. I feel this work is a more accurate and complete expression of my creatve focus. Which of your artworks are you most proud? I have a few favourites…y…but I think I am most proud of a work called ‘Nightswimming’…. It was produced amongst a large body of work for a solo show, ‘Songlands’ in 2019. I love the balance between order and chaos, calmness and frenzy, dark and light in it….and for me, it represented a distnct development in my work. Is there a feuuow artst auive today that you admire? If so, why? There are many…y…but I would say that Neil Canning stands out for me…I’ve mentoned him before…I love his work, and admire the bravery, expression and confdence of his compositon…Roger Cecil is sadly passed…but I adore his work… If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in? Weirdly, the frst thing that came to mind was The Stone Age…I love the vitality, honesty and immediacy of the cave paintngs…they really ’speak’ of the tmes when they were made…My second choice would probably be when the Impressionists were gaining ground…
“Night Swimming”, Patricia McParlin, Acrylic on Canvas
"Storm", Patricia McParlin, Acrylic on Canvas
What chauuenges do you feeu the 21st century artst has to overcome? The same challenges as ever over tme for any artst…making a living…making work… fnding space and tme to make the work..fnding representaton and galleries that will respect what you do…getng recognised…The new factor is all the ramifcatons of the internet, NFT’s etc…a double edged sword… What advice wouud you give to a young aspiring artst currentuy studying art? Do it…yyy…It’s maybe not the greatest career path if you want to make money…but, if you love it, and you can’t not do it…then you have to…Also to keep looking…closely and constantly, and to be true to your own essence. Despite having deveuoped your own distnctve styue, is their another styue of art that you are immediateuy drawn towards and admire? Why? I like a lot of other styles, and feel it’s important to look at them, and never stop exploring… I guess I am drawn towards some photo realistc art that also has a deeper/metaphorical feeling…Chuck Close, for example… 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? Yes, I have had certain pieces that have taken years to complete…but I seem to always know when a work is fnished..for me, the rule is that when I start ’tnkering’…and it starts to not work..it’s done…stop..y…but I can usually tell before that point. 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’ve never been much good at making ‘politcal’ art…I wish I was..That’s why I admire Banksy…y…I think it’s a really specialist skill…I like to think that I advocate for the wonder of the natural world..and the beauty of a response to it..an honouring…
"Bone to Bone 11", Patricia McParlin, Acrylic on Canvas
What are you working on at the moment? I’m currently working on some collaboratons with other artsts…Over some years, I have developed a method of working collaboratvely…involving repeatedly ’swapping’ canvasses, critcal analysis, isolaton etc towards a fnished piece…I fnd it a really useful and productve process, both for the work produced and developing critcal skills. It is great for exploraton and learning new ways to work with materials. Also the resultng work is always fresh and engaging. Have you ever been part of an artstc group / movement? How did your work beneft from that experience? I am currently part of a group called Y Ty Celf…which is local to me…despite my reservatons, it has been hugely benefcial, in terms of meetng other artsts in the area and opening up opportunites for teaching and running courses etc… I’m also a member of The Royal Cambrian Academy, which is very helpful in showing and promotng my work. 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? My next exhibiton is with The Royal Cambrian Academy, in October 2022. I have been a member since 2017. It is enttled ‘Into Winter’, and will take place at The Academy in Conwy, Waues.
Cuick to VISIT PATRICIA MCPARLINt’S GALLERY
Evy Ousen Hauvorsen Evy Olsen Halvorsen has loved colour since she discovered Van Gogh and Paul Klee in her teens. Right now Evy is working on portraits, not for realism but for emotonal truth and trying to add another dimension of philosophy to some also, she doesn't want people to be bored looking at her work. She likes to add an abstract element to even her more realistc work. She is looking to combine more of realism and abstractness to her paintngs in a logical manner.
“I Dont’t Understand”, Evy Ousen Hauvorsen, Oiu on Canvas
“Communion”, Evy Ousen Hauvorsen, Oiu on Canvas
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#23 January 2022