Artfuly Magazine CONTEMPORARY FINE ART
FEBRUARY 2019:
THE COMEBACK OF THE EXPRESSIONIST ISSUE
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A B O U T A R T F U LY . C O M A R T F U LY I S A N O N L I N E A R T M A R K E T P L A C E , C U R AT I N G T H E B E S T & M O S T E X C I T I N G G L O B A L TA L E N T . W E S E L L O N LY O R I G I N A L , H A N D C R E AT E D A R T W O R K S A N D W E C O N C I E R G E D E L I V E R T O YO U R D O O R G L O B A L LY .
F r o n tARTFULY.COM c o v e r a r t w o r3k Bandwagon (Detail) Elizabeth Barsham Oil on canvas
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S t u d i o o f R o d r i g u e Va n h o u t t e
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IN THIS ISSUE Get to know 3 very individual and contrasting expressionist ar tists with big voices expressing their concerns via their art An environmentalist, wildlife preser vationist and another concerned with the the human condition
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Ta k e y o u r a r t h o m e a n d p a y o v e r 1 0 m o n t h s . No interest. No fees. Ar t Money credit is available from $675 to $50,000. I f y o u l o v e a r t , y o u ’ l l l o v e A r t M o n e y. G o t o w w w. a r t m o n e y. c o m /g e t s t a r t e d
Ar t work detail Elizabeth Barsham
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Ka r p m a n 110 C M X 15 0 C M O i l o n Pa p e r
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R O D R I G U E VA N H O U T T E G R A N A DA , S PA I N EXPRESSIONIST After many years living in seclusion and revolt against the contemporar y ar t scene, R o d r i g u e Va n h o u t t e i s h a v i n g a c o m e b a c k . A s a result, he has a huge body of exciting work to bring to the public. The Belgian born and now Spain based ar tist, has been a painter his entire life from the age of 2, after being born deaf. He star ted painting with oils at 13, when he also discovered Nietzsche. He believes t h a t p a i n t i n g i s a k i n d o f p h i l o s o p h y, a n d o f t h e h u m a n c o n d i t i o n h e s a y s “ We a r e all desperately seeking a piece of magic, something that makes sense, and at the same time, we kill everything - and that fact, that feeling, is an impor tant par t of my work�
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Ka r p m a n Tr i a n g l e ( Tr i p t y c h ) 3 0 0 C M X 17 0 C M O i l o n Pa p e r
I FEEL T O TA L LY DESTITUTE I N THE FACE OF THE STUPIDIT Y OF OUR TIME
S e l f Po r t ra i t . 60CM X 40CM B a l l p e n o n Pa p e r
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At another point he states “Like many people I imagine, I feel totally destitute in the face of the stupidity o f m y t i m e .” Thanks to several surgeries he gained his sense of hearing, and studied ar t between 1990 and 1996 a t t h e i n s t i t u t e s S t L u c d e To u r n a i and Liège. He entered the Academy of fine ar ts (before leaving at the end of 15 days, disappointed) and then did courses of philosophy and history of Ar t at the University of Liège
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S e l f Po r t ra i t 10 0 C M X 2 0 0 C M O i l o n Pa p e r
R o d r i g u e s’ j o u r n e y has been tumultuous: As a young prodigy of painting, his studio was destroyed, over 150 of his paintings were stolen and he says he was betrayed by a business par tner - as a result he decided to turn his back on everything t h a t w a s ‘a r t m a r k e t ’ and he star ted living ‘o u t o f s y s t e m ’
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Luckily throughout these years he continued to have the suppor t of his former Masters, and a few ar t collectors, as he travelled from one place to another, visiting all par ts of Europe. He met many people, with all kinds of social backgrounds, and gave conferences about Ar t and Philosophy to make a l i t t l e m o n e y, s e l l i n g h i s w o r k ‘ f r o m h a n d t o h a n d ’, which he reflects on as a g o o d t h i n g ‘A f t e r a l l , my work talks about the human condition’
Solitude of a St John 10 0 C M X 18 0 C M Oil on Canvas
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H e s t a t e s t h a t “A r t has become the toy of untalented speculators, and I have finally accepted the fact that if I wanted to be heard, I had to agree to play the game a g a i n ’. I h a v e c o m e t o t h e c o n c l u s i o n t h a t t o d a y, t h e influence of a Painter must no longer be so much of an aesthetic as a moral and ethical order” He continues: “I am one of those painters for whom the painting does not serve to decorate the salons, but to describe the human condition and to fight against the enemy (and l i k e P i c a s s o ) ; t h e s t u p i d i t y, t h e f a c i l i t y, t h e d e s p e r a t e hedonism of our time, in shor t all that draws h u m a n i t y d o w n .” N a ke d W h i t e S e r i e s 10 0 C M X 17 0 C M Oil on Canvas
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N a ke d W h i t e ( Va l ) R i g h t 10 0 C M X 18 0 C M Oil on Canvas
N a ke d W h i t e ( Va l ) L e f t 10 0 C M X 18 0 C M Oil on Canvas
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Described as charismatic by some, R o d r i g u e s’ f r i e n d s t e l l h i m t h a t h e’s s t r a i g h t o u t o f t h e 1 8 t h C e n t u r y. He states that in the early 1990s, the message that was taught even in Ar t schools was “Painting is dead, it has become n e r d y ”. His reaction was to become obsessed by the History of pigments, colours, and old techniques; he began to mix his own colours from pure pigments and different kind of oils... seeing the Painter a bit like an alchemist… he also sees himself as a ‘ P o s t - b a r o q u e’ p a i n t e r and is heavily influenced b y ‘ E l G r e c o’.
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Rodrigue has always been always surprised by the success that his paintings encounter when he exposes them. He has a long list of exhibitions (as you can read on his online bio below) and his works are par t of many private collections in Belgium, Holland, England, France and Spain, including those of the Governor of the Province of Liège M. Forest, or patrons as A - P Laixhay and J.Iniesta. Rodrigue is also an occasional lecturer in the histor y of painting, and is the author of several essays on the plastic philosophy and histor y of ar t. We a r e h o n o u r e d t o h a v e b e e n c h o s e n b y R o d r i g u e to represent him in his comeback. See more about the a r t i s t a n d h i s w o r k o n t h e l i n k b e l o w.
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Special pigments being mixed
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Naked White in the studio 110 C M X 16 0 C M Oil on Canvas
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G arden God 91 C M X 76 C M Oil on Canvas
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ELIZABETH BARSHAM TA S M A N I A E XPRE SS ION IST, SURRE ALIST Elizabeth Barsham lives in a sprawling p r o p e r t y o n t o p o f a h i l l i n H o b a r t , Ta s m a n i a , which gives the impression of having been forgotten by time. The house is surrounded by Australian bush which is in turn surrounded by a modern housing estate that has been encroaching o n h e r f a m i l y ’s l a n d f o r s e v e r a l d e c a d e s . W h i l s t i t ’s t e m p t i n g t o c l a s s i f y h e r g e n r e a s ‘s u r r e a l i s t ’, she prefers the term expressionist, if a label must be applied. I visited Elizabeth at her home and the following inter view gives a real insight into why she creates her amazing work, which she d e s c r i b e s a s Ta s m a n i a n G o t h i c . E l i z a b e t h i s p r e o c c u p i e d w i t h Ta s m a n i a n h i s t o r y. “ M y a n c e s t o r s a r r i v e d h e r e w i t h t h e f i r s t European settlers, and my paintings draw heavily o n t h e Ta s m a n i a n l a n d s c a p e . I a l s o h a v e a n unhealthy obsession with industrial archaeology and the traces people have left on the land. BUY / FOLLOW / MORE ... A R T F U LY . C O M / A R T I S T S / E L I Z A B E T H B A R S H A M
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Bones of the Ancestors 20
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15 2 C M X 76 C M Oil on Canvas
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Add to this concerns with consumerism and the environment, a keen sense of the ridiculous and some very dark humour, and you get paintings that ar t critics have struggled to categorise. I have therefore invented my own genre, and am gratified that other ar tists are beginning to join in, too. Europeans have only been in Ta s m a n i a f o r a f e w g e n e r a t i o n s , having supplanted the original inhabitants. They are now busy exploiting its natural resources, making new stories for ancient h i l l s , i s l a n d s a n d r i v e r s . We are at the ver y beginning of creating a new mythology of t h i s c o u n t r y. E v e r y t r e e , e v e r y rock, ever y spider and probably most of the possums have their own spirits. So far, I’m not quite sure how these spirits manifest themselves, but one day I’ll manage to paint them.
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A Child’s Guide to Wilderness 91 C M X 8 4 C M Oil on Canvas
The Mechanics 71 C M X 5 6 C M Oil on Canvas
Children in our family were e n c o u r a g e d t o d r a w, p a i n t , w r i t e and play musical instruments, but it was taken for granted that while these were impor tant skills, getting a good job was more impor tant, so I took up a position in the public ser vice. Later, I decided I gave up my sensible job, moved to Melbourne where I found a tutor who had studied painting t e c h n i q u e s w i t h N o r m a n L i n d s a y, and embarked on a career of p o v e r t y, f r u s t r a t i o n a n d h a r d w o r k . In Melbourne, I began photographing and painting demolition sites and superseded industrial machinery – not to mention the ubiquitous abandoned s h o p p i n g t r o l l e y. W h e n I e v e n t u a l l y returned to the old farmhouse in Ta s m a n i a I d i s c o v e r e d n o t h i n g had really changed. There was the f a m i l i a r r u s t i n g f a r m m a c h i n e r y, the sheds full of rotting household furnishings, stored and forgotten years ago, the scraps of left- over building materials and all the other things too potentially useful to t h r o w a w a y.
E y e s o f t h e Fo re s t 61 C M X 76 C M Oil on Canvas
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T h e G re a t S i l e n c e , 4 5 C M X 6 0 C M , O i l o n C a n v a s
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Ever y flattened, rotting bit of detritus was once a valued possession serving a useful purpose; ever y rusted, twisted piece of iron h a s i t s o w n l i t t l e h i s t o r y, p r o v i d i n g a t a n g i b l e link to the past, a reminder of the transitor y nature of material possessions. These things sometimes appear in my paintings as the spirits of lost machinery wandering a broken land. I am fascinated by broken, decaying things, so am never shor t of inspiration. Plastic pollution is probably my current obsession (as y o u c a n s e e i n ‘A C h i l d s g u i d e t o W i l d e r n e s s’. For me, ar t has always been a process of problem-solving where I set myself some arbitrar y rules to create an imaginar y universe. Most of my paintings are created f r o m i m a g i n a t i o n . To c r e a t e a n c o n v i n c i n g illusion of reality you need to have a ver y good understanding of the way things work in the real world.
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Drift wood (study)
W AT C H V I D E O : ‘AUSTRALIA’S O W N S A LVA D O R DALI?’
This requires a lot of careful study and obser vation. For years I attended untutored life drawing sessions, studied books on anatomy and reproductions of great paintings, painted still-life studies and drew i n c e s s a n t l y. P a i n t i n g s t i l l - l i f e w a s an impor tant par t of my ar tistic development, letting me make prolonged, careful studies of shapes, form and lighting effects before going on to apply this knowledge to other paintings. We a s k e d E l i z a b e t h h o w s h e h a s developed as an ar tist over the years, and she replied ‘This is a painting of a piece of driftwood I did ver y early in my career (about for ty years ago), and ‘Plastic Apocolypse (next page) is a painting I did from imagination in 2018.
( N e x t Pa g e ) Plastic Apocalypse (detail) 18 3 C M X 76 C M Oil on Canvas
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Fo l l o w i n g t h e Va n 112 C M X 6 6 C M Oil on Canvas
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Settlement Day 97 C M X 6 6 C M
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Oil on Canvas
Success for me means getting to the point with a painting where I can no longer see anything in it that needs to be fixed, then coming back into my studio the next day and saying “ Wo w ! ” w h e n I s e e i t w i t h a fresh eye. This doesn’t happen v e r y o f t e n , b u t i t ’s a w o n d e r f u l feeling when it does. This is o n e o f m y “ Wo w ! ” p a i n t i n g s S e t t l e m e n t D a y.
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On being asked ‘what does being an ar tist mean to you? Elizabeth replied ‘Being an ar tist means being obsessed. It means being shor t-tempered and anti-social, and generally cross at a world that keeps interrupting my painting time or my reading time or my bushwalking time or not buying my paintings. It means missing social events because there is some wet paint that has to be worked on, then wanting to par ty at two a.m. because I’ve finished the painting – but nobody else seems to be interested. I don’t think I c a n d e f i n e t h e t e r m “a r t i s t ” b e c a u s e a r b i t r a r y l a b e l s a r e a m o n g t h e t h i n g s t h a t a n n o y m e .’ After a long and successful full-time career, Elizabeth has a vast collection of ar tworks available for sale, only a small selection can be seen on A r t f u l y, a n d o n r e q u e s t w e c a n a r r a n g e v i e w i n g s w i t h t h e a r t i s t i n p e r s o n i n Ta s m a n i a , o r v i r t u a l viewings online.
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N e w A ra ra t 72CM X 72CM Oil on Canvas
Listing Angel 60CM X 60CM Oil on Canvas
Hut on the Headland 51 C M X 4 6 C M Oil on Canvas
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The artist in her Sydney studio
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L I LY P E R T H U I S AUSTRALIA E XPRE SS ION IST, POP ART D I G I TA L , I L L U S T R AT I O N French born Lily Per thuis, studied ar ts in Paris and now resides in Australia. She has always fought the conventions that grass is green and water is blue. Her large scale paintings are rich with intense colour and her brush and palette knife strokes capture the essence and personalities of the animal and female subjects she depicts. Lily was influenced by the French masters such as ar tist Henri Matisse. “He really shaped my thinking and perception of the world and h i s u s e o f c o l o u r s i s c a p t i v a t i n g �. S h e b e l i e v e s that being an ar tist is to imagine beyond the existing norm, to examine and reexamine, and to tell stories, convey an idea or spark e m o t i o n s . F o r L i l y, t h e e s s e n c e o f b e i n g a n ar tist is to address political or social issues, and she has cer tainly taken on this mantel. BUY / FOLLOW / MORE ...
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An Endcount example, where the total popuulation of the species remaining is por trayed by the number of instances within the ar t work
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In 2010, she star ted working with a colleague to highlight her deep interest in wildlife preser vation. She gathered data and created a series of por traits of endangered animals using the current total population of the species in a form of data visualisation. The ar t raised public awareness of endangered species and the project was named ‘Endcount’; the ar tworks raised money for charities and brought attention to the issue. They had 2 successful exhibitions w i t h a P a d d i n g t o n g a l l e r y, par ticipated in Sydney festival and worked with charities and campaigns such as Rainforest2Reef.
Sumatran Elephant 42CM X 60CM Signed print on Hahnemuhle Museum fine ar t paper
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Her journey has also brought more success: “I was the selected ar tist for the digital wall featured in Miami Scope Ar t, was finalist at Chippendale N e w Wo r l d A r t P r i z e , d i d exhibitions at a Paddington g a l l e r y, w a s p a r t o f t h e Sydney Ar t & Design Festival organised by the Powerhouse Museum, and won many awards in Design and Arts such as the Excellence in Design and Illustration Award in 2015 published by The Australian newspaper.
Southern Cassowary 21 C M X 3 0 C M Signed print on Hahnemuhle Museum fine ar t paper
O ra n g u t a n
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42CM X 60CM Signed print on Hahnemuhle Museum fine ar t paper Fly 53CM X 72CM Signed print on Hahnemuhle Museum fine ar t paper
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We’ r e v e r y h a p p y t o h a v e L i l y P e r t h u i s’ work available in our online ar t gallery and to suppor t such an approachable and environmentally concerned campaigner.
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Hope 5 2 C M X 67 C M Acrylic on Canvas
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A R T BY OUR OTHER EXPRESSIONIST ARTISTS
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A R T BY OUR OTHER EXPRESSIONIST ARTISTS
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