Artist Talk Magazine issue 8 by Artist Talk Magazine

ARTIST TALK MAGAZINE

April 2019 www.artisttalkmagazine.com

DISCOVER MORE Instagram: @henjaminbendy

FEATURED ARTISTS MUSEO PICASSO MÁLAGA

4-9 JD MALAT GALLERY

10-15 GRANT MILNE

16-21 AASE BIRKHAUG

22-27 ROBIN CORFIELD

28-33

M IL NE Milne Publishing is proud to present Artist Talk Magazine issue 8. Once again, I am pleased to showcase more incredible artists from around the globe. All of the artists featured within this issue have given interesting, in-depth honest accounts about themselves, their work, views and ideas. In addition to the amazing images of the work they produce, which I know you the reader, will enjoy and be inspired by. We have lots of incredible talent within this issue, with a wide range of subject matter for you to explore and enjoy. The cover of this issue is from Rolls-Royce Motor Cars, showing

the Spirit of Ecstasy, which was created by sculptor and illustrator Charles Sykes. The Spirit of Ecstasy represents one of the world’s most famous symbols, a true icon embodying the highest standards of beauty, luxury, style and perfection that are written in the Rolls-Royce DNA. Thanks for reading. Grant Milne, Founder of Artist Talk Magazine

artisttalkmagazine ArtistTalkMag artisttalkmagazine

ROLLS-ROYCE MOTOR CARS

34-41 SAMANTHA TUFFNELL

42-47 SUE TILLEY

48-53 ZOE WALKER

54-59 DHWANI PAREKH

60-65 TIMKA SZŐKE

66-71 DISCOVER MORE www.artisttalkmagazine.com

MUSEO PICASSO MÁLAGA

MUSEO PICASSO MÁLAGA PATIO CENTRAL © MUSEO PICASSO MÁLAGA

The Building The Palacio de Buenavista houses the Collection of Museo Picasso Málaga. It is located in the heart of the old city, and the building is a magnificent example of 16thcentury Andalusian architecture with its characteristic mixture of Renaissance and Mudéjar elements. The Palacio de Buenavista was built for Diego de Cazalla, paymaster of the royal army and navy, who took part in the conquest of the city in 1487. It is believed that the building was erected over the remains of a Nasrid palace of which some elements still survive, such as the tower to the east of the main courtyard. Diego de Cazalla made every effort in the construction of the building. Italian and Mudejar elements join together in this sober and elegant building. By the 19th century the

palace had became less of a family residence and instead began to assume other roles. Declared a national monument in 1939, the palace was rented to the State in 1946 to house the Museo Provincial de Bellas Artes, which opened in 1961. The museum remained there until 1997 when the building was acquired to display the collection of the future Museo Picasso Málaga. This choice reflected the express desire of the principal donor, Christine Ruiz-Picasso, who envisioned the collection to be exhibited in a typically Andalusian building. In order to accomodate the temporary exhibition galleries, the MPM Library and Documentation Centre, the Education Department and the Auditorium, various adjoining buildings were adapted and built, all of which were harmoniously integrated into the site of the palace and its

surrounding urban context. The remodelling and expansion project of the Palacio de Buenavista was led by Richard Gluckman of Gluckman Mayner Architects with Isabel Cámara and Rafael Martín Delgado of Cámara/ Martín Delgado Arquitectos, working with the engineers ARUP. The landscape was conceived by María Medina. In 2006 the American Institute of Architects awarded the MPM the Institute’s Honor Award for Architecture. The jury commented: “This is a beautiful job of restoration architecture… It is appropriately modest, weaving a museum into the fabric of this Mediterranean city… New portions were simply and elegantly inserted in and around the 16th century castle, the outdoor courtyards and the city streets.”

MUSEO PICASSO MÁLAGA DESDE LA ALCAZABA © MUSEO PICASSO MÁLAGA

MUSEO PICASSO MÁLAGA SALA 2 © MUSEO PICASSO MÁLAGA

From 14 Mar. 2017, the rooms housing Museo Picasso Málaga’s permanent collection are refreshed, and more visitorfriendly and informative about Pablo Picasso’s work. The new design is predominantly chronological, showing how the artist’s work stretched over a period of time. It also points out its intrinsic versatility and the cyclical nature of his artistic investigations, drawing attention to his constant vocation for exploring the expressive possibilities of any medium. The exhibition narrative is the result of the close collaboration between Fundación Almine y Bernard Ruiz-Picasso para el Arte (FABA), which for the next three years will be contributing with a selection of 166 works from their holdings. Among the works that are being incorporated into the new layout are Restaurant (1914), an exceptional oil painting that has been cut out and stuck onto glass, and which is shown here for the very first time; The Three Graces, a large canvas that shows a more classical and monumental Picasso; and the iconic bronze, Head of a Bull (1942), made from the seat and handlebars of a bicycle. Along with the rest of the works on display, they give shape to an exhibition narrative that starts with the artist’s formative years, continues with the great stylistic and thematic moments of his career – cubism, the Mediterranean, portraiture – and ends with his reinterpretation of the great masters, all of them with that combination of talent, technique and expression that made Picasso the great artist of the 20th-century. See a selection of works. Pablo Picasso. New Collection has also the support of Fundación Endesa, which joins the project through an agreement of collaboration and sponsorship that will allow an improvement in

lighting in the galleries of Palacio de Buenavista. History of the Collection Museo Picasso Málaga was created in response to Pablo Picasso’s own desire for his work to be present in the city where he was born on 25 October 1881. The museum was created thanks to Christine and Bernard Ruiz-Picasso, the artist’s daughter-in-law and grandson, whose donations constitute the core of the Collection. It was also made possible thanks to the efforts of the Junta de Andalucía, which coordinated the major project of setting up a museum devoted to the artist whose styles and techniques changed the course of modern art. The initial idea for the museum arose in 1953, as a result of the contact between Pablo Picasso and Juan Temboury Álvarez, who was the Provincial Delegate for Fine Arts in Malaga. However, the project fell through shortly afterwards. Christine Ruiz-Picasso, the widow of the artist’s eldest son, Paul Ruiz-Picasso, resumed contact with Malaga in 1992, during the exhibition Picasso Clásico(Classic Picasso), and again in 1994, during the exhibition Picasso, primera

mirada, (Picasso, the first glimpse). In 1996, she rekindled the 1953 project, which finally came into being 50 years later on 27 October 2003, when the museum was officially opened by Their Majesties King Juan Carlos I and Queen Sofía of Spain. There are 233 works in the MPM Collection. This group of works covers Picasso’s revolutionary innovations, as well as the wide range of styles, materials and techniques he mastered. From his earliest academic studies, to his personal take on the Classics; from the overlapping perspectives of Cubism, to his experiments in ceramics, and from his re-workings of the Old Masters, to his late paintings in the 1970s. Archaeological site The ground beneath Museo Picasso Málaga preserves important evidence of the city’s roots in the past. The exceptional Phoenician, Roman and Moorish remains, as well as those of the Renaissance palace, show the visitor fragments of Malaga’s history, dating back to the seventh century B.C. Below the ground at the Palacio de Buenavista, important evidence has been found of the first beginnings of Malaga, one of the most ancient cities in the Western

CITY WALL BUILT AT THE START OF THE 6TH CENTURY B.C.

world, with almost 3,000 years of uninterrupted occupation. The excavations have revealed exceptional archaeological remains, which show the presence of life in Phoenician, Roman, Arab and Renaissance times. Malaka was founded by the Phoenicians around the 8th Century B.C. on the lower slopes of the Mount of the Alcazaba. From the beginning the population developed an intense metallurgical activity, and produced Tyrian purple, as well as salted meat and fish. From the 6th century B.C., the Punics dominated the city until the Romans conquered it after the Second Punic War (end of the 3rd century B.C.), when it was named Malaca. It was integrated into one of the Roman provinces and kept its privileges as federal city. The significant development of the fishing industry consolidated its commercial character. When the Roman Empire dissolved, the Visigoths came to dominate these territories. The city fell into decline, with the only exception of the Byzantine period, when it played a crucial role, probably as Imperial capital.

some of Picasso’s greatest works and reconstructing this body of work in the context of a personal story that developed alongside another political and social one. Picasso’s model par excellence, his imagined figure of Olga underwent a metamorphosis during the years of upheaval in Europe between the wars, as their relationship gradually deteriorated. Some 350 pieces will be on display, comprising paintings, works on paper, documents, letters, photographs and films. The exhibition is jointly curated by Émilia Philippot, conservator at Musée national Picasso - Paris; Joachim Pissarro, professor of art

history and director of Hunter College Art Gallery (New York); and Bernard Ruiz-Picasso, co-chair of Fundación Almine y Bernard Ruiz-Picasso para el Arte, FABA. The exhibition was shown at the Museé national Picasso-Paris from March 21 to September 3, 2017. It will displayed at the Pushkin Museum in Moscow from November 19, 2018 to February 4, 2019, before travelling to Museo Picasso Málaga. The last venue will be Caixa Forum Madrid next September 2019. DISCOVER MORE www.museopicassomalaga.org

In 711, the city fell into the hands of the Arabs and came to be part of the Cordoba Emirate. Some time later, from the 10th Century onwards, it became prominent again amid the Southern peninsula towns as first harbour of the Moorish kingdom of Granada, from where major merchandises were shipped. The Catholic Monarchs conquered Malaga in 1487. From 25th February to 2nd June 2019, Museo Picasso Málaga will be examining the life and background of Olga Khokhlova, Pablo Picasso’s first wife, in the first show of its 2019 exhibition calendar. Olga Picasso looks at the years they spent together, putting into perspective the creation of

PABLO PICASSO - OLGA PENSIVE (WINTER 1923)

JD MALAT GALLERY ‘TO SEE IS NOT TO SPEAK’, a solo exhibition by Swiss artist Conrad Jon Godly.

INSTALLATION SHOT

JD Malat Gallery is pleased to present ‘TO SEE IS NOT TO SPEAK’, a solo exhibition by Swiss artist Conrad Jon Godly. Following on from the artist’s solo show, ‘DARK IS LIGHT’, in Kyoto, Japan, 2018, ‘TO SEE IS NOT TO SPEAK’ presents an exciting selection of work which addresses the relationship between human nature and the sublime. Godly finds a beauty in the awe and terror of nature, and his works are a reminder of the futility of human existence. ‘TO SEE IS NOT TO SPEAK’ embraces the viewer in the dramatic elements of nature making for a captivating yet peaceful display. Despite Godly’s earlier peripatetic career as a photographer in the fashion industry, during which he spent 18 years travelling across the urban centres of Europe, the eighteen works created for this exhibition are not direct studies from nature. In fact, Godly’s return to nature, distances himself from the traditional canon of landscape painting, not just through technique, but in rendering a selection of abstracted work which he draws from memory.

These are not scenes which one can summon directly from nature, nor are they individual landmarks, but approximations. As such, Godly is able to capture the most dominant and reflective aspects of his surroundings, saying; I never paint a certain mountain. The mountains surrounding me where I live have a great effect on me but I paint from memory and imagination. Years ago I took photos of mountains, just to study details... and to bring these images into my memory. Today I don’t take photos anymore, I have enough images inside of me. What Godly reveals then, is the essence of one’s natural surroundings, his works give reverence to the most vital elements of nature to create an overall feeling of nostalgia. The harsh, unrefined brushstrokes not only create a tension between subject matter and viewer, but the paint seems to drip off the canvas, breaking the barrier between the painting, and viewer. An idea, which undoubtedly reflects the consuming and unrestrained aspects of nature which Godly is attempting to contain. Godly’s

investigation culminates in a blunt expression of form, presenting a series of heavily impastoed canvases, mixed with faint brush marks. This severity of contrast displays Godly’s ability to capture the purity of nature through a harmonious assembly of paint. Moreover, having spent much of his time in Japan, a place which Godly considers his second home, Godly’s work embodies the traditions of Japanese calligraphy, ‘shodō’, as well as leaning towards Shan shui, a traditional Chinese technique of landscape painting using just ink and brush. As such, professor and art historian Yuji Yamashita refers to Godly’s work as ‘the birth of Sansui Oil painting.’ In describing his approach to painting, Godly has stated that he ‘studies nature very intensively, just to see, to understand nature and its own rules.’ In so doing, Godly successfully extracts the spirit of his physical surroundings, and formulates a cohesive narrative between the individual elements of nature.

TO SEE IS NOT TO SPEAK #17, 2018 (OIL ON CANVAS, 150 X 150CM)

The nature of theatricality lies at the core of Godly’s paintings, and by creating an abstracted version of nature, Godly is able to free himself from the limitations of reality. Such as what he found in photography, perhaps. ‘TO SEE IS NOT TO SPEAK’ is a culmination of Godly’s fascination with capturing and framing the essence of nature. As Godly states;

INSTALLATION SHOT

It is not so much about the mountains or the sea, it is much more about the essence of something, whatever it is. I am very much interested in the essence of

things. When I paint a mountain... I try to convey the essence of a mountain. What is the essence of a mountain, what is light, how does reflection work on snow etc? Additionally, the clear spontaneity and urgency in Godly’s work to evoke the essence of the mountains and surrounding environment is reflected in Godly’s approach. Godly suggests, that his ‘way of painting is very fast. You can see and feel it when you study my brushstrokes. My brushstrokes are the essence of my way to paint, very physical, very fast,’ lending his work to the transient and

fleeting elements of one’s physical surroundings. It is clear that Godly is intoxicated by his return to nature, and his work captures the warmth and happiness of an artist engaging with his native surroundings. The pure romantic qualities of nature are able to effectively filter through the canvas. As Philipp Meier’s 2013 monograph ‘Conrad Jon Godly, works+-’, has suggested ‘we are reminded of geological processes when viewing such cracked colour material, which forms a distinct topography on the canvas, especially in his large-

format works.’ An idea which is undoubtedly realised in this exhibition. ‘TO SEE IS NOT TO SPEAK’, is an exhibition which embodies this infectious return to nature. If one has never experienced the dramatic tension of the mountains, Godly’s work traverses its viewer to the summit of vertiginous proportions, giving his canvases over to the all consuming elements of nature.’ DISCOVER MORE www.jdmalat.com

TO SEE IS NOT TO SPEAK #5, 2018 (OIL ON CANVAS, 170 X 170CM)

GRANT MILNE

his most powerful works and this canvas is one of the acknowledged highlights of the Courtauld’s holdings. Having been rejected by the official Paris Salon in 1870, Cézanne exhibited at the first Impressionist group exhibition in 1874. His work however, was radically different from that of his contemporaries and found little favour with critics and collectors. Following his lack of success in Paris, Cézanne withdrew into relative obscurity at his family home near Aix-en-Provence. Here he formed a deep bond with the landscape and the local people such as Paulin Paulet, a gardener on his estate who is depicted in the painting. The Card Players is a masterpiece of Cézanne’s and his highly original and groundbreaking approach to painting led to him being considered one of the most important artists of his time and ‘the father of modern art’.

CARA DELEVINGNE

One of my favourite paintings is William Wilberforce by Sir Thomas Lawrence, which can be seen at the National Portrait Gallery, London. My art I would say, has been influenced by the painter Lucian Freud. Since creating and featuring in Artist Talk, I have been fortunate to feature some fantastic artists. In this issue we have featured Sue Tilley who was the sitter for Lucian Freud. Sue has also gone on to create some fantastic pieces herself.

visited as part of a sustained national partnership. Cézanne’s famous series of paintings of peasant card players have long been considered to be among

My own artwork has been hugely influenced by the work from Cézanne, with the example of my portrait of Cara Delevingne.

Another of my personal favourites and inspiration was featuring the Masterpiece from London’s Courtauld Gallery, which is the iconic painting The Card Players, by French artist Paul Cézanne. The iconic painting The Card Players, by French artist Paul Cézanne was displayed at the Ferens Art Gallery: Hull Museums, June 2018. Following the Courtauld’s magnificent loan by Manet in 2017, Paul Cézanne’s iconic Card Players, 1892-6,

THE CARD PLAYERS

IMAGE COURTESY OF THE SAMUEL COURTAULD TRUST, THE COURTAULD GALLERY, LONDON

Before starting any painting I will use the app ArtRage, which is a digital artistâ&#x20AC;&#x2122;s studio with a full range of familiar tools that look and work like the real things. Itâ&#x20AC;&#x2122;s a canvas for thick, expressive oils and delicate watercolours, a sketchpad with a full set of pencils and a sheet of paper with a stack of wax crayons all in one. You can view more about the app at www.artrage.com. December 2018 I completed the painting, which is a portrait study from a photograph of me aged 3. Size: 118 H x 78 W x 4 cm. I initially use the ArtRage app to complete the painting digitally. Using a Sensu Artist Brush and Stylus it gives me the same effect of oil painting. You do not need however, to wait for the paint to dry. Sensu artist brushes are the ultimate tools for digital artists. They deliver an authentic painting experience on your tablet or smartphone.

It takes three stages for the digital painting. Stage 1 is when I quickly place the paint to cover the basic shapes and tonal values of the painting. Stage 2 is when I added the details of the features such as the eyes and mouth. Stage 3 is the final stage when I add the final details and enhance the tonal values. From this I will then start the oil painting, which takes a longer time to complete and more stages. It is however, a very similar process. The colour will have slight differences.

ARTRAGE - STAGE 1

ARTRAGE - STAGE 2

ARTRAGE - STAGE 3

OIL PAINTING - STAGE 1

OIL PAINTING - STAGE 2

OIL PAINTING - STAGE 3

OIL PAINTING - STAGE 4

OIL PAINTING - STAGE 5

PORTRAIT OF ME AGE 3

Future Projects This summer when I was staying in France, I was inspired by Claude Monet’s painting entitiled I Papaveri. This piece was made outdoors near Argenteuil, in the summer of 1873. The artist wanted to focus his attention on the effects of light and colour.

Henri Matisse) This is a museum in Le Cateau-Cambrésis, France.

When I was travelling, I came across Bony which is a commune in the department of Aisne in Hauts-de-France in northern France. I decided to try and stage a similar picture with my parents walking the dog Bromley. Once I was happy with the digital photograph, I then created the piece below. I will hopefully soon get time to paint this onto canvas. Furthermore, during my visit to the North of France I got the chance to visit The Matisse Museum (Musée Départemental

I will also be working on my painting, which is a portrait of the musician Rihanna. You can see the current stage of the painting on the right. This painting is currently unfinished, requiring some more layers to be added to the painting. GRANDE FEMME II ALBERTO GIACOMETTI

I got to see some great work by Matisse but I also got to see some

PARENTS WALKING BROMLEY

work by Alberto Giacometti, such as the Grande Femme 11 Sculpture. They also showcased some of his drawings such as Portrait de Tériade, 1960. I am pleased to say you find out more about Giacometti in the next issue. We will be featuring the Institute of Giacometti, who presented the unreleased photographs of Alberto Giacometti’s works taken by Peter Lindbergh, one of the most important photographers of his generation.

DISCOVER MORE www.grantmilne.com

PORTRAIT OF THE MUSICIAN RIHANNA - CURRENTLY UNFINISHED

AASE BIRKHAUG

Please explain to our readers why you are drawn to roses time and again?

different media such as Aquarelle, Tempera, Gouache, Oil, Acrylics and Pastel.

I am drawn to them again and again because they are very beautiful, they smell good they look good all of them has their own history, and they represent different things in a historical philosophical perspective. I am drawn to them because they mostly represent love. Roses are nature and roses are a very beautiful part of the nature.

Believing that surroundings can influence oneâ&#x20AC;&#x2122;s health and mind, Painter and Physiotherapist Aase Birkhaug has combined her two passions by painting roses for a soothing effect.

I am told that there are about 40.000 different Roses and Rose Spices in the world. As a physical therapeut and aa a painter I have been drawn to them, The Roses in many years now all back to year 1990. That was the year I started painting Roses. Because of the symbolism the Roses represent I feel that Roses are the most universal flowers in the world, they are like Queens and Princesses in the Universe, in The Paradise. Aase has been drawing and painting since she was 6 years old. Now completing painting in

Having fallen in love with flowers, nature and painting from early age, it was only natural to merge these factors together at some point, and by combining the aesthetic beauty of botany with her skills as a painter. It is documented that colors have an effect on the sensory system, and some years ago I made the waiting room in my physiotherapy office into an exhibition for my paintings, so I discovered that it influenced the patients mental state. The paintings are regularly described as very soft and mild. The color combinations used are tastefully and delicately fused to make a motif that can be described as very soothing to the eye.

Discovering several years ago that Roses have a positive effect on her, almost like healing, and the combination of the smell and the sight feels like a meditation, bringing about a certain calmness, this is something that reflects in the paintings. Since march 2016 Aase has received 56 international art awards and art prizes. There are also publications as articles and books about her art published internationally as well in, Art Monaco, Canada, Italy, Germany, France, Middle East, Denmark, USA New York, Dubai Argentina and London In Aaseâ&#x20AC;&#x2122;s family they have had several painters who have inspired her art work and inspired with painting and the paintings that have been painted during the years of her painting career. To mention some names are the painter Anna Sofie Brunchorst Ibsen, the famous poet Henrik Ibsen, painter Harald Ibsen, painter Borghild Ibsen and prof dr med Conrad Birkhaug.

ROSE IN UNIVERSE

BLUSCH DAMASK

“ROMANCING the ROSE” Norwegian artist Aase Birkhaug is inspired by Frida Kahlo who proclaimed: “I paint flowers so that they will not die.” Eternalizing and immortalizing the permanence of the floral kingdom, Ms. Birkhaug pays homage to the aesthetic beauty of roses. An emissary of nature, Ms. Birkhaug visually combines her physiotherapy training with her passion for flowers. Combining European and Asian influences into a rich and highly detailed art form, Ms. Birkhaug steps away from the trappings of our technological culture and recalls a time of sensorial depth and dedication to beauty in all of its forms. Inspired by the psychological effects colors and imagery have on the mind, Ms. Birkhaug skillfully and deliberately combines her color palette and rose compositions to yield a

calming effect for her viewers. “I discovered several years ago that roses have a positive effect on me, almost like healing, and the combination of the small and the sight feels like a mediation” she explains of her inspiration. Offering a voluptuous symphony of line and color, Ms. Birkhaug captures the essence of a classical still-life painting and transforms it into a re-imagined and extraordinarily compelling image. Striking in lushness of color, texture, line, and form, the result are rose paintings that are complex and weighty, while simultaneously sensuous. With a balanced sense of composition and keen sensitivity to light, Ms. Birkhaug creates images that capture the spirit of the Dutch masters, but then moves that spirit forward into the contemporary realm through a bold, expressive use of color and a modern take on texture and movement. Rendering forms through thick, energetic

brush strokes to detailed lines and dynamic perspectives, Ms. Birkhaug’s paintings reveal a unique and powerful partnership of technique. Emphatically utilizing the richness and the intensity of color, Ms. Birkhaug is adept at depicting the subtleties of of flowers, giving life to an arrangement of vividly hued flowers, as she endows each image with a depth and physical presence that thoroughly engage the viewer. Like O’Keeffe, much of her art is focused on the eternal mysteries hidden within the flower. Masterfully capturing the convergence of gesture, lines, shadows, and texture to create truly emotive works, her paintings are a reflection of the past as it is a portent of the future. Stunning in its simplicity as it is compelling in its level of detail, Aase Birkhaug illustrates the beauty of her floral subjects in

PRINCESSE OF ROSES

the minutia of visual details and the broad, overall atmosphere of each composition. Proficient in art media such as aquarelle, tempera, gouache, oil, acrylics, and pastels, Ms. Birkhaug’s quest for learning places her at the forefront of artistic innovation. Through her art, Ms. Birkhaug’s visual poetry is a message of serenity to the world with images that are refreshingly tranquil, reminding the viewer of the serene moments and vistas that perhaps still do exist if we but know where to look. Celebrated in both private and public collections in Europe and the U.S., Amsterdam Whitney Gallery is proud to shine the spotlight on this contemporary master! DISCOVER MORE Facebook Aase Birkhaug

www.facebook.com/aasebirkhaugart/

Instagram page:

www.instagram.com/aasebirkhaug/

Linkedin profile page :

www.linkedin.com/pulse/healing-designaase-birkhaug/

Aase has published two books. The first book is called ARTISTIC VISIONS OF AASE BIRKHAUG, NEW YORK 2017, AMSTERDAM WHITNEY GALLERY, you can view this here https://issuu.com/ amsterdamwhitneygallery/docs/ artistic_visions_of_aase_birkhaug_i The second book is called THE ROSE GARDEN AASE BIRKHAUG THE NORWEGIAN PAINTER OF FLOWERS

NATIONAL SPIRITUAL HEALING ASSOCIATION, “Healing is gentle, simple and effective. We often search for the answers to our questions and believe the complicated answer to be the solution of the complicated question. It is not always that way, if we use the words of the English Association of Healers: Healing is gentle, simple and effective.” Aase published the article Healing By Design - about Roses in november 2003 in the National healing Associations Magazine Healing Today.

LONDON MARCH 2018, ICAC , THE INTERNATIONAL CONFEDERATION OF ART CRITICS & MUSEI DI CHIANCIANO. you can view that here https:// issuu.com/museodarte/docs/ aasebirkhaug-therosegarden

HEAVENLY ROSES A RENDEZVOUS. PREPARING FOR A NEW BOOK WITH ICAC ( THE INTERNATIONAL CONFEDERATION OF ART CRITICS.)

ROBIN CORFIELD

Hello everyone, I have been kindly invited to write about 1000 words for this piece. My normal correspondence nowadays is a few words of text , so here goes! I went to Norwich School of Art to study painting in the 1970’s. What a fabulous city Norwich is. The River Wensum winding its way around the Fine Art studios of what was then Norwich School of Art. I visited the Castle Museum on the hill often to study the Norwich School of Painters especially copying the John Sell Cotman watercolours. There was such an emphasis, a fashion at the art school, which embraced the wonderful American abstract artists. However I am very English and i loved small etchings, little jewels, as well as some big abstract art that began to evolve during the seventies and thereafter. But i have always been conscious of being old fashioned . Not in a stuck in the mud way, but just through loving those older English French and Dutch landscape paintings. John Constable is the works! As much as the beautiful colour field paintings of Mark Rothko.

Klee, Gillian Ayres, Alfred Sisley, Ben Nicholson, Ivon Hitchens, Van Gogh etc; wouldn’t it be wonderful! I get so excited thinking about the possibilities. I’d have no trouble being a millionaire. One room would be hung with Fender electric guitars. Original art is a bit of a luxury isn’t it? I met the etcher Robin Tanner back in the 1980’s and he was a huge influence on me. As a man, as an artist. What a great guy he was. Such a sweet nature, with a wonderful eye, and compassionate mind. I have lots of letters from him. Up to that point i had never met anyone who had the same passion for the sort of every day natural world that i did. What i mean is being just as fascinated by a bed of nettles as a flowering garden and having this urge that i had to draw it to do something about it! It couldn’t just exist! I had to get into it and provide evidence that i’d seen it! All the charcoal drawings you see of mine are up to 30/ 50cms x 24/ 40cms. They are done using Derwent Dark charcoal

pencils onto 140lb NOT Saunders stretched watercolour paper. I use a couple of dentists tools to burnish parts of the work, a stick of paper to rub the charcoal, and an electric and normal rubber. The paper is tough so i can attack it without it tearing or diminishing its quality. It has a texture to it except where i have burnished it smooth. I generally stand at an easel by the French doors to the garden, so i can go for a breather away from the charcoal, and so i’m next to my beloved garden to revive me. I feel the charcoal drawings should work atmospherically from a distance but also when you get up close you can see the details, just like those great etchings.,. just like the landscape itself. I usually work from a drawing that i have done. This drawing is often very small, envelope size or smaller, and in pencil or other media like conte. This development is often quite detailed. Pretty much always tonal. Once i’ve got this, then the charcoal drawing comes from my imagination; my visual memory.

In a nutshell i have always loved the English Pastoral tradition... Calvert, Samuel Palmer, Griggs, Sutherland. I was influenced too by the Barbizon school in France and George Seurat’s beautiful tonal drawings. The list could go on... The truth is if i could afford them i would have a Harold Gilman painting at home, in pride of place next to Patrick Heron, plus etchings by Palmer, and the best of Robin Tanner. If i had lots of money i’d extend the house and have loads of rooms with sofas, armchairs and coffee machines, with Spencer Gore on the wall , the odd Paul

CHARCOAL PATH

I have done thousands of small drawings outside over the years using pocket sketch books. This is of course is where all the looking and the work goes on. Some of these pages are a few incomprehensible squiggles and some quite polished drawings. I flip through these sketchbooks and find pages which inspire me to produce something bigger. I’ve included one or two pages to show you.

SKETCH OUTSIDE

I often think of those wonderful abstract artists like Patrick Heron, Ben Nicholson and the Bauhaus artists when i consider the compositions. I am thinking in large shapes and tones of shapes. I also love Arthur Dow and his exquisite simplicity when dealing with composition. I try to do the charcoal drawings quite fast and not over think them whilst i am doing them, because i have to rely on previous knowledge to let it flow, and for things to become second nature. The work has to have a life of its own and it is important to me to let my subconscious work for me. If you think too much about it then it becomes restricted. Some of the best things i have done have been like watching my hand do the work, ...but not all! I suppose its no different to any other activity. If you thought about every move while you were driving, it would impair you. Things do become automatic and that’s natural. I wouldn’t say i am relaxed when i’m drawing but i try to enjoy the process. Anyway i have made prints of my charcoal drawings, not etchings, but digitally scanned prints, and they’ve come out pretty well. So anyone can have as many as they want at a reasonable price. Good prints have made it affordable.

SKETCH OUTSIDE

These sorts of prints are fabulous and they are on really nice German etching paper which is similar to watercolour paper and acid free. I have an interest in the natural world. I love watching birds. I’m interested in the ecology of the planet. It seems so important nowadays that we are aware of the damage we are doing to the earth. So many people are now becoming more conscious of its fragility. I suppose it has given me more of a justification to draw trees! Its sort of become more relevant as conservation has become more of a topic. I say justification because sometimes doing art has seemed such a selfish activity. I don’t think it is, but it can be solitary. Anyway thankyou for reading this, i’ve reached the end and its time for a quick cuppa. Robin Corfield. DISCOVER MORE email: corfieldrobin@gmail.com

ABSTRACTED SHAPES

CHARCOAL WOOD

ROLLS-ROYCE MOTOR CARS

For over a century, Rolls-Royce Motor Cars has been recognised among the world’s most celebrated houses of luxury, constantly exceeding the otherworldly expectations of global patrons. An authentic expression of British luxury, each motor car embodies meticulous attention to detail and perfection in craftsmanship. The ambitions of the marque eclipse the bounds of mere mobility as they enter into the realm of culture, art and lifestyle. Rolls-Royce motor cars are hand built to perfection at the global centre of manufacturing excellence, in South-East England, by masters in their field. “As patrons increasingly commission a Rolls-Royce for its aesthetic power, they trust in the knowledge that only the finest materials fashioned at the hands of a collective of skilled artisans will produce a motor car that transcends its primary role as a means of conveyance, to become a meaningful and substantive expression of art, design and engineering excellence”, commented Torsten Müller-Ötvös,

AN UNLIMITED PALETTE OF POSSIBILITIES

Chief Executive, Rolls-Royce Motor Cars. A rich and storied history The turn of the 20th century marked the beginning of an ambitious partnership that would revolutionise the automotive industry. On 4th May 1904, the honourable Charles Rolls, an entrepreneur, and Sir Henry Royce, an accomplished engineer, joined forces during a historic meeting at Midland Hotel, Manchester, under the name of Rolls-Royce Motors. Brought up in London’s affluent Berkeley Square, Charles Rolls received an exclusive education at Eton, followed by a university degree in Mechanical Engineering from Trinity College, Cambridge. By the time he finalised his studies, Rolls was already an avid motorist. He subsequently set up one of the first car dealerships in Britain, with his friend Claude Johnson, who later became the Rolls-Royce General Managing Director.

THE HANDS THAT MAKE ROLLS-ROYCE

Unlike Rolls’s privileged upbringing, Henry Royce worked from the

age of nine as a telegram boy. He had a natural inclination towards engineering and was keen to make it a full-time occupation. Initially constructing electrical components, Royce improved the bayonet light bulb that is still used today. However, it wasn’t until he perfected a second-hand, two-cylinder French Decauville that the philosophy guiding RollsRoyce Motor Cars was established: “Strive for perfection in everything you do. Take the best that exists and make it better. When it does not exist, design it.” Despite very different backgrounds, Charles Rolls and Henry Royce shared a passion for engineering and a desire to achieve perfection in automotive manufacturing. The Rolls-Royce dream came true in 1907, when Silver Ghost was crowned ‘The Best Car in the World’ after travelling from London to Glasgow 27 times – a feat unmatched at this time. Earning the marque its legendary reputation, Silver Ghost was subsequently replaced by Phantom I in 1925.

The 1930s marked another timeless achievement for RollsRoyce as the famous ‘R’ engine broke the world speed record on land, air and sea. It later evolved into the Merlin engine, which powered both the Spitfire and the Hurricane during Wold War II. The same decade also marked the first use of the V12 engine in RollsRoyce Phantom III. In the prosperous post-war era, owning a Rolls-Royce came to be associated with success. As such, the motor car often shared the lime light with Hollywood royalty and rock stars and featured in popular films, such as ‘The Yellow Rolls-Royce’. A particularly notable example is John Lennon’s outlandish Phantom V, which remains one of the most valuable items of pop memorabilia ever created. A new chapter for the marque commenced in the late 1990s when the BMW Group acquisitioned the rights to produce Rolls-Royce motor cars from Rolls-Royce Plc. With the change came a brand new manufacturing facility: the Home of Rolls-Royce at Goodwood, West Sussex. It was here that the history of luxury in

the 21st century would unfold. The Home of Rolls-Royce Tucked away in the South Downs National Park and in an area of outstanding natural beauty is the Home of Rolls-Royce. When it was first opened on 1st January 2003, it employed 200 people and produced only one motor car a day. More than a decade later, there are 2,000 designers, engineers and artisans working together to hand build more than 4,000 motor cars every year. This year saw the highest annual sales in the marque’s 115-year history, with 4,107 cars delivered to customers in over 50 countries around the world. Not without significance, the location of the Home of RollsRoyce is deeply rooted in the history of the marque. Less than 10 miles away from Goodwood is the charming village of West Wittering, which served as the home of Sir Henry Royce, from 1917 until his death in 1933. The two-storey manufacturing plant, designed by renowned British architect Sir Nicholas Grimshaw, is at one with nature.

The 80,000 tonnes of gravel extracted from the site enabled the company to situate the plant two metres below the surrounding ground level. The camouflage effect is further sustained by the sedum-covered living roof, the largest of its kind in the UK. Moreover, the opulent, ‘glass mile’ windows flood the building with natural light, offering visitors a front-row view of the entire production process. The Home of Rolls-Royce in Goodwood is the only place in the world where Rolls-Royce motor cars are created. The process involves over 60 pairs of expert hands from a variety of specialist departments. Joining the pinnacle Phantom, the marque also welcomed Ghost (2009), Wraith (2013) and Dawn (2015). Their Black Badge variants particularly bring the Rolls-Royce brand to new, younger audiences that are attracted by its unapologetic attitude. The autumn of 2018 marked yet another milestone achievement for the marque as Cullinan, the first Rolls-Royce allterrain SUV, made its global debut in Wyoming, USA.

THE HOME OF ROLLS-ROYCE, GOODWOOD, WEST SUSSEX

A MUSE IS BORN

The Spirit of Ecstasy A graceful, feminine presence silently proceeds the road of every Rolls-Royce motor car. The Spirit of Ecstasy represents one of the world’s most famous symbols, a true icon embodying the highest standards of beauty, luxury, style and perfection that are written in the Rolls-Royce DNA. The circumstances of her genesis blur the boundaries between truth and legend and convey the mystique of her name. In 1909, the British motoring pioneer, Lord Montagu of Beaulieu, commissioned sculptor and illustrator Charles Sykes to create a mascot for his Rolls-Royce Silver Ghost. Rumour has it that Sykes’s muse was the private secretary of Lord Montagu, Eleanor Valesco Thornton. Nevertheless, the sculptor has never publicly divulged his source of inspiration. Sykes modelled a bronze statuette of a young woman in fluttering

robes, whom he named ‘The Whisperer’. The finger that she was elegantly holding to the lips indicated that the figure was the guardian of a secret, which some believe it to be the close relationship between Lord Montagu and Eleanor. Others suggest, more prosaically, that it is a reference to the engine’s quietness. The Whisperer subsequently inspired other Rolls-Royce owners to create their own ornaments, much to the umbrage of Rolls-Royce General Managing Director, Claude Johnson. These unseemly additions led Johnson to commission an ‘official’ Rolls-Royce mascot that would consolidate the marque’s image. Consequently, Sykes was charged with reinterpreting The Whisperer and with creating the Rolls-Royce muse that we know today, The Spirit of Ecstasy. Her silhouette was also altered, the later version being four inches more petite than the original seven-inch design and

made from various materials. In 1934, Sykes created a kneeling adaptation, which graced Silver Wraith and Silver Dawn into the 1950s. Until 1939, each figurine was individually cast, inscribed and finished by the hands of Charles Sykes and his daughter, Josephine. The original technique of ‘lost wax’ casting dates back over five millennia, whilst modern technology and digital mapping ensure that even the finest details are accurately represented. Each Spirit of Ecstasy figurine is made by filling a mould with molten stainless steel, at an exorbitant 1600°C temperature. As the wax model is melting away, The Flying Lady comes to life. Lastly, the casting is blasted by millions of tiny, stainless steel balls, which help to polish the surface. Each figurine is meticulously finished by hand. Indeed, once the Spirit of Ecstasy acquires her glorious shine, she may take her rightful place above the iconic Rolls-Royce grille.

masterpiece. To say that Bespoke is an art form is not an overstatement. For New Phantom launched in 2017, RollsRoyce developed a space behind an application of glass that runs uninterrupted across the fascia of the motor car. This space is aptly named ‘The Gallery’ as it provides an unprecedented opportunity to exhibit and curate artwork, within the pinnacle Rolls-Royce Phantom.

A CAR AS UNIQUE AS THE PATRON’S FINGERPRINT

The Art of Bespoke Rolls-Royce opens a realm of boundless possibilities and endless creativity. Responsible for transforming a single concept into a masterful reality is the Rolls-Royce Bespoke Collective – a group of talented visionaries and artisans that fulfil patrons’ most deeply held aspirations, whilst pushing the boundaries of automotive luxury.

A CELEBRATION OF ART IN EVERY ROLLS-ROYCE PHANTOM

Whether Rolls-Royce motor cars capture the vibrant spirit of some of the world’s most glamourous locations or emulate patrons’ exclusive lifestyles, every feature is dictated by unique Bespoke themes. Moreover, the Bespoke Collective are frequently tasked with creating magnificent new colours, sometimes with silver, gold or even diamonds infused into the finish. For example, 1000 ethically-sourced diamonds were used for the most luxurious exterior ever seen on a motor car, and the most expensive paint to grace the body of a Rolls-Royce. Aptly named ‘Diamond Stardust’, this unique paint was exclusively created for the stylish Rolls-Royce Elegance Ghost. Rolls-Royce Sweptail is the epitome of the collaboration between patron and artisan and the realisation of one customer’s coachbuilt dream. Premiered in 2017, Sweptail at once celebrates the marque’s heritage and reaffirms its leading position in Bespoke personalisation. RollsRoyce blended the customer’s vision for a coachbuilt coupé featuring a large panoramic glass roof with the lineage of 1920s and 1930s Rolls-Royce motor cars. The result is a contemporary

Illustrating the creative opportunity The Gallery affords, Rolls-Royce Bespoke Designer Alex Innes invited seven artists and master artisans from around the world to interpret the space. The result is a collection of unique artistic creations that defy the constraints of automotive design and invite Rolls-Royce owners to imagine and reflect. The breath-taking beauty of The Gallery is enhanced by the use of exotic materials and textures, previously impossible to incorporate into an automotive context. The finest porcelain by Nymphenburg, a stainless steel, gold-plated, 3D-printed illustration of an owner’s DNA by Thorsten Franck and natural iridescent feathers combined with ethicallysourced jade-green abalone by Nature Squared, are only some of the creations that place Bespoke at the heart of Rolls-Royce. From the initial meeting between Charles Rolls and Henry Royce to the show-stopping Cullinan launch in 2018, Rolls-Royce Motor Cars has continuously reaffirmed its position at the pinnacle of the luxury world. ‘Striving for perfection’ is taken to entirely new heights and it is deeply engrained in every individual who works at the Home of Rolls-Royce, in Goodwood, West Sussex. DISCOVER MORE www.rolls-roycemotorcars.com

SAMANTHA TUFFNELL

But it was only with the discovery of ink and bleach that I realized I too had found my passion. To start developing my style, I focused on painting sea themes as they seem to suit this type of flowing and reflective medium so well. I took my inspiration from my surroundings – painting the sea in various modes, such as a strawberry moon casting sparkles over the waves at night. I also painted Eastbourne Pier in this medium with a dark twilight starry sky. At fairs

EASTBOURNE PIER

The beginning Art has always been like an old friend for me. Ever since I can remember, drawing and painting have been part of my life. As a child I always had a pencil and paper in my hands, sketching out ideas, colouring and creating. As well as easily being my favourite part of school, it has always been patiently waiting for me to return, in between working as a graphic designer, having a family, divorce and moving areas – all the ups and downs of life. Relocating back to Eastbourne, Sussex three years ago, I stumbled across an art class in my local area of Old Town. At first I simply enjoyed the weekly opportunity to express that side of myself again, experimenting with a variety of mediums such as acrylics, watercolour and mixed media. But there was one that really resonated with me – ink and bleach. I loved the energy and unpredictability of using just two colours of ink and achieving many more when the bleach does its magic… it literally develops before your eyes. I was hooked! I guess that art having such an impact on me was inevitable

given my artistic genes. My great-great uncle painted and also designed theatre sets in the West End. My paternal grandfather was a reconnaissance photographer during the war and also sculpted with wood as a hobby. Then there is my dad who trained as a traditional animator – painstakingly painting each of the 24 cells that make a second of filming, a skill that has made him a brilliant realist illustrator. And my mother was always making something – sewing, knitting etc – more from necessity but also for the love of homemade and original clothes.

STRAWBERRY MOON

In July 2016 I had my first opportunity to display my work in public on the walls of a local restaurant. From then on, I began exhibiting through Open Houses with my art group and open art exhibitions, so when I was asked to contribute to a select group of artists exhibiting for a local ArtWave in August 2017, I was really honoured. I produced a series of 6 ink and bleach prints, with sea and woodland themes – all painted with just black and blue ink. I then began selling originals and prints of my own work – I still get a huge sense of joy when someone buys one! Later that year, I was accepted for a local gallery’s art fair entitled Ink, Paper & Print – a platform set up to showcase the best new makers and illustrators working in the contemporary arts. It was a thrill to be besides other brilliant artists and print makers – I felt I’d found my tribe, which inspired me to do more.

PELHAM ART WAVE

Workshops In September 2017, I decided I would try and run my own Ink & Bleach workshop. I loved this style of painting so much I was sure others would feel the same. I found a local venue through the Devonshire Collective and created my first Facebook event! This group is a creative hub for emerging and established artists, supported by Eastbourne Borough Council and Housing Investment Company who have transformed three properties into a café and gallery, art studios and multipurpose workshop spaces. This was a great success and I had some brilliant feedback. I think that art is such an overlooked subject, especially in education. But the rewards people attending my two-hour workshops gained were tangible and life changing. They left feeling relaxed and inspired and believing in themselves enough to try their own ideas – it is a great feeling to think I made that happen so I am continuing to hold them as regularly as I can at various venues.

LOVE OF THE SEA, BIRLING GAP

We agreed on a series of seven illustrations that would appear alongside her written verses in a self-published book called ‘The Love of the Sea’. My style of work fitted this title perfectly, depicting crashing waves and mermaids – an ethereal theme of sea gods, sirens and lost souls set beneath the waves. This work was great fun to execute and was also centered around East Sussex, with each scene set at a local coastal landmark where possible.

In 2018, a new-found inspiration arrived in the form of rambling! I joined my local group as an excuse to get out and indulge my love of the South Downs and surrounding area. I took photos while on the walks, as reference for a series of ink and bleach landscapes. These I took, along with prints, greetings and postcards, to my second year at the Ink, Paper & Print art fair – where I sold almost all my stock over the busiest two-day event they have had so far.

LOVE OF THE SEA, CRIME OF PASSION

Commissions and the future Last year, a local poet, Diny van Kleef, asked me to illustrate a poem she had written some years before but had always wanted to publish. I began developing my style to push the limits of this medium further and found it was possible to increase the level of detail to fit the storytelling brief.

LONGMAN, SOUTH DOWNS

A steady stream of commissions has continued to turn up alongside creating my own series of new works. I was asked to illustrate digital advertising boards for an outdoor logistics advertising company based in London. My grungy ink and bleach style along with ink and wash suited the backdrop of the bustle and grime of the city and the illustrative style helped avoid any issues with the advertiser’s brand. They were so impressed with the result that I’m now commissioned to illustrate select projects for their website updates and the originals are given as gifts to their clients. As a result of this commission, another advertising company asked me to paint portraits of their staff for their website. This has been yet another learning curve as I had never painted a portrait before and certainly not attempted a face with ink and bleach! I tried a test using my daughter as my subject. I kept the colour simple, using just one or two inks and let the bleach add its own tones and shades – I was delighted with the result as well as the first draft of feedback

MY COLOURFUL DAUGHTER, LOU PORTRAIT

There seems to be no limit to what I can illustrate using this medium – I’m so glad I have kept returning to my artistic heritage and I hope to continue to experiment, exhibit, inspire and share my artistic talents for many more years to come. Who knows where it will take me next…! DISCOVER MORE Instagram samanthatuffnellartist Facebook samanthatuffnellartist

OOH DIGITAL ADVERTISING BOARD

SUE TILLEY

Please introduce yourself to our readers. My name is Sue Tilley, I’m 61 and have lived in St.Leonards on Sea for the last couple of years, before that I lived in London. What did you do prior to becoming the “muse of Lucian Freud”? I worked in a Job centre for 37 years and also worked on the door in several London nightclubs, including the legendary Taboo and Wag clubs. Please can you inform the readers how you were introduced to Lucian Freud? My best friend was Leigh Bowery

and he was already working for Lucian. As he had been introduced to him by one of our friends, who had gone to university with one of Lucian’s daughters, Leigh decided it would be good for me to sit for him as well, so he put the idea into Lucian’s head. What was your first impressions? I was petrified of him as Leigh had exaggerated to me how scary he was. Could you explain how generally a sitting would go, did Lucian have a similar process he would go through, or was it a complete different experience each time? I would arrive at about 7.30am after a quick drive down The

Westway. Lucian would be sitting at the kitchen table and we’d have a quick chat and look at the papers. He used to get 5 a day and there was a huge heap of old newspapers in the kitchen. Then I’d go and lie on the sofa for about 90 minutes before I had a break. The morning would then continue until lunchtime when Lucian would take me to a fancy restaurant, or cook me a delicious meal himself, after which I would go back to sitting for him until approximately 3pm before going home. Sometimes there were callers or deliveries which gave me extra breaks. Throughout this process did you learn anything that you could share with aspiring portrait/ figurative artists that could help them? Look, look and look.....don’t be scared to make drastic changes if the picture isn’t going right. Would you talk to one another during the sitting, if so what topics of conversations would you discuss? Yes we would chat all the time ...about everything under the sun... Lucian loved a gossip which suited me fine. My favourite thing was when he told me about his adventures when he was young .... driving around with Cecil Beaton and Marlene Dietrich, meeting Judy Garland, drinking, gambling and womanising. How long was each sitting? The night sitting was from about 7pm to 1am and day sitting about 7-30am to 3pm. It did however, depended on the time of year and the light so sessions were a bit shorter in winter.

PAINTING OF LEIGH BOWERY

Did you learn anything that you felt was interesting about Lucian? Everything about Lucian was interesting. He was a special sort of person with a very changeable personality, which is a trait that I love in people. It was wonderful to get to know a great artist so well. What did you learn about yourself from the process? That I am reliable and that I can sit still for long periods of time (very useful when flying or having an eye operation which I had in December 2018) Did you get an insight into Lucian’s life outside of painting? Yes but really at this stage in his life he just wanted to paint.... and he painted 7 days a week at least 14 hours a day. He would have several paintings on the go with a stream of sitters passing through his studio. He always had a self portrait to work on in case a model couldn’t turn up, which drove him mad however, he would usually go out for lunch taking his model with him. He had a lot of children and he got to spend time with them by using them as models. He rarely went abroad but if he had to, he would only stay a day as he couldn’t bear to be away from his work. Many people seem to have the impression that he was a heavy drinker but he wasn’t at all. He would maybe share a half bottle of champagne but that was about it. I have heard stories about Lucian’s eyes during sittings. Apparently, they would widen and really focus on you. Please could you explain this? They really did... it was a bit scary when you looked at him and his eyes were bulging, trying to take in as much information as possible. He worked with the canvas facing

you, so he had to remember what to paint when he turned round to put the brushstrokes on. He couldn’t really paint from behind the canvas as they were so huge he wouldn’t have been able to see anything. What was your first reaction to seeing the completed artworks, were you honest with him? I saw them from beginning to end as the canvas was facing me, so it was no big surprise. I told him what I liked and what I didn’t like. What was Lucian’s thoughts, was he satisfied with the pieces? When he was nearing the end he would invite his good friend Frank Auerbach round to give his opinion and then he might change something. He rushed to finish “Evening in the Studio” as I was going on holiday and he hated tans, when I returned home, I had to go back a couple of times as he had decided that the arm wasn’t in quite the right place. He didn’t paint me again for a year, as he wanted my tan to disappear completely. Did you keep in contact after? For a bit but once he had finished painting you he moved on to his new models and he didn’t really have much time for socialising. Did you get to keep anything from the experience? Lucian gave me some etchings but I sold them when I was hard up.... I’m not a great one for possessions so I didn’t mind. The main thing that I got to keep was the actual experience... how lucky I was to spend so much time with such a great and interesting painter. Has this changed your life? It really has....since the day “Benefit Supervisor Sleeping” sold

for that record amount, my life hasn’t been the same. It wasn’t exactly boring before but it’s gone up a couple of notches. I do a bit of TV work, which I always find amusing, I give talks, help students and generally have a good time. Then when I started painting I got given a big show really quickly, which I’m sure wouldn’t have happened before. Have you modelled for anyone else? I did some photographic work with Sam Taylor Johnson which ended up being nominated for the Turner Prize and was shown in the Hayward Gallery and Tate Britain. I also did a big photographic project with a French artist called Jacques Bosser. I sometimes model (dressed) for art classes.

ME AFTER MATISSE WITH MISSING BREAST ( I HAD CANCER)

If you could have been a model for any other artist, who would you choose? Matisse, as I love his work and he had a wardrobe full of clothes and jewellery for his models to wear. I also recently interviewed the American artist John Currin for a TV show and he had rails of fabulous lingerie and clothes for his sitters. I’d like to model for one of his saucy paintings. How does it feel to see the paintings in real life, also to know the amount of money they have sold for?

I’m always pleased to see them... I recently did a copy of Benefit Supervisor Sleeping, which was very interesting as I got to study every brushstroke. It’s incredible how much they sell for but I find it sad that public galleries can’t afford them and the people who buy them, usually buy them for their value and not because they love them. Tells us about your artworks and sketches? I trained to be an art teacher when I left school but I never pursued that career but I still did a bit of drawing. Then about 5 years ago I was asked to give a talk and model for a charity event at the Kids Company. There was another model there called Rui Miguel Leitao Ferreira and we got chatting and since then have been great friends. He is a successful Portuguese artist and he took me under his wing and encouraged me to draw, he bought me some crayons and gave me ideas for sketches. This brought my love for art back and with a lot of practice, my techniques improved although he still loves my first very naïve work the best.

COPY OF BENEFIT SUPERVISOR SLEEPING

about it and a curator and artist called. Marty Thornton offered me a show at his gallery, near The Olympic Park. Luckily I was made redundant from the Job-centre so I found a studio and put on a show. I then had a couple of shows at the quirky Queen Adelaide pub in Bethnal Green. Then I moved to St Leonards on Sea and am currently showing at the Seepray Gallery in Hastings. I decided that as Lucian wouldn’t paint me with my clothes on, I would put myself in famous paintings and change some of the clothes to mine. I am having another show next July at the New Art Projects Gallery in Hackney.

To summarise what one thing will you remember that would sum up your experience of being Lucian Freud’s model? I remember it all with great affection... but maybe I don’t remember it all as well as I think, as a few years ago there was a small unfinished Lucian painting of me in the Rubens show at The Royal Academy and I can’t even recall him painting it. DISCOVER MORE Instagram: @suetilley1

ME AFTER ANDY WARHOL

Have you exhibited any of your own work? A friend told The Observer that I was drawing so they wrote a piece

ME AS A PORTRAIT BY MANET

ME AS PICASSO.S WOMAN IN A WHITE CHEMISE

ZOE WALKER

Zoe Walker; Abstract Artist My name is Zoe Walker and I’m an Abstract Artist currently living in Oxford. I grew up with my parents in the leafy county of Hampshire and it was there that I first started drawing inspiration from the unusual surfaces of the ground and exploring the textures of the natural world around me. I took an Art and Design foundation course at the University for Creative Arts (UCA) in Farnham and stayed on to then study BA Hons in Textiles for Fashion and Interiors for a further three years. Instinct told me I was a creative individual and I thought my degree path would help me to develop my individual style as an artist. However, I was surprised to find myself lacking direction at the beginning of my course and feeling somewhat lost. I didn’t feel as though I had any idea of how to personally progress towards my own way of working. But I was determined to persevere and thankfully my endurance was rewarded when a new course leader was appointed. They were dynamic and engaging, and not only took a real interest in my work, but recognised a potential in me that needed some gentle guidance. I still remember that first tutorial as though it were yesterday. I had a real connection with her, so much so that our 15 minute session suddenly turned into an hour! We discussed new techniques I could experiment with and just like that I started going from Cs to A*s. It was as though she had shaken me and said “Zoe, this is what you’re meant to be doing!” She helped me to completely redefine my creative output just by opening my mind to a new way of thinking and I will be forever grateful to her for showing me the way. It was a daunting period because it felt as though I was stuck in a painter’s mind while trying to work with textiles and my new way of working allowed little time

THE ‘GREY’ DAYS - ACRYLIC AND SPRAY PAINT ON CANVAS

for thinking, which meant I was creating from instinctive reactions to my surroundings. I explored the great outdoors capturing surface details and transposing them in to pieces of tactile art, exactly the kind of thing I would lose myself in back at home in Hampshire. I experimented using a loom and various unusual yarns (of which linen was my favourite) and it fascinated me to see the different effects they produced. My old perfectionist habits were erased and replaced with a new, exhilarating method of creativity. This was it; this was the beginning of my career as an artist! It was a

pivotal point in my artistic career as it led to my discovery of ‘Divine Timing’, a concept which holds huge importance in my everyday life as an artist and an individual. For those who are unfamiliar with the phrase allow me to enlighten you. Divine Timing is the idea that everything happens exactly when it is ‘supposed’ to, and in just the right way. The saying ‘everything happens for a reason’ springs to mind, and it’s not far off. That one tutorial guided me towards a new way of working, at just the right time. I felt excited and liberated; finally my passion for art and textiles had begun.

as transposing a feeling onto a canvas. The two have a symbiotic relationship and inspired me in such a way that my paintings began to transform. The dark colours that had begun to dominate where gradually replaced by neon!

DIVINE FEMININITY - ACRYLIC AND SPRAY PAINT ON CANVAS

WARNING! - ACRYLIC AND SPRAY PAINT ON CANVAS

I spent the long hot summer after graduation working in an interior design shop and furiously painting in my parent’s back garden, which, much to their dismay, I covered in paint! Though elated by my revived love for painting, I still felt somewhat obligated to pursue a career in the textiles industry. I was soon scouted by Amtico, the UK’s no.1 vinyl flooring company, who had spotted my work at New Designers - a showcase for graduates in Angel, London. It was a fantastic opportunity and I entered into a four-month contract working at their site in the West Midlands. It was more of a ‘desk’ design job than a hands-on creative role and I soon discovered that I disliked how all the organic work created was transformed into a digital representation. I still feel that digitally informed art changes the very purpose of a piece simply because I like to paint and create and there it is, done. I don’t want it edited or remastered on a screen. They say that art is never finished, only abandoned, and I do feel

there is a special knack to knowing when to stop. I don’t like to go over my work, especially when using acrylics as they have their own ‘Divine Timing’. They stop exactly where they are meant to; so if I have put them there in a moment of inspired creativity, then that is where they are supposed to be. The colours I use in my work have gone through various transformations over the past few years. They have developed and changed with me, holding different significance along the way. Towards the end of my time at Amtico, blacks, greys and other dark tones were prominent, with the occasional flicker of yellow - a warning, and red - danger. I wanted fresh inspiration and that is when rediscovered dancing. The connection between art and movement was one I had never considered before but it made total sense; the feeling you get from a piece of music and the way you transpose that feeling into movement is the same process

The energy I found from neon dancing nights was incredible – you show up in your bright clothes and dance in the dark with strangers, letting go of inhibition and simply having fun. When I was dancing, I was glowing, outside and inside, literally and metaphorically! I feel like I glow when I paint too and I started seeing myself as an individual that can exist by myself and enjoy my own existence, body, and mind. I felt free. This connection was something I wanted to explore further and when I obtained a role as a fitness instructor at a wellbeing spa, I had an opportunity to. I was introduced to Angel Card Readings, yoga classes, and amazing people who were calm and connected with their inner selves. I felt empowered by the strong women around me, and the fact that they were women was an important one. Feminine influence runs deep within my work and the solidarity of spending time with peaceful female energy made a huge impact on me. The colours started changing again; pink, gold, and red. Red, that colour that had always meant danger to me, took on a whole new meaning; it wasn’t the same pillar-box tone I was using before, it had progressed into maroon, magenta, and ruby

with hints of purple and blue. There was happiness behind it that wasnâ&#x20AC;&#x2122;t there before and it signified abundance, joy, and creativity. In regards to how I paint now, acrylics, metallic, and textured spray paint are just some of the mediums I most enjoy working with. I predominantly paint on canvas but I did experiment on wood, considering the majority of my inspiration comes from nature. I think it is so important â&#x20AC;&#x201C; what we see. What we observe and take in and how it makes us feel as we do so. This is what I draw my inspiration from and what I aim to recreate in my work. The connection between the outward

observation and the inner being is what drives my art, it is not purely based on sight alone, but what I feel. I think that is probably why my work is so tactile, it makes you want to touch it, feel it, and explore it with more senses than just sight. When it comes to my inspiration, there is a huge emphasis on empowerment, selflove, and putting women at the centre. I want to represent my progression as an artist through the dark, to the neon and recently through more pastel colours which are soft, elegant, and calming. I feel that the differentiation of colours throughout my work represents human emotion. It signifies the highs and lows of

existence and offers an acceptance to the fact that everyone feels, be it positive or negative. There are always going to be times when we connect more with darker colours, and others when we suddenly feel the need for light, which is why you will see very dark tones contrasted with lighter tones in my paintings. My art is spiritual, it comes from a place of conflict, confrontation, grief, relief, acceptance, and understanding. It grows as I do and represents the lesson I take from every new stage of life I encounter. DISCOVER MORE www.zoewalkerart.com

NEON LIGHTS - ACRYLIC ON CANVAS

HOPE - ACRYLIC AND SPRAY PAINT ON CANVAS FRAMED

ACCELERATION - ACRYLIC ON CANVAS FRAMED

DHWANI PAREKH

ROSES, LISIANTHUS AND FERN SHOOTS

Born and raised in Mumbai, India, I was inclined to art at an early age. Doodling and learning to write the alphabet went hand-in-hand. My parents encouraged this artistic passion which eventually led me to earn a degree in fine art painting and pursue a career in art. I began painting at the age of 14 and began selling professionally at age 17. I loved painting birthday cards and also used to spend my holidays learning other creative forms of painting like mixed media, emboss painting and glass

painting. By the age of 18, I was participating in gallery exhibitions. I primarily paint in a representational and realistic style. I look up to and idolize artists such as John Singer Sargent, Rembrandt, and Richard Schmid. My subject matter includes still life, portraiture, and figurative paintings. I’ve exhibited my paintings in several galleries in India and have won many competitions and awards. I’ve also painted many commissions.

I recently moved to the San Francisco Bay Area in California. The subject matter and color handling in the US is different from what it is in India and hence I had to invest two years building a portfolio from scratch, after which I could approach art galleries for representation. I’m currently being represented by John C. Doyle Art Gallery in Charleston, South Carolina.

schemes in Nature spark new ideas in me. My process of painting begins with roughly sketching my observations and ideas. I like to experiment with different ways to arrange the objects. I paint a lot of color sketches after trying out compositions. Once I have a clear image of how the finished painting would look like, only then I embark on my final work. I start off by sometimes roughly outlining and then blocking-in, or by directly blocking-in shapes of lights and darks, depending on the subject. Then I keep adding details in terms of values, drawing, color, forms, and edges until I get the desired results.

REFLECTION

My latest accomplishment was earning the “Artistic Honorable Mention” in the Southwest Art Magazine in December 2018. I was also selected in the International Artist Magazine “People and Figures” competition in September 2018. In the same year, I participated in the “Next Gen” exhibition at Tubac Centre of the Arts in Arizona, Allied Artists of America annual exhibition and Oil Painters of America Salon Show. My work was promoted in the 2017 edition of the prestigious 21-Under-31 segment of the Southwest magazine. Additionally, I bagged the first prize at the Sunnyvale art club monthly competition and was featured in the Informed Collector’s Special “Noteworthy Artists” 2017 article. I also exhibited at the Bella Muse Art Gallery in Utah for their Spring 2017 Floral Show. I feel paintings are a visual language that gives an opportunity to converse with the audience. They are a means of conveying and

provoking feelings and gestures. I aim to always make my paintings appealing by incorporating different colors for beautiful subjects. The subject matter of each painting determines the brushwork and color handling. One of my strengths is to use colors in a transparent or an opaque way which helps me achieve the desired results. Generally, I give more importance to depicting light in the painting as a guiding force that helps the audience read my paintings and perceive a three- dimensional effect. For me, painting is a blend of skill, patience, and beauty that keeps evolving with time. The process of painting on a canvas might look simple on the outside; but in reality, it takes a lot of thinking and brainstorming before putting down every brushstroke. As an artist, I constantly look for new subjects in all that I perceive. My observations from trivial household items to elaborate

I feel like I have to be in the zone in order to produce what I imagine. For me, the act of painting is getting to know myself. I get to know my strengths and weaknesses as an artist, based on what I have learned about other prominent artists. I love the way my paintings transition from an idea to a piece of art, making me more spiritually matured in the process. This makes me feel very connected to my paintings. I believe paintings and fine art, in general, have a therapeutic effect on the human mind. After a long tiring day at work, everyone seeks comfort and relaxation in their homes. I want my paintings to invigorate the viewers, leaving them energized for the next day. I feel blessed that my creations can impart a soothing calm on the viewer. DISCOVER MORE www.dhwaniparekh.com

Instagram: @dhwaniparekh_artist

HOPE

TIMKA SZŐKE

The truth is, I’ve always loved to draw. The sight of the works of art has always amazed me, always leading to a specific world of a new dimension. For me, It told about legends and tales, regardless of what theme I saw. My art love has inherited from my parents, so it has been surrounded me by this world as a small child.

CHILDHOOD

My work in most cases is already preformed in my mind. I always have a lot of ideas for the next image. Occasionally, a random theme is taken from a small thing, really about any little thing. When the face of a person that I first saw in my life, inspires to a special character that suddenly comes into my mind. This is how the details of the picture are in the minds of my imagination. I’ve always been a visual type, I can easily figure out a picture of “everything” that inspires me. In that case, I understand why they told me many times that I was “enchanted personality”. After all, a spell is any idea that surfacing in the human being. This gives the freedom. When someone asks me how to choose the subjects/themes for my pictures, actually I would say that most of the time the topic choose me. Every day, there is so much stimulus hits the man that many times it is incomprehensible. As the world changes, with these tools

evolve, everything is modernized, the power of modern technology is facing us everywhere. This has been the most popular since the spread of the Internet, and millions of information flows per day. Personally, who is the one who most welcomes, what interests it. If that is not enough for certain topics, then it is even more complex. The most impressive information source is life itself. For me, it is a real endless philosophization to think of the miracles of life, especially of nature. For me, this is “all”. I could not say much better inspiration because everything is in it, which can be the cradle of newer and newer themes. The lifeblood of mankind, his eternal muse. But this is so complex that I do not detail it right now. Many times, for example, when I look at a nature film about rainforests or about any continent, it is almost tears me in my eyes it is the wonderful beauty created by evolution, the life. The process of evolution is the most exalted art itself. Life’s perfect slow work, just like we people. I love how we are different and this makes us interesting as any other republic of wildlife from insects to mammals. It could truly be said for eternity, how wonderful each and every little detail is, all the elements that are related to each other and create the whole process. There is simply beauty in everything, it can not be said to be the most beautiful in it, because it is beautiful with everything. If, however, suddenly I should only highlight some of my favorite inspirational elements, one would be birds with their plumage and colors; the other for me is the inspiration for the butterflies, simply glitteringly beautiful. But all this is true of reptiles, wild fauna, simply everything. The other source of inspiration is the various traditions and cultures of mankind. I find it wonderful to be different and complex. In my favorite folk cultures, my

great favorites are the magically unique world of various worlds and folk tales. To me, all such stories, narratives, superstitions, legends, are a unique world that is incomparable, because each tale’s story / story creates a unique world. As a child, they were always fascinated as they are now. That’s why I paint portraits, because the face tells me everything about that person. His character, his individuality, his feelings reflected in his eyes tell me more than any other body language or word. This is especially true of face mimics, the most sincere human traits, I just love to capture this selfforgiving or dramatic moment. Be it the smile, laugh, grimace, whether it is a sad, moody or sobbing face.

PRINCESS

My great source of inspiration is comics, movies, and even retro kid games. The world of comics is extremely colorful and captivating, the reader can identify with the characters while accompanying the adventures on the pages. A figure becomes so lovable that they become a real ideal. I like to grab these characters, use them for some images that add a separate world to the composition, which it represents on its own.

COUNTESS

BLUE

My favorite tool is the pencil. This is my base, so I can make with this a sketch a plan, a work. I like the pencil’s texture, the tone and how well it can be combined with other materials. The watercolor pencil, graphite, simple color pencil - all of them are enchanting on the paper, lend quite lively and softer colors at once, and I simply love to tone it with this tool. One of the most rewarding devices I use for me. Perhaps this is best for me. It will always be my favorite. The other material I like is acrylic. I can best combine this with pencil. The two tools very well. Acrylic highlights the pencil surfaces. It is often a great advantage to quickly dry because I can achieve the details of that image more quickly. For illustrations I use these materials almost always. I like to highlight graphite images with pastel crayons. But, of course, the subject of the images brings me the choice of device. I prefer oil paints for pictures with a different tone, but this varies. The theme gives me what material to work with. I love the work of many artists. I like figurative art depiction, works of real artists in the realist style. Among Hungarian painters Mihály Munkácsy, Miklós Barabás, Károly Lotz, Pál Szinyei Merse, Bertalan Székely, Viktor Madarász and Gyula Benczúr

would be my favorites. Their pictures were completely captured by my childhood. Dynamic, dramatic and idyllic moods are emitted at the same time with their light sophistication with the style of the era. It is simply never enough to discover the wonderful works of these artists. My favorite Hungarian graphic artist is definitely Károly Reich, because his drawings are light, characteristical, extremely unique and beautiful. They create a special beauty, a harmonious world that captures the viewer. Be a feminine nude, or a lovely animal figurative representation made for children’s books. With regard to art history, Renaissance, Baroque, Expressionism, Symbolism, Art Nouveau, Pop Art and PopSurrealism are the closest to me. My job is the latter - popsurrealism. From contemporary artists, Takashi Murakami, Yuko Shimizu, Audrey Kawasaki, Mark Ryden, Hikari Shimoda, James Bullough, Enki Bilal, Tanino Liberatore and Nicola Verlato are most impressive. I

love their work, creating a magical atmosphere of their works, which act as an experience for people, they are brilliant artists. However, Michelangelo Buonarroti, Leonardo da Vinci and Sandro Botticelli were always the greatest masters for me. But I can not say that I would like to compare at a single artist or even more artists. Of course, the style and the work of the artists I’ve listed have had a great impact on me. They gave me great impetus to begin with, I continue to develop and honestly adore them, but I strive to create and continue my own style. I’m constantly experimenting with themes and materials, there will always be a lot of them. It always depends on what inspirational factor will capture you exactly, which encourages new work. So, I just want to have a look at my own world of every single work, which is a individual but yet varied one. I think this is the most important thing for every artist. DISCOVER MORE www.timkaszoke.com

THE PALS OF PRISM

SPRING

SUMMER

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Artist Talk Magazine issue 8

Articles inside

Timka Szoke

Dhwani Parekh

Zoe Walker

Sue Tilley

Samantha Tuffnell

Rolls-Royce Motor Cars

Robin Corfield

Aase Birkhaug

Grant Milne

JD Malat Gallery

Museo Picasso Malaga