In a landscape dominated by hyper-realistic renders and glossy digital imagery, the work of Jacob Holster offers a refreshing counterpoint. Operating under the Instagram handle @bandyquantguy, Holster has established a distinctive artistic voice that bridges scholarly inquiry with visual experimentation.

Holster serves as an Assistant Teaching Professor of Music Education at Penn State University, where his research examines the convergence of artificial intelligence, pedagogy, and creative practice. This academic foundation informs his parallel work as an AI artist and filmmaker, lending his projects a conceptual depth that distinguishes them from purely aesthetic exercises.

His recent work, including the AI short film Art Is Human Terrain, exemplifies his signature approach: warm, textured visuals that evoke the tactile qualities of traditional oil painting rather than the clinical precision often associated with generative media. The result is work that feels deliberately humanistic: technology employed not as a replacement for artistic sensibility, but as a medium through which to explore new dimensions of texture, sound, and narrative.

Where to Explore His Work:

• Instagram: @bandyquantguy
• YouTube: @bandyquantguy

About Christian Quintin

Christian Quintin doesn’t paint what he sees. He paints what you remember feeling—before you had words for it. His images arrive like déjà vu: a tree that’s also a dancer, a face made of rooms, a landscape that breathes.

Born in coastal Brittany and now working in Northern California, Quintin has developed a body of work that defies easy classification. It’s romantic, surreal, meticulously crafted, and deeply philosophical. He offers no slogans, no manifestos—only an invitation: “See the art as one would read poetry, hopeful that one would wander into its imagery.”

For more than four decades, he has followed this invitation himself, using ink, oil, graphite, and pastel to explore the twin landscapes of the psyche and the natural world. What emerges is not a split practice but a unified vision: a visual philosophy that connects inner consciousness and outer terrain in a seamless, symbolic language.

From Brittany to California: A Life Shaped by Landscape

Quintin’s art begins with a coastline. He was born in 1957 in Saint Brieuc, a port town on the moody northern coast of Brittany. There, amid ruined castles and storm-lashed cliffs, he developed an early sensitivity to nature’s grandeur and melancholy. One island in particular—L’Île de la Comtesse—became a mythic point of return in his later works. Its architecture, its solitude, its storybook aura still appear like recurring dreams.

In 1975, he moved inland to the ateliers of Paris, where he studied at the prestigious Beaux Arts Academy. Here, his romantic instincts were tempered by classical discipline. The precise draftsmanship, control of form, and mastery of materials that would define his later work were forged during this period. He absorbed the legacy of French Surrealism, but also the Symbolists and the Romantic painters. Not to shock, but to reveal.

Then came the turning point: in 1981, Quintin crossed the Atlantic and settled in Northern California. In the vineyards and valleys of Sonoma County, he found not only beauty but resonance. “I feel the same spirit in a tree as in myself,” he’s said. And so the California landscape became his second vocabulary—his trees, skies, and rivers not just depicted, but communed with. The old myths of Brittany had found their mirror in the sacred ecology of the American West.

Drawing the Invisible: His Surrealist Language of Mind and Mystery

Quintin’s surrealist works are not dreams in the Freudian sense, but interior constellations—maps of memory, emotion, and presence. Often rendered in pen and ink or oil, these compositions contain layered imagery, uncanny metaphors, and astonishing technical precision.

In his self-described “kaleidoscopic consciousness” paintings, boundaries dissolve. In The Aviary, Quintin’s face emerges from within a crystal, his neck becomes the trunk of a tree, and his hair unfurls as leafy canopy. It took him six months to complete—and the result is less a portrait than an ecosystem of self.

Works like La Porte Ouverte, inspired by a Rumi poem, are visual meditations. “Why stay in prison when the door is wide open?” asks the poet. Quintin replies not with words, but with seven months of crosshatched mystery—symbols and figures that blur the edges of logic and dream.

This is not automatism. These images are not accidents. They are built, slowly, with intent. “When you draw a tree, you also draw yourself,” he’s said. Each stroke is a negotiation between spirit and form, between idea and the hand.

The Romance of Nature: Landscapes that Breathe, Trees that Speak

Alongside his surrealist works, Quintin creates luminous landscapes—emotive sceneries in oil or pastel that seem to hum with life. These aren’t documentations of place. They are emotional terrains.

Trees in his paintings sway like dancers (Leaves of Absence) or embrace like lovers (Les Amants). A river doesn’t just reflect the sky—it carries memory, mood, and metaphor. In A Lake Color of Emeralds, he writes, “The sky is brown-orange with violet, the lake bright emerald, the sea olive green.” Color is feeling. Shape is story.

California’s hills and Brittany’s coastlines repeat as characters in his visual vocabulary. But even in his most “realistic” landscapes, there’s always a pulse of surrealism. In West Sonoma County, a floating face emerges from clouds, its lips becoming an island. In Putah Creek, An Eruption of Life, nature bursts into exuberance, as if consciousness itself were blooming from the soil.

This is not a dual practice. His landscape and surrealist modes are not opposing forces. They are mirrors. Each feeds the other. The symbolic enters the natural; the natural becomes symbolic. It’s all one vision, seen through two eyes.

One Philosophy, Two Visions: A Unified Inner/Outer World

Quintin’s philosophy is simple and radical: art should be beautiful, emotional, and intuitive. It should not tell you what to think—it should give you space to feel.

“I do not have a message,” he’s said. “But I feel compelled to convey the feelings that flow through me as I attempt to create something beautiful.”

In his writings, he advises artists to draw the first thing that comes to mind, without judgment. “Intuition first. Technique follows.” He matches each work with the medium it calls for—pastel, oil, graphite—like a musician choosing an instrument. Each line, each hue, is tuned.

This rejection of irony, of didacticism, sets him apart. In an art world often preoccupied with critique, Quintin returns us to wonder. He creates not to argue, but to remind.

A Slow-Burning Career That Caught Fire

For years, Christian Quintin worked steadily in Northern California, exhibiting at respected regional galleries and creating public commissions across the state—from hospital lobbies to city murals. His technical mastery and poetic voice earned him accolades: the Grumbacher Award in 1987, an Award of Excellence from the California State Fair in 1990.

But a key turning point came in 1999, when the Vorpal Gallery—which famously introduced M.C. Escher to American audiences—began showing his work. This association placed him in a lineage of artists who combine meticulous technique with mind-bending ideas.

In the 2020s, a new chapter began. With representation by Lorin Gallery, Quintin’s work entered the international stage: KIAF in Seoul, Art Central in Hong Kong, shows in Paris, Los Angeles, and soon, the Morrison Gallery in Connecticut.

He didn’t change his work to fit the art world. The art world caught up.

What the Critics See—and Why It Matters

Over the years, critics have returned to the same words: beauty, mystery, technical mastery. Alhia Warren called his work a “beautiful intimate mystery.” Suzanne Munich titled her review “Mental Landscapes.” Dan Taylor wrote in the Press Democrat: “Emerging Beauty.”

A 2022 Calabi Gallery review stood out: “In an era largely devoid of it, his work is beautiful. We could all use more beauty in our lives.” That wasn’t flattery—it was diagnosis. Quintin’s work fills a gap left by cynicism and irony.

Quintin’s Legacy in the Visionary Continuum

Christian Quintin belongs to the surrealist tradition—but not only. His closest kin are those who make the impossible legible: Dalí, Magritte, Escher. But unlike many surrealists, Quintin doesn’t aim to unsettle. He aims to awaken.

In that, he shares something with the Visionary Art movement of Northern California—the psychedelic spiritualists of the 1960s and their heirs. But where their work often explodes with color and chaos, Quintin’s vision is slower, quieter, more classical. His is a sacred geometry of thought and feeling.

He is, in the best sense, a bridge. Between Europe and America. Between precision and emotion. Between the tree and the dream.

Where to See His Work and What to Look For

Quintin is currently represented by Lorin Gallery in Los Angeles and Paris, with upcoming shows at Morrison Gallery in Kent, Connecticut. His past exhibitions include solo and group shows across California, Paris, Seoul, and New York.

If you encounter his work in person, take your time. Let your eyes wander. Look twice. Look through.

Notice the metaphors buried in the bark. The layers behind the face. The color that feels like music.

Beauty as Defiance, Art as Sanctuary

Christian Quintin’s art is not a detour from reality. It is a reentry into its hidden dimension—the one you feel when you stand beneath a storm-colored sky, or close your eyes and remember the smell of the sea.

In a culture of speed and spectacle, he reminds us of slowness, of intricacy, of care. His work is not loud, but it echoes. It does not preach, but it moves.

He shows us that beauty is not escape—it is a form of resistance. And art, when made with attention and soul, becomes what one curator called it: a “wondrous sanctuary for the soul.”

See More:

christianquintin.com

Fran Rodriguez is “lacabezaenlasnubes” (Spanish for “head in the clouds”). He is a visionary digital artist whose work challenges conventional perceptions of reality. Born in Torrelavega, Cantabria, in Northern Spain, Fran’s artistic journey has led him from the verdant landscapes of his hometown to the vibrant streets of Barcelona, with a significant stint in Madrid along the way.

Artistic Vision and Style

Fran Rodriguez’s artwork is profoundly influenced by his early fascination with surrealism and psychedelia. This foundation has evolved into a unique perspective that challenges the boundaries of conventional perception. His digital creations are characterized by three primary elements:

Surreal Landscapes

Rodriguez masterfully merges elements of nature with fantastical and otherworldly scenes, creating environments where the boundaries between reality and imagination blur. His works often feature:

• An astronaut suspended within the Pantheon in Rome, bathed in light from the oculus, juxtaposing ancient architecture with futuristic exploration.
• A solitary figure traversing desert dunes beneath a star-studded sky, their form seamlessly blending into the sand, while a massive planet looms in the background.
• Modern dwellings suspended over Earth in the vastness of space, presenting a surreal vision of human habitation.

Psychedelic Influences

Rodriguez’s art harnesses vibrant colors and abstract forms to evoke a profound sense of wonder and exploration.

Notable examples include:

• Explosive bursts of polychromatic flowers set against azure skies, creating a visual symphony of color and form.
• Abstract compositions featuring vivid hues, such as a desert scene where a portal tears open the fabric of reality, revealing a celestial vista.
• Human figures enveloped by brilliant orange blossoms, set against backdrops of surreal planetary landscapes.

Digital Mastery

Leveraging cutting-edge digital tools, Rodriguez crafts intricate details and imaginative compositions that challenge our perception of reality.

His technical prowess is evident in pieces such as:

• A young girl on a swing, suspended high above the Earth, with the cosmos serving as a breathtaking backdrop.
• A bridge stretching across a cosmic landscape, with vehicles journeying towards a horizon painted with stars.
• Floating frames capturing fragments of starry skies, encircled by flowing fabrics and celestial bodies hovering over tranquil seas.

For Rodriguez, the visible world represents merely a fraction of a greater, hidden reality—a tantalizing glimpse of an iceberg’s tip breaking the surface of our consciousness. His art serves as a portal, inviting viewers to question their perceptions and explore the rich, often surreal landscapes of the subconscious mind.

Through his meticulous digital craftsmanship, Rodriguez captures the essence of a world where imagination reigns supreme, and the boundaries of reality are constantly redefined. His work not only challenges our visual senses but also prompts us to contemplate the nature of existence and our place within the vast, mysterious universe.

Philosophy

At the core of Fran’s work lies a profound belief: what we perceive through our senses is only a small part of a vast, unseen universe. This conviction has become more than just an artistic approach; it’s a life project, a constant quest to unveil the mysteries lurking beneath the surface of everyday reality.

Through his work, Fran encourages us to look beyond the obvious, to seek out the extraordinary hidden within the ordinary. His restless spirit and boundless imagination fuel dreams of future adventures, from the icy wilderness of Alaska to the unexplored terrains of distant planets, all of which influence his artistic output.

Collections and Availability

Fran Rodriguez’s captivating artwork is available for purchase through various platforms:

• Pixels: Offers a range of prints including canvas, framed, and metal prints.
• iCanvas: Features over 100 items including popular pieces like “Holynight” and “Swing”.
• Saatchi Art: Provides a selection of his works, including paintings, photography, and prints.
• Fine Art America: Another platform where his art can be bought in various formats such as tapestries and greeting cards.
• BIG Wall Décor: Specializes in large-scale prints of his surreal digital images.

Use coupon code “SurrealismToday20” to get 20% your with Big Wall Decor order.

Connect with Fran

Experience the world through Fran’s unique lens:

• Facebook: lacabezaenlasnubes
• Instagram: @lacabezaenlasnubes
• X: @Fran_nubes

Join Fran on his artistic journey as he continues to explore the depths of perception and imagination, challenging us all to keep our heads in the clouds and our minds open to the infinite possibilities that lie just beyond our everyday view.

About Draumir

The Norwegian band Draumir is Alexandra Bråten (vocals) and Jo Frøytlog (vocals/instruments). Draumir is releasing their third album in 2024, and the single Beautiful Creatures was released on February 25th.

In Beautiful Creatures, the listener is invited into a timeless sonic universe with noise, swarms of mandolins, drum machines and shimmering electric guitars. Beautiful Creatures was recorded in several versions, but the version that was eventually preferred stays close to the original demo recording. Vocalist Alexandra elaborates:

«We’ve often talked about how something quite special often happens very early in a recording process, and how this special quality slips away from us as the work progresses. This time, we were very conscious of avoiding just that. Many of the elements that make up Beautiful Creatures were done very quickly, without necessarily the intention of them staying all the way through.”

Beautiful Creatures is written and produced by Draumir and mixed by Phill Brown.

About the Music Video

We plumbed the depths of strange fairytales, splicing together fragmented scenes that blur the lines between reality and fantasy.

Is the ominous forest morphing into strange cathedrals? That fox and woman presiding over it all? Just tiny glimpses into the delirious dream realm we crafted frame-by-frame.

We relished layering unsettling details amid the lush beauty – you’ll spot sinister eyes peering from shadowy corners if you look closely enough.

From conjuring bioluminescent creatures to subtly warping the fabric of the world itself, it was alchemy of the highest order. Draumir’s shimmering soundscapes were our constant guide, allowing the visuals to organically mutate and flow like a lucid reverie.

I think we bottled strange magic with this one. The rare alchemy that occurs when exploring uncharted territory.

The first single is Beautiful Creatures was released on (2/25) and can be streamed now:

We are delighted to introduce Unusual Circumstances, a distinctive solo exhibition by the talented Brooklyn-based artist, Travis Louie, [Previous Coverage here] marking his inaugural solo showcase with Harman Projects.

Delving into Travis Louie’s art is like stepping into an alternate dimension, a blend of the historical and the fantastical. His subjects, whether human, animal, or somewhere in between, are dressed in the waistcoats and high neck bodices reminiscent of the Victorian and Edwardian eras. With a discerning eye, Louie integrates vintage style framing and draws upon the aesthetics of early portrait photography in both paint and graphite, transporting viewers to a world that appears familiar but reveals its uncanny nature upon deeper observation.

Supplementing his surreal portraiture, Louie enriches each piece with meticulously crafted narratives, penned by the artist himself. While the artwork ignites a flurry of questions about its subject and the universe they inhabit, the accompanying stories take viewers on a profound journey, inviting them to engage more intimately with each creation.

A theme underlying Louie’s work touches on prejudice and the immigrant experience. Through his art, he advocates for replacing fear of “the other” with a genuine curiosity for the unknown and a deep-seated respect for the diverse. One of his notable pieces, The Discovery of the Hand, depicts a young boy holding the enormous severed hand of a man ousted by furious villagers. Here, Louie ruminates on the mob mentality, emphasizing that recognizing our commonalities with those beyond our immediate communities can lead to a more compassionate world.

Join Us for the Grand Opening

We warmly invite you to the opening reception of Unusual Circumstances on Saturday, October 7th at 210 Rivington Street, New York, NY, from 6pm to 8pm. Travis Louie will grace the event, and guests can enjoy light refreshments. Additionally, don’t miss the chance to acquire a copy of the artist’s recent limited edition print, Miss Eunice and her Hat Gremlin, available exclusively at the gallery.

Click Here for More Exhibition information

WHERE:
Harman Projects
210 Rivington Street
New York, NY 10002

WHEN:
Opening Night Reception:
Saturday, October 7th 2023
6:00pm – 8:00pm

Exhibition On View:
October 7th – 28th, 2023

About Harman Projects

Harman Projects was founded in 2022 by curator and gallerist Ken Harman. Our goal is to provide an inclusive and welcoming environment to foster a community of likeminded artists, collectors, and art lovers in New York City and beyond.
Our focus at Harman Projects lies mainly in the New Contemporary genre, encompassing historical movements such as New York City graffiti and SoCal pop- surrealism as well as contemporary schools of art such as Bay Area abstracted realism, international muralism and Japanese-inspired SuperFlat.

About Travis Louis

Travis Louie’s paintings come from the tiny little drawings and many writings in his journals. He has created his own imaginary world that is grounded in Victorian and Edwardian times.
It is inhabited by human oddities, mythical beings, and otherworldly characters who appear to have had their formal portraits taken to mark their existence. His work is about identity and remembrance, with a veiled commentary on racism and the immigrant experience. He would like the fear of “the other” to be replaced with a curiosity about the
unknown and a sense of wonder regarding those things that are unfamiliar.

Mariusz Lewandowski (b. 1960 – 2022) was a Polish surrealist painter who was born in 1960 in Działdowo, Poland. He created his unique pieces using oil on canvas. His artwork delves into the depths of the human mind and explores the limits of the imagination.

Early Influences and Education

Lewandowski’s interest in art began at a young age, and he was influenced by the works of surrealist masters like Salvador Dali and René Magritte. He attended the Academy of Fine Arts in Gdańsk, where he studied under the renowned Polish artist Stefan Gierowski.

The Artistic Vision

Lewandowski’s artistic vision is a true reflection of his feelings and experiences. His paintings are a perfect blend of light, space, and contrast and are replete with symbols and thought-provoking details that encourage individual interpretations. Interestingly, while the artist provides titles for his pieces, he never offers any translations, allowing each viewer to form their own understanding.

Collaborations

The artist’s work has been widely recognized across borders. In 2017, he collaborated with the metal band Bell Witch and created a painting called “The Essence of Freedom,” which became the album cover. This was the beginning of a new phase in Lewandowski’s career, and he has since created over thirty album covers for record publishers like Sony Music Entertainment, 20 Buck Spin, and Transcending Obscurity Records.

Inspiration to Others

Moreover, Lewandowski’s artwork has inspired others as well. His unique style and subject matter captivated Jamie Thomas, the creator of the legendary Zero Skateboards brand, resulting in a collaboration between them in 2021. Together, they produced a limited series of five skateboards that quickly became popular among skateboard enthusiasts.

Continued Fascination and Inspiration

In conclusion, Mariusz Lewandowski’s distinctive artistic style and approach to painting have earned him a significant place in the world of surrealist art. His works continue to fascinate and inspire viewers globally.

Major Art Exhibitions

Lewandowski’s artwork has been featured in many major art exhibitions throughout Europe and North America. His solo exhibitions have included “Dreams and Visions” at the BWA Gallery in Olsztyn, Poland, and “The Surreal World of Mariusz Lewandowski” at the Modern Art Museum in Houston, Texas.

Artistic Style and Techniques

Lewandowski’s artistic style is characterized by his use of light, shadow, and contrast, and his paintings often feature complex and dreamlike imagery. He uses a variety of techniques to achieve his unique style, including glazing, layering, and impasto. His work is often categorized as surrealist, but he also draws inspiration from other artistic movements, including expressionism and symbolism.

Personal Life and Hobbies

In his free time, Lewandowski enjoys spending time with his family and exploring the natural beauty of the Warmia and Masury region. He is an avid reader and finds inspiration in literature, particularly the works of Polish writers like Witold Gombrowicz and Bruno Schulz. He is also a supporter of environmental causes and has donated his artwork to various environmental organizations.

Frequently Asked Questions (FAQs) about Mariusz Lewandowski

Floral Pizza

Floral Pizza is a playful and imaginative piece that combines two seemingly unrelated subjects: flowers and pizza. The whimsical composition features a pizza adorned with blossoming flowers instead of traditional toppings, blurring the lines between the edible and the inedible. The bright colors and charming concept make it a delightful addition to any art collection. This piece evokes a sense of joy and invites the viewer to question their preconceived notions of reality.

UFO Vacation

UFO Vacation is a surreal and captivating print that transports the viewer to a fantastical world. The artwork features a serene pool scene with a twist – an otherworldly UFO hovering above the water. The juxtaposition of the familiar and the extraordinary creates a sense of intrigue and encourages the viewer to question what they know about the universe. The soothing color palette and dreamlike quality of the piece make it a wonderful addition to any art lover’s collection.

Cosmic Sound

Cosmic Sound is an enchanting piece that explores the connection between music and the cosmos. The artwork features a astronaut dipping his feet into space, which is also a music record. The intricate details and luminous colors of the print evoke a sense of wonder and awe. This piece is a celebration of the harmony and beauty found in both music and the universe. Cosmic Sound would make a stunning addition to any space, inspiring reflection and contemplation.

Meteoric Rainfall

Meteoric Rainfall is a visually stunning print that captures the essence of surrealism. The piece features a surreal landscape where a shower of meteors replaces typical raindrops, creating a breathtaking and otherworldly scene. The vivid colors and meticulous details draw the viewer in, inviting them to explore this extraordinary world. The artwork challenges the viewer’s perception of reality and serves as a reminder of the limitless possibilities of the imagination. This captivating print would make a powerful statement in any art collection.

Mush Head

Mush-Head is a thought-provoking and evocative piece that challenges the viewer’s understanding of identity and nature. The contrast between the organic and the human form poses questions about our relationship with the natural world and our own sense of self. The high intensity contrast and bright color palette make this piece unforgettable.

Lost Robot

Lost Robot is a visually striking piece that sparks a sense of wonder and curiosity. The lonely toy robot, standing menacingly above the mountain town, conveys a sense of isolation and missed connections. The contrast between the organic and mechanical elements serves as a commentary on the relationship between nature and technology. The vivid colors and intricate details draw the viewer in, encouraging them to explore the scene further.

Mephistopheles

Mephistopheles is a haunting and enigmatic print that explores the darker side of human nature. The moon behind the water embodies the essence of a sinister yet alluring presence. With its intricate details and bold use of contrast, this artwork captivates the viewer’s attention and challenges their perception of good and evil. The piece serves as a reminder of the duality that exists within us all, inviting contemplation and introspection.

Nostalgia

Nostalgia is a dreamy and evocative print that transports the viewer to a world of memories and emotions. The artwork features a figure running into the distance, capturing the fleeting nature of time. The soft color palette and delicate details create a sense of warmth and familiarity. Nostalgia serves as a visual representation of the power of memories and the deep connections that bind us to our past.

Tipsy Cowgirl

Tipsy Cowgirl is a playful and spirited print that combines the whimsy of surrealism with the energy of the Wild West. The artwork features a cowgirl riding a champagne glass, evoking a sense of adventure and celebration. The warm colors and whimsical illustration make this piece a delightful and eye-catching addition to any space. Tipsy Cowgirl is a tribute to the free-spirited nature of the cowgirl and the joy of living life to the fullest.

Garden Delights

Garden Delights is a mesmerizing print that invites the viewer to explore a fantastical garden teeming with flowers. The artwork features a astronaut lying in the vibrant flora staring up into the sky. The intricate details and lush color palette create a sense of wonder and enchantment, drawing the viewer deeper into this magical world. Garden Delights celebrates the beauty and diversity of nature, while also challenging the boundaries of reality. This captivating piece would make a stunning addition to any art collection, sparking the imagination and inspiring a sense of awe.

This is How a Road Gets Made

This Is How a Road Gets Made is a thought-provoking print that offers a unique perspective on the process of creation and progress. The artwork features a surreal scene where a road is being formed by a sewing machine, weaving through a fantastical landscape. The vivid colors and intricate details invite the viewer to question the nature of reality and the driving forces behind our world. This piece serves as a metaphor for the paths we create in life and the impact of our choices. This Is How a Road Gets Made is a visually striking and profound print that encourages reflection and introspection.

Kumiko

Kumiko is a captivating collage that is as visually stunning is it is baffling and thought-provoking. The artwork features a beautiful and enigmatic figure adorned with intricate patterns and surrounded by a dreamlike landscape. The rich color palette and delicate details evoke a sense of serenity and mystery, inviting the viewer to explore the depths of this surreal world.

Float

Float is a breathtaking print that invites the viewer to embark on a surreal and introspective journey. The artwork features a figure gracefully floating above water, enveloped in a dreamy, otherworldly atmosphere. The soft color palette and gentle motion captured in the piece evoke a sense of serenity and contemplation. Float serves as a visual metaphor for the power of introspection and the endless possibilities of the human mind.

Fawn

Fawn is a whimsical and enchanting print that transports the viewer to a magical world where nature and fantasy collide. The artwork features a woman adorned with a crown of flowers, embodying the innocence and beauty of the natural world. The intricate details and soft color palette create a sense of wonder and tranquility. Fawn is a celebration of the harmony between nature and imagination, inviting the viewer to explore the depths of their own creativity.

Tiger Motel

Tiger Motel is a captivating print that combines the allure of vintage Americana with the surreal, creating a striking visual experience. The artwork features a tiger lounging on a car, juxtaposing the wild and the domestic in a unique and unexpected way. The vibrant colors and dynamic composition make this piece a conversation starter and a stunning addition to any space. Tiger Motel is a testament to the power of imagination and the beauty of the unexpected. This fascinating print is perfect for those who appreciate the fusion of classic and surreal aesthetics.

Flying Dandelion

Flying Dandelion is a whimsical and dreamy print that captures the fleeting beauty of nature and the power of imagination. The artwork features a dandelion as a hot air balloon, symbolizing the idea of transformation and the limitless potential of our dreams. The soft color palette and delicate details create a sense of serenity and wonder. Flying Dandelion is a visual reminder to embrace the magic of the world around us and the infinite possibilities that exist within our own minds. This enchanting piece would make a beautiful and inspiring addition to any art collection.

Dive

Dive is a mesmerizing print that captures the essence of adventure and exploration. The artwork features a daring diver plunging into the depths of the unknown. The dynamic composition and muted hues evoke a sense of excitement and curiosity. Dive serves as a visual metaphor for the human spirit’s relentless pursuit of discovery and the beauty that lies beneath the surface. This captivating print would make an inspiring addition to any art collection, urging the viewer to embrace their own inner explorer.

Moon House

Moon House is a dreamy and enchanting print that transports the viewer to a surreal landscape. The artwork features a cozy house nestled within on the moon, creating a unique blend of the familiar and the fantastical. The muted color palette and intricate details evoke a sense of wonder. Moon House is a celebration of the boundless potential of imagination. This charming print would make a delightful addition to any art collection, inviting the viewer to explore the depths of their own creativity.

We Used to Live There

We Used to Live There is a poignant and thought-provoking print that explores the themes of memory, nostalgia, and the passage of time. The artwork features a couple sitting on a bench looking wistfully at the planet Earth, symbolizing the fragile connections we hold to the past. The ethereal color palette and evocative imagery create a sense of melancholy and longing. We Used to Live There is a powerful reminder of the impermanence of our existence and the importance of cherishing the moments we share. This evocative print would make a meaningful and captivating addition to any art collection.

Disco Girl

Disco Girl is a vibrant and warm print that captures the spirit of celebration and the joy of music. The artwork features a lively woman with a disco ball for a head, creating a dynamic and engaging visual experience. The bold colors and lively composition make this piece a lively addition to any space. Disco Girl is a tribute to the power of music, dance, and human connection, inviting the viewer to let loose and embrace their own sense of fun. This lively print is perfect for those who appreciate the fusion of music and art.

Rodeo Drive

Rodeo Drive is a striking and visually arresting piece. The artwork contrasts cars driving in the sky against an upside-down landscape. The muted colors and dynamic composition make this piece a conversation starter and a stunning addition to any space. Rodeo Drive is a celebration of the eclectic and the unexpected. This captivating print is perfect for those who appreciate the fusion of fashion and surrealism.

Desert Inn

The Desert Inn Art Print by MsGonzalez is a beautiful piece of artwork that captures the essence of the desert landscape. The use of warm colors and intricate details creates a sense of depth and texture in the piece. The UFOs in the background adds a sense of foreboding adds to the overall feeling of the piece. This art print would be a great addition to any space that needs a touch of warmth and surreality.

Medusa

The Medusa Art Print by Underdott is a stunning piece of artwork that captures the mythological creature’s haunting beauty. The intricate details in the print bring out the serpentine nature of the character, from her slithering hair to her reptilian eyes. The Medusa Art Print by Underdott is a must-have for any art collector looking for a unique and captivating piece of mythology-inspired art.

Illusionary Boat Ride

The Illusionary Boat Ride Art Print by Taudalpoi is a stunning piece of surrealistic art that captures the imagination. The artwork depicts a boat sailing through an abstract patterned landscape. The colors and design in the piece create a dreamlike atmosphere that is both calming and mysterious. This print is sure to spark conversation and inspire wonder in any room it is displayed in.

Serenade to Saturn

The Serenade to Saturn Art Print by leafandpetal features a stunning digital illustration of women serenading the planet Saturn. The print captures a sense of awe and wonder about the universe, making it a perfect addition to any space lover’s collection. The high-quality paper and printing technique used in the art print ensure that it will last for years to come.

Dimensions

The Dimensions Art Print by Sarah Eisenlohr is a stunning piece that plays with perspective and juxtaposition. The artist uses muted, retro colors to create an eye-catching design. The print appears to be almost three-dimensional, drawing the viewer into its world. It would make an excellent addition to any modern or contemporary art collection.

She Came from the Wilderness

“She Came from the Wilderness” is a captivating art print by Frank Moth that features a woman with a TV Set head in the midst of a wild and surreal landscape. The use of vibrant colors and abstract shapes gives the print a dreamlike quality. The woman’s pose suggests a sense of adventure and exploration, as if she is embracing the unknown. The overall effect of the print is both mysterious and alluring, inviting the viewer to join in the journey.

We Chose This Road, My Dear

“We Chose This Road My Dear” is an art print by Frank Moth that features a vintage-inspired design. The print depicts a man walking down the road in a surreal, dream-like landscape. The color palette consists of muted tones. The image has a nostalgic quality, evoking a sense of wanderlust and adventure.

My Drink Needs a Drink

The “My drink needs a drink” art print by Maarten Leon features a humorous collage of a cocktail martini glass with a man and woman in the glass. The bold juxtaposition make it a fun and eye-catching addition to any bar or kitchen. This print is perfect for anyone who loves a good drink and a good laugh. It would make a great gift for friends or family who enjoy a good cocktail or for anyone who wants to add some humor to their home decor.

Saturn Disco II

Saturn Disco II is a colorful and vibrant art print by MsGonzalez that features an otherworldly disco ball floating in space with Saturn’s rings. The print has a retro-futuristic vibe and is perfect for anyone who loves science fiction and disco music. The bright colors and intricate details make this print a stunning piece of art that will add a pop of color and excitement to any room. It’s printed on high-quality paper and is available in a range of sizes to suit any space.

Rush Hour, London – ca. 1960

The Rush Hour Madness Art Print by MsGonzalez depicts a busy city street during rush hour with some unusual twists: UFOs and a 50 foot woman. This dynamic and chaotic print captures the frenzy and intensity of city life, making it a great addition to any urban-inspired space.

Follow Me

“Follow Me” is a surreal art print by Frank Moth, featuring a vintage image of a woman in a field against the stars. The image is a mix of retro patterns and colors, with a dreamy and nostalgic feel to it. The overall effect is mysterious and intriguing, inviting the viewer to interpret the scene and create their own narrative.

Drunk Lisa

“Drunk Lisa” is an art print by Artem Pozdnyakov, depicting a tipsy version of Leonardo da Vinci’s famous painting “Mona Lisa”. The print adds a humorous and playful touch to any space, making it a great conversation starter.

These surreal art prints cover a wide range of themes and styles, showcasing the incredible diversity of the genre. The unique visual narratives created by the artists will surely leave you in awe.

FAQs about Surrealism Prints and Art

1. What is surrealism art?

Surrealism is an artistic and literary movement that emerged in the 1920s, characterized by its emphasis on the subconscious mind, dreams, and the irrational. Surrealist artists often combine elements of reality with fantastical imagery to create thought-provoking and visually captivating works.

2. Where can I find surreal art prints for sale?

You can find surreal art prints for sale at various online platforms, such as Society6, Redbubble, and Etsy. Additionally, you can visit art galleries, exhibitions, or local art fairs to find unique, limited-edition prints by talented artists.

3. What are the benefits of buying surreal wall art?

Surreal wall art can serve as a striking focal point in your home or office, creating an engaging atmosphere and sparking conversation. Additionally, it allows you to express your unique taste and support talented artists in the process.

4. How do I choose the right surrealism art print for my space?

When selecting a surrealism art print, consider factors such as the size, color palette, and style of the artwork. You should also take into account the existing décor and theme of the space where the print will be displayed. Ultimately, the print should resonate with you personally and complement the aesthetics of your space.

5. Can I create my own surreal art prints?

Absolutely! If you have a talent for creating surreal artwork, you can turn your creations into prints by using print-on-demand services or working with a local print shop. This can also be a great way to share your art with a wider audience and potentially generate income from your passion.

6. Are digital and traditional surrealism art prints different?

While the essence of surrealism remains the same, digital and traditional prints may differ in terms of the techniques and materials used. Traditional surrealism art prints typically involve hand-drawn or painted elements, while digital prints are created using image-editing software. Both types of prints can be equally captivating and showcase the diverse range of surrealism art.

Conclusion

Surreal art offers a window into a world where the boundaries of reality and imagination are blurred. The captivating and thought-provoking nature of these prints makes them a popular choice for those looking to add a touch of intrigue and creativity to their spaces. With a wide variety of styles, themes, and artists to choose from, there’s a surreal art print out there that will perfectly complement your taste and décor.

You will be captivated and transported into the supernatural world just behind the veil through Batsheva’s mysterious subject matter. Her illustrations with their intricate details and haunting juxtapositions are a dark visual treat that evokes strange enchantments both haunting and mesmerizing.

Guiding this magical experience is renowned paranormal investigator, Susan Slaughter. With over 15 years of experience, Slaughter has investigated paranormal activities in over 30 countries. Her lectures, Q&A sessions, and live drawing demonstrations at the “Skirting Spectres” exhibition will leave you enchanted, as she shares her experiences of investigating the paranormal and teaches us about the power of connection with the otherworldly.

Daniella Batsheva will be displaying a series of never before seen illustrations with accompanying stories covering supernatural occurrences in and around London. Susan Slaughter will be giving lectures on her experiences as a world renown paranormal investigator. The exhibition will showcase gorgeous, original artwork and interesting discussions that are appropriate for most age groups, discussing history, legends, and theories behind spirits and cryptids.

Batsheva reveals, “London has a rich, often gruesome, history and with that you’re going to hear a lot of murmurings about spirits. I’ve heard people speak casually about their personal accounts with faeries and ghosts, mostly about them being a nuisance, disturbing their daily routines, and I wanted to capture that in this collection of pieces.Rather than presenting these experiences in a way that would be terrifying, I wanted to provoke interest, and lend a human side to these otherworldly beings.”
Inspiration for most of Batsheva’s pieces are taken directly from real-life experiences of friends and colleagues, which is what inspired the title, “Skirting Spectres.” Her work is known for its playfully macabre subject matter, intricate details, and historical references, creating a visually alluring blend that appeals to mainstream and underground crowds.

Susan shares, “The paranormal realms are still largely misunderstood and feared. I’ve spent my whole career in the paranormal field trying to educate people on the power we have to connect with, communicate with, and transform these paranormal energies into our allies and teachers. Behind every ghost story is a lesson in the human experience and a lesson on how to live.”

Slaughter’s interest in the paranormal was sparked by her earliest memories and encounters with shadow people, orbs, and spirits from her early childhood. She knew that she had to find answers behind why she was experiencing  the supernatural and set out of a quest to find spirit guides and teachers. She started to investigate the paranormal professionally at 18 years old, and since then has investigated with teams all over the world in over 30 countries. From Mayan and Incan Temples, Carribean Fortresses, Medieval Castles, and World War sites and bunkers, Slaughter has navigated the supernatural occurrences with a culturally inclusive lens gaining great perspective on the different ways humans around the world perceive life and death and the human soul.

The exhibition will be open to the public from April 25-30, with lectures, Q&A and signings by Susan Slaughter, live drawing demonstrations with Daniella Batsheva, and time slots available for private viewings. Lectures will be held on Friday, April 28th, and Saturday, April 29th. Tickets for the lecture are for sale on Billetto for £22. Tickets will also be available at the door for £25.

Visual artist Daniella Batsheva is a self-proclaimed “Illustrator with a design habit” who has worked with a variety of brands and artists such as Kerrang!, Paris Jackson, Pizza Girl, and Dead Sky Publishing.

Susan Slaughter has worked with the paranormal for over 15 years and is best known for her work on Paranormal Caught on Camera, Ghost Hunters Int., and Ghost Hunters Academy. 

Event Page and Tickets: daniellabatsheva.com/skirtingspectres

Mark Hopkins was Born in Poughkeepsie, in New York State. He attended St. Olaf College in Minnesota where he received a degree in fine art in 1981. In the following years he lived in Minneapolis where he painted scenery for theater and opera and freelanced as a muralist, portraitist, and interior designer. In 1987 he moved to Chiang Mai, Thailand. He taught English at Chiang Mai University for a year until he started a cabaret business called The Six-Pole House where contemporary artists, poets, and musicians exhibited their talents. At the same time he maintained an art studio in the upper floor the 100+ year old Chinese shophouse which housed the cabaret. It was at this time that Mark’s early style was formed. During those years he played minor roles in TV and movie productions, traveled to Burma, Indonesia, Vietnam, etc. where he saw some of the wonders of Asia like Borobudur and Bagan and initiated connections with established artists and musicians in the region. These experiences have played a lasting role in the inspiring Mark’s later artistic expression. The color, the styles of art, and the traditional forms and ways of life are a continual influence in Mark’s creative process. After a few years Mark moved to Bali where he took on work illustrating books on Asian architecture, culture, and natural beauty. He also started a business providing graphic design and mural decorations for companies around the region. In 1997 Mark moved to Singapore to expand his business into making props and costumes for events, providing art restoration services, and painting portraits for prominent families on the island. In 1998 he met his wife Maria and moved to the US a year later. Of late, Mark works as a muralist, portraitist, and art restorer while also painting personal works in studio. He currently resides in Rhinebeck NY, where he tends his gardens between travel excursions.

Artist Statement

Contemporary human culture is perceived by many to be dystopian: there is a sense of discontinuity between the person and their world, their truth, and their happiness. Isolation has been ubiquitous since long before Covid. Modern life is surrealistic: days and years unfold in dreamlike bubbles. Our perceptions are automated by algorithms that form our worldview and with media crafting a reality derived from what we watch but do not witness. Experience is fragmented. This is classic surrealism. My work seeks to knit the dissolving dystopia back into a coherent whole.

Interview with Mark Hopkins

SurrealismToday: This is your second time being featured on Surrealism Today. You were originally featured in 2019. What are you thinking about these days?

Mark Hopkins: Like many artists, I have been digesting the events and changes of the past three years. It feels like life has become more surreal; spaces divvied up and guided by directional arrows and faces hidden under protective masks or people encased within plastic barriers. We have seen our communities morph in interesting ways. People are more solitary and we interact more and more by proxies like phones and computers. Elon Musk makes the case that we are evolving into cyborgs; only our machine parts–for now–are external. One idea that I intend to use in upcoming work is how the nature of being ‘human’ is affected by the dynamics of these recent societal changes including the introduction of the Metaverse and AI augmentation. I find these trends both fascinating and a bit scary. Perfect for a good painting.

ST: How do you introduce yourself? 
MH: Lately I have adopted my website name ‘hopkinesque‘. It has a ring to it.

ST: What do you tell people when they ask about the ideas in your work?
MH: It’s tricky. Visual art is, by nature, a non-verbal mode of communication… otherwise we would be writers and story-tellers, right? So it’s a challenge to explain art and more specifically content-heavy art like Surrealism. I like talking with people about the general themes of my work; the myths and mysteries of ancient religions/culture, sacred geometry, the evolution of humanity in the 21st century, etc. Often the Ideas expressed in specific works are intentionally made ambiguous to prompt a viewer to explore a range of  meanings – or to posit their own into the work. With multiple interpretations possible for the same painting (not only from different viewers, but from a single viewer at different viewings) it’s more likely that I will ask people what ideas they see in a painting rather than tell them what I intended them to be. It makes for very interesting exchanges.

ST: Can you tell us about this latest series?

MH: I was thinking of the idea of the ‘Savior’ in a troubled world. Sometimes it feels like we are sinking into a morass of climate change, racial strife, all manner of social and societal changes and it would be nice to have a hero show up and sort the lot out. Who would that person/entity be? What would they do? Would they get it right? Maybe it takes not a hero, but a fool to do it.  Maybe it’s us… we are the fools… we are the ones we have been waiting for all along. Maybe we have the answers, the tools, and the grit to rescue ourselves. All we need to do is have the motivation and the confidence to get started.

Return of the Myth is a complex piece that grapples with free will, free choice, risk, consequences, and the infinity of chance. The Mandelbröt set is pictured in perspective under the bubble dome symbolizing the infinite or what some might call God. Footprints represent the journey to wisdom or the ‘return’ we embark on as we seek the divine or the ‘myth’ of the divine. We see a pair of Putti. One is tethered, his mind locked into the world of ‘reality’. The other is floating in a world of spontaneous freedom full of risk yet full of possibilities. A stylized zygote at the bottom is the binary opposition found in ‘male/female’, ‘light/dark’, ‘good/evil’, or the yin/yang of the Tao (nothing is known unless its complement is known.) The zygote also symbolizes birth/fertility where life and ideas begin. What the symbolic assemblage in this piece means is a question every person has a unique answer for.

In 2010 Carlos Santana returned to Woodstock (now called Bethel Woods) to play a concert. He began the show by walking onto the stage and saying; “Welcome to ground zero… of LOVE!” (We were closer to 9-11 then.) It was the start of an amazing concert – so alive in spirit and so beautifully played by a music-master of the 1960’s rock age.

I appreciated the way he inspired his audience with talk of unity and universal love. So, I decided to paint a piece for him as a gift. The image behind Santana is of the great Mayan calendar. (The calendar reached the end of one full cycle on 21 December 2012 and some thought the world would end at that time.) Santana floats in front of it as a Yogi in meditation. Thin wisps of pinkish mist represent the fragile time of a life on earth and the eyes within the mist are those of awareness and also those of Horus, ‘The all-seeing’. Below Santana is the Chinese character for ‘heart’ or ‘corazon’ in Spanish. Floating in the air are heavenly spheres,  symbols of the universe and of the Gods of old. My hope is to give it to Santana some day, but as yet I haven’t had the chance.

This one is a foray into abstraction. The meaning is entirely in the title: Xenophilia is the attraction one has to something completely different.

Michaelangelo painted God giving the spark of life to Adam in the Sistine Chapel. It’s one of my favorite images in art and the inspiration for this piece. In our 21st century reality Humans no longer live in the primordial world depicted on that Sistine ceiling. In our world we have become the creators. Push a button and worlds appear…. money flows… and reality shifts and alternates. The bytes in Adam’s Apple send emojis to Eve who is lost in the mall of Eden… the new temple. The snake is extinct. Old, fossilized gods watch in impotence as we step into a digital future. This painting loosely represents these thoughts and has a poem that adds a philosophical aspect to them:

Adam’s Apple

‘X’ is the space where Adam thinks…
And heeds temptation’s taunting
Took existence to the brink
His bites of knowledge haunting.

The viper Knew where best to strike
The heart of human pride
The staff, that rod, he used to spike
The rib where God’s forbidden fruits abide.

Adam’s Dad was not amused
The Master knows no laughter
Initial Sin, was he accused
And Grace came a-tumblin’ after.

Now we’re stuck in Eden’s crime
We wage the cosmic raffle
Take a leap or do the time
The prize is Adam’s apple.

SurrealismToday: What is the last painting you completed?
Mark Hopkins: The Last Supper. 

It’s a take-off of DaVinci’s Painting of Christ’s Seder before he was crucified. But this piece is inverted. Christ is missing. The sadducees are at the table, not the disciples. This is the eschatological dinner for the end of days. The characters in my painting are interesting personalities at the forefront of recent events and are drivers of the directional shift humanity is undergoing. It’s a huge piece (12 x 4 feet) with a lot of symbolic imagery to think about so everyone will understand it differently. The conversations I’ve had with people over The Last Supper have been amazing.

ST: What did you want to be when you were growing up? 
MH: I had no idea. It never occurred to me that I was going to be something or somebody until I had to apply for college. I threw a dart at the proverbial board and went for engineering. That lasted about three months before I quit and leapt into art.

SurrealismToday: What piece are you most proud of? and why? 
Mark Hopkins: Probably the piece called ‘Concentrate 666‘. It’s a magnum opus: it’s 7 feet tall and exhibits some of my best painting skills. I am pleased with the composition, the color work and the concept. It’s a statement on the crazy idea of waging war in a nuclear age and how true wisdom (the Buddha) sees past the machinations of humans for power and wealth and into the peaceful bliss of knowledge and love.

ST: What is the best piece of advice you have ever received? 
MH: “Conquer the small.” This is especially useful when young. Growing a career, working on complex stuff, conquering the fright of a blank canvas is easier in small manageable chunks.

ST: What is one thing they tried to teach you in school that you knew immediately was wrong? 
Mark Hopkins: Art! Ha ha! Art teachers can’t teach you art. They can teach skills and techniques, culture and history, how to critique and write well, how to knit ideas together, how to see… But they can’t teach that creative act called ‘art’. It has to develop on its own from practice and life experience.

ST: Who is the one person, dead or alive, that you would like to have dinner with and why?  
Mark Hopkins: Just one? John Lennon in his prime… maybe around 1964. But there are others. Many others.

SurrealismToday: Where is your favorite place? 
Mark Hopkins: In the past it was Bali. Today, it’s wherever I am at the moment.

ST: Who are your biggest influences? 
MH: My friends. They inspire me to be fearless in art, in living, and in love. And they put up with the result (me).

ST: Which current art world trends are you following? 
MH: Good question. Surrealism in digital art. I’ve been watching the shift from physical art into a world of digital art, video games, and NFT’s as people spend more of their lives online. People can now own, trade, store, and display multiple works in one place and they can interact with it as well. Will they want realistic digital art or choose photography? Will abstract art have the same impact on a screen as it does on a wall? Idea-heavy and symbolic work makes more sense in a virtual world, so it looks like surrealism has a strong future there. Beeple Crap is a good example of this trend. For me, I still love the aesthetics of painting; the smell of canvas, the feel of a brush, and the sensual beauty of oils. So I am not giving up my brushes just yet.

ST: What can’t you live without?
MH: Truth… and beer.

ST: What is your dream project?
MH: I’d like to make a painting that affects the world for the better and speaks to people in any future age.

ST: What’s your favorite artwork? 
Mark Hopkins: Probably Rembrandt’s ‘Death Of Lucretia‘ in the Walker Museum in Minneapolis. It’s a scene of Lucretia who has decided to take her life after being violated by Tarquin. She is sitting on her bed… or death-bed. She has just withdrawn a knife from her bosom and sits there as her life-force ebbs away in a growing stain of blood on her pure white gown.  In her face is a resolute sadness painted by Rembrandt with exquisite sensitivity. In viewing his portrayal of Lucretia one can imagine the intense grief of that moment. The painting moves me deeply 360 years after it was painted. It is a pinnacle of artistic expression. A close second is Vermeer’s ‘Girl With a Pearl Earring‘. Dali’s ‘Persistence of Memory‘ is a close third.

ST: What is currently on your playlist? 
MH: Game of Thrones’ reruns.

ST: What gives you life? 
MH: The creative process. It keeps me learning and researching. It keeps me plugged in to any and all things I can get my hands on. And it keeps me in contact with extraordinary people. Never is there a dull moment to fill.

ST: What is your superpower?
MH: I am bloody strong for my age. Does that count?

ST: What is your Kryptonite? 
Mark Hopkins: Good food. It’s hard to keep trim and fit with all the temptations around.

ST: If you could visit any artist’s studio, whose would you visit and why? 
MH: My friend Pranoto’s in Ubud, Bali. I love his work, he’s great to be around. There is always music and art going on, and twice a week he hosts models for figure drawing.

ST: What was an interesting thing you remember buying?
MH: A blanket woven by the Naga headhunters of northern Burma. Beautiful and a bit scary. It’s gorgeous.

ST: What ideas are you currently pondering? 
MH: Everything, really. All things are in flux and what we used to think was… isn’t. What wasn’t… might be. Heroes are acting villains for hire, science has become religion, religions are acting weird, and then there’s war, inflation, weather, the true nature of man (or not-man), and who, pray tell, built those bloody pyramids!!?? So much to ponder!

ST: What is one thing you believe that most people do not?
MH: That there was a very ancient culture that existed on earth before recorded history, that it was global in extent, and has left evidence in megalithic structures around the world. In addition, there seem to be threads of evidence of this forgotten culture in myths and early languages.

Surrealism Today: What imaginary place would you love to visit?
Mark Hopkins: Rivendell.

ST: What is your favorite thing in the world, and why?
MH: One of them is a painting by my best friend Richard A. Wilson who has passed away.

ST: If you could collaborate with anyone, who would it be, and why?
MH: I always wanted to do a collaboration with my two best friends and my college mentor. One friend made poems of paint; beautiful lyrical pieces that really had soul. The other friend, Bruce Granquist, is an abstract painter whose work is precise, beautiful and fascinating in its concept. My mentor A Malcolm Gimse is a sculptor and a profound thinker. His work has multiple layers of meaning and often addresses the existential troubles of humans in a difficult world. My contribution would be the hallucinatory experience of ‘mind’. Together, our work would have made a formidable group show. Sadly one is dead, and the rest of us are separated by vast distances. Next life, perhaps.

ST: What’s next for you? 
MH: I’m planning a book featuring paintings and poems.  Look for that and some much-needed updates to my IG and website at hopkinesque.com by mid-year 2023. Of course there is always more art… a trip to South America to see ancient megalithic ruins… and, of course,  a solo show at MOMA! (LOL)

We’ve previously covered some of Barlowe’s visionary concept art here, and we are pleased to share the news of this retrospective and an exclusive interview.

November 19, 2022 – December 3, 2022
Opening Reception / Nov 19, 5:00 PM – 8:00 PM

OPENING RECEPTION AT GALLERY NUCLEUS

• Nov 19, 5pm – 8pm
• Free admission / No RSVP needed
• Exclusive prints to be released

EXHIBITION FEATURES

• On display Nov 19 – Dec 3 (closed Mondays)
• Free admission / No RSVP needed
• Various reproductions from some of Wayne’s notable book projects and film work will be on display
• A curated selection of original drawings and paintings will be on display and available for purchase

ABOUT WAYNE BARLOWE

Wayne Barlowe is an American science fiction and fantasy writer, painter, and concept artist. Barlowe’s work focuses on esoteric landscapes and creatures, such as citizens of hell and alien worlds. He has painted over 300 book and magazine covers and illustrations for many major book publishers, as well as Life magazine, Time magazine, and Newsweek. His 1979 book Barlowe’s Guide to Extraterrestrials was nominated in 1980 for the Hugo Award for Best Related Non-Fiction Book, the first year that award category was awarded. It also won the 1980 Locus Award for Best Art or Illustrated Book. His 1991 speculative evolution book Expedition was nominated for the 1991 Chesley Award for Artistic Achievement.

Barlowe has worked as a concept artist for movies such as Galaxy Quest (1999), Avatar (2009), and Harry Potter 3 and 4, among others. He is known to have worked closely with Guillermo Del Toro, serving as a creature designer for the Hellboy film series and Pacific Rim (2013). His work on Hellboy (2004) awarding him a nomination for the 2005 Chesley Award for Product Illustration. Barlowe was the Initial Creature Designer for Avatar (2009) and worked on The Lord of the Rings: The Rings of Power (2022) Barlowe was the creator and executive producer of Alien Planet, a documentary adaptation of Expedition produced by Discovery Channel in 2005. He has written two fantasy novels: God’s Demon (Tor Books, 2007) and its sequel The Heart of Hell (2019).

See more art and info here: waynebarlowe.com

Wayne Barlowe Interview

SurrealismToday: What work are you most proud of? And why?
Wayne Barlowe: I suppose the best answer to that question would be my Hell series. While I started out primarily as a science fiction artist specializing to some degree in alien life forms, my work in Hell has challenged me in ways I could have never envisioned. EXPEDITION was my first foray into writing. It was foundational for me but was heavily augmented with a lot of artwork. With Hell, I took it up to the next level, writing actual novels that did not depend on artwork. Sure, the artwork was created before the books and established much of what I’d write, but the narratives are where I think I’ve challenged myself the most. And they are probably what I’m most proud of. It was world-building on an epic scale. The entire world of the fallen demons had to be created. And, it was a world that pre-existed before their Fall. That meant that an entire ecosystem had to be considered and represented both in words and art. Tying all of this together with consistency was and still is a great challenge. 

ST: What are you most inspired by today?
Wayne Barlowe: I’m steeped in the past. I am still mesmerized by late nineteenth century and its fin de siecle art. Orientalist and Symbolist painters, in particular. The Orientalists brought rendering skills to an almost unattainable apex. I’m not sure anyone can do what they did with paintbrushes anymore. At least not with the same authenticity. And, from a different perspective, the Symbolist movement, with its enigmatic imagery and beautifully subtle palettes also provides me with serious inspiration. To be honest, nothing being produced today pushes buttons in me as do those two schools of art. I can still look at a Ludwig Deutsch piece or a Khnopff or Hiremy-Hirschl with as much joy as I did when I first discovered them.

ST: What is one thing they tried to teach you in school that you knew immediately was wrong?
Barlowe: I had a pretty unfortunate college experience. Cooper Union in the late ‘70’s was not a safe harbor for wanna-be illustrators. To be fair, it was my own fault – I should have applied to a few more professionally oriented schools. For example, I had two drawing instructors. One asked his students to immediately draw like Matisse and the other asked her students to draw like her. Neither of these choices seemed right to me from the start, and I expressed my feelings to one of the instructors. I don’t think he was too pleased with my voiced rebellion. Add to that, no teaching of the fundamentals like composition and color theory, and I knew I was not getting what I wanted out of my education. Shortly thereafter I decided to leave. I briefly toyed with transferring to another, more conducive school. But I was getting work and saw no point in continuing in school.

ST: What is the best piece of advice you have ever received?
WB: Draw every day. This, from my first instructor, Gustav Rehberger, at the Art Students League in NYC. Never better advice.

ST: What is your dream project?
WB: I’ve written a couple of screenplays that I’m extremely invested in. One is quite close to becoming a reality. This one is a traditional SF film. The other, also SF, is non-traditional. To see either or both come to fruition would be the fulfillment of my personal dreams.

ST: What is currently on your playlist? Do you listen to music when working?
Wayne Barlowe: I do listen to music when I paint and write. I grew up listening to nothing but classical music so I have a lot of that on my computer. Painting allows me to listen to wilder stuff. Nine Inch Nails is my favorite group so a ton of that goes down. I’m also a big soundtrack listener – I’ve probably got a couple of hundred on my flashdrive. Hans Zimmer – the man is brilliant. Almost anything by him is inspiring. When I write I need more atmospheric, somewhat quieter music. Lustmord, Jeff Greinke, A Winged Victory For The Sullen, Max Richter. I like a real variety of genres. If I hear it and like it, I don’t care where it’s from. Anyway, currently, it’s AWVFTS’s INVISIBLE CITIES, Zimmer’s various DUNE OSTs which are brilliant, Max Richter’s TABOO OST. Oh, and some BOARDS OF CANADA.

ST: If you could visit any artist’s studio, whose would you visit and why?
WB: Apart from going back in time and visiting my parent’s studio, you mean? I’m guessing you mean living. I don’t have a good answer for this one. I worked, briefly, alongside John Howe and Alan Lee in NZ. Both really good people and wonderful artists. Might be really fun to see their studios.

ST: What ideas are you currently pondering or questioning?
WB: I’ve got a few back-burner projects that I’m tinkering with. I’m not very interested in depicting Heaven – the Above as I named it in GOD’S DEMON – but I recently did a painting of an angel that opened a few interesting design doors. That said, I just don’t envision Heaven as being anywhere as interesting as the world I created in Hell.
I’ve also, relatively recently, created a new alien world in the same vein as Darwin IV from EXPEDITION. This new world, Gessner II, is inhabited solely by evolved plants some of which are intelligent. Creating creatures within this parameter is intriguing so I may pursue that one. Kind of an EXPEDITION II project.
As for questioning – nothing more or less than my place in the Universe.

ST: You’ve said previously: “Make sure you know how to draw because to me drawing is the beginning of everything all techniques spring from that.” What would be your advice for young artists inspired by narrative and figurative work who might be in educational environments pushing other types of work?
Wayne Barlowe: I’ve done a number of guest lectures in various schools. I always encourage students to create a back-burner project – something personal that they’re passionate enough about to keep working on in off hours. Maybe write a few lines that can become a catalyst for some narrative project that can be illustrated. Storytelling and world-building are the two elements that can grow a project into something of value later on. When I was in college, I invented an alien character named Thype. He was meant to be an itinerant, ronin-like god-killer on a journey of self-discovery. I did a series of drawings and paintings of him and his world that to this day, many decades later, still pique my interest. High fantasy in another world. I actually think Thype would be a great video game. I haven’t done anything with him in years, but I don’t rule out eventually figuring him out. Or doing the occasional painting related to him. But it’s that kind of project that can blossom into something unpredictable. And, that kind of project is what I wish for students.

ST: In a previous interview when asked about advice for would-be writers you suggested more originality was needed in the field: “I would say, please, please, be original. Enough with the Tolkien fantasies, enough with the Alien rip-offs, enough with the well-worn tropes of things that we have seen done a million times. And I would say this to screenwriters and game writers as well. We are sinking under the collective weight of commercially conservative ideas that lack any originality or creativity. Think outside the box with the price tag on it.“
What parts of your creative process do you attribute to helping you create original work throughout your career? Do you have any specific techniques to spice things up if you find yourself leaning too much on a formula? (Some artists have been big fans of introducing randomness in their work.) What have you done to get out of past creative ruts?

Barlowe: I hate the notion that anything I might do falls onto a well-trodden path. As a kid I used to dislike it when someone would ask me if I copied something or traced it. It rubbed me wrong. I try very hard not to fall into a formulaic, self-derivative approach to my work. Therein lies stagnation. Even though I have a few worlds that I populate with artwork, I try to not repeat myself either with subject matter or approach. It’s my way of trying to keep the imagery fresh and keep a viewer engaged. This is one reason I’m not entirely sure I fit comfortably into the gallery world. I have friends who are there and I get the impression that what they are doing is creating “the same but different” artwork because clients and potential customers want that. I wouldn’t enjoy cranking out the same image with subtle variations simply to keep product flowing. Maybe a bit short-sighted on my part but I know myself well enough to know what would very quickly become boring.

ST: What informs your work that most fans might find surprising?
Barlowe: I’m not sure this would really surprise anyone, but I’m a huge ancient history buff. And I love paleontology. Both of these elements find their way into my work in, sometimes, less than obvious ways.

SurrealismToday: I understand that Del Toro does a lot of the creature concept by hand, based on dreams that he has had. How does the concept work you do translate into the design process? Does it flow from wireframe to 3D model, etc?
Wayne Barlowe: I am a very pragmatic person, despite working in imaginative realism. So, when I don the hat of a concept artist I become slavishly interested in fulfilling a director’s vision. I’m particularly interested in hitting the marks with whatever language a director uses in describing what he/she/they want. This comes from my background as an illustrator. Whenever I was handed a manuscript I would always read it thoroughly and take notes. I didn’t want to be caught doing a cover that was in any way inaccurate.
So, the same applies to concept art. I see myself as a kind of pathfinder when it comes to designing creatures or characters. I don’t go into the process expecting whatever I’ve done to be entirely literally brought to the screen. If that happens – if something I’ve designed makes it through the many hands it passes through on its way to the screen, and it makes it without too many changes then, of course, I’m thrilled. But I don’t have that expectation. What I do is a careful drawing based on careful thinking. This then goes on to 3D artists with the input of a director or art director. Film work is always a team effort. You cannot lose sight of this, or else you won’t be happy working in that milieu.

ST: What is one thing you believe that most people do not?
Barlowe: I’m only just becoming aware of the block universe theory – that, in a few words, the past, present, and future all exist simultaneously. I’ve always believed this in my gut but never knew until recently that it was an actual theory. I’m guessing this isn’t a widely held belief.

ST: What have you been most happily surprised by in your career?
Barlowe: I’d have to say the reception I got from readers regarding my entry in authorship. EXPEDITION was my first foray into writing but because that book was so heavily dependent on artwork the challenges were not the same as those found in writing a novel. While I had a backlog of artwork to support GOD’S DEMON, none of those images were going to be published within the book. WHich meant, of course, that I had to describe everything that I’d either painted or drawn. As well as so much more. I like descriptive writing so this wasn’t a chore for me. But the fact that so many readers found the world so convincingly described was a thrill for me. Hell isn’t a pleasant place but, because I spent a lot of time describing it, I sense that a lot of readers would like to return. Which has encouraged me to attempt to finish up what I started with a third and final book – LUCIFER’S SOUL.

ST: What was a difficult art or career challenge that you faced and how did you overcome it?
Barlowe: Transitioning from pure illustrator to author – a title I still have trouble articulating. To me authors spend their entire lives learning and implementing their craft. I didn’t go to workshops or school to learn to write. So taking that leap so many years ago was scary and ambitious. I had had a bellyful of the paperback cover world and really needed to find another way to express myself. So, one day I conceived of EXPEDITION in an effort to pull myself away from that other world. I did a single painting and a two-page outline of what I thought a naturalist’s experiences on an alien world might be like. I walked into the publisher’s office, pitched it, and sold it. By today’s standards – a miracle. It was a leap of faith. Putting aside rent-paying work to complete what would take me close to two years to finish. A lot of uncertainty and hard work followed. But it was just the right decision at the right time. No regrets!

ST: Any words of advice for young artists and illustrators?
Barlowe: Well, I’m going to repeat myself a bit here. Be original in every way you can. If your work resembles someone else’s, retool it to be yours. Your own style will evolve over time so co-opting someone else’s doesn’t do you credit. Work to your strong points but expand them. Be influenced by your art heroes but don’t copy them verbatim. Perfect your craft by being relentlessly self-critical. The eraser and the undo button are your friends.
And, secondarily, find a passion project that excites you. Add to it with art and words. Make it your pet, back-burner project that one day might blossom into something bigger. Build on each piece with consistency and a bit of what came before. Every Hell piece I’ve ever done has the seed of the next piece in it. And every painting or drawing I did informed my writing. One hand inevitably washed the other. For me, a painting or drawing could act as a catalyst for my writing and vice versa.
With all of that in mind, go forth, be passionate and Create!

ST: What imaginary place would you most love to visit?
Barlowe: Maybe E. R. Eddison’s Mercury. THE WORM OUROBOROS is my favorite high fantasy novel. I’d love to see that world. 

SurrealismToday: What are you most looking forward to now?
Wayne Barlowe: Finishing my third novel, LUCIFER’S SOUL. It’s taking forever and is very heavy lifting. It’s more ambitious in its scope than the previous two novels. And I cannot wait to get it all out on paper!

Other Resources:
WayneBarlowe.com
Books on Amazon
Instagram.com/waynebarlowe_thedarkness
Our previous coverage of Wayne Barlowe