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 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:

In the 1950s, Bosschart became interested in astrology and began incorporating astrological symbolism into his paintings. He eventually became a prominent figure in astrological art, and his work has been featured in numerous publications and exhibitions.

Bosschart’s style is often described as a blend of surrealism, symbolism, and mystical elements. His paintings are known for their intricate details, vivid colors, and dreamlike imagery. His work often depicted mythical creatures, ancient symbols, and otherworldly landscapes.

Early Life

Born Franciscus Johannes Gijsbertus van den Berg in Rotterdam, Netherlands, in 1919, Johfra Bosschart was destined to be an artist. He grew up in a world crumbling under the weight of the Second World War, a time of upheaval that would later be reflected in his art. His father was a talented draftsman and exposed his son to the world of artistic expression from a young age.

Johfra Bosschart’s journey into art started in earnest when he attended the Academy of Fine Arts in The Hague. Here, he first encountered the works of surrealist masters, such as Salvador Dalí, René Magritte, and Max Ernst, whose influence would later be evident in his creations. Bosschart’s passion for the occult and esoteric knowledge was ignited during this period. He began exploring the mystical side of life, which would become a central theme in his art.

Maldoror Series

One of the most striking and memorable works by Bosschart is the Maldoror series. Inspired by the 19th-century French poet Comte de Lautréamont’s “Les Chants de Maldoror,” the series consists of paintings depicting fantastic beasts and monstrous figures. These grotesque and horrifying images are a perfect example of Bosschart’s unique blend of surrealist art and the dark world of the occult.

The Maldoror series showcases Bosschart’s talent for rendering the nightmarish and the macabre, which would later be referred to as “monster brains” by some art critics. These works were controversial for their time, as they were seen as a form of degenerate art, challenging the conventions of traditional aesthetics and societal norms.

Johfra Bosschart’s artistry went beyond mere visual appeal; it was a journey into the realms of the subconscious and mystical. Take, for instance, his acclaimed Zodiac series. Each painting in this series was not just a mere representation of astrological signs but a complex tapestry woven with esoteric symbols and hidden meanings. Bosschart meticulously researched astrological lore and symbolism, infusing each painting with layers of meaning. For example, the ‘Leo’ painting isn’t just an illustration of the lion sign; it incorporates alchemical symbols and mythological references, creating a visual narrative that invites the viewer to delve deeper into the mysteries of the cosmos. This series, completed in reverse order starting with Pisces, was a significant departure from traditional astrological art, offering a unique fusion of surrealism with mystical themes that captivated and intrigued the art world.^{1, 2}

The Zodiac Series

Perhaps the most famous of Bosschart’s works are his Zodiac posters. This series consists of twelve paintings, each representing a sign of the zodiac, with symbolic elements deeply rooted in esoteric knowledge. From the ethereal beauty of Aquarius to the fiery energy of Aries, the Zodiac series showcases Bosschart’s ability to infuse the surreal with the mystical.

The creation of the Zodiac series was a transformative experience for Bosschart, as it allowed him to break free from the constraints of traditional artistic techniques and embrace his true calling as an occult surrealist. The series was completed in reverse order, starting with Pisces and culminating in the powerful and enigmatic image of Aries. The Zodiac series not only captured the public’s imagination but also solidified Bosschart’s reputation as an artistic force to be reckoned with.

Amsterdam 1981 and the Following Year:

By the early 1980s, Johfra Bosschart had established himself as a leading figure in surrealist art. In 1981, he held a major retrospective of his work in Amsterdam, showcasing his vast collection of paintings and drawings. This exhibition was a turning point for Bosschart, bringing him international acclaim and cementing his place in the annals of art history.

The following year, 1982, proved to be a significant one for the artist Johfra Bosschart, as his work gained recognition and admiration from critics and the general public. During this time, Bosschart’s artwork was featured in several European exhibitions and galleries, exposing a wider audience to his unique blend of surrealism, mysticism, and fantastic beasts.

Johfra Bosschart: Occult Surrealist:

One of the key aspects that set Bosschart apart from his contemporaries was his profound interest in occult and esoteric knowledge. This fascination permeated his work, turning his canvases into portals to a hidden world of mysticism and spirituality. As an occult surrealist, Bosschart’s paintings were not merely artistic expressions but also intricate tapestries of symbols and arcane wisdom.

His use of esoteric elements and themes in his art allowed Bosschart to explore the depths of the human psyche, unearthing the fears, desires, and mysteries that lurk beneath the surface. This approach to art, coupled with his extraordinary talent for blending the surreal with the mystical, made Johfra Bosschart a truly unique artist whose work continues to inspire and captivate to this day.

While Bosschart was never directly linked to this specific movement, his work certainly pushed the boundaries of conventional artistic expression. His paintings often featured unsettling imagery, such as monstrous figures and nightmarish creatures, challenging viewers to confront their fears and anxieties. This provocative approach to art garnered criticism and admiration but ultimately helped solidify Bosschart’s reputation as a groundbreaking and influential artist.

Legacy

Johfra Bosschart passed away in 1998, but his legacy lives on through his mesmerizing works of art. His paintings continue to be exhibited and admired by art enthusiasts worldwide, with many recognizing him as a pioneer in surrealist and occult art. The themes and techniques he employed in his work have inspired countless artists who came after him, ensuring that the surrealism of Bosschart will never be forgotten.

Bosschart’s art is a testament to the power of the imagination and the importance of challenging the boundaries of conventional artistic expression. From his early life to the fantastic beasts of his Maldoror series and the esoteric symbols of his Zodiac posters, the story of Johfra Bosschart is one of a visionary who dared to explore the depths of the human psyche through the surreal and the mystical. As an occult surrealist, his work continues to captivate and inspire, leaving a lasting impact on art.

Johfra Bosschart’s work, steeped in surrealism and mysticism, continues to resonate with audiences today, offering a unique window into the human psyche and spiritual exploration. His paintings are not just artifacts of the past but living pieces of art that speak to our ongoing quest for meaning in a complex world. For those looking to experience the enchanting world of Bosschart first-hand, several of his works are on display in prestigious galleries and museums across Europe. Notably, the Zodiac series, with its intricate symbolism and astrological themes, can be viewed in various art exhibitions, providing a mesmerizing experience that transcends time. For digital explorers, high-resolution images of his paintings are available on select online art platforms, allowing a closer examination of his intricate details and profound symbolism from anywhere in the world. This accessibility ensures that Bosschart’s legacy continues to inspire and challenge viewers, just as it did during his lifetime.²

Frequently Asked Questions

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.

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

From the interview to “C de L’ART” Magazine n°21 – France/ Paris :

« I have two passions: painting and music. All of my works have been created in tandem with sound. »
Serguei Borodouline is an experienced Russian artist based in Canada whose paintings have been featured in national exhibitions. Working in oil and acrylic on canvas, he does not limit himself to one artistic genre and paints everything from surrealist landscapes to fantastical portraits. His work is characterized by a blue and purple color palette and each painting is full of imaginative possibilities.”

Interview with Serguei Borodouline

Q. What are you thinking about these days?
A. I think that we are on the threshold of global world events

How do you introduce yourself?
My artworks do it for me : )

What do you tell people when they ask about the ideas in your work?
My work should speak for itself.

Can you tell us about this latest series?
The latest series change each other quickly.

How does music play into your work?
I have two passions: painting and music. All of my works have been created in tandem with sound.

What did you want to be when you were growing up?
An Astronomer.

What’s your background?
Engineering Physicist Ph.D. + Siberian Art School.

What is the best piece of advice you have ever received?
Too much.

What is the best advice you don’t follow (for good reason)?
None.

What is one thing they tried to teach you in school that you knew immediately was wrong?
History: it is plenty of fantasy.

Who is the one person, dead or alive, that you would like to have dinner with and why?
My father.

Where is your favorite place?
The Ocean.

Who are your biggest influences?
Zdzislaw Beksinski, Regarding painting, I take of my hat off to Dali, Beksinski, Kramskoy, Savrasov, Klimt, and many more.

Which current art world trends are you following?
For their own

What can’t you live without?
Music and Painting

What is your dream project?
Ahead

What’s your favorite artwork?
Luis Ricardo Falero “Witches going to their Sabbath”

What is currently on your playlist?
So many, and depending on the moment: Shostakovich, Rachmaninov, Verdi, Bach, Schnittke, Penderecki, Ketil Bjornstad, Nick Cave, Robin Guthrie, Harold Budd, Brian Eno, King Crimson, Vangelis, etc. And still in favor Yes, Genesis, Miles Davis, Tord Gustavsen, Pat Metheny, Bryan Ferry, and more.

What gives you life?
Experience

What is your superpower?
Be humble

What do most people believe that you do not?
For me, Faith and Religion are absolute opposites.

What imaginary place would you love to visit?
Out of Earth

What is your favorite thing in the world, and why?
Dreams. For me, this is the greatest mystery, like Music and Water.

In her artworks, she talks about the body and nudity, introversion, and the Comfort Zone (both in society and in our own homes or minds). Despite the seriousness of these topics, there is always a drop of irony.

The stories in her paintings are based on her dreams and childhood memories, so the spaces and figures that inhabit this world can seem bizarre and surreal.

Interview with Olga Koudi

How do you introduce yourself?
I usually say “Hi, my name is Olga Koudi.” And people ask, is this a real surname? (After all, it is very atypical for Russia, and I am Russian.) And I answer, yes, of course.

What do you tell people when they ask about the ideas in your work?
I like it when the picture gives room for the imagination of the viewer. What ideas come to his mind when he sees these images, these women that I create. In fact, the most frequently asked questions are related to the shape of their bodies, nudity, and the most popular question is: “Why are their legs in basins?”. I don’t really like to analyze every detail of a picture, every idea, because as an author I put them together from memories, dreams, and a whole bunch of different thoughts that can even be opposite to each other. Ideas come from the unconscious, which is why it’s so hard to discuss them.

Can you tell me about how the body plays into your work?
I like the nudity of these particular characters because they look the way they are. They don’t need fancy clothes, or even green leaves to cover up parts of their bodies. Because there is nothing to hide – in the absence of sexuality there is no shame. These women always appear naked, but at the same time asexual. Their chest is the same open part of the body as, for example, the elbows, or the top of the head (which, by the way, is also bald and triangular in shape). Are they people? Are they still women in the absence of hair, nipples, and everything else?

Can you tell us more about the themes of introversion/comfort zone in your work?
A space that makes you feel comfortable. Only here you can dress up in any clothes (or lack thereof), take a basin of water, slowly lower your legs into it, and put a can of your favorite corn on the table. The worlds in which my women live seem deserted, large and intimate at the same time, but since this is their natural environment in which they exist, this is their comfort zone.

Can you tell us about this latest series?
My work is one big project, which I called “Spiky Heads”. These are digital paintings in which I portray the same characters, as well as a small animated series called “No David Show” (these are short series in the format of a talk show where my characters philosophize on various everyday topics).

How does music play into your work?
I listen to a lot of music of various genres. From electronic music, sleepy ambient to avant-garde works. Most of all I like music that consists of repeating loops that slowly change from one sound to another and flow back again. For example, William Basinski, that’s where the real comfort is!

What did you want to be when you were growing up?
I don’t think I ever had a specific goal. As a child, I did not even think that it was necessary to become someone. And even now I don’t think about it – the flow itself brings you to some activities, and you think – okay, if it fascinates and brings joy, why not try it.

What is the best piece of advice you have ever received?
Immediately wash a plate after eating buckwheat.

What is the best advice you don’t follow (for good reason)?
Immediately wash a plate after eating buckwheat.

What is one thing they tried to teach you in school that you knew immediately was wrong?
“Girls should cook deliciously, and boys should make stools.” – Olga Petrovna, Home economics teacher.

Where is your favorite place?
My favorite place is a tiny village in the mountains in the Eastern Sayans (Buryatia). It’s called Arshan. There is a park there, and if you climb a little higher, you have an incredible view of the mountains. You can admire them all day there.

Who are your biggest influences?
Nature and the people I meet daily. A cashier in a store, a disgruntled grandmother yelling at her dog, a woman with dementia who cannot find the bag she is holding in her hand. All passers-by on the street, “acting out” tiny scenes, snippets of phrases. I think it inevitably has an impact, and that’s great.

What is currently on your playlist?
Chris & Cosey, Gudrun Gut, Ryoji Ikeda, Swans, William Basinski

What are your last three Google searches?

• PLN 2.59 in rubles
• What is the name of the thing on the tap
• Is it possible to get fat from beer

What is your superpower?
I can go to bed and start plotting the dream and then dive into it. And also, if the dream is very interesting, but it has to be interrupted, I can “pause it” and return to it later. This is my personal cinema.

What was the last thing you bought?
Disco kettle. If you turn on the music, it boils water to the beat, flashing in different colors. Definitely the best buy.

Olga Koudi’s prints are available for purchase now on Surrealism Today.

instagram.com/koudi_depresurfer/
Olga Koudi Art

Min Kyung Kwon is an artist based in Adelaide, Australia creating art of otherworldly beings that are beyond physicality and can be only seen through our mind’s eyes.

Kwon’s portraits are inspired by mythology, legends, folk storybooks, science through contradicting images of eeriness and cuteness with a glimpse of sensuality & innocence in their gesture.

Min Kyung’s work contains mysterious and secretive ghost-like beings with rich and warm oil colors in a sharp, carefully executed vision. Her characters are vivid and colorful with an expression of anomaly and chaos yet with dreamy calm eyes.

“Paradox” from Kwon’s first series “Resurrection” was exhibited at Hive Gallery for its anniversary group show in 2017 named “Best of the Hive show”. Paradox was invited for the “CARDED!” show for Hot Art Wet City Gallery Vancouver in the same year.

Min Kyung was born in Daegu, Korea in 1978 then she grew up in Seoul watching Anime and reading comics (Manga) and she became interested in creating her characters. She started to draw and paint from an early age and attended after-school art/design classes throughout her teenage years which she learned the fundamentals of drawing and painting.

Kwon enrolled in Hongik University in Korea in 1998, where she received a B. A. in Industrial Design. After graduation, she started working for an exhibition company doing visual arts and designing show booths for major design conventions, Expos, and art fairs. Some of the clients include Samsung Electronics and LG Home Appliances.

G.H.O.S.T Series Artist Statement

The G.H.O.S.T series of work contains four paintings (Widow, Diabolica, Siren & Dawn) of spiritual beings, nymphs, inspired by Greek mythology, ancient folklore, and legend.

Each painting has its own distinct: predominant color; shapes; and creatures. The combination depicts physical and spiritual realms, and the feelings the mythological stories bring to me. Expressing the mythology, and my feelings in hearing these stories was my challenge and joy.

Widow

Series: G.H.O.S.T.
Year: 2019
Medium: Oil on Wood Panel
Size: 16″ X 20″

The widow was inspired by Arachne, (Greek: “Spider”) in Greek mythology, the daughter of Idmon of Colophon in Lydia, a dyer in purple. Arachne was a weaver who acquired such skill in her art that she ventured to challenge Athena, goddess of war, handicraft, and practical reason. The image of a girl looking through a purple fog came to my mind from the story. It would be a highly intuitive soul with wisdom in her deep purple eyes. She expresses her world through myriad spider webs with magnificent patterns and ever-changing abstraction

Diabolica

Series: G.H.O.S.T.
Year: 2019
Medium: Oil on Wood Panel
Size: 16″ X 20″

Diabolica (Idolomantis diabolical, a.k.a., the devil’s flower mantis) was inspired by African mythology. A unique characteristic of the mantis is that the female kills and eats the male after he has impregnated her. In myth, Mantis personifies the concept that creation is not only birth but death as well and that through death, life is renewed. Myths about Mantis often reveal him as a shapeshifter. Mantis is the most beloved incarnation of the San Creator god Kaggen. Kaggen could transform himself into any animal form, but the forms of the mantis and the eland (a type of antelope) were his favorite. In one myth, Eland was the well-loved first son of Mantis, who wept when Eland was killed. This myth taught the San to honor the death of an Eland, their master animal.

Siren

Series: G.H.O.S.T.
Year: 2019
Medium: Oil on Wood Panel
Size: 16″ X 20″

Siren was created based upon Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn). Sirens were dangerous creatures, who lured nearby sailors with their enchanting music and singing voices to shipwreck on the rocky coast of their island. Roman poets placed them on some small islands called Sirenum scopuli. The vision I saw from the story was a beautiful young female who was heartbroken by someone she loved once and now all she has is the feelings of vengeance. Will she ever feel love again? Or will she always be a fearful spirit who would curse and destroy someone?

Dawn

Series: G.H.O.S.T.
Year: 2019
Medium: Oil on Wood Panel
Size: 16″ x 16″

Dawn was inspired and created by Greco-Roman mythology Eos(Greek) the personification of the dawn. According to the Greek poet Hesiod’s Theogony, She was the daughter of the Titan Hyperion and the Titaness Theia and sister of Helios, the sun god, and Selene, the moon goddess. Dawn is a visualization of a female goddess who brings hope at the end of a dark tunnel.

Her serenity makes the world feel more peaceful and calm.

Interview with Min Yung Kwon

Q: What are you thinking about these days?
In the last year both of my parents have passed away, this has brought many of my thoughts to the meaning of life, our consciousness of thought, and death. Pondering life and death has never been far from my thoughts throughout my life, even when I was young.
It is obvious what happens to our physical bodies when we die but we know so little about what happens to our minds when we are dead.  These days thanks to technology and the internet humans can connect without having to use our physical selves, time and space limits do not necessarily exist.  In part we can exist on a conscious level which may be similar to our existence after death, connecting to other passed loved ones and even loved ones that remain through our conscious thought.

Q: What do you tell people when they ask about the ideas in your work?
I am intrigued by human minds. I question myself, what happens after our physical bodies die? The characters who frequently appear in my works(spirits, ghosts, or nymphs) are the ones who not only live in one body but keep shapeshifting and can be anyone and everyone. I normally start getting inspired by those inner questions before painting.

Q: Tell us about this latest series?
The title got named G.H.O.S.T. What if, after our physical bodies have gone back to the dust after death, the minds and thoughts remain and they can have different shapes accordingly, what would happen?
And then, what if the beings such as insects, bugs, and sea creatures that are less dense in both physical & spiritual than humans could have human consciousness and shape how they would look? I then combined the stories from mythologies and legends with those creatures to come up with the visualization of the paintings.

Q: What’s your background?
I started to learn to draw & paint from an after-school art school at the age of 15, then I started to learn Industrial Design from the university at the age of 20. After graduation, I worked as a graphic designer at a design company. I still work as a UX/UI designer part-time. It’s not possible to pay bills without a daytime job at the moment. haha. Then I enjoy design work as much as I enjoy making art, too.

Q: Who is the one person, dead or alive, that you would like to have dinner with and why?
Dead: Hieronymus Bosch —> I am so mesmerized by his world of craziness. I would ask him questions about all those characters in his paintings all night long!!!
Alive: Mark Zuckerberg —> I’d try my best to steal ideas from him about Metaverse and make my own company and become a billionaire… haha

Q: Who are your biggest influences?
Steven King (the writer). The very first book I read from him was ‘Carrie’. – Maybe I watched the movie before I read the book – I just could not believe the story was written by a male writer, Carrie’s emotions and feelings were so precisely described. It’s the best of the best of any books out there, well at least to me it is. 
Also, there’s a book called ‘On writing’. It’s about writing but anyone who happens to ‘create’ something should all understand what he’s talking about. He made me laugh and cry at the same time! Strongly recommended book ever for any creators.

Q: What’s the best piece of advice you’ve been given?
“Write with the door closed. Rewrite with the door open.”
“Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right — as of right as you can, anyway — it belongs to anyone who wants to read it.”
-Stephen King

Q: Which current art world trends are you following?
I don’t particularly follow any art trends as such, however, I have always been mesmerized by Lowbrow arts – all started by Mark Ryden – I’ve been a huge fan of pop surrealism as well as a painter of it.

Q: What can’t you live without?
A very easy question! My MacBook Pro!!!

Q: What is your dream project?
A collaboration with Banksy? Just the thought of it would keep me awake all night with excitement!

Q: What’s your favorite artwork?
‘My Bed’, Tracey Emin, 1998 | Tate’
One of the rare artworks that made me cringe (out of such joy and excitement) as soon as I saw it. I’ve always loved Tracey Emin. Such a strong female artist. I truly admire her wildness and courage to be herself at any time.

Q: What are your last three Google searches?
Min Kyung Kwon (haha)
Haunted places in the world
Crop circle

Q: What gives you life?
Creation. Inspiration. Humans.

Q: What was the last thing you bought?
Winsor & Newton – Liquid Original (It’s a fast-drying medium I use)

Q: What ideas are you currently pondering or questioning?
I’ve been thinking about my next series as to how I will go forward developing my unique style. The 1st and the 2nd came out a bit differently in styles. It will be my job to make my 3rd series somehow consolidate the 1 and 2 then turn into my style.

Q: What imaginary place would you love to visit?
Mars & Venus (I know they’re not imaginary places however I’ve always wanted to visit those two planets)

Q: What’s next for you?
I’ve been brainstorming for my 3rd series, the 2nd series was done in 2019 so I’m getting behind. I’m hoping to get started with the 3rd before the end of 2021.

Website: minkyungkwon.com
Facebook: facebook.com/minkyungkwonart

However, Dalí’s oeuvre is not simply limited to oil paintings; throughout his career, he dabbled in a wide variety of eccentric and surprising formats. He made sculptures, cookbooks, wine guides, designed sets for plays and operas, and even collaborated on an animated film with Walt Disney. One of the most unique undertakings of his career though is undoubtedly the infamous Dalí tarot deck, which has been a highly-sought and hard to find collector’s item since its original release in the mid-80s. Well, good news: the Dalí tarot deck is back, and it’s better than ever.

Taschen, the publisher behind a number of high-end hardcover volumes of Dalí’s work, has recently re-released the Dalí tarot deck as a beautiful 78-card box set. Included with the deck itself is an insightful companion book by author and tarot scholar Johannes Fiebig, which delves into Dalí’s life and process while completing his tarot series. The book also provides detailed information on the history of tarot, explanations of what the individual cards mean, and instructions on how to perform your own readings with the deck. The addition of Fiebig’s book elevates the previous version of the deck by making it one of those rare art objects that are not only inspiring to behold, but also functional to use.

Although it’s easy to imagine Dalí deciding to delve into tarot cards on a psychedelic whim, his original impetus for creating the deck is perhaps even stranger than the fact that he made one at all. The deck was commissioned by famed film producer Albert Broccoli as a prop for the classic 1973 James Bond film Live and Let Die, starring Roger Moore and Jane Seymour. In the film, Seymour plays a psychic medium called Solitaire who uses tarot cards to track the legendary MI6 spy James Bond. Legend has it that after Dalí began working on the deck it became clear that his fees would be too high for the production to afford, so Broccoli decided to scrap the idea and the tarot deck prop was cut from the film.

Thankfully, Dalí’s wife Gala encouraged his interest in mysticism and the occult, and he became so enamored with the process of creating the tarot deck that he continued to work on it for more than a decade. 

Many of the cards themselves feature Dalí’s interpretations of classic works of art, such as Vincenzo Camuccini’s The Death of Julius Caesar, which stands in for the Ten of Swords. As a tribute to Gala, he included her likeness in the deck as the figure of the Empress, which is quite an appropriate choice, since the Empress represents the creation of life, romance, and art. Dalí also included himself in the deck as the figure of the Magician, which represents self-confidence and signifies success in upcoming ventures. When he finally completed the tarot deck in 1984, the original limited edition was lauded by tarot readers and Dalí fans alike and quickly sold out, so it seems that his casting of himself as the magician was indeed a prophetic choice… fated by the cards, perhaps?

For a particularly surreal tarot experience, and as a supplement to Fiebig’s guide, try combining the Dalí tarot deck with surrealist filmmaker Alejandro Jodorowsky’s series of instructional tarot YouTube videos, in which he provides in-depth lessons on the history and practice of tarot reading, as well as personalized readings for followers of his channel. Jodorowsky and Dalí were contemporaries, and Dalí was even slated to appear in Jodorowsky’s ill-fated attempt to make a big-budget version of the sci-fi classic Dune. Although there’s no evidence that the two surrealist visionaries ever discussed their mutual interest in tarot, at least not on record, it’s fun to imagine what that conversation would have been like; one has to assume it would have been either extremely profound or completely incomprehensible.

Until the new Taschen edition, which was released this past November, original copies of the deck were extremely hard to come by, selling for upwards of $500 on online auction websites like eBay. The 2019 version of the deck is much more affordable, retailing on Taschen’s website for $60 USD. It makes a perfect gift for any lover of Dalí’s artwork, or just tarot cards in general. So if you want to take a surreal glimpse into your future, or just have some fun with your open-minded, art-loving friends, there’s no better way to do so than with a tarot deck designed by the inimitable Salvador Dalí.

Combining the occult with his own unmistakable sensibility, Dalí’s tarot is a pastiche of old-world art, surrealism, kitsch, Christian iconography and Greek and Roman sculpture.

— openculture.com

Deck of 78 tarot cards with booklet in a box, 7.4 x 13 in., 184 pages

Further Reading: