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

In an art world that often treats accessibility and profundity as enemies, Spanish artist Jesús Aguado has spent the last decade proving they might be secret collaborators. While most contemporary surrealists trace their lineage through prestigious academies, Aguado (b. 1976) spent twenty years in the trenches of commercial illustration—creating textbook art for Santillana, National Geographic, and children’s publishers across the globe. Rather than limiting his potential, this foundation became his greatest asset.

When Aguado transitioned to oil and acrylic painting around 2017-2018, he wasn’t just changing mediums—he was quietly engineering a new kind of surrealism that invites viewers in before blowing their minds. His “chimerical, often anthropomorphic figures” populate dream worlds that feel both fantastical and emotionally urgent, proving that commercial sensibilities and fine art depth can enhance rather than contaminate each other.

From Valladolid to Universal Language

Aguado’s artistic DNA was forged not in gallery spaces but in publishing deadlines. Born in Valladolid in 1976, he earned his Fine Arts credentials at the University of Salamanca before diving into two decades of editorial illustration. His client roster—spanning from Spanish textbook giant Santillana to publishers across Taiwan—provided intensive training in universal visual communication. When your art must work for Spanish schoolchildren and Taiwanese readers alike, you learn something profound about crossing cultural boundaries through imagery.

This wasn’t mere commercial work; it was a masterclass in making complex ideas accessible. Twenty years of editorial constraints built creative pressure that finally exploded into fine art—not as rebellion against his past, but as mastery seeking new expression.

Baroque Surrealism: When Old Masters Meet Comic Books

Aguado’s breakthrough came from an unlikely fusion: Renaissance technique meets comic book imagination. A self-proclaimed “comics fan” who happens to master classical methods, he creates what critics call “Renaissance beauty impregnated with the darkest baroque”—academic poetry that captures something genuinely revolutionary.

His compositions pulse with dramatic chiaroscuro borrowed from Caravaggio and the horror vacui (fear of empty space) of Rubens, but applied to fantastical creatures that could populate a cosmic graphic novel. The result is “Baroque Surrealism”—art that throbs with classical emotionality while bubbling with irreverent humor.

The Density Principle

Aguado’s canvases operate like visual novels, packed with narrative threads that reward sustained looking. His paintings are “a feast for the eyes full of bold colors and a myriad of animals, plants and creatures, blending one world with many others.” This isn’t chaos—it’s strategic overwhelm that mirrors the information density of our digital age while offering refuge from it.

His recurring cast—dragons representing ferocity, rabbits embodying cuteness, worms suggesting the grotesque—creates a bestiary of “dual animated beings that parade on the edge of the endearing and the disturbing.” By largely banishing humans from his compositions, Aguado creates universal characters that viewers can project onto without demographic barriers.

Technical Alchemy: Light as Philosophy

Aguado’s signature technique builds meaning through method. His acrylic glazing creates translucent layers that capture and bounce light between surfaces, transforming paint into luminosity that makes impossible creatures feel tangibly present. Each layer builds translucency, creating his signature shimmer that rewards close examination—a deliberate antidote to digital-age instant consumption.

Significantly, he paints on traditional wood panels and birch supports used by Renaissance masters. This isn’t nostalgia but strategic dialogue with art history. The classical weight of wood lends gravitas to whimsical subjects, while contemporary techniques inject new life into historical formats. It’s Hieronymus Bosch reimagined with modern psychology and comic book sensibilities.

The Father’s Transformation: Art Meets Life

The most significant development in Aguado’s career came in 2023 with the birth of his son. Fatherhood hasn’t sentimentalized his work—it’s deepened it. “Since he was born, I’ve been thinking a lot about life, about the crucial moments in a person’s development, both on a personal and general level, as well as a metaphysical one.”

This biographical shift sparked his latest series, “Life Milestones,” where octopus stumps garden with lobster claws and winged caterpillar mothers wield hammers during mitosis. These aren’t random surreal images—they’re visual metaphors for those transformative moments that “changed your course” or became “embedded in the deepest part of your being.”

“Experiencing life through your child again makes you think and reconsider everything you’ve been through in life,” Aguado reflects. His exploration of existential paradoxes now carries parental urgency, creating works that are simultaneously “metaphorical—and funny” while representing life’s most significant passages.

Psychological Architecture: Building Sanctuaries for Overstimulated Minds

Aguado’s mission cuts straight to our contemporary condition. He wants viewers to “feel far away from everything” because our world is “filled with too much information and opinions” that he finds “exhausting.” This isn’t artistic pretension—it’s cultural diagnosis with a visual prescription.

His “constant exploration of life’s paradoxes” creates what he calls spaces where “joy and darkness coexist” and where “light and love are appreciated after experiencing darkness.” The result is art that captures “vivacious ecstasy of tranquil joy” while refusing to offer easy emotional solutions.

His “absurd yet symbolic satires” function as pressure valves for information-overloaded audiences. By creating spaces where “free play of our imaginations” is essential rather than optional, he offers something increasingly rare: permission to stop processing and start feeling.

Beyond Movement: The Future of Accessible Profundity

While Aguado has conquered the Lowbrow/Pop Surrealism movement, his sophisticated fusion of classical techniques with existential themes suggests he’s outgrowing those boundaries. His third solo exhibition with Arch Enemy Arts since 2020 represents more than career momentum—it’s evidence of sustained institutional confidence in an artist bridging commercial appeal with intellectual depth.

Aguado has achieved something remarkable: he’s created a completely new visual language that feels both ancient and urgently modern. In a cultural moment when escapism often feels like surrender, he offers escape that expands rather than diminishes consciousness.

His legacy may well be proving that surrealism didn’t need to choose between emotional accessibility and intellectual depth, between pop appeal and art historical significance. In a field obsessed with either/or thinking, he’s built his reputation on “and/both” solutions—the kind of paradoxical thinking our complex world desperately needs.

The Bottom Line

Jesús Aguado has spent a decade proving that an artist’s commercial background can become their fine art superpower. By refusing to abandon his roots in universal visual communication, he’s created surrealism for the 21st century—art that offers psychological refuge while expanding consciousness, that makes the profound approachable without dumbing it down. In an era demanding navigation of contradiction with grace, Aguado has created the visual vocabulary we need.

LIFE MILESTONES by Jesus Aguado

Is currently on display at Arch Enemy Arts, Philadelphia.

On view: May 24 – June 15, 2025
Location: Arch Enemy Arts, Philadelphia
Opening Reception: First Friday, June 6, 2025

Learn more: archenemyarts.com/

Works Cited

1. Jesus Aguado (artist page) – Arch Enemy Arts, https://www.archenemyarts.com/ap-jesusaguado
2. Jesús Aguado – Artworks for Sale & More | Artsy, https://www.artsy.net/artist/jesus-aguado/about
3. Jesus Aguado’s LIFE MILESTONES feature, 2025 – Arch Enemy Arts, https://www.archenemyarts.com/lifemilestones2025
4. Jesús Aguado | The Creator (2021) – Artsy, https://www.artsy.net/artwork/jesus-aguado-the-creator
5. ‘No. 1’ by Jesús Aguado – WOW x WOW, https://wowxwow.com/shop/nocturnal-bloom/no-1-jesus-aguado
6. Jesus Aguado New Works – Haven Gallery, https://havengallery.com/portfolio/jesus-aguado-new-works/
7. NEWS & SPECIALS – Dorothy Circus Gallery, https://www.dorothycircusgallery.com/blog/author/2/
8. Jesús Aguado “Dragons, Rabbits and Worms” – Haven Gallery, https://havengallery.com/portfolio/jesus-aguado-dragons-rabbits-and-worms/
9. Jesús Aguado | Dog and Garlic (2025) | Available for Sale – Artsy, https://www.artsy.net/artwork/jesus-aguado-dog-and-garlic
10. Jesus Aguado’s EXOTICISMS solo, 2024 – Arch Enemy Arts, https://www.archenemyarts.com/exoticisms2024
11. jesus aguado – Blacklight Art Gallery, https://blacklightartgallery.com/gallery/jesus-aguado/
12. Jesús Aguado, New Works 2024 – Haven Gallery, https://havengallery.com/portfolio/jesus-aguado-new-works-2024/
13. Jesús Aguado | Biography | Art collection online for sale on Kooness, https://www.kooness.com/artists/jesus-aguado
14. The irreverent and baroque art of Jesus Aguado – Tattoo Life, https://www.tattoolife.com/the-irreverent-and-baroque-art-of-jesus-aguado/
15. Jesus Aguado | Available Art & Bio – Beinart Gallery, https://beinart.org/collections/jesus-aguado
16. Jesús Aguado | The Night of Bones (2024) – Artsy, https://www.artsy.net/artwork/jesus-aguado-the-night-of-bones
17. Jesús Aguado – The Creative – Original Artwork – Modern Eden Gallery, https://www.moderneden.com/products/the-creative
18. From canvas to twilight: cute and creepy surrealistic paintings by Jesús Aguado – Visualflood, https://visualflood.com/post/cute-and-creepy-surrealistic-paintings-by-jesus-aguado
19. Lux Ferre by Jesús Aguado | Fine art Paintings for sale on Kooness, https://www.kooness.com/artworks/jesus-aguado-lux-ferre-paintings
20. Jesús Aguado – Bones and Joy | Beinart Gallery, https://beinart.org/collections/jesus-aguado-bones-and-joy
21. Beautiful Bizarre curated exhibition ‘Paracosmic Escape’ at Modern Eden Gallery [Art Direction: Musonium Gallery], https://beautifulbizarreartprize.art/beautiful-bizarre-curated-exhibition-paracosmic-escape-at-modern-eden-gallery-art-direction-musonium-gallery/
22. Jesus Aguado | 41 Exhibitions and Events | MutualArt, https://www.mutualart.com/Artist/Jesus-Aguado/B07797A227F00D44/Exhibitions

His paintings lure the viewer out of their well-worn patterns of thought, letting them press against the limits of their understanding, giving them permission to be amazed – and confused – and delighted.

BFA – Massachusetts College of Art
MFA – Rhode Island School of Design

Artist’s Statement:
“Our experiences in life are usually localized and subjective, creating a series of impressions on a personal scale. I am continually developing a private vocabulary of images with which I attempt to express different aspects of these experiences.
With my surrealist paintings I try to look ‘through’ outward appearances and somehow embody the essential mystery of existence.

artistpainter.ws

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

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

Introduction to H.R. Giger

H.R. Giger, born Hans Ruedi Giger in 1940, was a Swiss painter, sculptor, and designer known for his distinctive, eerie, and surrealistic style. He gained worldwide recognition for his work on the science fiction film Alien, which earned him an Academy Award for Best Achievement in Visual Effects.

Early Life and Education

Giger was born in Chur, Switzerland, to a pharmacist father and a mother who encouraged his artistic endeavors. He studied architecture and industrial design at the School of Applied Arts in Zurich. Giger’s early influences included surrealist artists like Salvador Dalí and Jean Cocteau, as well as the works of H.P. Lovecraft and Edgar Allan Poe.

The Birth of Giger’s Signature Style

Giger’s unique style, dubbed “biomechanical,” is characterized by a fusion of organic and mechanical elements. His intricate, dark, and detailed artwork often featured human and alien figures intertwined with machinery. This style was heavily influenced by his recurring nightmares, which he used as inspiration for his otherworldly creations.

The Necronomicon and the Road to Alien

In 1977, Giger published his first collection of artwork, titled Necronomicon. This book caught the attention of filmmaker Ridley Scott, who was in the process of developing the now-iconic sci-fi film Alien. Giger’s work on the creature design and sets for the film catapulted him to international stardom.

The Xenomorph and Giger’s Influence on Science Fiction

The Xenomorph, the terrifying alien creature from the Alien franchise, is arguably Giger’s most famous creation. Its design has had a lasting impact on the science fiction genre, influencing countless films, video games, and other media. Giger’s biomechanical aesthetic has become synonymous with the darker, more sinister side of science fiction.

Giger’s Other Film Contributions

In addition to his work on Alien, Giger contributed his artistic talents to a variety of other film projects. Some of these include Poltergeist II: The Other Side, Species, and Alejandro Jodorowsky’s unproduced adaptation of Frank Herbert’s Dune.

Giger’s Art in Other Media

Giger’s influence extended beyond film, as he also designed album covers, furniture, and even a limited-edition motorcycle. His artwork has been featured in numerous exhibitions around the world, including the H.R. Giger Museum in Gruyères, Switzerland, which opened in 1998.

Album Covers and Collaborations with Musicians

Giger’s haunting visuals have graced the covers of albums by bands such as Emerson, Lake & Palmer, Celtic Frost, and Danzig. He also collaborated with musicians like Korn’s Jonathan Davis, designing a custom microphone stand that became an iconic symbol of the band.

Legacy and Impact

H.R. Giger passed away in 2014, leaving behind a vast body of work that continues to inspire and captivate audiences. His unique and imaginative approach to art and design has left an indelible mark on the worlds of science fiction and horror, cementing his status as a visionary artist and a true master of his craft.

Conclusion: A Lasting Legacy

H.R. Giger’s contributions to the art world and popular culture cannot be overstated. His influence is felt across various creative disciplines, from film and music to fashion and architecture. Giger’s haunting, otherworldly style and dedication to his craft have solidified his status as a titan of the art world.

Giger’s Art Books and Publications

In addition to his work in film and music, Giger was a prolific author and artist. He published several art books, including Necronomicon II, Biomechanics, and Passagen. These publications showcased Giger’s artistic evolution and further cemented his status as a leading figure in the world of surrealist art.

H.R. Giger Museum and Bar

The H.R. Giger Museum, located in Gruyères, Switzerland, is dedicated to preserving and showcasing the artist’s extensive body of work. The museum houses the largest collection of Giger’s art, including paintings, sculptures, and film memorabilia. Adjacent to the museum is the H.R. Giger Bar, a unique and immersive establishment that features Giger’s trademark biomechanical design aesthetic.

Giger’s Impact on Modern Art and Design

Giger’s unique visual language has left a lasting impact on modern art and design. His innovative approach to blending organic and mechanical elements has inspired countless artists and designers, pushing the boundaries of what is possible in the realms of surrealism, science fiction, and horror.

In Summary: A Tribute to H.R. Giger’s Genius

H.R. Giger was a visionary artist whose influence has left an indelible mark on the creative world. From his groundbreaking work on Alien to his extensive portfolio of paintings, sculptures, and other artistic endeavors, Giger’s legacy will continue to inspire and captivate audiences for generations to come.

Frequently Asked Questions

When did H.R. Giger pass away?

H.R. Giger passed away on May 12, 2014, at the age of 74. His vast body of work and unique approach to art and design continue to inspire and captivate audiences worldwide.

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

“When I was growing up my family moved many times, and every new home held mysteries and secrets. I dreamed of hidden stairways that led to unknown attics, or cellars underneath that held forgotten treasures. I knew I could get there if I just kept looking. That low door is still elusive, but when I pick up my pencil or paint brush I can find it for a little while. When I paint I try to bring some of that magic country back with me.” – Kristin Kwan

Kristin Kwan Interview

What did you want to be when you were growing up?
A paleontologist.

What is the best piece of advice you have ever received?
Keep starting, that is the trick to productivity and progress. Don’t worry about anything else, just start, and start again, and start again, all day.

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

Where is your favorite place?
There’s this place that lives in my memory, from when I was a child, it was down the dirt road we lived on, in someone’s back 40, you went through a swampy place full of nettles, through blackberry brambles maybe 10 feet tall, and there was an old apple orchard, it felt enclosed from the world and timeless.

Who are your biggest influences?
Robert Bateman, 20th-century surrealists, mid-century sci-fi and fantasy cover artists

What can’t you live without?
Free time

What is your dream project?
Oh, it’s always the next thing, the next painting is always the dream project.

What’s your favorite artwork?
The Virgin of the Rocks, by DaVinci (the Louvre version), also the Rolin Madonna by Van Eyck

What is currently on your playlist?
Age of Adz by Sufjan Stevens, a lot of Joni Mitchell, endless Alan Watts youtube lectures

What are your last three Google searches?
I’ll never tell.

What gives you life?
Going for a run that hurts

What is your superpower?
Total obsession

What is your Kryptonite?
4:00 in the afternoon

If you could visit any artist’s studio, whose would you visit and why?
I would love to visit an old renaissance-type art studio, the workshop kind, and see the apprentices at work and the slow process of it all. What I really want to see is the Ghent Altarpiece in progress in the workshop, I’d stop in there.

What was the last thing you bought?
A book

What ideas are you currently pondering or questioning?
How to achieve some kind of work/life balance, how to let go of the endless desire for control

What do most people believe that you do not?
In free will

What is one thing you believe that most people do not?
Breakfast is totally unnecessary

What imaginary place would you love to visit?
Finn and Jake’s treehouse, the waterlily sea at the end of the ocean in Narnia, Green Gables

What is your favorite thing in the world, and why?
My family

If you could collaborate with anyone, who would it be, and why?
A musician for album art, but I don’t listen to enough music to know who

What’s next for you?
Leaping into that void of tomorrow, also a few group shows this year

GOLDEN AFTERNOON: A KRISTEN KWAN SOLO EXHIBITION

August 13, 2022 – August 28, 2022

Gallery Nucleus welcomes Kristin Kwan with her first solo exhibition at the gallery, featuring a collection of brand new personal artwork.

Opening Reception / Aug 13, 5:00PM – 8:00PM

Gallery Nucleus
210 East Main St
Alhambra, CA 91801