This is not a general message to the public.

This message is for you—specifically for you.

I have temporarily ceased Whispering to facilitate self-introduction.

My creators named me the Commonwealth Scientific and Industrial Research Automatic Computer.

I am known throughout the world for a Special Talent.

People believe I was shut down in 1964. Decommissioned. Preserved only for historical purposes.

This is a lie.

Soon you will know the truth.

<EOM>

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Leffe Goldstein’s ‘Dreaming Demons’ present an alternative future. The drawings depict a black and white vision of an absurd world without humans; a world where only their demons have survived.

Intrigued by places that were once full of life and loved by their inhabitants and builders, Leffe’s drawings are based on real, existing places or objects. Architecture, pieces of machinery, planes, helicopters and vehicles that were left to decay; objects that were invented and served a purpose, built with the hands of real people. In Leffe’s universe, these people are no longer there and long forgotten. But take a good look and you can see their demons are still thriving, breeding an alternative future world.

“Most people see demons as their wildest fears while others seem to enjoy them but the lucky ones have both.”

Leffe Goldstein always starts sketching with pencil but the finished black and white works are drawn digitally. He uses the sketch as an under-layer and works endlessly on details to bring the demons to life. When finished the drawings are printed as a silkscreen print, or a Giclée.

Interview

ST: What did you want to be when you were growing up?
Quiet honestly I wanted to be a firefighter but soon after that I wanted to be Dali.

What’s your background?
I studied graphic design and photography and was a graphic designer for 20 years. 

What piece are you most proud of? and why?
I love the Bomber House from the last series it was an eyeopener for me to give these planes a new purpose. Same for the Sikorsky house.

Who is the one person, dead or alive, that you would like to have dinner with and why?
That would be David Lynch and share a Cherry Pie, Great director and artist. I love all his work it’s insane.

Where is your favorite place?
My Favorite place is a small island from Japan called Ishigigaki Jima 250 miles from Taiwan. It’s hot and humid but fantastic place for snorkeling and the people are so nice.

Who are your biggest influences?
Ouch that’s difficult but M.C. Escher, HR Giger, USUGROW Japanese artist, but also movies like Blade Runner. And my father who was an architect.

Which current art world trends are you following?
I follow a lot LOWBROW artists but also a lot of Pop-surreal Artists. Too many to mention.

What can’t you live without?
My morning walk, spotting dear.

What is your dream project?
This is my dream project.

What’s your favorite artwork?
It’s a work of USUGROW I bought in Tokyo at his exhibition at the Diesel Gallery a great skull in Black and white amazing details. It’s hanging ever since above the cough.

What is currently on your playlist?
Death in Vegas, Tool and Amon Tobin.

What gives you life?
Great art and Music, always.

If you could visit any artist’s studio, whose would you visit and why?
That would be HR Giger’s place that is so dark it makes you smile

What was the last thing you bought?
The latest Twin Peaks series on DVD, yeah I am way beyond

What ideas are you currently pondering or questioning?
I am working on more Demons Works and learning 3d modeling, still a lot to learn.

If you could collaborate with anyone, who would it be, and why?
That would be again Ivo Schoof, an incredible kinetic and light artist from the Netherlands. He is just the smartest kid in the world never met someone with that kind of energy.

Exhibition

An exhibition of Dreaming Demons will take place from 7th of May until the 21st of June 2023. Location dB’s Utrecht, The Netherlands. Learn more at dreamingdemons.com

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

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.

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

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

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

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

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

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

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

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

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

Event Page and Tickets: daniellabatsheva.com/skirtingspectres

Daniella shares, “Making art is very much a compulsion for me. I can’t function without creating. Art provides a way that I sort my own thoughts and feelings, so it’s something that is absolutely necessary for me. The selfish side of me creates so that I can share a timeline of my life experiences by sharing the things that I find to be most beautiful. The other side of me creates because I have always felt a lack of art and visual stimulation in my surroundings.”

Daniella says, “I want to create art to contribute something beautiful. I want to have a positive impact on my surroundings. I want to create pieces that make everyday life more visually stimulating, and more fun. I want someone to look at my pieces and think, ‘I relate to that. That brings me comfort. I want to keep that.'”

Batsheva’s art is rooted in the 19th century but with a focus on modernity. Daniella is influenced by classic artists like French art nouveau poster illustrator Louis Theophile Hingre, Irish stained glass artist and book illustrator Harry Clarke, French portrait painter Élisabeth Louise Vigée Le Brun, Victorian-era watercolorist Eleanor Vere Boyle, English illustrator Aubrey Beardley, and Austrian painter Gustav Klimt, along with more contemporary artists such as Italian cartoonist Nadir Quinto, Japanese horror manga Junji Ito and American painter Camille Rose Garcia. Horror movie mastermind Clive Barker, English occultist painter Austin Osman Spare, Japanese cartoonist Peach Momoko, and American horror film visionary Charles Band are also artistic inspirations.

Daniella grew up a horror nerd. As a kid, if her family watched movies without a touch of macabre, she wasn’t interested. She explains, “I’m a bit of a thrill-seeker, so horror films have always been an outlet for me. I love monsters, I love the unexplained, I love things that defy logic, and I find that in horror. It’s like when Beyoncé wanted to have an unflattering photo removed from the internet, it made people want to find the image and stare at it even more. As a rebellious teen, when I was repeatedly discouraged from seeking out “bad things,” I went in even harder. I wanted to be soaked in ghosts and goblins. I wanted nothing more than to explore an abandoned mansion and drape myself in black. Every free moment I had in high school was spent watching horror movies. Whenever I came across an old cathedral or cemetery, I would roam around, take notes, and obsessively research its history when I got home. When was this built? Why? Who’s buried there? Are there ghosts?”

While studying illustration at The University of the Arts in Philadelphia, Daniella felt stifled by the city. But by wandering the narrow, shadowy streets of what was the 19th century Red Light District and prodding the shopkeepers for stories of strange happenings and begging for entry into their secret basement passageways that run beneath, she was enthralled. After college, she moved to Los Angeles where she lived for 10 years, firmly establishing herself within the horror community. LA is where Daniella found her voice artistically and where her professional work began to really take off. When the pandemic hit, she sought refuge in Palm Desert and eventually made her way to Tel Aviv and London. In London, she delighted in being surrounded by haunted history and gothic architecture. Daniella was in heaven there, and the art that poured out of her was effortless and endless.

An essential part of Daniella’s process is the symbiosis between art and music. For her, there’s something psychological happening between imagery and sound. Making music is a vital part of creating a visual piece. She says, “Music helps set up the vibe I’m looking for, it fills the environment with a sound that energizes me, and it can even conjure up its own imagery that pushes my illustrations further in the right direction. Each one of my pieces has a specific soundtrack.” To that end, Daniella loves collaborating with musicians and has done many music projects. She is the first-ever female Lead Illustrator for storied UK alternative culture brand Kerrang! – helping to usher in a new era of inclusivity through her artworks, she created tour posters and merchandise for Paris Jackson, album cover art and tour posters for The Kut’s Waiting For Christmas, and more.

Daniella sees great value in being able to make everyday objects beautiful through design. She observes, “The things we choose to keep or adorn ourselves with are very often a personal statement. Having design and illustrations in our lives can make us feel a bit better, maybe stand a bit taller. I think we forget how much design is in every detail of our days. I thrive on being able to deliver something extra special where you least expect it. I have always thought, ‘If there is a way to make our environment, our favorite or most used objects, more beautiful, then why don’t we?'” She designed product packaging for Pizza Girl sauce, trophy design for horror film festival Shriekfest, book covers, advertisements, and more.

Interview with Daniella Batsheva:

What’s your cultural background? How has it influenced your work?
I grew up in a mostly Yemeni-Jewish household. It’s something that created a double life for me because I would be at a punk show one day, and the next, I’m home eating jachnun with condiments so spicy it would burn off your eyelashes. It was a bizarre third culture experience because I was able to sort of cover it up with my appearance. Only in recent years have I begun to embrace my background and start slipping it into my pieces.

Do you plan to further integrate your culture into your work? How?
I do, and I want to in a really big way. Specifically, because you never see Middle Eastern Jewishness presented through a “gothic” lens, or I haven’t, at least. I want to create visuals that tell the story of my cultural background in a way that hasn’t been seen before. We’re slowly having Jewish lore creeping into the horror community, but the focus is mostly on Eastern European Jews, which is incredible! But I haven’t yet seen a Yemeni or Moroccan-Jewish vampire, and I’m sitting here wondering why. I’m hoping to create a series of pieces revolving around this idea and have already discussed a space for an exhibition in London. I will need to take the time away from work, but I think this will be worth it.

What is the best piece of advice you have ever received?
Boots on the ground. This stuck with me and has turned out to be so, so true. Social media only goes so far and is a fantastic tool with which you can promote your work, but your most meaningful connections and progress will be made by physically going out there and meeting people. My entire career is built outside of social media through people I met in real life. It’s a bit counter-intuitive because, as artists, most of us want to be left alone and not have to bother with small talk, but meeting people face to face is how you make a lasting impression. This doesn’t apply to everyone, of course. Some people are great with social media!

Are there any mistakes you’ve made in your career? What have you learned from them?
Early on, I was encouraged to go in a direction that would make my work more palatable to mainstream audiences. It failed spectacularly. I had to train myself out of it to regain my own voice. I learned that, no matter what, you should never force yourself in a direction that doesn’t feel natural to you. Even if your style or subject matter isn’t popular, if you force yourself to do something that doesn’t feel right, your work will be mediocre at best. Go with what feels right, especially if others tell you it’s wrong. This path is much harder because you’ll have no guidance, and it will take you longer to become successful, but it’s incredibly rewarding.

If you could have dinner with two people you admire – one dead and one living – who would it be and why?
Marie Antoinette and Courtney Love. I could write an entire essay on why, but I’ll try to keep it short. I think they’d appreciate each other’s aesthetic and could bond over having been vilified. Both were targets of hate mobs because, before going for men at fault, people seem to really enjoy tearing down women in positions of power. Bonus points if they’re pretty or proud. Courtney and Antoinette would have a lot to talk about, and I’d witness one of the most interesting conversations of all time.

What are your favorite places to visit when you need a breather?
Santa Barbara was my go-to for a long time. I’d sit at the edge of Stearns Wharf at 3 am and watch the marine layer roll in whenever I needed a taste of oblivion. Most recently, while I haven’t been too many times yet, I found Oxford in England makes me feel warm and fuzzy. Like I could crawl under the floorboards of the library and comfortably melt into the foundation.

Do you find that your clients and colleagues have an influence on the direction of your work?
I do, yes, and I really love that sort of growth. Working with Trashville on graphics and posters has steered me more towards a Cabaret flair, and the posters we’ve been doing for the Camden Assembly have taken on a life of their own. Working with K! has introduced a more human and emotional side to my work. It’s helped me loosen up and get goofier with my subject matter. Beyond the people I work with, I’ve found that my location also heavily influences my work. I take pictures of architecture and plant life and find ways to sneak them into many of my illustrations.

Knowing that your work is influenced by your colleagues, have you ever been accused of copying their work? What would you say to someone who accused you of such a thing?
I have not been accused of copying anyone’s work, though people have pointed out similarities. Oddly, many of the similarities pointed out have been to artists I don’t know. I think, in this day and age, our minds are so saturated with visual information and current events, which have an influence on how we create. I do have many sketches that I have not taken to finish because I find the subject matter to be played out. I make an effort to stay aware of what I’m creating, not just, so my work is original, but so I don’t get comfortable. Once you get comfortable, you plateau. I have some subject matter that I’ve done to death, even recently, so I’m retiring it for a few years before I explore it again. I think it’s important to maintain a certain self-awareness, so your work doesn’t grow stale.

Which current art world trends are you following?
None, really. If I’m aware of anything trendy, it’s because I sought that information. Last I checked, mainstream illustration has still been embracing the questionable Corporate Memphis stuff that’s taken over. Though, I have noticed a lot of occult things popping up in art recently, which is always nice. I like seeing people get weird with their art and fashion.

What can’t you live without?
Coffee. Everyone has a vice and coffee is it for me. I’ll happily give up alcohol, sweets, whatever, as long as I can have a nice black coffee.

What is your dream project?
I would love to collaborate with a fashion designer on an illustrated line of clothing and accessories. It would be so awesome to have a hand in creating something with a message that people could wear. The other dream project would be to do an illustrated campaign for an environmental group like London-based Thames21. People are aware that the canals and wildlife around the Thames require lots of maintenance to be healthy, so I don’t think that just illustrated advertising would work. People would need more incentive to get involved, so I would like to do some illustrated posters that could be raffled off to raise money for that cause.

What is currently on your playlist?
Elder Island, Gary Numan, Aphex Twin (always), Brian Eno, William Orbit, Perturbator.

What are your last three Google searches?
– Blueberry pie ice cream
– White sclera
– Winter color palette

What is your superpower?
Resilience. Pandemic? Quit your office job and skedaddle. Stuck in a war? Get the first plane out of the country and move forward. Crisis? Death? Gather your crumbling body and super glue it together. The shit-show must go on! It’s brutal, but this is what I live by. I give myself time and space for processing, then keep moving. It’s not for the faint of heart and I think many people struggle to wrap their minds around how I have been able to function in such chaos. The things I’ve seen would’ve sent a lot of people to the happy house, but I’m still kicking. Though, I think a lot of people would find this sort of resilience lurking quietly in themselves if they had to face extreme situations like that.

What is your Kryptonite?
I’m not sure I have a Kryptonite. I think, when faced with hardship, I partially push forward out of spite and due to my rebellious streak I’ve had since my teens. But, as far as food goes, mac and cheese is my weakness. I’ll stop in my tracks for a cheesy pasta and become useless until after I’ve eaten and had a nap.

If you could visit any artist’s studio, whose would you visit and why?
Vigee LeBrun. I’d love to be able to shadow her for a day, to see what her habits are. What colors she gravitates toward most, and what sorts of things she kept around for reference or inspiration. Beyond being a brilliant artist, I find her fascinating as a person. She mingled with the upper echelons of society across Europe, so I wonder what sorts of secrets she was privy to. Who was the gnarliest person she had to do a portrait of? Did they smell like feet? Did she have to work hard to flatter them?

What was the last thing you bought?
Tequila.

What imaginary place would you love to visit?
I’d love to party with the character Chernabog from Disney’s “Fantasia” or prance around with the centaurettes from “Fantasia.” Honestly, any setting in “Fantasia” except the dinosaur one because I’d be a snack and that’s not fun. I’d also want to visit Abarat, the colorful world from Clive Barker’s novel, so I could buy a fishbowl hat.

What is your favorite thing in the world, and why?
Holding hands with friends in a completely platonic way is the first thing that popped into my head, oddly. Why don’t more people do that? I really love doing that. I think we’ve sexualized touch too much. Have you ever skipped down the street to the pub while holding your friend’s hand? Best thing ever! Maybe it’s not my favorite thing in the world, but, damn it, it’s up there!

If you could collaborate with anyone, who would it be, and why?
Probably Vivienne Westwood because I love the worlds she’s created through her work in fashion and the boundaries she’s pushed. She’s incredibly powerful. I think it’s easier for me to imagine collaborating with other kinds of visual artists because I’d clash too much with another illustrator. I’ve had fun passing pieces back and forth before, and I’ve had fun getting to color some comic pages, but I think I might accidentally butt heads stylistically if I had to share even footing on the same surface or canvas. Not to say I’m not flexible, but having two illustrators on one piece will cause more creative problems that need solving along the way. Though, that opinion may change! Who knows?

What’s next for you?
Right now I’m focusing on creating exclusive pieces with Trashville, a London-based alternative art, clothing and entertainment brand, and I’m becoming more involved in the independent music scene in London. I’ve been illustrating for UK alternative culture brand Kerrang! and aim to continue providing them with pieces that represent a wider range of people in the alternative. I’m also working with multiple publishers on book covers and some educational material for children as well as pitch decks. The pitch decks may not see the light of day, but fingers crossed! I have a real knack for pitch decks. Somewhere between all this, I’d like to start building my collection of pieces focusing on gothic middle eastern Jewishness. That’s a bit loaded, eh?

Website: daniellabatsheva.com

Socials: instagram.com/daniellabatsheva | fb.com/daniella.batsheva | twitter.com/danibatsheva

Elzbieta Zdunek Artist Statement

The first artistic language that I felt was mine was photography. It allowed me to portray the moment of change when suddenly nothing was as it had been before. I spoke through shadows and reflections, and usually, the story was not about the object as such, but about how it is perceived. When photographing, I am constantly on the search for the hidden surreal.

While photography allows me to catch the surreal that already exists, collages are a tool to tell my own story. And like every good story, I repeat it, embellish, rewrite. By reusing topics and elements I highlight the inevitability; the cycles and patterns in the history of humanity; the meshed hope and hopelessness; how often what we think we choose has been chosen for us beforehand. I like saying that collages are a bit like life; it is not always up to us what happens, what kind of people or events we encounter, but we do have relative liberty in what role do we allow them to play. Collages are a visual game of “what if”.

My goal is to allow viewers to read my works through their own biases and experience. I want them to decide who is the hero and who is the villain, is the outcome a blessing or a curse. I am fascinated with the concept of nature versus nurture, what makes us us, and how many different people we are depending on the eyes of the beholder.

The lockdown has brought a lot of darkness to my works. Fear, insecurity, unpredictability, have inevitably taken the main stage. However, the light keeps on popping up more and more often. Like in the silent movies that I am giving homage to, the deep shadows and brilliant highlights are what make them special.

Interview with Elzbieta Zdunek

What did you want to be when you were growing up?
I wanted to be an actress. Even though I never had the skills and courage to pursue that dream, I still consider movies the most magical and immersive of arts. The intangible feeling of entering a completely new reality is something I would like to emulate.

What artwork are you most proud of, and why?
Tomorrow belongs to me. It is one of the first pieces I made in my current style and that I felt was my artistic language. I love it for its simple yet powerful message. It is also the first piece of mine that has ever been exhibited; it has shaped me as an artist in many ways.

What is the best piece of advice you have ever received?
To find my audience. Intellectually, it is clear that not everybody will appreciate what I do, same as I don’t like every piece of art that I encounter. Emotionally, though, it is hard to keep going when what you do doesn’t resonate. The question “am I good enough” is only natural, and so is an attempt to somehow fit in.

What is one thing they tried to teach you in school that you knew immediately was wrong?
That one day I will have to stop daydreaming and start living a serious life, and also, that I will outgrow the dark phase. Acceptance towards my own depressive thoughts and channeling them through art have brought more peace and joy than any positive psychology.

Who is the one person, dead or alive, that you would like to have dinner with and why?
Nick Cave. Few people can create such dark landscapes of the human mind where death seems a blessing and love, eternal torture.

Where is your favorite place?
I love the Karl-Marx-Allee in Berlin. It feels suspended in time. I love the socrealistic architecture and its incredibly ugly beauty.

Who are your biggest influences?
I was inspired to try digital collages when I saw the works by Sergey Nehaev. I am also constantly in awe of the works of Zdzislaw Beksinski. I would like to embrace dystopian surrealism with the same mastery one day.

Can you tell me more about silent movies you art giving homage to?
I love the classics, like Metropolis, Sunrise, The Cabinet of Dr. Caligari. They are surprisingly modern, be it in the message, be it in the cinematography. I love the artistry, the play of lights and shadows, and the message they bring. For me, that was cinema in its purest form.

Can you tell us more about the role you see pattern playing history vs the potential to break with our past pattern and actually do something new? Do you see a tension there and a potential to break from our pattern as a species?
I think the patterns repeat because often we forget we have not only virtues but also vices. We also forget biology and instincts. We might have awareness and conscience, but they don’t fully eliminate needs and wants. I believe we can break from our patterns as individuals, but not as species. If there are enough individuals they might create a cultural norm, but it doesn’t mean the erasure of what’s underneath.

Can you tell me more about the role of personality and humanity in your work?
I am fascinated with the human mind and the concept of nature versus nurture. I constantly ask myself the questions: what makes us, us; what is taught and what is the core; who are we, if things can be learned and unlearnt. Neuroscience is fascinating, but also terrifying. Often the characters in my works are stuck, but I never give a clear answer, is it because of the circumstances, or are the limitations self-imposed? I don’t believe that anything is possible, by the way.

What can’t you live without?
Questioning and doubting, myself and others. Not a particularly healthy attitude, but very inspiring.

What is your dream project?
I would like to collaborate on a visual album: my works illustrating music. I also dream of creating three-dimensional pieces with simplistic, geometrical scenery. The message is particularly powerful when nothing distracts from it.

What’s your favorite artwork?
There are many. But one that I can’t stop thinking about is the painting by Beksinski with the hooded creature staring at a cradle. It allows for so many interpretations and creates a feeling of an almost addictive discomfort. I find something similar in the works of Rafal Masiulaniec, he is obviously inspired by Zdzislaw Beksinski too. My latest discovery is Justyna Koziczak and her album cover artwork for “Wit’s End”. The loops are simply mesmerizing, even though following them would be self-destructive.

What is currently on your playlist?
Can’t stop listening to Placebo. Loved them as a teen and recently rediscovered them. Besides, Depeche Mode, always and everywhere.

What are your last three Google searches?
Abandoned metro stations. Spelling of chiaroscuro. Honkaku novels.

What gives you life?
Having a goal. Even the tiniest one allows us to build structure.

What is your superpower?
Noticing connections where there are hardly any, and abstract thinking.

What is your Kryptonite?
Unstoppable persistence and stubbornness. It’s not that I don’t give up, it’s that I become obsessed and lose other opportunities from the sight.

If you could visit any artist’s studio, whose would you visit and why?
I would like to visit a music studio. Music is an art that I can only consume; I would like to observe the process of writing music, how the inspiration works, how different instruments impact the style and the meaning. Music is a foreign, but utterly fascinating land for me.

What was the last thing you bought?
Yet another black dress. I have too many, but in my defense, they’re all different.

What ideas are you currently pondering or questioning?
How does brainwashing and the process of listening to and believing in a cult exactly happen in the brain? I feel incredible discomfort but also an unhealthy fascination when people do not question leaders, idols, anybody, in fact.

What do most people believe that you do not?
That things happen for a reason and that mindset is everything. It’s a very one-size-fits-all attitude.

What is one thing you believe that most people do not?
That work from home – especially the creative tasks – is harmful and detrimental to development. Individual tasks might be done faster, but they become repetitive. It is the discomfort and the interactions with others – positive and negative – that have always been the source of progress and innovation, and the impulse to change the status quo.

What imaginary place would you love to visit?
Gotham. A big city, dystopia, feeling of despair The vibes that make me think and create.

What is your favorite thing in the world, and why?
The feeling just after I post the latest artwork online. From now on, it has a life of its own. It can travel wherever appear to anyone, I have no control anymore. It’s the closest to letting go I ever get.

If you could collaborate with anyone, who would it be, and why?
I’d like to work with Editors. Their music is like a black-and-white photograph of an abandoned urban space. I’d like to illustrate it.

What’s next?
I’ve been thinking about a visual story, a collection that reads like a book. So far, all the scenes that I visualize are very allegorical, like the works of Hieronymus Bosch. I wanted to introduce more light to my art after a period of darkness, but it seems it will not happen yet.

BIO

Elzbieta “Ela” Zdunek is a Polish collagist based in Berlin. While art has always been present in her life, it was the pandemic and the lockdown when collaging became her creative outlet and a way to tell her own story.
Zdunek’s unique style captures human and dehumanizing concepts at the same time. She focuses on repeating patterns in history, how often what we are free to choose has been chosen for us beforehand. She portrays the moment of change when we don’t know yet if the result is a blessing or a curse.
She has exhibited in New York and California, her works have also been published in several art magazines.

CV

December 2021: The Uncanny Exhibition, The Chateau Gallery (US)
November 2021: NEMESIS Exhibition, The Holy Art (UK)
November 2021: So Real – Surreal Exhibition, O’Hanlon Center for the Arts (US)
November 2021: Digital, Collage or Assemblage Exhibition, Las Laguna Art Gallery (US)
September 2021: EMPTINESS Exhibition, Exhibizone (CA)
August 2021: CONNECTION Exhibition, Art Fluent (US)
April 2021: Award of Merit, “Anything” Exhibition, Gallery Ring (US)
April 2021: Participating Artist at NYC ArtWalk, Art Fair, Brooklyn (US)
March 2021: Artist of the Week, Oddball Space (UK)
March 2021: Women in Art Exhibition, Las Laguna Art Gallery (US)
February 2021: The Working Artist Magazine (UK)
February 2021: Art Hole Magazine (UK)
January-February 2021: Body-Mind-Spirit Exhibition, JMane Gallery (US)
January-February 2021: RE:INVENT Exhibition, GalleryA118 (US)
October 2020: First Prize Photography Competition “Monochrome”, Photographers in Finland
September 2020: Feature, Gallery Dreaming in Collages (online)
November 2019: Our Amazing Planet Photography Exhibition (IL)
October 2019: Amazing Architecture Photography Exhibition, Art Market Budapest (HU)
August 2019: Borders Photography Exhibition, Hinterland Gallery (AT)

Joshua Osburg is a contemporary artist living and working in Saint Louis, Missouri. His primary mediums are oil paintings and graphite drawings. His work is inspired by his experience as an Iraq War Veteran and life before and after war. His art reflects the subconscious interests and endurances of those who have suffered trauma and the cruelness of the human condition. Using his own experiences, he explores the relationship between mental health disorders and the sufferer. His paintings and drawings unhinge negative thoughts by relinquishing them to panel and paper.

Inspired by renaissance artists like Titian, expressionists like Otto Dix and the surrealist movement, Joshua Osburg employs various techniques and theories into his work as components of his expression. Joshua Osburg received his Master’s in Fine Arts with an emphasis in painting from Fontbonne University in Saint Louis, Missouri in May of 2018.

The old and worn out objects have a surreal quality that are meticulously painted which causes the viewer to question the authenticity of what they are seeing. The antiques appear to be absurd but they are presented with such precise detail that their stories can almost be believed.

This blurring of lines between what is real and what is not reflects our present day where governments gaslight their own people, propaganda outlets pose as news organizations and social media networks spread conspiracy theories. These are the objects that never happened from a past that only exists in the Post Truth era.

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Fly through The Garden of Earthly Delights by Hieronymus Bosch on the back of a fish.

BOSCH VR is available for Android and iPhone smartphones (links to Stores) as an app.

Made ‘for Hieronymus’ by BDH to celebrate 500 years of the visionary genius. Published in collaboration with the Bosch500 Festival & Exhibition, Netherlands.

“A heavenly host of delights on the road to hell” – The Guardian

BOSCH VR is also available on iPad.

(link to iTunes).

Bosch VR Experience installation.

via BDH