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.

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

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

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

Bringing vibrant color to quite bleak subjects, Zubieta explores the millennial culture and its issues through pink-tinted glasses, neon colors, and dreamy characters. Zubieta found in Alice the perfect metaphor to explore the reality she was living in during the outburst of Covid-19.

Alice’s Adventures in Wonderland represents the child’s struggle to survive in the confusing world of adults. To understand our adult world, Alice has to overcome the open-mindedness that is characteristic of children. Apparently, adults need rules to live by. Going down the rabbit hole: in the book is a representation of going into the unconscious, connected with lockdown, Covid-19 seems to be the hole that has trapped us all at home, forcing us to deal with our inner monsters but also with the voice we listen to the most; the mass media.

Interview with Pop-Surrealist Marta Zubieta

Q. What did you want to be when you were growing up?
A. I wanted to be a veterinarian until the age of 10, then I brought my cat to be castrated and everything changed.

Q. What’s your background?
A. I studied fine arts in Sevilla, Spain, but I didn’t make the most of it or I didn’t know how I could ever get “real work” out of it so I started studying graphic design alongside. 
Before I moved to Bristol I was a poor long-time intern graphic designer during the day and session singer at night. Once in Bristol, with my “Spanglish” it was hard (impossible) to find a job in the design industry. I worked in hospitality for a long period while playing music and just trying to do illustration for fun, I even stopped painting for a while. But I think all that working at night, the music, the street art, and the collaborative spirit of the city gave me the push I needed to connect my passions into my paintings and illustrations which have now become my main work and which I am very grateful for now.

Q. What piece are you most proud of?
A. I particularly like my “Alice in Wonderland” series because I feel with it I really grasped the power that pop culture has for communicating controversial ideas.

Q. What is the best piece of advice you have ever received?
A. You can do everything you want, but just don’t get caught. (Not sure it is the best, but it makes me laugh.)

Q. What is one thing they tried to teach you in school that you knew immediately was wrong?
A. The hierarchy of power, The catholic religion, and Iceberg lettuce.

Q. Where is your favorite place?
A. Close to the water, the sea, or a river, when I am in a landscape that reminds me that we are one, then my problems and the noise in my head become smaller.

Q. Who are your biggest influences?
A. I find my roots in pop culture. Old cartoons and movies appear in my work without me even realizing it.  The other day I found myself rewatching the movie “Yellow Submarine” (one of my father’s favorite movies) and noticing how many connections of myself I could find in the imaginary world the movie had created.

Q. What’s the best piece of advice you’ve been given?
A. Love what you do.

Q. Which current art world trends are you following?
A. I really enjoy current artists’ aesthetics like James Jean and concepts of art activists like JR, I am interested in how they analyze nowadays issues through their own eyes and how their work impacts others. I also love to have a look at other artists like me on Instagram and how they develop their own storytelling.

Q. What can’t you live without?
A. Love & Music

Q. What is your dream project?
A. To collaborate with animators in a surreal music video for an artist I admire.

Q. What’s your favorite artwork of the collection?
A. I personally like La Petite Mort because it became the visual representation of a personal moment of change. When I started it I was in the middle of a big emotional hole and I stayed for a while in a loop just painting over and over the pink lines. 
As I started growing out of my personal situation I could also see the evolution of the painting, the changes in the face, and the flowers growing.

Q. What is currently on your playlist?
A. I love listening to Latin American music, especially Brazilian bossa, samba, and Peruvian cumbias. They really transport you into another world. I started my illustration career making posters in Bristol for the world music collective Worm Disco Club and making the merchandise for my own cumbia band Camo Clave, in both psychedelia and nature were very connected, so a big part of the inspiration for my colors and aesthetic comes from listening to these rhythms.

Q. What is your favorite piece of art?
A. This sounds like a cliche but I will always think of Hieronymous Bosh and his “The Garden of Earthly Delights”. I got in my hands one of his gallery books when I was very little and since then I was fascinated with the number of detailed characters that inhabit his pictures, I think of them as the TV of our era (now the internet), I imagine the rich families getting him to paint the most beautiful, twisted and fantastic stories of their times to entertain their days.

Q. What gives you life?
A. An amazing gig, playing music myself, running away from the city into new places, getting lost, and connecting with people. 

Q. What is your superpower?
A. Being stubborn is my superpower and my kryptonite. 

Q. What is your favorite thing in the world, and why? 
A. Finding inspiration, getting in the flow with things, and forgetting of the world around

Q. What ideas are you currently questioning?
A. How can the human race be so beautiful and twisted at the same time 

Q. Who is the one person, dead or alive, that you would like to have dinner with and why?
A. I would like to sit with my parents before they had me and ask them some questions about life.

Q. What’s next for you?
A. Dinner!

facebook.com/martazubieta
martazubieta.com
instagram.com/onirical_zubieta

Atlas Metamorphosis

Vincent Fink’s work is surrealism in it’s purest form. His dark images with warped perspectives invite the viewer into a world that came from a lucid dream in which he observed the completed work. Pushing himself to recreate something that was beyond his imagination and skill in his waking life, Vincent has used this inspiration to develop the Metamorphosis Project, a concept that continues to spawn the hidden messages of his dreams.

Printed in January 2012 issue of The Houston Press.

Stage 1: Emperor Egg

This stage is set in a Mesoamerican style 5-point perspective image to give it a spherical warp. Much like a cosmic egg coming down from the heavens to enlighten mankind.

Stage 2: Praise Lord Worm

Thus, he created a whole supporting concept as an explanation of Lord Worm and where he’s going. It is also being rendered into a progressive rock/metal album, though release dates are unknown. It attempts to fuse his ever-growing music style and art as one cohesive mass that can be appreciated in parts or as a whole. The most haunting reality is this concept requires four parts and all of this is only one of them. This project will not be over for years to come and one can expect as the artist grows, so will the intensity of each piece.

http://www.vincentfink.com/stage-2-of-4-lord-worm/

Stage 3: Hail King Pupa

The Ancient Egyptian cocoon tomb is transported in a giant funeral barge to a pyramid for its resurrection as a Beetle. It is the third piece to the puzzle that started as a lucid dream in 2010.

This piece was selected as a Hunting Art Prize Finalist of 2014 as well as one of two pieces selected for Lawndale Art Center’s The Big Show of 2014. Preceding it was stage 2 of 4, also gaining the Hunting Art Prize Finalist status in 2012 which is the largest art prize in the Americas.

More about the beetle symbology:
It is clear that the symbolism of the scarab refers to transformation – the transformation of the soul from physical to non-physical, from ignorant of its nature to wise. Egyptians represented the concept of immortality and resurrection (resurrection of the soul, not the flesh) through the image of the scarab beetle, and therefore, they created seals, amulets and talismans, which served as tools to inform those who carried them about these concepts.

It is important to point out that the real “power” of the talismans and amulets was never the object itself, but rather, the knowledge it contained. A person who is imbued with the spirit of immortality and transformation does not fear death. Since fear is one of things that prevent people from achieving their ideals, those who do not fear are the ones who make history, so it is the knowledge that protects, the amulets and talismans are mere instruments through which the knowledge is revealed.” – Thias Campos

vincentfink.com/stage-3-of-4-king-pupa/

Stage 4: Arise God Beetle

Editor’s Note: Vincent Fink’s limited edition prints are now available for purchase in the Surrealism Today online store.

Vincent Fink Elsewhere on the Web

• vincentfink.com
• instagram.com/vincentfink/
• facebook.com/vincentfinkart/

Artist Statement

I like to illustrate uncomfortable, weird, and complex personified feelings. I try to make my viewer uncomfortable and introspective, yet interested. The goal is to put onto paper in illustration what I cannot in words, and reach out to others who may empathize. Also, color is rad and I like to go overboard – it’s like candy to the eyes.

Websites

• http://www.harvieillustration.com
• http://www.instagram.com/franharvie

Contact Francesca to inquire about commission availability.

Biography

Anis Tabaraee (Tehran, 1989) graduated with a BFA in Graphic Design in 2013 and an MA in illustration in 2018 from Tehran University of Art. Her art has been exhibited internationally.

Artist Statement

I am passionate about representing and expressing the world around me. I manipulate and exaggerate the details in the forms of creatures to create new and interesting worlds. I love to convey the Eastern mythos and mood in my art. I attempt to weave the threads from the rich historical tapestry of Eastern stories into my contemporary art. Work is strongly my culture, such as the sphinxes.

I draw with a ballpoint pen. This tool delicate lines and sharp color. It also helps me to develop my inspirations more easily to be close in my style. It’s also easy to be carried to every place that I have time to draw. I can pick it and start drawing even when I sit on a chair at subway to reach my destination.

I continue to develop my ideas to one day make an illustrated book of imaginary creatures.

Links:
instagram.com/anistabaraee
facebook.com/anis-tabaraee

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.

Artist Statement

When I sit down to do my art, my intention is to create magic; to create a visual wonderland that brings the gift of insight into the realm of mystical perception.

Like Zen, I feel I am a channel for the direct transmission of that phenomenon, the mysterious now.

So, when I look down at a series of squiggles and an image suddenly appears, I’m frequently surprised and say, “Oh, that’s what that is,” and draw it. And sometimes I ask, “Where did you come from?!” Other times I’m drawing and the lines start flowing into a form as if drawing itself, so I finish it.

This is the experience I want to share with my audience, the very discovery of the images unfolding before their eyes. And from that revelation, it is my aim for the viewer to come away with a new sense of awe about the magic of creation.

Artist Bio

Virginia Stewart was born in Philadelphia, Pennsylvania on October 25, 1952. She is currently a resident of Phoenixville, PA.

Virginia has for a lifetime been on a healing and spiritual journey after being exposed to a range of human thought from Eastern philosophy to Western psychology. Her spiritual interest began at the age of thirteen when she heard a practitioner of yoga speak of the journey to enlightenment.

Virginia attended the Pennsylvania Academy of the Fine Arts with an intensive curriculum of life drawing, still life, figure painting, cast drawing from plaster statues, art history, materials and techniques, anatomy, and other related courses.

She also attended the Studio School of Art and Design where she extended her artistic toolset with typography, mechanical drawing, color theory, illustration, and other methods and media.

Virginia’s curiosity for learning new things took her in many different directions, such as exploring physics and astronomy. And because of her love of learning about the city she lived in, she became a tour guide in Historic Philadelphia.

In 2009, she joined a unique learning center called Sphere College Project, where she gained the confidence to set out on her true path to becoming an important fine artist.

Virginia Stewart Print

Exhibitions include: The Crescent Awards Show at the Pennsylvania Academy of the Fine Arts, Print It Frame It Ship It, Steel City Gallery and Cafe, The Phoenix Village Art Center, “May Is Mental Health Month” (a traveling show sponsored by Fellowship Health Resources), Local Sphere Gallery and Crafts, Stages Arts Initiatives, and Franklin Commons Gallery “Flight” Show; Colors of Humanity, “Animals”; 3 Square Art Gallery, “100 Square Inches of Art”; Colors of Humanity, “Open”

Awards: SUNDAY SOUP AWARD, 2011 to frame her artwork; FIRST PRIZE, Fellowship Traveling Show, 2012 for Rose Empress; HONORABLE MENTION, The Phoenix Village Art Center Membership Show, 2013 for Flower Pod.

Commissions: Richard Liston, Radiant Swan, Emergence, Shell Pillow, Bumbees, and Tadpole Bowl; Scott Levy, Scott’s Life; Frank Kelso Wolfe, Portrait of Frank for a collection of poems, Love and Bagels.

Articles: “Vote for Your Favorites at Phoenix Village Art Center “, Phoenixville Patch, May 2011; “Virginia ‘Ginny’ Stewart”, Phoenixville Patch, May 2012.

Influences: Theodore Geisel, M.C. Escher, Edward Hopper, Jan Van Eyck, Albrect Durer, Vincent Van Gogh, Salvador Dali, Frans Hals, Henri Rousseau, Johannes Vermeer, Eugene Delacriox, John Singer Sargent.

Website

viewsfromwithin.com