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

Franc often paints ugly cats, in a realistic depiction, with 10% surreal elements thrown in the mix. He is inspired by the feel of 1970s sci-fi illustrations. He feels that the paintings are a necessity for him – visual motives, ideas, and messages pop up manifold throughout the day, and he needs to paint them to cleanse his mind. He tends to explore the ruthlessness of biology whilst avoiding any romanticizing of nature. Although he is a foreigner living in China, Asian or Chinese design elements are rarely found in his work – the subjects express just that “fish out of water” allegory. His daily feeling and experience of living in a different, alien culture and context reflects in both fascination and fear, opportunity and shortcomings, and brood behind the surface of his paintings. Franc’s first international exhibitions were at the Corey Helford Gallery, Los Angeles, at group shows in 2020 and 2021. Currently he is preparing for a mini-solo show with the same gallery, opening in August 2021.

All paintings are acrylics on cardboard, 2020 and 2021

Franc Kaiser

Artist Statement

In the pursuit to better redefine modern surrealism, I often find myself indulging in the vibrancy of color and concise composition with flaring elements of Sacred Geometry. The same level of intense detail is implored in all of my work but this series attempts to focus on the singularity and realism of the objects in my visions. I want to convey the world through another dimension: To see the hidden geometry that makes up everything in the universe. My education in 3D animation comes back in a surprising way as I break down complex organisms into their most basic shapes much like polygon modeling.

Allowing myself to fully run free in my mind, I travel to any environment or vacuum my heart desires. I am traveling everywhere I want to go, so I can be closer to my dreams and become better at actualizing them. This project has been an awakening of my true self that needed all previous lessons to attain.

Iterations have proven to be my strongest vehicle for exploring my fascination with shapes and dreamlike imagery via oil and acrylic paintings on canvas and panel. Dreams represent a higher dimension of consciousness to me, documented by Edgar Casey to be a medium of infinite insight, problem-solving and premonition. It seems only natural for one to explore this realm of higher consciousness on a 2 dimensional medium with the higher spacial dimensions, where Platonic Solids, Archemedian Solids and other geometries seem to unlock a representation of the underlying structure of nature.

The work also has hidden implications to the impact of evolution and attaining knowledge, for better or worse. We yield so much potential with recent discoveries, but as a race, we seem to be struggling with the same concerns of our ancestors. Survival is an on-going theme in my work especially in the face of misused information. I’m concerned with the persistence of imbalance in a technological age that could unite the world in abundance. The artwork will definitely cause a lot of progressive thinking and discussion about the unification of art and science, power and knowledge, predator and prey.

My goal is to blend the surreal with the real. To walk the lines of what is a thought and what is a movement, and mostly, to reach a higher state of mind through art.

Biography

Born April 1st, 1984 and growing up in the ever-crowding greater Houston area, Vincent Fink is an award-winning contemporary surrealist & full-time artist working out of his Winter Street Studio in the Arts District where he tirelessly adds to a multitude of expansive projects. His first series, Atlas Metamorphosis, started in 2010 with vigorously detailed greyscale sumi ink drawings spawned from a lucid dream. Since then, his art evolves from his series of Sacred Geometry Surrealism paintings, called Iterations, to multimedia public art and installations including sculpture and animation. The subconscious, with its symbolic story-telling, has always played a part in his cultural narrative message.

After attaining a degree in Media Arts & Animation from The Art Institute of Houston, he worked as a graphic designer searching in life for a higher purpose, a direction with his artistic abilities, yet was extremely lost. Then one night, with a sketch pad by his bed, he dreamt his future and immediately awoke to record it. In his subconscious state, he saw the first completed piece that would establish his art career. This series became known as the Atlas Metamorphosis and continues to take us through the 4 stages of an other-worldly, gigantic god-like beetle’s evolution. Each stage of its life cycle is accompanied by a new cultural empire or era of civilization.

This series won him the Talent Call Award, The Big Show – Best of, as well as a Hunting Art Prize finalist, twice, along with many shows and articles online and in print, but that is just one hemisphere of this, now, activated imagination. His second, most prolific series of acrylic and oil paintings called Iterations also garners equal prestige and focuses on his love for surrealism and sacred geometry.

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/

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

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

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

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

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

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

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

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

— openculture.com

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

Further Reading:

Artist’s Statement

I’m a surrealist but I also consider myself a landscape painter.

I like to paint biomorphic forms but I’m also interested in capturing the moods of various landscapes.

I like to depict the weather and the seasons – the seasons especially because seasons note the passing of time.

Winter has a special meaning for me as well. It represents solitude and wonder.

Much of my work is inspired by ‘mindscape’ music such as New Age, psychedelic, certain classical pieces, prog rock and medieval music.

As I grow older I’ve become increasingly more intrigued by what life’s Final Door has in store for us. Is it a doorway to eternity or oblivion?

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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

Artist Statement

Wallpaper patterns, plasterwork or just doodles have always animated my fantasies. I’ve recognized paintings in them and lost myself in the surreal world. Back in my childhood, those were the first contacts with surrealism.

When I was going to school, I used to draw doodles and sketches into my school books. It often started with a simple line that got embellished, shaded and like that everything found its place. One after another.

Letting things create themselves is an important step in my working. I start working without any plans, I let it arise. I don’t work with deadlines, the painting is finished when everything is its right place and I’m satisfied with the painting. I often only realize what it represents when I’m finished.

My goal is to represent the tremendous expressiveness of nature through my paintings. The power and strength of the wind, the dryness of the ground and even the humid air before a thunderstorm. In my eyes, nature is the mightiest of all artworks.

That’s when I combine nature with opposing motives. Surreal elements arise and join in.

First, the canvas is worked on with acrylic followed by multiple layers of oil paint. I mix the surreal and abstract with the intent to create an atmosphere.

I see my paintings as a window, through which you can glimpse another world.

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MAURA HOLDEN ARTISTS BIOGRAPHY

Maura Holden was born in 1967 in Philadelphia PA. She spent most of her  childhood absorbed in a multi-dimensional daydream, which formed the foundation  of her visionary quest as it continues today. Dreaming, drawing and  water-coloring continually throughout her youth, Maura was able to present her first solo show at age sixteen, in the family home, with a large body of  detailed paintings and drawings of inner landscapes populated by spirits and  supernatural beings.

Though Maura’s very early work was definitely fantastic – heavily influenced  by Max Ernst, Dali, and her own mystical dreams – she did not anticipate the  full flowering of her visionary kinship until seeing the art of Ernst Fuchs.  This profound event occurred when she was twenty-four, at a party, where someone  handed her a book of Fuchs’ art. From the moment she held the book, Maura has  been a devoted fan, strongly influenced by Fuchs and his lineage.

Maura has never had formal painting instruction, but has pieced together her  own education from a combination of book research, experiments with art  materials and techniques, looking at other artists’ work, and a lot of time at  the easel.

In 2002 Maura had her first solo gallery show, “Carnivorous Architecture”, at  Gallery in the Woods in Brattleboro, Vermont. The show brought Maura a small  flurry of recognition, leading soon afterwards to a year-long group show, “High
on Life”, at the American Visionary Art Museum, followed the next year by  another, “Golden Blessings” at the same museum. Her contribution of five  paintings to the first of these shows brought many new friends and connections,  and Tom Patterson, the curator of “High on Life”, later went on to write a  feature article about Maura and her work for Raw Vision Magazine, issue 56,  Autumn 2006.

Maura’s involvement with AVAM and Raw Vision linked her to the Outsider Art   movement, which encompasses Art Brut and all self-taught artists.

In 2003 Maura participated in the Society for Art of the Imagination’s “Brave  Destiny” show, at the Williamsburg Art and Historical Society, again  re-enforcing her emphasis on the fantastic.

After this show, it would be three years before Maura unfolded further into  the public sphere. In 2003, she embarked on an experiment in consciousness,  repairing to a hermit’s cabin in rural Vermont, beginning a new shamanic  nature-oriented phase, and a new body of work….

For three years, she remained in the cabin, without running water,  electricity or the media.  Secluded in the forest, she experienced a suspension  of time and ordinary perception, and rediscovered, through astral journeys, what  she came to think of as the archaic human mindset, brimming with myth, magic and  archetypes…

This period constituted a death and re-birth. Maura welcomed the breakdown of  the older structures of her world-view, and passed from her own version of 20th  century consciousness into a more basic or universal human consciousness. She  asserts that she lost her identity during this time, and merged with the  forest’s myriad woven sound and sentience… A sense of “becoming nobody” allowed  her to release outworn thoughts and begin fumblingly to manifest a new kind of  vision. The realms of Earth-aliens, faeries and the geometry of plants and  minerals began to replace the ruinous anthropomorphic cities of her earlier  period. A new outlook began to take root. With the tremendous inflow of energy  and novelty this process unleashed, Maura began, but did not finish, roughly  fifteen paintings, ranging from the epic and arduous to the simple but
characteristically delicate and time-consuming…

In 2006 she left the cabin and built an amateur website for her art. The  publisher Jon Beinart soon discovered the website, and included her work in  “Metamorphosis – 50 Contemporary Surreal, Fantastic and Visionary Artists”, her  first compilation book. From there, other online and magazine publications also  contacted her, and she discovered her love of books and publishing…

Around 2007 Maura became pen pals with Laurence Caruana, at first  corresponding with him mainly about philosophical, spiritual and aesthetic  ideas. Their friendship became more personal over time, eventually leading Maura  to participate directly in the Visionary Art community. In 2011 she joined  Laurence, Amanda Sage and Andrew Gonzales in teaching the “Visions in the  Mischtechnik” seminar, in Tori Superiore, Italy, where she lead a drawing  intensive. She will return to Tori Superiore to teach painting at the seminar in  2012.

Links:
The Invisible College Magazine, 4th Edition 
Visionary Revue: The Cosmic Mountain – Maura Holden

MAURA HOLDEN on Fantastic Visions

via VAGallery.com

Artist Statement

The main theme of my work has always been the connection and synergy of all living organisms. It’s symbolic of the delicate balance and inter-dependency of life. I see these interconnections as a perfectly choreographed dance where each element is singular, yet part of the whole. It’s a simple and timely message, and my hope is that the viewer recognizes this in my artwork and takes with them a sensitivity and awareness of all life forms on the planet. My art is a process. The physical act of drawing or painting taps into my creativity, and there are always new discoveries and surprises. I view this process as a gateway to my subconscious because it’s not analytical. It’s completely intuitive. I typically begin with an initial inspiration, such as an ancient bristlecone pine tree, or an exotic orchid, or even the structure of a single cell. Sometimes this initial inspiration is representational, and at other times it may become abstracted, or so stylized as to appear surreal. From that point on I trust in the creative process to lead me. I start every painting with a detailed drawing. The act of drawing is where most of my creativity happens. It’s like a stream-of-conscious where each new element leads to another, and the connections between them evolve – sometimes with surprising results!

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About Anne Faith Nicholls

Anne Faith Nicholls is an American contemporary artist based in California. Best recognized for her Neosurrealistic paintings, Nicholls has exhibited in collections, galleries, museums and fairs around the world, and also contributed to a variety of high profile commercial projects with renowned collaborators. Often exploring the subconcious, her works are layered and mysterious, creating symbolic and alluring narratives on the human condition, with a unique perspective.

Born in Victoria, British Columbia, with a backwards heart (a signature symbol that frequently appears in her paintings) Anne Faith Nicholls was raised in The Pacific Northwest, eventually making her way down the West Coast to California, and later around the world, creating her art all along the way.

Nicholls is an Honored Alumni of both Seattle Pacific University and The Academy of Art University San Francisco, with a Bachelor of Fine Arts Degree in Illustration, and extended studies abroad in Art History. The artist credits her formative years in San Francisco, amid the rise of the Low Brow and Pop Surrealist Movements, as her break into the fine art world. In 2008 Juxtapoz, Vogue and Nylon Magazines featured Nicholls in print, and she was named the VANS Artist Brand Ambassador for two consecutive years following, cementing her status as an artist to watch, and collect.

After early years of struggle and success with several groundbreaking galleries, Anne Faith Nicholls moved from San Francisco to Downtown Los Angeles, California, where she established herself with mentors and collaborators from all corners of the city’s diverse creative landscape. Connecting with artists, celebrities, interior designers, and entrepreneurs, Nicholls thrived in the melting pot of creativity unique to L.A. and sought to expand her brand with new, unexpected partnerships.

In 2010, Anne married director Jacob Arden McClure and together they moved to Paris and embarked on the first of many extended residencies in Europe, focused around art. Inspired, the couple moved back stateside, to Venice Beach California, and opened CURIO Studio & Collection. As an artist-operated gallery, CURIO enjoyed years of popularity, producing curated exhibitions of art, photography, and sculpture by emerging artists, and exhibiting at some of the world’s leading art fairs and museums. During this time, Nicholls’ own work continued to grow and garner exposure, attracting several respected art agencies, including Martin Lawrence Galleries, who went on to represent the artist from 2014-2018 at their multiple gallery locations nationwide, alongside masterworks by Basquiat, Picasso, Magritte and Dalî.

To date, Anne Faith Nicholls has produced hundreds of original works, most acquired by notable collectors around the world. Recently the artist debuted a new collection of paintings at her solo exhibition titled The Subconscious Observer at Martin Lawrence Galleries, New York, hailed by the press as “a uniquely revealing and refreshing look at the soul of the modern woman”. The summer of 2018 will see the launch of AFN Collection, exclusive offerings and female-focused collaborations from artist Anne Faith Nicholls, at www.afncollection.com

The Studio of Anne Faith Nicholls is currently based in Palm Springs, California, from where the artist continues her steadfast dedication to exploration, research, and technique… Forever committed to the craft, consumed by wanderlust, and compelled to examine and communicate social consciousness through the universal language of art.

Excerpt from interview with LA Weekly

An ongoing series of Q&As with some of L.A.’s most active and eclectic contemporary artists, introducing themselves to you in their own words. This week it’s painter Anne Faith Nicholls, who embraces the smooth perfection of surrealist fantasies, inflected with narrative and psychological symbols and emblems of female power.

(Entire Interview: Meet an Artist Monday: Anne Faith Nicholls)

L.A. WEEKLY: When did you first know you were an artist?

ANNE FAITH NICHOLLS: I was born an artist. I’ve always been creative. That said, like a true artist, I question this identity daily.

What is your short answer to people who ask what your work is about?

I call my style Neosurrealism, and I create works that explore the subconscious and self-realization, through symbolism and narrative.

What would you be doing if you weren’t an artist?

I often fantasize about being a clog maker, an erotic novel writer, a park ranger or a Realtor.

Did you go to art school? Why/why not?

Yes, I loved art school. I am a proud graduate of the Academy University, with a BFA in illustration. I also studied art history abroad in Italy. I’m the first female in my family to earn a college degree. I was raised by a single mom, and my family and I worked really hard to put me through school. Making the decision to move away from the Northwest, where I grew up, to go to art school in California, was a radical shift that reset the course of my life. That said, I don’t believe art school is absolutely necessary to be an artist, as I know many successful artists who are self-taught.

But for me and my family, education was, and is, very important, and I really do feel my art degree legitimized my practice. It also armed me with an academic knowledge of art, essential for the lectures I now give at other institutions. I think that part of being an artist is forever being a student … always watching, always learning. In that spirit, since art school, most of my travel has revolved around art, and I’ve made a point to see many of the world’s masterpieces in person. These art trips have been the best times of my life, and there’s nothing like seeing a masterpiece in person. I’ll always be a student of art.

Read More: Meet an Artist Monday: Anne Faith Nicholls

Websites

http://www.annefaithnichollsart.com/
https://www.afncollection.com/