Mariusz Lewandowski (b. 1960 – 2022) was a Polish surrealist painter who was born in 1960 in Działdowo, Poland. He created his unique pieces using oil on canvas. His artwork delves into the depths of the human mind and explores the limits of the imagination.

Early Influences and Education

Lewandowski’s interest in art began at a young age, and he was influenced by the works of surrealist masters like Salvador Dali and René Magritte. He attended the Academy of Fine Arts in Gdańsk, where he studied under the renowned Polish artist Stefan Gierowski.

The Artistic Vision

Lewandowski’s artistic vision is a true reflection of his feelings and experiences. His paintings are a perfect blend of light, space, and contrast and are replete with symbols and thought-provoking details that encourage individual interpretations. Interestingly, while the artist provides titles for his pieces, he never offers any translations, allowing each viewer to form their own understanding.

Collaborations

The artist’s work has been widely recognized across borders. In 2017, he collaborated with the metal band Bell Witch and created a painting called “The Essence of Freedom,” which became the album cover. This was the beginning of a new phase in Lewandowski’s career, and he has since created over thirty album covers for record publishers like Sony Music Entertainment, 20 Buck Spin, and Transcending Obscurity Records.

Inspiration to Others

Moreover, Lewandowski’s artwork has inspired others as well. His unique style and subject matter captivated Jamie Thomas, the creator of the legendary Zero Skateboards brand, resulting in a collaboration between them in 2021. Together, they produced a limited series of five skateboards that quickly became popular among skateboard enthusiasts.

Continued Fascination and Inspiration

In conclusion, Mariusz Lewandowski’s distinctive artistic style and approach to painting have earned him a significant place in the world of surrealist art. His works continue to fascinate and inspire viewers globally.

Major Art Exhibitions

Lewandowski’s artwork has been featured in many major art exhibitions throughout Europe and North America. His solo exhibitions have included “Dreams and Visions” at the BWA Gallery in Olsztyn, Poland, and “The Surreal World of Mariusz Lewandowski” at the Modern Art Museum in Houston, Texas.

Artistic Style and Techniques

Lewandowski’s artistic style is characterized by his use of light, shadow, and contrast, and his paintings often feature complex and dreamlike imagery. He uses a variety of techniques to achieve his unique style, including glazing, layering, and impasto. His work is often categorized as surrealist, but he also draws inspiration from other artistic movements, including expressionism and symbolism.

Personal Life and Hobbies

In his free time, Lewandowski enjoys spending time with his family and exploring the natural beauty of the Warmia and Masury region. He is an avid reader and finds inspiration in literature, particularly the works of Polish writers like Witold Gombrowicz and Bruno Schulz. He is also a supporter of environmental causes and has donated his artwork to various environmental organizations.

Frequently Asked Questions (FAQs) about Mariusz Lewandowski

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

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

Early Life

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

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

Maldoror Series

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

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

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

The Zodiac Series

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

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

Amsterdam 1981 and the Following Year:

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

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

Johfra Bosschart: Occult Surrealist:

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

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

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

Legacy

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

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

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

Frequently Asked Questions

Introduction to H.R. Giger

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

Early Life and Education

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

The Birth of Giger’s Signature Style

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

The Necronomicon and the Road to Alien

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

The Xenomorph and Giger’s Influence on Science Fiction

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

Giger’s Other Film Contributions

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

Giger’s Art in Other Media

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

Album Covers and Collaborations with Musicians

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

Legacy and Impact

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

Conclusion: A Lasting Legacy

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

Giger’s Art Books and Publications

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

H.R. Giger Museum and Bar

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

Giger’s Impact on Modern Art and Design

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

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

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

Frequently Asked Questions

When did H.R. Giger pass away?

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

Mark Hopkins was Born in Poughkeepsie, in New York State. He attended St. Olaf College in Minnesota where he received a degree in fine art in 1981. In the following years he lived in Minneapolis where he painted scenery for theater and opera and freelanced as a muralist, portraitist, and interior designer. In 1987 he moved to Chiang Mai, Thailand. He taught English at Chiang Mai University for a year until he started a cabaret business called The Six-Pole House where contemporary artists, poets, and musicians exhibited their talents. At the same time he maintained an art studio in the upper floor the 100+ year old Chinese shophouse which housed the cabaret. It was at this time that Mark’s early style was formed. During those years he played minor roles in TV and movie productions, traveled to Burma, Indonesia, Vietnam, etc. where he saw some of the wonders of Asia like Borobudur and Bagan and initiated connections with established artists and musicians in the region. These experiences have played a lasting role in the inspiring Mark’s later artistic expression. The color, the styles of art, and the traditional forms and ways of life are a continual influence in Mark’s creative process. After a few years Mark moved to Bali where he took on work illustrating books on Asian architecture, culture, and natural beauty. He also started a business providing graphic design and mural decorations for companies around the region. In 1997 Mark moved to Singapore to expand his business into making props and costumes for events, providing art restoration services, and painting portraits for prominent families on the island. In 1998 he met his wife Maria and moved to the US a year later. Of late, Mark works as a muralist, portraitist, and art restorer while also painting personal works in studio. He currently resides in Rhinebeck NY, where he tends his gardens between travel excursions.

Artist Statement

Contemporary human culture is perceived by many to be dystopian: there is a sense of discontinuity between the person and their world, their truth, and their happiness. Isolation has been ubiquitous since long before Covid. Modern life is surrealistic: days and years unfold in dreamlike bubbles. Our perceptions are automated by algorithms that form our worldview and with media crafting a reality derived from what we watch but do not witness. Experience is fragmented. This is classic surrealism. My work seeks to knit the dissolving dystopia back into a coherent whole.

Interview with Mark Hopkins

SurrealismToday: This is your second time being featured on Surrealism Today. You were originally featured in 2019. What are you thinking about these days?

Mark Hopkins: Like many artists, I have been digesting the events and changes of the past three years. It feels like life has become more surreal; spaces divvied up and guided by directional arrows and faces hidden under protective masks or people encased within plastic barriers. We have seen our communities morph in interesting ways. People are more solitary and we interact more and more by proxies like phones and computers. Elon Musk makes the case that we are evolving into cyborgs; only our machine parts–for now–are external. One idea that I intend to use in upcoming work is how the nature of being ‘human’ is affected by the dynamics of these recent societal changes including the introduction of the Metaverse and AI augmentation. I find these trends both fascinating and a bit scary. Perfect for a good painting.

ST: How do you introduce yourself? 
MH: Lately I have adopted my website name ‘hopkinesque‘. It has a ring to it.

ST: What do you tell people when they ask about the ideas in your work?
MH: It’s tricky. Visual art is, by nature, a non-verbal mode of communication… otherwise we would be writers and story-tellers, right? So it’s a challenge to explain art and more specifically content-heavy art like Surrealism. I like talking with people about the general themes of my work; the myths and mysteries of ancient religions/culture, sacred geometry, the evolution of humanity in the 21st century, etc. Often the Ideas expressed in specific works are intentionally made ambiguous to prompt a viewer to explore a range of  meanings – or to posit their own into the work. With multiple interpretations possible for the same painting (not only from different viewers, but from a single viewer at different viewings) it’s more likely that I will ask people what ideas they see in a painting rather than tell them what I intended them to be. It makes for very interesting exchanges.

ST: Can you tell us about this latest series?

MH: I was thinking of the idea of the ‘Savior’ in a troubled world. Sometimes it feels like we are sinking into a morass of climate change, racial strife, all manner of social and societal changes and it would be nice to have a hero show up and sort the lot out. Who would that person/entity be? What would they do? Would they get it right? Maybe it takes not a hero, but a fool to do it.  Maybe it’s us… we are the fools… we are the ones we have been waiting for all along. Maybe we have the answers, the tools, and the grit to rescue ourselves. All we need to do is have the motivation and the confidence to get started.

Return of the Myth is a complex piece that grapples with free will, free choice, risk, consequences, and the infinity of chance. The Mandelbröt set is pictured in perspective under the bubble dome symbolizing the infinite or what some might call God. Footprints represent the journey to wisdom or the ‘return’ we embark on as we seek the divine or the ‘myth’ of the divine. We see a pair of Putti. One is tethered, his mind locked into the world of ‘reality’. The other is floating in a world of spontaneous freedom full of risk yet full of possibilities. A stylized zygote at the bottom is the binary opposition found in ‘male/female’, ‘light/dark’, ‘good/evil’, or the yin/yang of the Tao (nothing is known unless its complement is known.) The zygote also symbolizes birth/fertility where life and ideas begin. What the symbolic assemblage in this piece means is a question every person has a unique answer for.

In 2010 Carlos Santana returned to Woodstock (now called Bethel Woods) to play a concert. He began the show by walking onto the stage and saying; “Welcome to ground zero… of LOVE!” (We were closer to 9-11 then.) It was the start of an amazing concert – so alive in spirit and so beautifully played by a music-master of the 1960’s rock age.

I appreciated the way he inspired his audience with talk of unity and universal love. So, I decided to paint a piece for him as a gift. The image behind Santana is of the great Mayan calendar. (The calendar reached the end of one full cycle on 21 December 2012 and some thought the world would end at that time.) Santana floats in front of it as a Yogi in meditation. Thin wisps of pinkish mist represent the fragile time of a life on earth and the eyes within the mist are those of awareness and also those of Horus, ‘The all-seeing’. Below Santana is the Chinese character for ‘heart’ or ‘corazon’ in Spanish. Floating in the air are heavenly spheres,  symbols of the universe and of the Gods of old. My hope is to give it to Santana some day, but as yet I haven’t had the chance.

This one is a foray into abstraction. The meaning is entirely in the title: Xenophilia is the attraction one has to something completely different.

Michaelangelo painted God giving the spark of life to Adam in the Sistine Chapel. It’s one of my favorite images in art and the inspiration for this piece. In our 21st century reality Humans no longer live in the primordial world depicted on that Sistine ceiling. In our world we have become the creators. Push a button and worlds appear…. money flows… and reality shifts and alternates. The bytes in Adam’s Apple send emojis to Eve who is lost in the mall of Eden… the new temple. The snake is extinct. Old, fossilized gods watch in impotence as we step into a digital future. This painting loosely represents these thoughts and has a poem that adds a philosophical aspect to them:

Adam’s Apple

‘X’ is the space where Adam thinks…
And heeds temptation’s taunting
Took existence to the brink
His bites of knowledge haunting.

The viper Knew where best to strike
The heart of human pride
The staff, that rod, he used to spike
The rib where God’s forbidden fruits abide.

Adam’s Dad was not amused
The Master knows no laughter
Initial Sin, was he accused
And Grace came a-tumblin’ after.

Now we’re stuck in Eden’s crime
We wage the cosmic raffle
Take a leap or do the time
The prize is Adam’s apple.

SurrealismToday: What is the last painting you completed?
Mark Hopkins: The Last Supper. 

It’s a take-off of DaVinci’s Painting of Christ’s Seder before he was crucified. But this piece is inverted. Christ is missing. The sadducees are at the table, not the disciples. This is the eschatological dinner for the end of days. The characters in my painting are interesting personalities at the forefront of recent events and are drivers of the directional shift humanity is undergoing. It’s a huge piece (12 x 4 feet) with a lot of symbolic imagery to think about so everyone will understand it differently. The conversations I’ve had with people over The Last Supper have been amazing.

ST: What did you want to be when you were growing up? 
MH: I had no idea. It never occurred to me that I was going to be something or somebody until I had to apply for college. I threw a dart at the proverbial board and went for engineering. That lasted about three months before I quit and leapt into art.

SurrealismToday: What piece are you most proud of? and why? 
Mark Hopkins: Probably the piece called ‘Concentrate 666‘. It’s a magnum opus: it’s 7 feet tall and exhibits some of my best painting skills. I am pleased with the composition, the color work and the concept. It’s a statement on the crazy idea of waging war in a nuclear age and how true wisdom (the Buddha) sees past the machinations of humans for power and wealth and into the peaceful bliss of knowledge and love.

ST: What is the best piece of advice you have ever received? 
MH: “Conquer the small.” This is especially useful when young. Growing a career, working on complex stuff, conquering the fright of a blank canvas is easier in small manageable chunks.

ST: What is one thing they tried to teach you in school that you knew immediately was wrong? 
Mark Hopkins: Art! Ha ha! Art teachers can’t teach you art. They can teach skills and techniques, culture and history, how to critique and write well, how to knit ideas together, how to see… But they can’t teach that creative act called ‘art’. It has to develop on its own from practice and life experience.

ST: Who is the one person, dead or alive, that you would like to have dinner with and why?  
Mark Hopkins: Just one? John Lennon in his prime… maybe around 1964. But there are others. Many others.

SurrealismToday: Where is your favorite place? 
Mark Hopkins: In the past it was Bali. Today, it’s wherever I am at the moment.

ST: Who are your biggest influences? 
MH: My friends. They inspire me to be fearless in art, in living, and in love. And they put up with the result (me).

ST: Which current art world trends are you following? 
MH: Good question. Surrealism in digital art. I’ve been watching the shift from physical art into a world of digital art, video games, and NFT’s as people spend more of their lives online. People can now own, trade, store, and display multiple works in one place and they can interact with it as well. Will they want realistic digital art or choose photography? Will abstract art have the same impact on a screen as it does on a wall? Idea-heavy and symbolic work makes more sense in a virtual world, so it looks like surrealism has a strong future there. Beeple Crap is a good example of this trend. For me, I still love the aesthetics of painting; the smell of canvas, the feel of a brush, and the sensual beauty of oils. So I am not giving up my brushes just yet.

ST: What can’t you live without?
MH: Truth… and beer.

ST: What is your dream project?
MH: I’d like to make a painting that affects the world for the better and speaks to people in any future age.

ST: What’s your favorite artwork? 
Mark Hopkins: Probably Rembrandt’s ‘Death Of Lucretia‘ in the Walker Museum in Minneapolis. It’s a scene of Lucretia who has decided to take her life after being violated by Tarquin. She is sitting on her bed… or death-bed. She has just withdrawn a knife from her bosom and sits there as her life-force ebbs away in a growing stain of blood on her pure white gown.  In her face is a resolute sadness painted by Rembrandt with exquisite sensitivity. In viewing his portrayal of Lucretia one can imagine the intense grief of that moment. The painting moves me deeply 360 years after it was painted. It is a pinnacle of artistic expression. A close second is Vermeer’s ‘Girl With a Pearl Earring‘. Dali’s ‘Persistence of Memory‘ is a close third.

ST: What is currently on your playlist? 
MH: Game of Thrones’ reruns.

ST: What gives you life? 
MH: The creative process. It keeps me learning and researching. It keeps me plugged in to any and all things I can get my hands on. And it keeps me in contact with extraordinary people. Never is there a dull moment to fill.

ST: What is your superpower?
MH: I am bloody strong for my age. Does that count?

ST: What is your Kryptonite? 
Mark Hopkins: Good food. It’s hard to keep trim and fit with all the temptations around.

ST: If you could visit any artist’s studio, whose would you visit and why? 
MH: My friend Pranoto’s in Ubud, Bali. I love his work, he’s great to be around. There is always music and art going on, and twice a week he hosts models for figure drawing.

ST: What was an interesting thing you remember buying?
MH: A blanket woven by the Naga headhunters of northern Burma. Beautiful and a bit scary. It’s gorgeous.

ST: What ideas are you currently pondering? 
MH: Everything, really. All things are in flux and what we used to think was… isn’t. What wasn’t… might be. Heroes are acting villains for hire, science has become religion, religions are acting weird, and then there’s war, inflation, weather, the true nature of man (or not-man), and who, pray tell, built those bloody pyramids!!?? So much to ponder!

ST: What is one thing you believe that most people do not?
MH: That there was a very ancient culture that existed on earth before recorded history, that it was global in extent, and has left evidence in megalithic structures around the world. In addition, there seem to be threads of evidence of this forgotten culture in myths and early languages.

Surrealism Today: What imaginary place would you love to visit?
Mark Hopkins: Rivendell.

ST: What is your favorite thing in the world, and why?
MH: One of them is a painting by my best friend Richard A. Wilson who has passed away.

ST: If you could collaborate with anyone, who would it be, and why?
MH: I always wanted to do a collaboration with my two best friends and my college mentor. One friend made poems of paint; beautiful lyrical pieces that really had soul. The other friend, Bruce Granquist, is an abstract painter whose work is precise, beautiful and fascinating in its concept. My mentor A Malcolm Gimse is a sculptor and a profound thinker. His work has multiple layers of meaning and often addresses the existential troubles of humans in a difficult world. My contribution would be the hallucinatory experience of ‘mind’. Together, our work would have made a formidable group show. Sadly one is dead, and the rest of us are separated by vast distances. Next life, perhaps.

ST: What’s next for you? 
MH: I’m planning a book featuring paintings and poems.  Look for that and some much-needed updates to my IG and website at hopkinesque.com by mid-year 2023. Of course there is always more art… a trip to South America to see ancient megalithic ruins… and, of course,  a solo show at MOMA! (LOL)

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

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 STATEMENT

The main goal of my art is to find out who am I and explore the outside world.
Viewing through the lens of the creative process gives me the possibility
to shift the focus away from the vanity of common life and tap into stranger invisible world, the origin of the entire existence…

It was a long way started back in 1999 when I stepped on the streets with a spray can. During the next 18 years, I developed a fairy tale visual language, a visual storytelling with a transcendental ethereal form of contemporary muralism.

Inspired by the old master’s art I continue my evolution, I like to imitate the esthetic of antique book illustrations and old engravings in my murals, canvases, and drawings.

During the last 2 years, when street art became a mainstream, I decided to shift my focus on studio work, now contemporary and fine art scene looks more appropriate scene for my art.

waone.net
instagram.com/waone_interesnikazki/
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About Boris Indrikov

Boris Indrikov was born in Leningrad in 1967 and lives and works in Moscow. From 1991 to 1997 he was a book designer and worked as an illustrator for the popular science magazine “Chemistry and Life”. He has been a member of the Creative Union of Artists of Russia and The member of the International Federation of Artist ( IFA UNESCO) 1998.Has exhibited works at a number of shows in Russia and abroad (Art-Manezh 2002, 2003, 2012, ART-Salon 2007, Art Fair Tokyo 2013, Venezia 2014 and others). He currently works in painting, graphic design and small-form plastic. He works mainly in fantastic realism. His pictures are in the D`VASKO gallery (Russia), HORIZON gallery (Netherlands), and private collections in Russia, Sweden, Italy, Germany, France, Switzerland, Japan and the United States. Less

Education:

… Picture – is a door into a parallel world. That is a world where all things are different. There are other laws, other lines and shapes.

This is my world. Maybe I came from there and I will come back …

… You took brushes and paints, came up to a canvas – from the other side of the canvas somebody has already looked forward to your first stroke, this is like a snake biting its own tail. By creating a picture, you complete another CREATION cycle of this world.

… Artist – is a mysterious creature, “God’s pipe”, agent, He is vibrating because of stream of information which is flowing through him. “… And he was trembling like a needle in the compass…”. There is feeling of creative itch and impatience, unembodied pregnancy, pangs and doubts about things that you have done, and, at the same time, you are full of pleasure from the process in itself.

It’s kind of the artist’s living…

Events:

2012 ART INTERNATIONAL Zurich 14th International Contemporary Art Fair, Switzerland
2012 Affordable Art Fair Brussels
2013 Art Fair Tokyo 2013
2013 Stars with Stars. Gall’Art Roma artists at “Estate Romana” – Isola del Cinema
2013 International Contemporary Art Show “Kaleidos”. Sant’Oreste Roma Museum
2014 VENEZIA, Galleria di Palazzo Priuli Bon . (July)
2015 35×35 art project – Copelouzos Family Art Museum (Grèce)

https://www.saatchiart.com/borisindrikov
https://www.facebook.com/borisindrikov.gallery/

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

1. Alejandro Jodorowsky’s Endless Poetry

Through renowned father of the midnight movies Alejandro Jodorowsky’s intensely personal lens, Endless Poetry tells the story of his years spent as an aspiring poet in Chile in the 1940’s.

Against the wishes of his authoritarian father, the 20 year old Jodorowsky leaves home to pursue his dream of becoming a poet, and is introduced into the bohemian and artistic inner circle of Santiago where he meets Enrique Lihn, Stella Diaz Varín, Nicanor Parra, all unknown at the time, but who would later become driving forces of twentieth-century Hispanic literature.

Alejandro Jodorowsky’s Endless Poetry

2. Deep in the Mexican Jungle, One Man Created a Surrealist Paradise

“An English dandy with an abundant inheritance from the railroad industry, Edward James voraciously collected surrealist art, rare orchids, and parrots. He took up mysticism, rubbed elbows with Salvador Dali and Aldous Huxley, and fancied wearing ponchos sans pants.

To those who knew him, James was “the last of the great eccentrics.”

James’s outlandish nature, however, was best captured in his magnum opus: Las Pozas, a fantastical sculpture garden nestled deep in the Mexican jungle. Forged over the last 22 years of his life, what he called his “Surrealist Xanadu” would become one of the globe’s greatest curiosities.”

– Via Artsy

3. Naoto Hattori

Part whimsical illustration, part surrealist creatures, part eye candy, but 100% awesome, we can’t take our eyes off of Hattori’s intricate artwork. We always come back to his strange unique creations.

naotohattori.com

4. ‘Torrey Pines’ tells autobiographical story through beautiful, surreal stop motion

“In “Torrey Pines,” the childhood of its director Clyde Petersen unfolds through beautiful, handmade stop motion animation. We see a pre-transition 12-year-old Petersen — a devoted Trekkie with an ever-present USS Enterprise T-shirt. He yearns to escape the humdrum life of his Southern California hometown, and he gets his wish when his schizophrenic mother takes him on a cross-country road trip. The film is an endearing blend of sweet anecdotes and surrealism, and the result is a story that feels warmly joyous.”

– Via DailyCal.org

5. FROM THE MOUTH OF SHADOWS: ON THE SURREALIST USE OF AUTOMATISM

by Kasper Opstrup
“From surrealism’s beginnings around a Parisian séance table, it oscillated between the occult and the political. One of its key methods, automatism, provided access to both the esoteric and the exoteric: it took form in the mid-19th century as a spiritualist technique for communicating with the other side while, simultaneously, this other side could address political issues as equal rights, de-colonisation and a utopian future with an authority coming from beyond the individual. By tracing the development of automatism, the article shows how automatism in surrealism became a call for both a re-orientation of life and an institutional re-organisation by becoming a divination tool for a future community looking back to hermeticism to find a way forward. The article argues that not only can surrealism fruitfully be understood in the light of an occult revival in reaction to crises but, additionally, that it marks the return of and a reaction to a kind of magical thinking in the modern – due to waning religious and socio-economic orthodoxies – that echoes eerily into our own big data contemporary of social medias where we tend to substitute equations with associations.”
http://ojs.statsbiblioteket.dk/index.php/nja/article/view/26405