INTERVIEWS
BEV ULRICH INTERVIEW
1) How did you begin your journey in the art world?
I started to work on my art while I was living in Spain. My interest was peaked during extensive
travels throughout Europe and Asia and my interest never left.
2)Where do you draw inspiration for your abstract works?
It just develops unto itself through the creative process.
3)How do you select colors, shapes and textures for your pieces?
The texture is always evident in the foundation. Colors and shapes are chosen at random.
4)What techniques do you use to bring your creations to life?
Palette knives are used to apply modeling paste and a sander is used to smooth where needed.
5)Do you identify with a particular movement or artistic style?
No
6)What is your creative process like? Do you follow a precise plan, or do you let instinct and
emotions guide you?
Instinct and emotions
7)What message do you wish to convey through your works?
These layers of color and mixed media create mood, atmosphere and a vibration of energy unique to each viewer interacting with the final piece
8)What are your goals or aspirations as an abstract artist?
That my work creates a personal connection with the viewer.
9) Do you have any future projects or dreams you’d like to share?
I have a solo show opening in April 2025 at the Vandroff Gallery in Jacksonville Florida.
ELVIRA HEIMANN INTERVIEW
Feel the Art
Art is my practice. Abstract is the form.
Play is my passion. Joy for me and you the goal. Freedom is the prize.
1. Start of my artistic journey:
I began my journey into the world of art at a young age, at the age of 5 I played the piano, then the violin and watched over my father's shoulder as he painted.
Attracted by a deep fascination for expressing the unspoken and complex through visual narratives and language, I started my journey. Nature has always been important to me as a place of retreat and reflection. That's where I painted and read my first books. My degrees and my professional journey (philosophy, theology, psychology and art) reflect my fields of interest.
2. Inspiration for my abstract works:
I find inspiration in nature, which offers an endless symphony of colors, shapes and textures. Additionally, personal experiences and emotional landscapes often serve as a backdrop for my creations, allowing me to translate intangible feelings into visible art.
3. Selection of colors, shapes and textures:
The choice of my colors, shapes and textures arises from a dialogue between my inner reflections and the influences of nature, where I experience the “Source”. I try to capture the essence of natural beauty and the intricate details that are sometimes overlooked. I am particularly fascinated by the interplay between chaos and order in nature.
4. Techniques for implementing my vision:
My artistic process involves multiple techniques, from layering to the use of bold brush strokes and palette knife.
5. Art Movement or Style Identification:
Although I draw from various influences, I often find resonance with elements of expressionism, allowing emotions to guide the abstraction process. This influence is evident in the emotional and dynamic quality of my work.
6. Creative Process:
My creative process is a mix of intuition and structure. As I enter the studio with a vision, I let my subconscious and emotions shape the end result, ensuring authenticity and spontaneity in my work. If my mind is calm the creative process is in a flow.
7. Message and Topics:
Nature is a symphony for our senses and a metaphor for a successful life between disorder and homeostasis.
Emphasizing our connection to nature is a recurring theme in my images, as I believe it is crucial for us to recognize and preserve its beauty.
Another political and religious aspect is that nature forces us to submit because it is more powerful than us.
8. Goals and Aspirations:
As an abstract artist, I strive to create works that not only enrich the cultural landscape, but also stimulate reflection on our relationship with nature.
9. Future projects and dreams:
I'm currently working on several projects. In my series I dream of a peaceful world that welcomes diversity and is tolerant.
People who recognize that everything is already there and that we are connected. The TAO
SUSANNE MEIER ZU EISSEN-RAU INTERVIEW
1) How did you begin your journey in the art world?
I began my official journey into the world of art after graduating from art school. Since then I run studio and exhibition activity. Visiting galleries and museums are certainly the most important factors and had a great impact on me. Exploring original works of art, especially paintings still impresses me.
2) Where do you draw inspiration for your abstract works?
I draw inspiration for my abstract works from a variety of sources.
Sometimes it is the small perceptions, for example on a walk or during a journey, that give rise to the need for a new work. It can be the sensation of dynamism and movement, the feeling of vastness or the impression of light. These impulses are realised in the painting process. For example, impressions of flickering, movement or depth are created in many superimposed layers or evoke other illusions or reflect my subjectively experienced moments.
Experimenting with different techniques is the other thing. Mixing techniques often results in new facets. Exploration allows me to express emotions, experiences and concepts that resonate with my thoughts at a certain time.
My work depends on nature, personal experiences and perceptions as well as traditions. Historical and contemporary artworks that inspire me also play a role. All in all, it is both a personal insight AND a mixture of outside influences. I create a good working atmosphere in the studio, get the brushes ready, mix the colours and usually start with a cup of coffee.
3) How do you select colors, shapes, and textures for your pieces?
What colour ? This -on one hand- is an intuitive, but more often thoughtful process that always takes me a long time to decide because it is influenced by so many factors, such as the intended message of the subject or mood of the artwork. I chose the colours carefully seeing how they interact. Looking at harmony and contrast - depending on what the artwork is about. When it comes to shapes I often use a specific combination. I am combining a fluid form with movement and some static forms to catch it in an overall composition. It happens by accident: Sometimes it comes out as a balanced rhythm sometimes it goes totally wrong.
I like to combine visual and tactile texture in my process. So using resin for a smooth surface on linen with thick paint added with sand or concrete for example. Textures are the surface of an artwork and in many ways it’s creating an additional information that stands for itself.
4) What techniques do you use to bring your creations to life?
Any kind of mixed media is my favourite. Using a lot of layers often creates kind of a „secret“ that evokes interest. The addition of materials like sand or fabric can draw the attention to specific areas of the artwork. I often use different texture to add depth or drama or roughness. Experimenting with new techniques or material is surprising me and this is what makes it lively. All in all it is combination of intuition, emotion, technical things and thematic considerations that brings a picture to life. At least I take care of the colours in a picture as well.
5) Do you identify with a particular movement or artistic style?
For me as an artist born in 1963, I can look at periods when various artistic movements and cultural influences were at play. For my work the Abstract Expressionism and PopArt were very interesting to explore and I think I create hybrid styles that borrow elements from multiple movements, combining abstract with figurative, or traditional techniques. Watching the original paintings of Helen Frankenthaler, Mark Rothko but also Agnes Martin or Frank Stella had a great impact on me.
Technological progress and globalisation continue to influence and expand my perception and my spectrum but till now I left out digital art or KI generated processes. I am a painter.
6) What is your creative process like? Do you follow a precise plan, or do you let instinct and emotions guide you?
My creative process sometimes varies greatly from day to day - so it seems that there is no plan at all. But in general my painting process often involves a balance between planning and spontaneity, intuition, and emotion. I do scetches, I gather material… these are practical aspects of planning my series, such as gathering the right materials (paints, brushes, surfaces) or choosing a specific medium that aligns with my vision of the topic.
But, once I‘ve started working on the actual piece the flow of the work takes over. This is where the process becomes more organic and fluid. I react to colors, shapes, or textures as they emerge, letting the artwork evolve in an unplanned direction. Often, there’s a back-and-forth between spontaneous exploration and thoughtful reflection. Usually it is clear to me when the piece feels complete—though this can be tricky. Once finished, the meaning of the work might become clearer, even to myself. Sometimes, a piece ends up reflecting something different than I have initially planned. I consider that a great gift, and I embrace it as part of my creative process.
7) What message do you wish to convey through your works?
I want to aim to convey emotions, concepts, or states rather than depicting reality in a literal way. The message behind my art is often open to interpretation. The viewers have to bring their own meanings to the work. I hope my artworks encourage viewers to question their assumptions about reality and perception and challenge to look beyond the surface. In essence, the message of my works is often less about a clear communication of statements than an invitation to think and experience. It is about creating an emotional or intellectual experience. Each person can take away something different based on their own perceptions and feelings.
8) What are your goals or aspirations as an abstract artist?
My abstract paintings leave the interpretation up to the viewer, with the goal of creating a dynamic interaction between my paintings and those who experience them. I like to introduce new processes or combine traditional materials in unexpected ways. Just as surprising are the reactions of the viewers, which often lead to interesting conversations. Contact with art brings people together.
9) Do you have any future projects or dreams you'd like to share with us?
I'm currently in the process of preparing my artwork to participate in an art fair. Everything is actually ready - but the things that need to be done (apart from painting the exhibits) have turned out to be very varied. Incidentally, this is my first participation in such an event and the experiences will follow. In my home town, I am co-founder of a room for art, exhibitions and culture. I like to get involved there and share the planning and organisation of events for the group and -soloshows. Looking forward to my own soloexhibition in that space as well.
One challenge for me in the future is a planned artist in residence project on Curaçao. If only because I've never traveled this far before. I'll be working and collaborate with another artist there for several weeks. Together we are organising our programme of exhibitions and workshops in a local gallery. This is also historically and culturally exciting and will be a new artistic experience for me. Looking forward to find new inspiration and get connected to a different culture, the people and the environments. I would like to share my impressions in an exhibition and on social media with an interested audience.
JOHNNY RAO INTERVIEW
How did you begin your journey in the art world?
1)My journey into the world of art began when I was a child, starting to draw.
Where do you draw inspiration for your abstract works?
(2) Inspiration comes to me by living, everything I have around me, what I breathe that I feel.
How do you select colors, shapes, and textures for your pieces?
(3)It is almost all instantaneous.
What techniques do you use to bring your creations to life?
(4)I often use mixed techniques, such as recyclable materials, and various types of colors.
Do you identify with a particular movement or artistic style?
(5)I do not identify with artistic movements or styles in particular, it is my style.
What is your creative process like? Do you follow a precise plan, or do you let instinct and emotions guide you?
(6)It depends on the days, on what I feel, I often go on dipped, letting myself be carried away by emotions.
What message do you wish to convey through your works?
(7)The message that I wish to convey with my creations is to continue to be enthusiastic, enjoy every emotion, live moving forward.
What are your goals or aspirations as an abstract artist?
(8) My goals are many, but always to continue to create with enthusiasm.
Do you have any future projects or dreams you'd like to share with us?
(9)Future dreams yes, it is forbidden not to dream🙂I will share them one day.
BIRGIT EGEN Interview
1) How did you begin your journey in the art world?
It was more of a gradual process that developed over time, rather than a specific starting point. From my experience, becoming an artist is a conscious decision—something you arrive at personally when the time is right. Looking back, I can't pinpoint the exact moment for myself. However, I began attending courses with various renowned artists in the late 1990s to learn techniques and develop my own artistic expression. A pivotal moment in my artistic growth is certainly my studies with Professor Markus Lüpertz, who has a profound influence on my development.
2) Where do you draw inspiration for your abstract works?
I have always been fascinated by human relationships and their intricate connections. This is reflected in the titles of my works, such as ATTENTION, MOUNTAIN aka THE END OF A LOVE, and ENCOUNTER. Unconsciously, I often choose titles that reflect relationships or shared moments. I find this dynamic incredibly intriguing and aim to express it abstractly in my work—one of the most fascinating subjects to explore, in my view.
3) How do you select colors, shapes, and textures for your pieces?
My color choices are deeply guided by emotions. Certain colors represent specific feelings for me: an elegant blue often symbolizes cold or distant relationships, while a vibrant red conveys the intensity of emotional passion, as seen in my piece KISS THE FIRE. Warm beige and brown tones capture the comfort of intimate moments, like in COFFEE WITH FRIENDS. Beneath the surface, however, there are usually many layers that give the work depth and a multidimensional quality.
4) What techniques do you use to bring your creations to life?
I primarily work with acrylics or water-mixable oil paints and then layer with oil pastels, charcoal, or collages. In my ARTcycling project, where I rework old, mass-produced images, I experiment with various materials—often with surprising results. Sometimes it works, sometimes it doesn’t, but for me, the process of discovery is crucial.
5) Do you identify with a particular movement or artistic style?
I see my work within the tradition of abstract expressionism, where emotions and intuition are central to the creative process. At the same time, my ARTcycling project introduces a contemporary element by incorporating sustainability into art-making.
6) What is your creative process like? Do you follow a precise plan, or do you let instinct and emotions guide you?
As Richard Diebenkorn once said, "I like to start a painting and wait for it to talk back to me." That perfectly captures how I feel. My creative process is highly emotional and instinctive. Often, I start with just a vague idea or feeling and let the work evolve organically. I follow the flow of colors, shapes, and textures, and sometimes the final result surprises even me, as the artwork takes on a life of its own during the process.
7) What message do you wish to convey through your works?
I hope my work invites the viewer to pause and lose themselves in the colors and textures. Ideally, they will experience the emotional moment I sought to capture—a reflection of joy, freedom, human emotions, and moments of connection. Additionally, through my ARTcycling project, I aim to raise awareness about sustainability, showing that art can be created from what might otherwise be considered old or unusable.
8) What are your goals or aspirations as an abstract artist?
My goal is to continuously grow, refine my technique, and explore new pathways in abstract art. I hope to take viewers on an emotional journey, and I aspire to keep improving and sharing the energy and joy I find in the creative process. In art, one never stops learning, and that’s what excites me—passing on the joy of creation to those who engage with my work.
9) Do you have any future projects or dreams you'd like to share with us?
Like many artists, I have countless ideas and visions. Often, I find it difficult to sleep at night because my mind is overflowing with new concepts.
One of my greatest wishes is to have more time to dedicate to these projects.
A specific goal would be to establish an international platform for sustainable art within the framework of my ARTcycling project. This platform would allow artists to showcase their creative approaches to reusing materials and connect with one another, while offering art enthusiasts the opportunity to witness the artistic process firsthand. The idea came to me during one of my exhibitions, as many conversations with buyers revolved around how the artwork was created and where the materials originated. In this type of art, the process of witnessing the transformation of recycled materials plays a larger role than in other works.
I would love to deepen and expand this dialogue, bringing it to a broader, more international stage.
LAURA ROTA Interview
My journey from graphic designer to artist
As a professional art director and graphic designer, I have furthered my studies of the perception of forms and colour harmonies over the last few years. I’ve always been motivated by a deep passion and curiosity for creativity—in particular, the history of graphic design through the study of historic and contemporary masters. Among these figures, I was particularly drawn to Paula Scher who, citing Russell Baker, spoke about the difference between a serious and a solemn work.
Solemnity, in artistic terms, refers to a creation that draws inspiration from or attempts to imitate a prior serious work. Seriousness encompasses a personal challenge to push the boundaries of one's creative capabilities, striving to deliver the absolute best for each project, even in unexplored territory. This stimulates one to investigate, experiment, and acquire more experience in order to give life to a powerful and innovative way of communication.
INTERVIEW
1) How did you begin your journey in the art world?
I have only recently started painting, but art has always profoundly influenced me. Until I was 14, I lived outside the city, in a place surrounded by nature: beautiful but isolated. I spent my afternoons leafing through the volumes of the ‘Masters of Color’ art series and immersing myself in the paintings I saw.
During my years at classical high school, I was fortunate enough to take private lessons in drawing and painting techniques. I drew figurative works and life studies, but I was captivated by abstract art, allowing for complete freedom of thought and interpretation.
I then discovered that the whole world of abstract imagery fit perfectly into the professional figure of a graphic designer, and after a long career as a professional and teacher in the field, I felt an overwhelming urge to apply my skills to a personal artistic project—creating pictorial, not digital, art!
2) Where do you draw inspiration for your abstract works?
My abstract art is based on the study of the circle. Of all the geometric forms, the circle is the most harmonious and full of positive meanings. It represents the cyclical nature of life, a continuous flow of energy, and is a powerful symbol of spirituality.
I explored the circle in depth: multiplying it, reducing it, enlarging it, shifting it. I worked on compositions of circles of different sizes, intersecting and losing their individuality to form a harmonious whole, a symbol of union and synergistic exchange.
This study led me to discover a pattern that has become the basis of my Rotations series and which I use in every variation of my work. It is my creative secret that I jealously guard!
Regarding the study of colour harmonies, I draw inspiration mainly from natural elements: flowers, skies, seas, rural or mountainous landscapes, but also from the colours found in the works of great masters of the past who remain close to my heart, such as Balla, Morandi, Rotcko, Delaunay, to name a few.
3) How do you select colours, shapes, and textures for your pieces?
My art delves deeply into the study of colours, their combinations, and the emotions they evoke. I take pleasure in designing paintings that harmonise with the environments where they will be placed. To achieve this, I use a diverse palette, ranging from vibrant hues to softer tones, and even monochromatic pieces.
4) What techniques do you use to bring your creations to life?
I paint with acrylics on canvas. My painting is always freehand, without the use of masking.
5) Do you identify with a particular artistic movement or style?
My style is abstract and geometric. My primary reference is modernism, particularly Abstract Expressionism. I also love the Bauhaus, the Arts & Crafts movement, and Secessionism.
6) What is your creative process like? Do you follow a precise plan, or do you let instinct and emotions guide you?
My process is very precise. I start with digital studies and then mix the acrylic colours according to the digital version that convinces me the most. Acrylics always have a softness and fullness that satisfies me compared to the digital version, which I find colder.
I number the colours, because the chromatic differences I apply are often almost imperceptible, and it would be risky to confuse them. I proceed with a pencil sketch of the composition, using a compass, and then cover the canvas with acrylic gesso before starting the painting. I strive for uniform colour fields, which is why I reapply each colour 3 to 5 or even 6 times (reds are the least covering) to achieve the desired result.
7) What message do you wish to convey through your works?
I seek harmony in the composition of shapes and colour combinations to bring beauty and positive sensations to the spaces and the people who inhabit them.
I also carefully design the colour harmonies of my paintings in relation to the environment in which they will be placed. Some colours help with relaxation and meditation, creating a sense of calm, while others are charged with energy and stimulate activity.
The compositional power of my work draws attention and, like mandalas, promotes a sense of peace, relaxation, and freedom of thought.
8) What are your goals or aspirations as an abstract artist?
I would like abstract art to be increasingly considered in the projects of interior designers, architects, and decorators. It is often seen as a superfluous service, but I believe that integrating art into spaces is essential, not trivial. For this reason, I reach out to them to motivate them to propose commissioned works that enhance environments with the right harmony and perceptible energy through colour.
9) Do you have any future projects or dreams you’d like to share with us?
Beyond art, I am delighted to announce a collaboration with Boralevi of Florence, a prestigious company that produces high-quality designer rugs. They have created my first artistic rug, a luxurious wool and silk piece, hand-knotted in Nepal by master craftsmen.
In the future, I would love to see my art applied to other home and personal objects. I have many ideas in mind that I hope will come to life soon!
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ALEXANDRA COHEN Interview
Comparte con nosotros el inicio de tu viaje artístico. ¿Qué momento definitorio te llevó a elegir el arte abstracto?
Desde muy pequeña, el arte ha formado parte de mi vida. Mi abuela, pintora, fue una parte de mi crianza junto con mis padres, y siento que desde que murió, gran parte de ella quedó en mí. Siempre sentí la necesidad de crear y una gran curiosidad por todo lo que veía y ocurría a mi alrededor.
Recuerdo que en un momento muy duro para mí, sentí la necesidad de expresar todo lo que sentía en un lienzo. Era algo que venía de dentro, sin explicación alguna. Este fue el momento en el que descubrí el arte como mi medio canalizador y gran maestro.
Al emigrar, esta necesidad se fue reforzando; cada vez necesitaba más y más un lienzo donde expresarme, algo que me ayudara a escucharme y seguir mi camino, más allá de lo difícil que fuera la circunstancia: estar lejos de mi familia y vivir una constante lucha por poder mantenerme en un nuevo país.
El arte abstracto, para mí, es clave para conectar con mi interior y dejar salir enseñanzas que considero que están en nuestro verdadero ser. He aprendido que, si somos capaces de escucharlo, muchas respuestas pueden surgir. El arte abstracto me permite ser libre y sin ataduras en mis creaciones, crear más allá de lo que veo, crear lo que siento.
A veces, los sentimientos pueden ser fugaces y olvidamos muy rápido todo lo que pasa a nuestro alrededor y lo increíble que es este mundo. Por eso, para mí, plasmarlo en un lienzo es muy importante.
Tengo obras que me recuerdan día a día la fuerza interior que cada uno de nosotros tenemos, y me impulsan en mi camino.
- De dónde surge la inspiración para tus creaciones abstractas? ¿Hay algún elemento en particular que despierte tu creatividad?
Siento una profunda curiosidad por la naturaleza que nos rodea y nuestra conexión con ella.
Esa sensación de paz y serenidad que experimentamos al observar el horizonte, estar en el mar o en medio del bosque, nos hace olvidar todo lo demás. Nos recuerda la inmensidad del mundo y nuestra pequeña dimensión en él, y que nuestros problemas son aún más diminutos en comparación.
Me fascina este estado meditativo que revela quiénes somos más allá de nuestras percepciones habituales y quienes creemos ser. Es por esto que mi inspiración surge de las preguntas sobre nuestro verdadero ser, de la naturaleza que nos rodea y de la curiosidad sobre el propósito de nuestra existencia.
Para mí, crear es un proceso meditativo que, al conectar profundamente conmigo misma, me brinda respuestas que se reflejan en cada obra. Este proceso proyecta en mis creaciones lecciones que me ayudan a crecer tanto personal como espiritualmente.
- En el proceso de selección, ¿qué te guía a elegir ciertos colores, formas y texturas para tus obras? ¿Existe alguna emoción o concepto detrás de estas elecciones?
Esta elección a menudo surge de los paisajes que me rodean y las sensaciones que me transmiten. Las estaciones del año son algo muy nuevo para mí; en Venezuela era verano todo el año, y hasta los 23 años no tuve la oportunidad de conocer y experimentar estos fascinantes cambios en la naturaleza.
Todavía lo encuentro increíble, una forma en que el mundo se renueva y transforma. Este proceso de cambio y renovación influye directamente en mí y en mi selección de colores, estilos y sensaciones al crear. Veo esta renovación como algo estrechamente relacionado con nosotros como seres humanos, considerando que tiene una gran influencia en cómo nos sentimos y que hay muchos mensajes ocultos en estos procesos.
Mi trabajo está profundamente influenciado por el momento que estoy viviendo, por lo que ocurre a mi alrededor, cómo lo recibo y cómo me siento. Mi conexión con el entorno y las experiencias personales definen mi expresión artística en cada etapa de mi vida.
- Háblanos de las técnicas que empleas en tus obras abstractas. ¿Te influencia alguna corriente artística específica?
Utilizo la espátula como una extensión de mi cuerpo. Me gusta desafiar mis límites y utilizar una misma herramienta de principio a fin para ver hasta dónde es capaz de llevarme. El material es el protagonista; la sensación de cada textura y cómo nos hace sentir en relación con otra es fundamental en mi trabajo. El proceso, basado en movimientos repetitivos, genera un estado meditativo que se refleja en la obra.
El "Dansaekhwa", movimiento coreano, ha tenido una gran influencia en mis creaciones. Este movimiento artístico, se caracteriza por un enfoque en la repetición, la textura y la sutileza de los matices. Los artistas de Dansaekhwa emplean técnicas que enfatizan la interacción del artista con el material, creando obras que invitan a la contemplación y la introspección.
Esta filosofía resuena profundamente con mi propio enfoque, ya que busco en mis obras una conexión similar entre el acto de crear y el resultado final, permitiendo que cada pieza refleje un estado de calma y meditación, lo mismo que se genera en mi durante el proceso creativo.
- Describe tu proceso creativo. ¿Es un camino meticulosamente planificado o prefieres la espontaneidad y la inspiración del momento?
Para alcanzar este estado en el que dejo el ser a un lado y conecto con mi interior, considero vital permitirme fluir y desprenderme de todo control y condición. Por ello, intento no planificar y dejar que el proceso sea espontáneo. A menudo, puedo tener una idea inicial que quiero plasmar, pero siempre termino dejándome llevar y cambiando esa idea inicial. Es un proceso en el que también trabajo la impermanencia.
Al buscar respuestas, es crucial no influir en el proceso de manera muy planificada, ya que eso implicaría que ya conozco la respuesta. Esta práctica me permite mantenerme abierta a nuevas perspectivas y descubrimientos, permitiendo que la obra se desarrolle de manera orgánica y auténtica.
- A través de tus obras abstractas, ¿qué mensaje o sentimientos intentas transmitir al observador?
Busco transmitir nuestra fuerza interior, una fuerza que todos poseemos. Creo que por esta razón algunas personas conectan con lo que hago, porque son capaces de verse reflejadas en mis obras. Para mí, esto es algo increíble.
El arte me ayudó a seguir mi camino y superar muchos obstáculos. Ahora lo comparto porque siento que puede ofrecer lo mismo a otras personas, ayudándolas a descubrir ese estado interior que todos llevamos dentro. Un estado que nos guía, nos enseña el camino nos permite avanzar con serenidad y plena confianza.
- Hay algún artista contemporáneo cuyo trabajo sigas o admires? ¿Qué es lo que más te atrae de su arte?
Admiro a muchos artistas, pero tres que han tenido una influencia especial en mi trabajo son:
Kim Keun-Tai, un artista coreano, quien considero que me introdujo al mundo del Dansaekhwa. Al conocer su obra, sentí una profunda conexión que me inspiró a explorar este movimiento artístico en profundidad.
Pierre Soulages me invita a una introspección profunda y significativa con su uso distintivo del negro y la forma en que manipula la luz y la textura en sus obras. Me impacta cómo, con un color y material, es capaz de transmitir tantas emociones.
Teresita Fernández nunca deja de sorprenderme con su materialidad. La forma en que utiliza los materiales crea una experiencia inmersiva que resuena profundamente conmigo, permitiéndome conectar con ella.
- Como artista abstracto, ¿cuáles son tus metas y aspiraciones? ¿Hay algún proyecto especial o un sueño que esperas realizar?
Como artista, sueño con transmitir un mensaje al mundo, un mensaje de perseverancia que pueda inspirar a cualquier persona. Un mensaje que resuene profundamente y nos ayude a crecer hacia la mejor versión de nosotros mismos. Quiero contribuir a que veamos más allá de lo que percibimos y descubramos lo increíble y místico que se esconde dentro de cada uno de nosotros.
Deseo que mi obra nos ayude a vernos a nosotros mismos como iguales, apoyándonos y alentándonos en cada momento.
Que aprendamos a reconocer que los retos que enfrentamos, los que realmente nos
definen y que somos capaces de mucho más de lo que imaginamos.
- Si hubiera algo que no hemos cubierto y que te gustaría compartir, ¿cuál sería?
Podría añadir que este ha sido un camino donde, aunque puede parecer muy solitario e individual, todas las personas que me rodean han sido clave e inspiración para llevarlo adelante, personas que están cerca de mí, otras que quisiera y no pueden estarlo, otras que solo vienen a darme alguna pista para seguir mi camino y otras que, aunque no estén se quedan para siempre.
FRANCK BERTRAN Interview
1. How did you start your journey in the art world?
I began my path in the art world by attending exhibitions as a child with my father, who was a painter. On summer Sundays, he would draw and paint in the countryside of Auvergne, and I would accompany him.
2. Where do you find inspiration for your abstract works?
I don’t really have an initial inspiration for my abstract works. Inspiration comes during the process of creating the painting, guided by the limitations at each moment, such as the colors used, the material, or unexpected occurrences. However, my feelings related to the outside world (the joy of spring light, for example…) and my state of mind (feeling of freedom, energy) play a role in the creation.
3. How do you select colors, shapes, and textures for your pieces?
I work in series, and the choice of colors and textures is fundamental to this approach. During the series, variations occur, with colors being added or removed, as well as changes in textures.
4. What techniques do you use to bring your creations to life?
I use pigments, binders, and vinyl and acrylic varnishes, applying them according to the desired outcome (transparencies, texture, etc.). I prepare my own paint and use a limited palette for each piece.
5. Do you identify with any particular movement or artistic style?
I feel connected to lyrical abstraction, but not exclusively. I admire the works of Joan Mitchell and Emilio Vedova.
6. What is your creative process like? Do you follow a precise plan or let yourself be guided by instinct and emotions?
I let myself be guided by my instincts and emotions. After an initial artistic gesture, it’s the painting itself that guides me, that “paints itself.”
7. What message do you want to convey through your works?
I’d like to convey beauty, energy, and emotion.
8. What are your goals or aspirations as an abstract artist?
I want to move towards larger formats. I would like my painting to be recognizable and recognized for its uniqueness.
9. Do you have any future project or dream you would like to share with us?
I would like to be represented by a reputable gallery, both in France and abroad.
ADELIA DE PADOVA Interview
How did you start your artistic career?
I have always had a deep passion for art since I was a child. As I grew up, I began experimenting with drawing and painting, finding in creativity a way to express my emotions and my view of the world. After attending art courses and exploring various techniques, I decided to follow my dream and fully dedicate myself to painting. The beginning of my career was a journey of personal and artistic discovery, filled with challenges but also great rewards. Every brushstroke is, for me, a profound exploration of the human spirit and the beauty that surrounds us. This adventure in art gives me a constant feeling of freedom and wonder, as if through colors I am connecting with something larger than myself.
Where do you draw inspiration for your works?
The inspiration for my works comes from multiple sources. Nature is certainly one of my main references; its colors, forms, and constant changes deeply fascinate me. I often find inspiration in moments of quiet, where I can observe the world around me without hurry and reflect on the emotions that arise. Memories, personal experiences, and even dreams are equally fundamental to me, as they bring an intimate dimension that I strive to translate into images. Each painting is a synthesis between what I see externally and what I feel within, a kind of dialogue between the visible and the invisible.
How do you choose colors, shapes, and textures for your works?
Choosing colors, shapes, and textures is an intuitive yet reflective process. I often start with an idea or emotion I want to convey, and then let myself be guided from there. For colors, I enjoy exploring their relationships and harmonies, seeking combinations that evoke particular moods. I use a palette that represents the theme I want to address, sometimes opting for lively and dynamic tones, other times for softer, more melancholic shades.
As for shapes, I draw inspiration from nature and everyday experiences, allowing my instincts to guide me in creating compositions that tell a story. Texture is a fundamental element; I love experimenting with different materials and techniques that can add depth and character to my works, making each piece unique. Essentially, my approach is a balance between instinct and reflection, where every choice contributes to building the final message of the artwork.
What techniques do you use to bring your creations to life?
I primarily use oil paints on raw jute canvas, a material that offers a unique texture and an intriguing base for my works. Jute not only provides visual depth but also adds a tactile element that invites the viewer to interact with the piece. A distinctive aspect of my creations is the inclusion of unraveled textures in certain parts of the canvas, further enriching the surface and creating a fascinating contrast between the fluidity of the paint and the roughness of the jute. This approach allows me to express my personal style, exploring the relationships between materials and the emotions I wish to convey. Every technique I employ is part of a visual language that aims to tell stories through colors and textures.
Do you identify with a particular movement or style?
Although I don’t want to confine myself rigidly to a single movement or style, I find inspiration in various artistic currents. My art draws from colorism and expressionism, as I aim to convey powerful emotions through the use of colors and shapes. Additionally, I am drawn to materic art, given my use of jute and unraveled textures, which add a tactile and visual dimension to my works. In this way, I create pieces that reflect not only the beauty of the material but also my experiences and moods. My artistic journey is an ongoing dialogue between tradition and innovation, a personal exploration that allows me to forge new paths and express my individuality.
What is your creative process like? Do you follow a specific plan, or do you let yourself be guided by instinct?
My creative process is a blend of planning and instinct. Initially, I like to reflect on a theme or idea that I want to explore. Sometimes, I make sketches or jot down notes to organize my thoughts and visualize what I intend to create. However, once I start painting, I often allow myself to be guided by instinct. I believe art is a continually evolving dialogue between the artist and the work. Choices in color, shape, and texture can change during the process, and I enjoy being surprised by what emerges. This balance between structure and spontaneity makes each creation unique and represents a fascinating journey, where every brushstroke is a step toward exploring my artistic expression.
What message do you wish to convey through your works?
Through my works, I aim to convey a message of connection and introspection. Each painting is an invitation to pause, reflect, and engage with the emotions that surround us. I hope to evoke a sense of wonder and sensitivity toward the beauty of life, even in its more imperfect forms. By using vivid colors and rich textures, I intend to create a visual dialogue that encourages viewers to discover personal and universal stories within each piece. In this way, my goal is to promote greater emotional awareness and an appreciation for the complexity of the human experience.
What are your goals or aspirations as an abstract artist?
"I want to delve deeper into human emotions and experiences through art, finding new ways to express what I feel. My goal is to continue studying and improving my techniques, honing my ability to communicate my emotions. I would also love to collaborate with other artists to exchange ideas and create together. I aspire to be part of an artistic dialogue that celebrates originality and freedom of expression."
Do you have projects or dreams you’d like to share with us?
I am currently working on a series of pieces that explore the relationship between nature and humanity, using innovative materials and techniques. Another dream of mine is to participate in exhibitions that allow me to share my artistic vision with a broader audience, continuing to grow and evolve as an artist.
ORI AVIRAM Interview
1) How did you begin your journey in the art world?
My journey into the world of art began during my military service, around the age of 19. I got a seven-day leave. To this day I don't know what motivated me but I went and bought clay and in the following days I made a portrait of Samuel Beckett based on a photograph of him that was on one of his books. His strong and pointed face, the face of a bird, impressed me very much. This portrait was the first of more portraits and other sculptures I made in the next two years. I would sculpt my teammates in the army and taught myself to cast these sculptures into stronger sculptures made of white concrete and marble powder. It was this experience, which was powerful and meaningful, that first made me think about a career as an artist. I thought I would be a sculptor but in the end I became a painter.
2) Where do you draw inspiration for your abstract works?
My abstract paintings develop either by dealing with basic forms, or by a free play of color and shape. The abstract is not dependent or related to reality and exists within its own world, a closed and autonomous world like music and mathematics. At the same time, I am influenced and learn from other abstract painters. The two that influenced me the most are Kazimir Malevich and Kandinsky.
3) How do you select colors, shapes, and textures for your pieces?
Colors, shapes and textures are things that are chosen spontaneously, according to emotion alone. I don't have any particular theory or technique, this is a completely intuitive thing. Intuition is "a very fast process of knowing that we do not become aware of", I tend to agree with this perception. It means that the choice of colors and shapes is a knowledge process that simply does not pass through the conscious mind.
4) What techniques do you use to bring your creations to life?
My technique is very simple, brushes and paints and fabrics. From time to time I use a putty knife or other tools to scrape off the paint. Sometimes I use sharp tools to etch the color, but all the latter are a minority. The brush is my main tool.
5) Do you identify with a particular movement or artistic style?
There is no specific movement or style that I particularly identify with, but I can name a few that definitely influenced me: the German expressionism of the beginning of the twentieth century, the work of Jean Dubuffet, the Suprematism of Kazimir Malevich, Vincent van Gogh and the work of the Israeli painter Ivan Schwabel.
6) What is your creative process like? Do you follow a precise plan, or do you let instinct and emotions guide you?
Both. There are works where I visualize the entire painting and I work according to an orderly plan with predetermined steps. These are usually the figurative and narrative works. The abstract and expressive works usually develop spontaneously according to the eye, emotion and instinct. At the same time I would like to point out that this is a schematic and artificial separation, even in the planned works there is a lot of room for emotion and instinct and also in the spontaneous works there are order, steps and a lot of thinking.
7) What message do you wish to convey through your works?
When I worki mainly concentrate on reaching a good result, that the drawing will be beautiful, good and proper, that it will add beauty to the world. What is the message or what is in it or what does it mean - these are all questions that I am not the person to answer, there are better people than me to answer.
8) What are your goals or aspirations as an abstract artist?
My goals and aspirations as an abstract painter are the same as those of realist painters, or any other types of painting. The goal is to draw excellent paintings that keep developing and improving over time, and the ambition is to get maximum exposure, show as much as possible, gain recognition and sell as much as possible.
9) Do you have any future projects or dreams you'd like to share with us?
Next year, in June, I will present a solo exhibition in New York. Hopefully by then there will be more of these.
BIOGRAPHY
Color, oil paint, is the main issue in my art. Color as a matter that can be sculpted, shaped, engraved and shoveled. In most of my paintings color is strong and dominant, while line and composition – though not neglected – are secondary. In addition to canvas, I often paint on old books, bibles, art books, monetarynotes, accountbooks, comics, etc. I'm intrigued by text, print and painting relations. Perhaps because I was a bookworm as a child, I enjoy erasing words with paint. A kind of renewed self-definition.
Being a 20th century product, realism, modernism, and abstract are my points of reference, and the periods that influenced and shaped me. I create from an internal place, but the traditions of art and their history are familiar to me and presence clearly in my background. I believe that art cannot be created in a vacuum.
At first, my paintings were figurative. The bible and mythology were the subjects that interested me the most. Furthermore, I drew from observation. In the past few years, I've become more absorbed in the abstract. Basic forms intrigue me, I keep reverting to them obsessively and never quench.
ROBERT BRADFORD Interview
1. Tell us how it started, how did you come to abstract painting?
Arriving to make abstract paintings was a very long and somewhat complicated process for me! I was a very restless person and artist in my youth! I worked figuratively / representationally throughout my B.A at art school then I spent three years at Royal College making films ...but quickly returned to painting when I left! During this period, I made a word painting series... would they be described as abstract? I am not sure maybe in between?! Next, I began attaching found objects to canvases e.g. books, magazines, twigs etc bound in with string and painted over (heavy collage/shallow relief) Again not entirely abstract ... but heading that way!? After leaving a whole 8 years of these various types of training I rather perversely started making figurative sculpture (perhaps because I knew nothing about it and had no training or preconceptions about it) ... This went on for decades with only a few glitter word paintings being interspersed. I began to have some commercial success with 'constructions ' mainly made from hundreds of plastic and soft toys on simple wood frames ... recycling and upcyling/found objects and art pauvre had become a recurring theme ...
When I started getting old, I had to reconsider my options and my curiosity made me want to think about painting again ... For a year I made representational work (now see this year as relearning how I might paint paintings) But in the end there was too much thinking going on so looking for greater freedom within the rectangle I painted freely over the top of nearly all of these leaving sections exposed and collaging old drawings on paper into their surfaces (Trash Art Series'.... Bad Painting ' 2021 So I guess my very first Real Abstracts arrived when I wanted to experiment using few 'devices ' or external references (The Nebulous Series) A minimum of 'tricks' this time! By now I believed I could cope in the area ... So now I move between the nebulous works and ones in which I gave myself permission to again add text (The Borders and Boundaries Series) (2023/4) and ongoing...
2. What are the prevailing/dominant colours in your palette?
Colours? Actually, I try to treat colours non hierarchically so whatever works formally can get in ... But I do love colour and do have a personal liking for ice cream colours black and white and neon/fluorescents simply because they are the brightest ones available!! I admit to disliking brown and often avoid earth colours because the marks I use tend to have enough unconscious reference to landscape as it is...
3. What can you tell us about your painting technique and creative composition?
Necessary Evils! Both feel 'obligations' to me… Techniques, I have some of course, but whatever will make paint hang onto canvas is O.K with me and whatever tools work to get it there are equally fine! Composition - Pretty much always improvisational, mark by mark or shape by shape. I notice I tend to weight paintings to their bottoms... which is the way the outside world is generally seen I admit... I do tend to like a degree of balance that you can wander around in and which can be ‘visually soothing' (another 'admission') So 'all over' compositions both appeal to me but can be considered a cop out too. I admire artists who are able to leave works heavily out of balance compositionally though ...
4. Have you always wanted to pursue this profession? When did you become aware of your inclination for painting?
I have liked to paint and make things for as long as I can remember. The psychotherapist in me attributes this desire to have been enhanced by an early family trauma which probably encouraged me to wander off into my own universe. At school only art, English and religious instruction really interested me (the latter as it allowed for philosophical discussions to take place.) But crucially perhaps, next door to the swimming pool, where we (as teenage groups) hung out was an art school, where the painting students sprawled across the grass out front in their paint spattered Levis in the summers. Beyond cool! It felt like my true home!!
5. What is your source of inspiration?
Mainly internal I think but more or less anything can trigger something... A lot has to do with types of energy experienced or desired. Like most artists I sometimes admit to stealing basic ideas from other artists, but by the time I have worked for a while in a direction they have inspired the painting will 'take over' and becomes 'other'!
6. Are there any techniques or formats you prefer?
I prefer the vertical/ portrait format to the horizontal landscape one. I attribute this preference to the thought that I am in some way making work that corresponds to standing humans and the feeling that actual reality landscapes with wind, rain and smells etc are often much more powerful than paintings about them without the senses. But I also like squares and vertical off squares, although squares can dominate what’s on them. I dislike the word 'Technique' I realise, not sure why really but I don’t think I have ever much liked a painting that depends for its existence on a particular method of making it! But that could be my problem!
7. In general, what impression do you try to arouse in the viewers of your paintings?
I want any viewer looking at my work to react/respond as naturally as it is possible for them and that for good or for ill. My work I think/hope is fairly 'democratic' in the sense that there is no 'one thing' that I hope to communicate or evoke. For me the best art provokes a multi-dimensional emotional and or intellectual (and maybe mysterious) response. 'What is it?' is always a valid question. For me the answer to that question is... "It is (just) what it is"...!! "Who are you"? is an equally valid question!
8. How do you make your works? Do you create a precise project or do you act spontaneously and emotionally?
This varies quite a lot ... mostly it’s an emotional and spontaneous process responding to very vague notions in my brain. No pre planning though as I want the work to feel as fresh as possible. But I may go into the studio and take actions for a few minutes or a few hours followed by short or long pauses either specifically to think about the art or to forget about it for a while! I take photos at all stages as the reduced image helps to clarify what’s happening or not, and also photos will be what goes out into the world at first. The camera can read things very differently to human eyes. Over time I have learned when I am in the best mood 'in the zone '... or not. Sometimes I can go into the studio and splosh around happily until something happens! It’s all rather erratic!
9. What are your plans for the future?
Travelling hopefully.
10. Which other abstract artists inspire you?
I like expressionists generally and many German artists, abstract or not: Gerhard Richter, Baselitz, if he is considered abstract? Also, Piet Mondrian, Joan Mitchell, Willem De Kooning, Frank Stella, Kline, Rothko, Kandinsky, Pollock, Agnes Martin and my absolute favourite is Cy Twombly.
Galleryone962 team
Sonja Seear