AMBROSE “If you have two shirts in your closet, one belongs to you and the other to the man with no shirt.” TUE, XX XXX I MILANO TICKET

ABOUT Christian Gonzalez Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Website Instagram SELECTED WORKS

"Decay is beautiful. And wise." Erik Sommer / Instagram NYC contemporary artist and art curator Erik Sommer dedicates his artistic powers to the catch and recreation of expiry, decay and decline. On our interview he answers questions on the ravages of time and the status of creation. WRITTEN BY OBLO GALLERY REDACTION . PUBLISH ED: MAY 22, 2022 There is no scarier thought than the one of decay. All things in life eventually must experience their decadence; unexorably and for certain. But there's much beauty to the gloom and sorrow of this energy that holds all life. NYC based artist, art curator, writer and musician Erik Sommer shares insights on why he takes interest in the enigma surrounding the things in life we want to neglect and leave behind forgotten for good. WHERE DO YOU LIVE AND WHAT DOES THIS PLACE FEEL LIKE? I am currently in upstate New York, in the woods in the Catskills, which is about 1.5 hours from NYC. It feels like trees, and fresh air, and solitude. Erik Sommer / Instagram WHAT ARE MATERIALS THAT YOU LIKE TO USE IN YOUR ARTWORKS? I started using cement when I was in grad school. I have always been attracted to the rough, weathered, aged look and feel of urban environments - decay and the effects of time. In my early paintings I tried to replicate this grittiness with other materials, but eventually just started using cement itself. Over time I have learned how to manipulate acrylics, oils and other mediums in order to create controlled peeling, cracks and flakes. Eventually I moved away from only works on a wall and began creating cement installations. These are real life situations that become eerily quiet and soft because of the cement. I started using street posters as a different way to recreate the effects of time. For the street poster paintings the street posters are aged in my studio, and wheat pasted on. It is important that they appear natural and not man-made. I want them to look like the street posters at construction sites that are so beautiful and delicate when they become weathered. These street poster paintings are my attempt to call attention to the overlooked. My work with drywall is similar. I age the material in my studio to make it look old, and manipulate it to create either paintings or sculptures. Iced Grande Cement Mocha, 2020 cement installation Cement Umbrella (ella, ella, eh, eh, eh), 2020 cement installation Cement Kidde Pro 210, 2020 cement installation HOW DID YOUR PERSPECTIVE ON ART CHANGE AS AN ART CURATOR? Being a curator has introduced me to a lot of new artists, all of whom I have learned from. I don't know if my perspective on art has changed, but curating has helped me better understand the backroom side of galleries and exhibitions. It is a lot of work, but I enjoy it. If nothing else it has helped rekindle my love of writing about art. IS THE "NEW" SOMETHING NEW OR MADE OF THE KNOWN , TRANSFORMED INTO SOMETHING DIFFERENT? I think it is pretty rare to find someone creating something truly new. This goes for all art forms: music, visual arts, literature, cinema. There is nothing wrong with borrowing ideas or transforming the known into something different, but we do need to appreciate the special moments of unique greatness. HOW DOES HUMAN INTERACTION IN THE DIGITAL SPACE DIFFER FROM THE ANALOG MEETING? Social media is important, and it is a good way to meet people and discover new artists, but nothing will ever replace experiencing art in real life. WHAT IS SOMETHING YOU WISH YOU HAD KNOWN SOONER? I wish I had known that I have much more control over my career than I had originally thought. Instead of 'waiting to be discovered' I have gone out and created my own future, and as a result have a much more balanced idea of what success really is. WHAT IS MOTT_PROJECTS ABOUT? Mott Projects started as a way to help promote my friends' work. It turned into a way to meet and promote new artists, interview them, and now finally curate and present real life exhibitions. DOES AN ARTWORK NEED DESCRIPTION? Descriptions and titles work best when they add to the work instead of attempting to turn it into something it is not. WHAT MAKES A BEAUTIFUL SMILE? Sparkling eyes. IS IT IMPORTANT TO BE UNDERSTOOD? It depends on your definition of success. HOW DOES EVERY-DAY LIFE INFLUENCE YOUR WAY OF CREATING? I get a lot of ideas and energy from every-day life. Even if I am not in the studio I am always thinking about new ideas and projects. Sometimes the planning part can be more fun than the actual creating part. A lot of ideas come from hearing snippets of conversations, little turns of phrases that spark an image or idea in my mind. Untitled, 2020 House paint, dry wall, joint compound, and aged street posters 21 x 18 x 8 in 53.3 x 45.7 x 20.3 cm WHAT IS ONE OF YOUR FAVORITE POEMS OR PIECES OF MUSIC? I'm the type of person that will listen to a song non-stop for weeks at a time and borrow the melody to write my own lyrics that I then use for titles of my work. IS IT, THAT YOU AND YOUR ARTWORK ALWAYS HAVE THE SAME OPINION? No. My artwork can be a real asshole at times. WHAT'S A BOUNDARY ART CANNOT PASS? There is no such thing as perfection. A few people have gotten close, but absolute perfection is what happens after we die, so is impossible to recreate or capture. WHICH ARTISTS CHANGED YOUR WAY OF MAKING ART FOREVER? The first time I saw a photograph of Christo and Jeanne Claude' s 'Valley Curtain' I understood that art can be so much more than just a painting on a wall. CAN LANGUAGE BE TRANSLATED? No. A part of it will always be missing. Even if just a feeling. WHAT LIES UNDERNEATH THE SURFACE? Water. Angst. Fear. Fire. IS DECAY SCARY? Decay is beautiful. And wise. IN WHICH RELATIONSHIP YOU WOULD SAY STAND ARCHITECTURE AND THOUGHT? Are we able to build yet the most radical and innovative structures humanly imaginable? VOLVO 240 cement installation (Red Hook) WHAT'S THE REALITY OF TIME? The reality of time is that it moves slow when we are sad and fast when we are happy. WHAT HAPPENS TO A PLACE THAT GETS LEFT BEHIND? When a place gets left behind it becomes forgotten, until it is rediscovered and helps create new memories and joy. DO OBJECTS HAVE THEIR OWN WILL AND LIFE? I think objects know what they are supposed to be and are good at telling me when they have not yet reached their final stage. Contemporary artist and art curator Erik Sommer For inquiries about Erik Sommer's artworks go to the linked website .

WHERE CONTEMPORARY ART MEETS PHILOSOPHY. Coming soon Avant Le Jour: Vincent Beaurin Interview May 26, 2024 'NO FUTURE': Humberto Poblete-Bustamante Interview April 15, 2024 Oblo Gallery Presents: "Go Forward" May 20, 2024 "Interchanging Prototypes": A conversation with Bety Krňanská BETY KRNANSKÁ: INTERCHANGING PROTOTYPES MEETING ÁLVARO LYDIA LEE: RUNNING LIKE WATER ERIK SOMMER: "DECAY IS BEAUTIFUL. AND WISE." EXHIBITION PROJECT Olympia Scarry: "Microwave Sky" Casa Venezia, Venice (IT) 22 April - 24 November 2024 MUSEUM EXHIBITION Wanda Koop: "Qui possède la lune" Musée des beaux-arts, Montreal (CAN) 11 April - 04 August 2024 SOLO EXHIBITION Pauline Guerrier: "Heterotopia" Romero Paprocki, Paris (FR) 04 April - 11 May 2024 Sign up for our mailing list on Oblo Gallery! The gallery's guide to events, zeitgeist and stories. Sign up for free to receive our Oblo Galley newsletter. As well as receiving a regular newsletter you will receive invites to our exclusive Oblo Gallery events, the best shows and much more. SIGN UP NOW Thank you for subscribing!

BY OBLO GALLERY 08 APRIL 2024 Bety Krňanská / Instagram Interchanging Prototypes Bety Krňanská tells on how remembrance of previous misconstrue and the repetition of pattern are linked forces in her work, the irritating absence of sway in a creation, and the concealment an objectification can bring. BY OBLO GALLERY 18 APRIL 2024 ​ Intertwined in a web of modern commentary on female image, so casual as it is derisive, and the feral, unlooked for cosmos a woman learns herself to be as, Bety Krňanská touches upon the threads of a story told by tradition and whisper, of what a woman shall be, all she ever could be, and rips it apart carefully. Beeswax allows separation and the effect of transparency on the canvas, crafting techniques of long gone days strike up memories we had not ready to recall as anew. Working and living in both Athens and Prague, Bety lifts surrounding structure and societal proposition through the method of technological and manual modification upon to a creation of artworks that can show prototypes interchanging between what the eye was told to see, and what sets it free to watch unfold some boundless. ​ Bety Krňanská / Instagram In her interview with Oblo Gallery Magazine the artist considers her ways of creating, the cataclysmic translation of an objection to the abstract image and the role that tradition plays within a digitalized public. VIEW ALL WORKS Bety Krňanská showing her works BY OBLO GALLERY ONLINE ​ What does fragmentation do to an image that was tamed to be showing a mere trophy? The pictures I have been using in my recent paintings were found and downloaded from the online database. Pictures, once taken by real photographers, showing real persons, that are uploaded to the cloud impossible to reach and manipulate again. Girls who once were photographed on these pictures are in the online drawer under the label "sexy girls, posing next to the luxury cars". The physical fragmentation of the once found and printed picture, deconstructing, cutting them into pieces and putting them back together in a different order by sticking, creates the whole picture into abstract composition, showing parts of the bodies, materials, organically and artificially blending them together into one. The women who once in the online database lost their identity are getting anonymity through the painting. "Follow" by Bety Krňanská beeswax, patchwork, dyes, pigment inks, sublimation dyes, glossy anti UV varnish, 2023 150 x 200 cm from the series Unexpected Encounters REQUEST NOW Is tradition surprise’s worst enemy? ​ Traditions can be surprising in a way, how we are looking at them with fresh eyes. The context of the society is constantly changing but if we look back, we can get inspired in many ways. We can either deny the context in which the things were put or add the contemporary ideas on the past. Also some things from the past, for example those which were closely rooted to the nature and natural cycles, can be inspiration in todays world. In my work specifically, the tradition is something I was observing through my whole life, and as an idea which would make no sense in todays society. Crocheting and patch-working as a domain of woman, who were mostly staying home, taking care of others and the house itself, and also valued through their manual skills. Me personally, I value the traditional manual work, in the context of machine production, of easily reproductive things. Prototyping is for me a fundamental part of the process of materializing an idea. ​ What goes into your process of choosing material and color? ​ My sources of inspiration when it comes to selecting materials are mainly tradition, natural elements and technologically manufactured elements. I am selecting materials which are associated with tradition, such as crochets, patchwork and textiles. I also use natural materials such as beeswax, that allow me to keep the watercolors separated from the wax reserve and also gives the transparent effect to the canvas, so the painting is working both sides. The wax batik technique is traditionally used for depicting design and patterns on fabrics and I find the juxtaposition of this technique and the contemporary digital printing technique interesting that I also use in my works. Bety Krňanská / Instagram Does a prototype ever show up in its representation? ​ Prototyping is for me a fundamental part of the process of materializing an idea. Of course afterwards the idea develops further, expands and sometimes the initial prototype might be significantly changed. However, somehow it always remains as the supporting basis of the entire artistic journey. ​ ​ Is motherhood much alike creation of art? ​ Like when you make art, when you bring a child into this world, you have some ideas and preoccupations but your creation has a life of its own and develops in ways you wouldn’t expect and I find this as one of the most interesting elements of creation. "Take a good look" by Bety Krňanská patchwork, dye, digital print, rust dye, beeswax on canvas, 2022 28 x 35 cm from the series Too Hot to Think REQUEST NOW "Laid back" by Bety Krňanská beeswax, inks, pigments, patchwork, digital print, crochet doily, cotton canvas, anti UV varnish, aluminum custom frame, 2023 60 x 95 cm from the series Unexpected Encounters REQUEST NOW Experimenting with old crafting techniques, what realm it makes you tap into? ​ The realm of tradition aims to bring to peoples' mind the association of textile crafting techniques with the stereotypical female roles of the past, and the way that these concepts evolve through fashion and digital media in our era. ​ ​ ​ Are remembrance and repetition two different forces? ​ I think these two forces are linked and coexist. Remembrance and knowledge of previously made mistakes is what sets the basis of avoiding them in the future. In my work, I believe that this concept of repetition shows up through my patterns . ​ ​ Through the vail of trivial objection to submission, what is a women? The initial objection to submission is necessary but it's not all about that. Women in order to be complete and independent need to develop a deep understanding of themselves and their needs and this requires time and it is not always linked to our relationships and the reaction to the acts of others. After objecting the submission to something that hurts us, a much more difficult and longer journey starts, that of knowing yourself. After objecting the submission to something that hurts us, a much more difficult and longer journey starts, that of knowing yourself. "Nothing without intention" by Bety Krňanská beeswax, marbling, inks, pigments, patchwork, digital print, crochet doily, cotton canvas, anti UV varnish, 2023 50 x 60 cm from the series Unexpected Encounters REQUEST NOW Is the medium part of the matter? ​ For me the use of various mediums is the basis of supporting my ideas and narratives. Sometimes it is just a visual attraction toward a certain medium that can resonate with current mood and happens spontaneously. Other times I select my mediums through research and more extensive thought process. ​ ​ What remains a fount of inspiration to you wherever you go? ​ I draw inspiration from everyday life in cities I have lived or visited. Unique elements of design or architecture exists in every city and although they are perceived as mundane from the locals, it can be great inspiration for me as a visitor. These unique elements always find a place in my work somehow, while I am spending time in different parts of the world. For example the metal work patterns I have seen in architecture in Athens; this repeated following of a part pattern creates a symbolic shield/barrier ‘'protecting'' the fragile female images in my work. Bety Krňanská / Instagram Also what is made by hands, is unique, with its imperfections, asymmetry and that makes it human. Is sensitivity a dangerous thing? ​ Sensitivity can be overwhelming, but for me it is a necessary element for creation. Although it might appear as dangerous it can be cultivated as a source of strength both artistic, and in our lives. ​ What’s more profound when said by the hands? ​ I see hands as a medium for communication, which can be as powerful as words. Hands can express emotions, statements. Also what is made by hands, is unique, with its imperfections, asymmetry and that makes it human. Bety Krňanská / Instagram Would your artworks ever been read in a wrong way? ​ I don't believe in a wrong or right way reading art, but if the images in work are perceived in different ways, it also depends on the viewers life experience. ​ If the images are considered reproducing stereotypical views than I guess this is far from the ideas which I put in my work. ​ Is technology the knack of arranging the world so we don’t have to experience it? ​ It definitely is. It is a way to arrange our realities, and to manipulate the way we are thinking and processing the world. As humans we have senses which we can also strengthen or numb, and technology is exactly doing that, focusing our attention more on visual and hearing stimulation. However we need to remain conscious about this effect of technology on our senses and also focus on developing the rest of our sensing for example from experiencing nature which we are inseparable part of. All rights of image are reserved to the artist Bety Krňanská herself. ​ Artworks by Bety Krňanská available on oblogallery.com you find here . ​ More From Oblo Gallery Magazine Meeting Ál Varo: As the Luanda born artist talks creation, a spirit truly lifted comes to the fore Running like water: Lydia Lee reflects upon her goal in expression, the power of presence and rare beauty in the ever-changing Subscrive To The Oblo Gallery Newsletter "Decay is beautiful. And wise.": NYC contemporary artist and art curator Erik Sommer dedicating his artistic powers to the catch and recreation of expiry, decay and decline ​ ​ Bety Krňanská Buy Art Online Sign up for our mailing list on Oblo Gallery! The art gallery's guide to events, trends and stories. Sign up for free to receive our Oblo Galley newsletter. As well as receiving a regular newsletter you will receive invites to our exclusive Oblo Gallery events, the best art deals and much more. SIGN UP NOW Thank you for subscribing!

Bety Krňanská "Follow" Bety Krnanska (b. 1992) is an artist based in Prague. Working with painting and installation, she brings together contemporary and traditional materials, experimenting with old crafting techniques and using them within new contexts. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 59 inches x 78 inches 150 x 200 cm Medium beeswax, patchwork, dyes, pigment inks, sublimation dyes, glossy anti UV varnish Finishing signed on back by the artist, certificate of authenticity included Year 2023 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Expect nothing" Bety Krňanská "Laid back" Bety Krňanská "Nothing without intention" Bety Krňanská "Pop out" Bety Krňanská "Mirror" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Less is less" Bety Krňanská "Twirl" Bety Krňanská "Untitled" (2)

Article Achieve INTERVIEW Meeting Álvaro BY GIULIA ENGLER 10 March 2023 ARTIST'S VIEWPOINT Lydia Lee: Running like water BY OBLO GALLERY 10 March 2023 INTERVIEW WITH ERIK SOMMER "Decay is beautiful. And wise." BY OBLO GALLERY 22 May 2022 SOLO EXPOSITION "Bajo la luz de Sorolla" BY OBLO GALLERY 13 April - 26 May 2023 SKETCHBOOK "bla bla bla, come to the point" BY OBLO GALLERY 08 May 2023 Sign up for our mailing list on Oblo Gallery! The art gallery's guide to events, trends and stories. SIGN UP NOW

"Show me the garden that's bursting into life" Lydia Lee / art.rtistiq Running like water It seems a symphony unfolding poured into oil paint looking at Lydia Lee's artworks... On our interview t he Seoul based artist reflects upon her goal in expression, the power of presence and rare beauty in the ever-changing. WRITTEN BY OBLO GALLERY . PUBLISH ED: MAR 10 , 2023 Time like water seem to be of fluid quality. Can be running fast, or frozen down. Both evaporate into transparence, change into different states, the latter unrecognizable from the prior. Impossible to hold on to one moment of time or a drop of water preserved and unspoilt. Flowing it encounters all kinds of marvelous life - beholds it and runs further - barely it takes possession, but saves it in the soul. Unknowing we make part of it already and cannot be without. Yet a will arises to hold against this current, and to stand ground - even if it's just for short. Lydia Lee possesses an unlike power to break this incessant stream of life whilst portraying it onto the canvas. WIP Lydia Lee / Instagram In the following Lydia Lee presents us with a fresh perspective on her artistic craft, the impact on creating that surroundings do have and discusses the pursuit of freedom in her work. Studio Insights Lydia Lee / Instagram "I think there is a unified flow that moves t he whole picture and the operability of various forces when looking into it. Great chords, fast strokes " HOW DO YOU BEGIN YOUR PROCESS OF CREATING WHEN YOU START SOMETHING NEW? I listen to a lot of music that makes me ecstatic and challenges me, and I do what I want to do without regrets. USING OIL PAINT, WHAT ARE POSSIBILITIES AND CHALLENGES TO THIS TECHNIQUE? The density and texture of oil paintings give me the sense of reality I want. I haven't found a limit yet. If I had to find it, I would like it to dry a little faster. CAN EXPRESSIONS EVER BE CONTROLLED? I do not know. When I draw, I make unexpected gestures other than what I thought. HOW DID YOU CHANGE AS AN ARTIST OVER TIME? As more and more people look at my paintings, my attitude towards the screen seems to have become more serious. "I am nothing" Lydia Lee / Saatchi Art DOES THE PLACE YOU LIVE IN AFFECT YOUR STYLE OF ART? ​ The place... sometimes it's really important and sometimes it's not. The location of Seoul was not such a attractive place for me from the beginning. However, imagining through media and booklets is also a solution. CAN THERE EVER BE REGRET IN CREATION? Of course. It is another event where the combination of my choices i s visualized. "The happy memory" Lydia Lee / Saatchi Art "There is a saying by Thales that once soaked in the water, it never comes back. I see change in itself." HOW DO YOU KNOW WHEN A PAINTING IS FINISHED? IS IT A DECISION OR MORE OF A KNOWLEDGE? Nothing ends. There is only recognition. Respect myself for every movement in the moment I drew it, and acknowledge it. ​ ​ ​ WHAT IS THE BEAUTY OF THE EVER-CHANGING? There is a saying by Thales that once soaked in water, it never comes back. I s ee change in itself. Lydia Lee / Instag ram HOW MUCH TIME IS A MOMENT? It can't be the same every moment. Normally once I hold a brush, I will spend three hours with the canvas screen. It is also essential to take a break in the middle. The bigger the screen, the harder and longer the focus to direct the whole thing. CAN ART BE PERCEIVED IN A WRONG WAY? Yes, of course. In my case, most of the symptoms are caused by lack of patience. Anyway, there are things that lead the screen by imagining and drawing continuously. However, if I run out of energy or my desire to paint weakens depending on my personal condition, I will inevitably go down an unwanted path. WHAT ARE SURROUNDINGS THAT INFLUENCE YOUR CREATIVE POWER? It is a very harmonious, elegant yet magnificent scenery, people and architecture. If it's a big city that comes together, it's very exciting. Any space where I can witness or experience modern change is great. Occasionally, a unique character from a novel or movie is also a good influence. And the feeling of being in love has a good effect, especially in a relationship with an erotic person. WHAT MAKES A GOOD PIECE OF ART? The goal you want to express should be clear. Beautiful colors require a continuous change of thinking along with a clear imagination through color. The mind is insanely busy, and the hands move frenetically to keep up with the thoughts. All materials must be in a place where the eye can observe so they can be quickly transferred to the screen. What kind of flow will I create? What place will I draw? And how would I describe the light? "Paradise" Lydia Lee / art.rtistiq "The charm of abstract painting is that the formative relationship between shape and color can give viewers meaning. I want to be seen as something completely different." CAN DEPTH BE SEEN ON THE SURFACE? Depth for the screen also works as part of the canvas cloth. Consider the various colors drawn on the surface, the direction of brush strokes, and the material. And above all, the oil painting material gives a sense of depth for each color. Different brands of the same blue are considered shallow and deep seas. And the depth of the screen determinate the overall flow of light in the picture. In my paintings there is a clear between light and what is experienced in the three-dimensional world we live in. For example, what I experience when I see a material that reflects the dazzling sunlight is reflected in the beauty of specific parts on the screen. I am always moved by the fact that all of this can perceive a different sense of space through light. WHAT IS A POEM OR A PIECE OF MUSIC THAT IS A SOURCE OF INSPIRATION TO YOU? Such a medium makes me a completely different person. There I find a sense of immeasurable freedom and a state of being able to work. Instead of seeing things as they really are, they come into a relationship with me, making them completely different entities, and they even omitted and transformed. I'm mainly interested in connecting them from some sort of inner journey. ARE SPACES AN EXPANSION OF OURSELVES? Sure! I'm sure I will never see the world for myself. That's why there are some collectors or just viewers who appreciate my paintings. For example, it is said that we live in a three-dimensional space, and we sense light, color, and movement in it. The sensations we receive meet each of our sorrows, fears, joys, loneliness, and boredom to create new perceptions, which I focus on. The charm of abstract painting is that the formative relationship between shape and color can give viewers meaning. I want to be seen as something completely different. ​ THE DEFINITION OF A GOOD DAY? It's a perfect day if I know exactly what I'm thinking, the direction I'm going to go ahead and am overflowing with ideas that even concrete designs are build. Lydia Lee/ Instagram HOW IMPORTANT IS STABILITY IN AN ARTIST'S PROFESSIONAL LIFE? It seems to be important where stability is needed. Of course, it would be nice if the food problem could be solved. However, there have been many times where I thought to myself that this was not the wright answer. Abundance leads not necessarily to good results. As long as the direction is clear to go is clear and firm, I don't care too much about anything other than financial stability. WHAT LIES BEYOND TIME AND SPACE? Well, I don't know either. Why are there so many scientists, philosophers and artists? Because there is something unknown that no one knows, we stutter and fight until we die in the artificially created numbers of time and space, and it seems that we have only a moment's pleasure. OF ALL YOUR GREAT ACHIEVEMENTS AS AN ARTIST, WHAT ARE YOU MOST PROUD OF? I think there is a unified flow that moves the whole picture and the operability of various forces when looking into it. Great chords, fast strokes STUDIO INSIGHTS ​ÁlVaro Working Progress DO YOU HAVE A FAVORITE COLOR? Nothing special. At that time, my favorite color changed. Lydia Lee in the studio WHAT DOES FREEDOM MEAN TO YOU AS AN ARTIST? I am most free when the relationship between my blood and heart is smooth and there is moderate tension. To be honest, there are many times when I only draw pictures like this. It is no exaggeration to say that the rest of the time is almost in a state of obsessive compulsive disorder. There seems to be some nervousness and sensitivity lurking there. When I leave the studio behind I brush, I fall into a position of committing a crime and running away. I have this kind of experience all the time, so I don't have a lot of free time. I don't have a single moment where I'm completely out of my work. ​ I do not know. A long time ago, when I was in high school, when I went on a trip to the Western United States with my family for the first time and saw Mother Nature unfolding before my eyes, I forgot about myself for a while and was completely obsessed with it. I have never experienced such an experience since then, and whenever I draw, I see that place as my utopia. ​ For inquiries about Lydia Lee's artworks go to the linked website .

ÁlVaro Tavarez D’Guilherme / Instagram Meeting Ál Varo As L uanda born artist ÁlVaro Tavares D'Guilherme talkes the brutalism of creation and the grinding struggles of making a vision come to life, a spirit truly lifted comes to the fore. WRITTEN BY GIULIA ENGLER . PUBLISH ED: MAR 10 , 2023 " Sê plural como o universo" is said by the Portuguese poet Fernando Pessoa . And thus he defies the modern urge to break down the human figure into the t rivialization of definement. His radical-changing yet decisively curated Instagram feed speaks to a corresponding reciprocity in thought: ÁlVaro isn't to be brought down to the letter. Currently based in Berlin and New York, "magical city" he states, the objective to creation he pursuits is the fervent instant conversing concrete reality, embodied on the canvas. A firm will of resistance to ready-made narrative looks back at the viewer from ÁlVaro's artworks; a raw poetry. ÁlVaro Tavarez D’Guilherme / Instagram O n our interview the artist reflects upon his process of creating, the doing of outer influence and the significance of the spectator's perception. "Pro Era". ÁlVaro Tavarez D’Guilherme / Instagram "no limits, there will never be. Free to add to the culture." WHERE ARE YOU TO FIND INSIDE YOUR ARTWORKS? Everywhere, when I'm in control of it, sometimes they find me. WHAT IS A SOURCE YOUR POWER OF IMAGINATION IS COMING FROM? E verything mostly from life. Berlin, Paris or NYC streets have a lot of influence on it,books and mythology,. i also must admit spending hours in a museum. WERE YOU TAUGHT HOW PAINT OR DID YOU LEARN IT ALL BY YOURSELF? well, I do know how to capture things, I'm interested in representation of a form or figure or mask references. ​ I've passed 8 years of my childhood in Luanda, during the civil war. At times drawing in the sand or making handmade “lodo” toys, was my time well spent and that kept me happy. When my parents sent me to Europe I realized that what I was doing was art! Then I developed it and still do. ​ As a teenager,I dropped out of my art school and self educate from there. I was 17, then I made tattoos and t-shirts for extras. Took me to do more and more paintings, works that I wouldn't show to anyone at that time. "Mawashi" ÁlVaro Tavarez D’Guilherme / Instagram ÁlVaro Tavarez D’Guilherme / Instagram ​ presence, sorf of violence...at the end of day the work talks by itself. The subject is already in the action of making it, and the performance o f creating also can be defined and funded. HOW DOES YOUR ART SPEAK? WHAT DOES IT VOICE SOUND LIKE ? IS IT IMPORTANT TO BE UNDERSTOOD? big part it's intentional to be understood, other times a presence turns into the privilege j ust to be observed. "Flying Heads" ÁlVaro Tavarez D’Guilherme / Instagram "a piece can decide by itself if it's ready or not, it will deal with inner voices guiding you a hundred ways, but a work never ends." DO YOU REMEMBER THE FIRST TIME YOU KNEW YOU COULD ONLY EXPRESS IT THROUGH ART AND GOT THE COURAGE TO DO IT? I always knew, as a teenager. I spent a lot of time alone. It took me to draw massively at the bus,class,library, whereever I could. My drawing Teacher at highschool once told me that if i really wanted i could make it and somehow that woke me up and added to my confidence to express. ​ There were moments I doubted but I was so assertive about it, that responsibility led me to encourage the process also to accept myself. It sounded like an impossible mission, the truth is if I'm not painting or working in my practice I do not feel alive and I get really moody,so there's always “ to be or be”. "Mundo de grandes sonhos Num teatro pequeno" ÁlVaro Tavarez D’Guilherme / Instagram WHAT ARE OTHER ARTISTS THAT INFLUENCED YOUR WAY OF CREATING? curiosity I've been drawing before I got connected to some certain influence,cartoons definitely had a big role, i felt my experience was the influence and for some reasons, i pumped into other artists and it was all organic from that point. ​ Robert Nava is someone I've met in NY shortly, whom I estimate the path as the bodywork language. An eclectic thing. HOW YOU MAKE YOUR DECISIONS IN AN ARTWORK? IN THE PROCESS, HOW DO YOU KNOW THAT SOMETHING IS RIGHT OR WRONG FOR THE PAINTING? it's all in the process,for me. ​ A piece can decide by itself if it's ready or not, it will deal with inner voices guiding you to a hundred ways, but a work never ends.Sometimes you work 3 months and it looks finished and suddenly there ́s one day you're back to the studio and paint over it, I respect the process and timing of making it. ​ When I know it's finished it's a victory day and I can enjoy a glass of wine.(what is rare) FOR AN ARTIST, IS IT A GOOD THING TO FEEL SAFE AND SECURED, OR IS IT DAMAGING THE ART? Well that's a good question, yet I do not know what it means. I do agree that with better conditions and material the chance to have more possibilities and mediums are unique and great. Comfort zone it's something that I haven't tried yet, if so I'll let you know. WHAT ARE LABELS GOOD FOR? It gives a better idea of the possibilities to where things can or not belong. "Love to Shi" ÁlVaro Tavarez D’Guilherme / Instagram "Be healthy , purchase your dreams. And work hard." IS IT, THAT YOU AND YOUR ARTWORK ALWAYS HAVE THE SAME OPINION? Yes, we do. It's important to know that the work reflects an emotion. WHAT IS AN OVERRATED STANDARD IN SOCIETY? I guess Privilege,depending on how you use them. A POEM OR PLAYLIST YOU LOVE? Lately I've been listening to Sun RÁ and jazz, and rap. ​ Poetry:Ode Triunfal & desassossego by Fernando Pessoa . HOW IMPORTANT IS THE APPROVAL OF OTHERS IN THE ARTIST'S WORK? It's always good to exchange opinions with other artists and speak about things, you see, it helps to bring new ideas and create different methods to add things together. ​ I do not agree that validation it's something that an artist wants/needs but yet, to belong to the artistic environment, it keeps the flow and learning. ÁlVaro Tavarez D’Guilherme / Instagram WHEN DID YOU DECIDE FOR YOURSELF TO BECOME AN ARTIST? My High School was in a small village in Lisbon. I was 16 years old in drawing class. I asked to leave in the middle of it as I couldn't sit and make the best drawing to please my teacher as the rest of the class did for her requirement. Consequently I went to the library and read the newspaper. At that moment I realized that I wanted to make an artist career so from that moment I did. WHAT'S THE BEST PIECE OF ADVISE THAT SOMEONE EVER GAVE TO YOU? must be said from my parents definitely. Be healthy ,Purchase your dreams and work hard. ARE THERE LIMITS TO ART? no limits,there will never be. Free to add to the culture. STUDIO INSIGHTS ​ÁlVaro Working Progress ÁlVaro Tavarez D’Guilherme / Instagram For inquiries about ÁlVaro Tavares D'Guilherme's artworks go to the linked website .

Ben Lenovitz BigBaby Head Ben Lenovitz (b. 1991) is a painter, illustrator, sculptor and designer from New York City. His sensibility is shaped by his fondness for the absurdities of everyday life and the imagination, the creatures and critters of urban environments and beyond, and the unabashed freedom of children’s art. € 450 Unique work Request now Edition details Dimensions 28 inches x 22 inches framed: 30 inches x 24 inches Medium spray paint on paper Finishing signed on front Release date XXX XX, 2024 Artist Ben Lenovitz 5 collaborations Other collaborations with this artist

Bety Krňanská "Untitled" (2) Bety Krnanska (b. 1992) is an artist based in Prague. Her personal vision is shaped through the lens of maternity and feminine sensitivity and is informed by her experience as a young mother and artist. In 2019 she was a finalist of the Czech Art Critique Prize for Young Painters.. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 19,68 inches x 27,56 inches 50 x 70 cm Medium pigments, inks, beeswax, painting in the custom rattan frame Finishing signed on back by the artist, certificate of authenticity included Year 2022 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Expect nothing" Bety Krňanská "Laid back" Bety Krňanská "Nothing without intention" Bety Krňanská "Pop out" Bety Krňanská "Mirror" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Less is less" Bety Krňanská "Follow" Bety Krňanská "Twirl"