Lion by Galit Cohen

Galit Cohen's "Lion" captures raw strength and majesty, channeling a profound connection to nature’s spirit. This vibrant oil on canvas, measuring 35x35 inches, merges bold brushstrokes with emotive colors, exuding power, courage, and an untamed soul. As an Israeli artist, Galit, a mother of four, discovered her passion for art at 40. Inspired by life’s vivid tapestry, she brings portraits and animals to life, each stroke a celebration of beauty and emotion.

The lion's face, painted with precision yet softened through an impressionistic lens, draws the viewer in with its piercing gaze. There is a thoughtful, almost melancholic quality in the eyes, as though the animal is contemplating its role as a symbol of majesty and power. Galit's unique approach to portraying the lion blends realism with abstraction. While the basic structure of the lion’s face is carefully articulated, swirls of color—ranging from vivid oranges and reds to cool blues and purples—cascade across its mane, suggesting movement, life, and energy that extend beyond the canvas.

The contrast between the dark background and the luminous colors of the mane creates a dynamic interplay, emphasizing the lion's power and the vitality of its presence. The texture and visible brushstrokes add depth, giving a sense of raw energy and an untamed spirit that refuses to be contained.

Galit Cohen’s choice of color palette plays an important role in conveying emotion. The warm hues evoke a sense of warmth and strength, while the cooler tones hint at a deeper, perhaps more vulnerable aspect of this majestic creature. This juxtaposition offers a profound statement on the duality of power and fragility inherent in life.

The painting's background remains abstract, almost dissolving into the lion’s form, creating a sense of timelessness and universality. It allows viewers to project their interpretations onto the work, making "Lion" not only a portrait of a magnificent animal but a mirror reflecting the complexity of strength, resilience, and vulnerability found within us all.

In sum, "Lion" by Galit Cohen is more than a depiction of an animal—it is a celebration of life’s vibrant energy and an invitation to connect with the powerful yet tender aspects of our own existence. It stands as a testament to Galit’s ability to blend skill, emotion, and creative expression into a single, breathtaking work of art.

Meet Cher Pruys

Art Talk Series: Conversations with Creative Minds

We’re thrilled to share an exclusive interview with the incredibly talented @cherpruys! From navigating the challenges of being self-taught to drawing inspiration from diverse locations around the globe, Cher’s journey is as captivating as her art. 🌍✨⁠

Cher Pruys, an esteemed artist born in Regina and now based in Devlin, is renowned for her expressive art. With a background in drawing from a young age, she transitioned to painting at 35, mastering acrylic, watercolor, and gouache. Despite being self-taught, Cher has earned 868 awards from 550 international exhibits. Her accolades include the Mary Pratt Crystal Award of Excellence, Biafarin/SCA Award of Excellence, and multiple gold and silver medals.

Down on the Corner

As a self-taught artist, you've achieved remarkable success. What challenges did you face on your self-taught journey, and what advice would you give to aspiring artists who are also self-taught?

Being a self-taught artist has certainly had its challenges! I have been very self-disciplined with drive, determination, time management and problem solving. I spent countless hours sketching from life, and studying anatomy which came easy as I spent several years as a bodybuilder and exercise instructor. I also dove into books on composition, color theory, perspective, value, tone and light and shadows!

Catching snowflakes

Understanding these subjects is essential to creating a successful piece of art. The advantage of being self-taught rather than having had a formal education in art for me I feel has been that I feel free to follow my passion and am not constricted by the many rules that one has imposed on them in a structured program.

Entranced

Rules are made to be broken, and one needs to leave their comfort zone to grow. I am open to constructive criticism and am always looking to learn, and to strive to get better. For any aspiring self-taught artists, if you follow these guidelines, I know you will find success.

❝Rules are make to be broken, and one needs to leave their comfort zone to grow.❞

Crushed

You work with acrylic, watercolor, and gouache. What do you find most appealing about each medium, and how do you decide which one to use for a particular piece?

Water based medium is my calling card! Acrylics provide me with that shiny finish so desirable when painting reflections, water, metal and glass as well as an ability of application, thick and textured on canvas, rock or board, or thin in layers on my favourite choice 300LB Hot Press a surface that boasts capacity for the finest details.

Watercolour I find is great for building skin tones with its beautiful transparency, and gouache being so opaque and creamy provides a matte finish. Thus, I quite often mix the three mediums when working on a particular piece that calls for several different effects.

Bubble Gum Wishes

What messages or emotions do you hope to communicate through your artwork? How do you ensure these are effectively expressed in your pieces?

I strive to give eternal life to the fleeting moments I choose to portray in my work. I wish to help my audience find the true meaning of life in the small, simple everyday things we all experience. Positivity in general is such a strong, moving attitude that we can all benefit from as we pass through the days of our lives. Kindness, understanding and sometimes just simple fun provided by way of brush are my way of uplifting someone’s day. Portraying the expression on the woman from the Congo’s face in “In Retrospect”, was both a joy and a cause for some serious thought of my past and my future....

Trouble

How has Biafarin helped you gain visibility and recognition for your work? Can you share any specific opportunities or experiences that came about through your association with Biafarin?

Biafarin has been and continues to be an indispensable platform for me, providing exposure, visibility, recognition, connection with a wide audience and a chance to escape the common isolation artists quite often experience with participation in group exhibitions with my peers. The solo shows I have had with Biafarin have provided such a wonderful opportunity to connect with new admirers and collectors of my work.

Prayer - The Symbol of Hope by Vasile Ștefănoiu

 "Prayer - The Symbol of Hope" by Vasile Ștefănoiu is a remarkable sculpture that combines stone carving with an evocative portrayal of human vulnerability and spiritual resilience. Created in 2020, this piece captures the essence of hope and introspection, depicting a kneeling figure in deep contemplation or prayer. The sculpture's dimensions, with a height of 40 cm, create a powerful, grounded presence while maintaining an elegant balance between simplicity and profound expression.

Sculptural Form and Composition 

The sculpture centers on a minimalist human form, stripped of intricate details to evoke a sense of universality. By focusing on the broad gestures of a bent body, Ștefănoiu invites viewers to project their own emotions, experiences, and reflections onto the piece. The figure’s bowed posture, with its head inclined in reverence or reflection, speaks to a deeply human yearning for hope, connection, and solace. The choice of carving the figure from stone further enhances this symbolism, suggesting resilience, endurance, and the timeless nature of hope even in challenging times.

The organic, flowing curves of the figure create a striking contrast with the raw, textured wooden base on which it rests. This interplay between polished stone and the natural grain of the wood introduces a dialogue between the permanence of human spirit (represented by the stone) and the grounding connection to nature and life’s cycles (symbolized by the wood). The juxtaposition elevates the piece, making it both visually compelling and metaphorically rich.

Symbolic Interpretation and Emotional Impact 

"Prayer" resonates as a powerful symbol of hope in the face of adversity. The sculptural form’s simplicity underscores the universality of human struggle, faith, and resilience. By eschewing overt facial details and specific cultural markers, Ștefănoiu succeeds in creating a piece that transcends boundaries and appeals to a broad audience. It reflects a shared human experience, where moments of prayer, introspection, or seeking hope become a common language.

The weight and solidity of the stone suggest a sense of permanence, while the gentle curves and softened features impart a feeling of tenderness and fragility. Together, these elements evoke a paradox of strength through vulnerability—a sentiment that resonates deeply in times of uncertainty.

Artistic Technique and Materiality 

Ștefănoiu’s skill as a sculptor is evident in his mastery of form, material, and balance. Carving stone is a demanding medium, and here, it is transformed into a vessel for powerful expression. The smooth, tactile surface of the figure contrasts beautifully with the more rugged, organic base, creating a harmonious blend of human craftsmanship and nature’s raw beauty. The attention to proportion and weight distribution allows the sculpture to convey grace despite its material heft.

The careful selection of materials—stone for the figure and wood for the base—adds layers of meaning, reflecting a balance between permanence and change, human aspiration and earthly grounding. The wooden base’s natural imperfections and textures bring warmth to the piece, reminding viewers of the organic roots from which hope and prayer often arise.

Conclusion 

"Prayer - The Symbol of Hope" is a deeply moving work that combines skillful craftsmanship with profound emotional and symbolic depth. Vasile Ștefănoiu has created a piece that stands as both a personal testament to resilience and a universal call for hope and reflection. Its timeless message, conveyed through elegant simplicity and thoughtful material choice, ensures that it will continue to inspire and engage audiences. The sculpture invites viewers to pause, reflect, and reconnect with their own moments of prayer, hope, and humanity.

Space and Surface by Sarah Gerard

Sarah Gerard’s "Space and Surface" is a captivating mixed media artwork that masterfully blends acrylic and paper on a 16 by 20-inch canvas. Created in 2021, this vibrant and texturally rich piece offers a compelling exploration of color, form, and movement. It exemplifies Gerard’s deep understanding of compositional balance and her ability to engage viewers with dynamic visual storytelling, earning it a distinguished place in the Biafarin Awards 2024 exhibition.

Composition and Layout 

The composition of "Space and Surface" is a visually arresting symphony of geometric shapes and intersecting lines, each strategically placed to create both harmony and tension. Gerard employs a wide range of colors—from bold reds and oranges to soothing blues and greens—layered in such a way that the viewer’s eye is constantly drawn across the canvas. Squares, lines, and circular motifs blend together, inviting deeper reflection on the nature of movement and spatial relationships.

Technique and Artistic Elements 

Gerard’s mixed media approach is particularly noteworthy for its innovative use of texture and depth. The combination of acrylic paint and paper lends the work a tactile quality that engages more than just the sense of sight. Each layer is meticulously applied, creating a rich interplay between opaque and translucent areas. The textured surfaces juxtapose flat, vibrant colors against intricate patterns and stenciled designs, creating a mosaic-like effect that is both complex and inviting.

The brushwork and layering techniques reveal a sense of control and spontaneity, reflecting Gerard’s expertise in balancing chaos with order. The circular and linear elements suggest a rhythmic flow, while the juxtaposition of matte and metallic finishes adds a unique dimension of light reflection and absorption. This intricate layering contributes to the overall sensory experience of the piece, allowing the artwork to change subtly depending on the viewing angle and light conditions.

Emotional and Conceptual Impact 

"Space and Surface" invites viewers to ponder the interplay between structured design and organic spontaneity. The work’s title itself hints at Gerard’s interest in exploring physical boundaries and their dissolution. Through the use of geometric patterns and repeated shapes, she challenges the viewer to consider how space is defined, navigated, and ultimately transcended.

This artwork evokes a sense of curiosity and invites introspection. The contrasting shapes and textures can be interpreted as reflections of human experiences—order and chaos, rigidity and fluidity, boundaries and freedom. The bold colors exude energy, while the more subdued hues and intricate details provide moments of quiet contemplation. It is this balance of opposites that gives "Space and Surface" its emotional resonance, making it both captivating and thought-provoking.

Interpretation and Artistic Vision 

Gerard’s work speaks to a contemporary sensibility, reflecting on themes of perception, boundaries, and connection. The structured shapes juxtaposed with free-flowing lines create a sense of movement and dynamism, suggesting a world where patterns emerge and dissolve. The use of contrasting forms may also symbolize the push and pull of different forces in life—be they societal, emotional, or natural.

Conclusion 

"Space and Surface" is an extraordinary example of how mixed media can transcend traditional boundaries to create something deeply engaging and visually stimulating. Gerard’s thoughtful use of shape, texture, and color invites viewers into a complex visual dance that celebrates both the tangible and intangible aspects of art. Her ability to evoke emotions, provoke thought, and create aesthetic pleasure ensures this work’s lasting impact in the Biafarin Awards 2024 exhibition. It is a celebration of the rich possibilities inherent in exploring the boundaries of space, texture, and color, all masterfully united in this compelling work.

Art Talk: Jeweliyana Reece

 Step into the world of Jeweliyana Reece @infusedartwork, a featured artist in our Gardenia 2024 exhibition! 🎨✨ ⁠

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In this video, she opens up about her artistic journey to her current exploration of acrylics, glass fusing, and digital patterns.⁠

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Jeweliyana’s artwork is a beautiful fusion of color, texture, and whimsy, blending various mediums to create pieces that are both vibrant and deeply expressive. Nature’s beauty and a splash of color inspire her, and her work is all about uplifting spirits and connecting with others.⁠
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For Jeweliyana, art isn’t just a hobby; it’s a way to nurture the soul and spread positivity. As she puts it, “Art is meant to nurture the soul whether you’re making it or viewing it.” Her passion for making a difference through her creations shines through every piece.⁠
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Discover Jeweliyana’s incredible work and the full Gardenia 2024 exhibition through the link in our bio. Don’t miss this chance to experience her unique vision and the vibrant world of art she’s crafted! 🌼🖼️⁠

A Place of Peace by Crystal Valladares

Crystal Valladares’ watercolor painting, "A Place of Peace," invites viewers on a serene journey through an intimate landscape imbued with tranquility and reflective beauty. This captivating piece has rightly earned its place in the Biafarin Awards 2024 exhibition, standing as a testament to the artist’s mastery of the medium and her ability to evoke an emotional connection.

Composition and Subject Matter 

"A Place of Peace" centers on a calm waterway surrounded by lush greenery, with light gently piercing through the forest canopy. The composition is skillfully arranged to guide the viewer's eye toward the serene horizon. The fading light in the background suggests a moment of quiet contemplation, a place where nature and peace coexist harmoniously. The contrast between the shaded foreground and the glowing, ethereal light in the distance creates a sense of depth and invites viewers to reflect on their own moments of stillness.

Technique and Execution 

Valladares’ use of watercolor is both delicate and confident, demonstrating a refined understanding of how to balance transparency and opacity. The fluidity of the paint captures the essence of flowing water, reflecting soft hues and subtle ripples. Her choice of colors, ranging from earthy greens to subtle blues and gentle browns, lends a sense of realism and intimacy to the scene. The layering of pigment is particularly commendable, as it creates a textured interplay of light and shadow among the trees and water surface.

The controlled washes and fine brushwork reveal a meticulous attention to detail while maintaining a natural and spontaneous feel. Valladares has managed to capture the ephemeral quality of light and the quiet rhythm of nature, making the painting not only visually pleasing but deeply evocative.

Emotional Impact 

"A Place of Peace" is more than a landscape; it is a meditative space that resonates with those yearning for a reprieve from life’s chaos. Valladares has succeeded in creating an atmosphere of calm, encouraging viewers to pause and immerse themselves in nature’s beauty. The painting’s gentle colors and balanced composition evoke a sense of nostalgia and a longing for simpler, quieter moments. The viewer is left with a feeling of peace, as if they have visited this special place themselves.

Artistic Interpretation 

This work can be seen as Valladares’ personal ode to nature’s healing power. The interplay of light and shadow suggests cycles of renewal and hope, while the water serves as a mirror reflecting both the surrounding landscape and the viewer's inner emotions. The title, "A Place of Peace," captures this essence perfectly, inviting reflection on what peace means in both nature and the self.

Conclusion 

"A Place of Peace" by Crystal Valladares exemplifies what great watercolor art can achieve—invoking emotion, capturing light, and conveying a story without words. This painting holds a timeless appeal, reminding us of the tranquility found in nature and the moments of peace we seek in our lives. Through her skill and vision, Valladares has created a work that lingers in the mind long after the first glance, a true highlight of the Biafarin Awards 2024 exhibition.

Meet Farida Ali

 Art Talk series: Conversations with Creative Minds

Ever wondered how art can be a spiritual journey and a reflection of the divine? Meet Farida Ali, whose photorealistic masterpieces are not just creations but profound expressions of her inner truth.⁠

Farida Ali, a self-taught artist with a passion for photorealism and expressionism, has been on a spiritual journey through art for over 50 years. Her work reflects a deep connection with the divine and a commitment to preserving the beauty of nature. Farida's paintings, whether of landscapes, portraits, or wildlife, aim to capture the essence of her subjects and inspire others to cherish and protect the environment.

Your work in photo realism is truly captivating. What initially drew you to this genre, and how has your approach evolved over time?

My inner belief which drives me to photo realism is that Reality belongs only to Spirit and art is the miracle to prove this truth in the world we live in. My approach towards art evolved along with my spiritual evolution and personal transformation. I am here to express myself powerfully in the world through honouring my gifts. I am a self-taught artist and my artwork is the natural expression of Who I Am enabling me to express and experience a sacred communion with the Creator in all things and in my Inner Self.

Gateway of India

Your attention to detail is remarkable. Can you walk us through your process, from selecting a reference photo to completing a painting?

I first photograph the subject, then select an appropriate size for the canvas. Since I believe art is a spiritual process, I do a visualization in the form of meditation of what the end canvas will look like; as in modifying the picture into ‘what it should be’ rather than ‘what it is’. Then I begin the painting with a generic outline and finally add details as it starts to take shape.

Leopard in Reflection

Photo realism requires a great deal of patience and precision. What challenges do you face while working on a piece, and how do you overcome them?

The challenges relate to the subject of the painting. For example, while doing portraits of people I face a lot of ‘emotional stress’ while working on the canvas. In the case of monuments very accurate details are required so you have to get the angles, lines etc. straight and a lot of layering goes into it. The same goes for birds, animals where the fur effect requires multiple layers of paints. In every case the purpose is to continue till I have achieved the essence of the subject; as in putting life into it till the canvas ‘speaks’ to me.

Rural India

❝Through Biafarin I feel more recognized and am able to share and express my inner beauty. It has greatly enabled exposure on social media. I believe talent and skills are of little use unless shared.❞

Your art often captures nature, people, and animals. What inspires you to choose your subjects, and how do you see beauty in the ordinary?

These creations are an attempt to explore the beauty, sensitivity and more importantly the need to reflect on, and take care of Mother Nature. I recognize and embrace myself as an honoured member of the family of life. The flow, power, grace and wisdom you see in the natural world is a great reflection of qualities that you carry within your own Self. They may be appreciated and interpreted based on your own perceptions but if through the processes of creation, I can touch your heart — I am sufficiently rewarded.

I see and cherish the wonders of life wherever I go and painting them has been a remarkable transformative experience for me and others whose life I am honoured to touch.

Duck Mallard

For Farida each brushstroke is a step in a meditative dance between reality and spirituality. learn more and discover the meticulous process behind her stunning portraits and landscapes, and how she transforms challenges into masterpieces that honor nature and the human spirit at:

https://www.instagram.com/fariartreiki. 

Meet William Moore

From Art Talk series: Conversations with Creative Minds

William T. Moore III is an abstract sculptor whose artistic journey began with early influences from space exploration and religious statuary. Educated at the Cleveland Institute of Art and Kent State University, Moore developed a distinctive style that blends organic forms with deep personal reflections. His work, crafted from sustainable materials and guided by daily meditation, has been showcased internationally, reflecting his commitment to creating impactful and innovative art.

Avian Samurai

Many artists draw inspiration from their surroundings or personal experiences. What influences have shaped your work the most, and how do they manifest in your art? 

In 1994 I entered Kent State University to work on my graduate degree. One of my favorite art movements we studied was the Dadaists from the early twentieth century. Marcel Duchamp was one of the important masters of the movement. Following the genre, it taught me how art could communicate aspects of politics and anti-Politics, anti-aesthetics and the anti-idealistic. Though my art does have a sense of aesthetics there are hidden meanings to my artwork. Some personal, others more public.

While walking outside in Texas in winter of 2020 I came across a grove of oak trees that had hundreds of blackbirds in them. They were singing and rustling their wings together in a sound of such unison being so powerful that I was moved in the moment emotionally. In this moment I was overtaken with immense gratitude to the Great Creator. This gift of creation and my ability to absorb it, went to my core both intuitively and intellectually. From this time on when I am in my studio working, I make a conscious effort to invite my Higher Power into my heart and mind as I create my works of art.

Momma Chickadee

How do you choose the materials for your sculptures, and what significance do they hold for you?

My choice of materials is kiln dried lumber in domestic hard woods being soft maple, cherry and black walnut. I stay away from exotic woods as they are being overused and due to clearcut foresting their supplies are dwindling. I use an Amish lumber supplier that has a program for both replenishing the trees they take and taking trees from overgrown forested properties in the fertile Appalachian region of the United States.

❝How we manage our great forests says a lot about us as a species and our place here on this earth.❞

Conservation and thoughtful management of our resources should mean that we must not stop using our great resources. How we manage our great forests says a lot about us as a species and our place here on this earth. We only have one planet in our solar system that can sustain us. We need to protect it and cherish it for the generations after us so they can prosper, flourish and grow.

Serendipity Dancer

Do you have a favorite piece or series that holds a special place in your heart?

Please don’t think this is corny but my favorite pieces or series is the next one I am starting. I love the challenge and newness of making the next sculpture. I do not want to ever retire. The artists I apprenticed under and mentored me worked until they absolutely could not work anymore. I, like them, want to make artwork until I die. I pray to the Great Creator of all things, to grant me a long life of creating in His presence and time.

Avian Native

These maquettes serve as the foundation for William Moore's wood sculptures, which he enlarges from these smaller models. In the future, he plans to cast these sculptures in bronze once resources permit. Currently, they are displayed on the shelves in his studio's meeting room.

I love the challenge and newness of making the next sculpture. I do not want to ever retire. I, like them, want to make artwork until I die. I pray to the Great Creator of all things, to grant me a long life of creating in His presence and time."

– William Moore

How has Biafarin helped you gain visibility and recognition for your work?

Biafarin has given me the opportunity to exhibit my artwork in both solo and group exhibitions on the international stage. Though I do not know where these artworks are being seen or what doors they will open, I do get a great charge knowing my name and artwork is being seen in places I cannot even imagine. I am humbled to be fortunate enough to be included among such great world artists and their creations. I am looking for the diversity and inclusion of the many styles and genres showcased by the many artists represented by Biafarin and Exhibizone. Seeing what is new is always fun.

William's reflections are a testament to the power of perseverance, inspiration, and the relentless pursuit of artistic expression. 

Visit https://www.instagram.com/wtmsculptor to learn more about William and stories behind his abstract forms, the meticulous process of carving wood, and the spiritual connection that fuels his creativity.

Carla Rene: Originally Funny

Hi Carla, and thank you for participating in this interview. Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?

At the age of 10, I was discovered as a child prodigy in both music and fine art. One day I sat down with an art kit my folks got me for Christmas, and decided I would paint a picture of an Arabian horse. When I finished, it looked EXACTLY like the photo. That was the beginning of my journey to photorealism and everything artistic. After majoring in commercial music at the prestigious Belmont University in Nashville, Lupus forced me to give up my trumpet, so I began designing jewelry; web-pages; floral arranging; writing novels and short-stories, and all while working in network television and performing professional stand-up comedy.
After being homeless for 2-1/2 years, living in my car with my cats, I was accepted back to University to pursue dual doctorates in astrophysics and applied mathematics where I began painting again to fill my summer months and hopefully get more income.

Was there ever a moment of doubt to question your art career entirely?

You mean other than ALL. THE. TIME? Naw. :D Art is one of those professions where it's notorious for not making you money, so you'd be insane not to question that. Even now I still sometimes doubt my talent, especially with social media. We get so used to folks interacting with our posts that when those little likes and such are missing, you begin to wonder if your talent is slipping. It's all very subjective and fickle.
A cab accident just 3 days after moving here for University really messed up my neck (I now have 3 pinched nerves affecting my dominant hand), so I've had to take a break from schooling, which gave me the perfect opportunity to resume my art career.

What is your daily routine when working in your studio?

Right now it's pretty loose. Because I have Lupus, I wake in the mornings with lots of pain and stiffness, so I don't really get going until afternoon, at which time I'll sit in my studio with my headphones and go to it. On good days I can knock out about 5 or 6 hours, but the beauty of that is that I don't have to stop working on weekends if I don't want to.

Take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

I am a very effusive person. God gave us emotions to enjoy our life, so if I see an image or get an idea that really excites me in my gut, then I know I'm onto something. If it's an image taken by another photographer, I first secure their permission so there's no copyright infringement. I think it's the rudest thing when artists constantly paint a celebrity's photo without their permission! From doing network TV here in the states, I have a lot of celebrity friends you would know. They're artists, too, and deserve the same respect we demand for ourselves.
Once that's settled, then I begin with the outline. If it's portraiture--person or chimpanzee--I usually start with the eyes. They're the most important part since they hold the person's emotion and very soul. Sometimes I won't even begin the painting for a month, just so I can study the eyes closely, then work outward from there. I work in small patches at one time, overlapping my brushstrokes to blend. If I have trouble, I'll turn both painting and reference photo upside-down. It stops the brain from filling in detail automatically and forces me to actually see colours and geometry.

HRHNutmeg

Is there a central concept connecting all your works together or each series or artwork is unique?

I am first and foremost a photorealism painter. Long before this was a genre, I described my artist self as an arm with a camera on the end of it. I strive for that photograph look, so a lot of my pieces reflect this.
However, in 2019 for my first Coloured Pencil Society of America gallery competition, I decided to try something radical. I have a chintzy watercolour filter on my phone, and when I loaded my self-portrait into it, suddenly my realistic face was flooded with gorgeous watercolour effects that I could never do with watercolours. I know, I tried to learn and it was a raccoon party. So now a lot of my portraits, especially animals, will have this watercolour effect done entirely in standard coloured pencils. No other artist is doing this technique, and people are really responding to the emotion of it! BTW, that painting was chosen, and hung in the Brea, California gallery in the summer of 2020 and was sold!

Would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience?

I don't think I could even if I knew how! I think I'm one of those artists that wants YOU to gain your own interpretation. Yes, I can list materials, title, and medium, but art IS emotion and no one can tell you how to feel about it: NO ONE. And actually, I prefer it that way. I can put my emotion into it and know how it made ME feel, but you are a different person with different experiences than myself, so naturally, you're going to bring your own flavour and spices to it, and that's how it should be I think.

How do you seek and use inspiration for your works?

I think most of the time with me it's colour. I am addicted to colour. Colour and texture that I know I have the skill to portray make me excited and WANT to paint an image. For my piece "Jengo", it was his eyes. I cropped the image to show just the eyes, but he was smiling like a human in that photo and his eyes carried the smile even though you couldn't see his lips. That inspired me! For my piece "Queen Negra", it was the serene expression on her face as she gently ate her favourite lilacs. For one I'm currently in progress in doing, it's a stack of seaglass on a beach. The glass is my favourite colour of aqua, but she put a hawaiian flower in bright red next to it, and the combination was breathtaking. For my piece "Miss Shiny Cat", I have a crystal figurine collection on a clear acrylic table, so when I saw the afternoon sun shining on them and reflecting the prisms on my wall, that inspired me to paint it.

How do you select your artworks subjects? Where (do) they come from?

I have no set way of choosing, except for what I've already previously said. I would like to do a series of these seaglass zen rocks, and today I received permission from the photographer--she was honoured that I asked. She has varying colours and shapes in her photographs that I've chosen, some in full sunset and others more subtle. I just loved the idea of painting these for posterity and hope to turn it into a series.
I enter a lot of competitions, so if I see even one of my subjects or even one of my cats that I think I can turn into something truly unique, then I will take the perfect reference photo and then paint it. But generally, I try to stay away from the completely overdone subject.

Is there an artwork or series that you would like to be remembered for? And if yes, what is it?

Of course I'd love to be remembered for every single painting I've ever done, but know that probably won't happen. At least not until I'm dead. HA. But yes, I would love for folks to be amazed and remember my photorealism, but especially my new faux watercolour effect. I think it's just so unique right now that this is what people are beginning to notice and connect with on an emotional level, and that's my goal as an arteest: to move you and make you feel something you didn't feel before.

Any upcoming works or future projects that you would like to share with our readers?

Wow, what a question! I have the following opportunities coming up:
I was just published in the Ann Kullberg Coloured Pencil Treatures volume VIII with #HRHNutmeg on the cover. You can order that through Ann's web-site.
I currently have a piece done in this watercolour style called "Mint Tulep" and it is in the 311 Gallery in Raleigh, NC for the month of May.
I have 2 pieces in the Tiny Member Show for Art 'Round Tennessee, and that opening reception for the month of June's showing will be on June 3rd if you're in the states and would like to join us.
In July I will be teaching my very first art classes at the Storyteller House here in Cookeville, TN. They will be introduction to coloured pencils classes, along with a workshop on how to create photorealism.
I was offered my own gallery show to be held at the Harper's Rare Books store and gallery in downtown Cookeville, so am working on that right now. Hoping the show will be later this year.
Last week I was just notified that my chimpanzee, "Cy" was chosen for the Gallerium Art Prize International Smart Online Group Exhibition and will be published in their global catalogue.

What are your art influences? Who are your favorite contemporary or historical artists and why?

I only have 2 real influences. The first is Laurel Burch. The instant I saw her "Friends in Laureland" painting on a bookmark in Borders, I. was. hooked. Her colours were vibrant and screamed at me, and it was unlike anything else I'd ever experienced before. Sadly, she passed away, but I still subscribe to her web-site and get little things with her iconic cat images anytime I can.
My second is a local artist to Murfreesboro, TN, by the name of Norris Hall. He used to design license plates for the city of Nashville and from that time forward again, I was hooked. His style is definitely like Laurel's--very surrealistic and colourful. But his is almost bordering on illustration which is a style very unlike me and my photorealistic brain. I once painted an old, tired cow clock I picked up for a song from a discontinued store and decided to paint it in Norris's style. When I saw him on Facebook, I sent him a message with the clock and he loved it, and even follows me now on my own art page. That was inspirational and helped me to keep going, because he was so kind and complimentary.

If you could meet one of your ideal artists from the past, who would it be and what will you ask about?

Laurel. I am high-functioning autism--I have Asperger's, so I sometimes just sit and stare at these artists that can simply dream up brand new images and colours, and I would ask her who possessed her beautiful brain to teach her how to do what she did. Once I study one of her cats it seems very intuitive, like I should've thought of that. But I can't. I've tried and again, big dumpster fire. So, I enjoy abstraction when I see it, but am happy to do my photorealism with a little watercolour thrown in.

This is it. Thank you very much Carla for this interview. I appreciate that you shared a part of your artistic story with our readers. Hope to see you more in the future.

Steven Hughart: A Coping Mechanism

Steven, thank you very much for giving us this time to learn more about your art career and artwork through my interview. Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist.

My art background started at a very young age. I was born in the 80’s and there wasn’t a whole lot to do where I’m from. I remember as a young child just drawing and coloring all the time. The older I grew, the more I wanted to improve my technique of drawing so I would sit and draw cartoon characters and trace comic book characters for hours. Marvel’s Wolverine was my favorite to translate from tracing to freehand. I have always had a knack for drawing what I see as opposed to drawing images out of my head. In 1999, I graduated from Dupont High School in Belle, WV. During my time there I had won a few awards, ribbons, and such, but nothing too spectacular. I also played football as well, I can fondly remember skipping weightlifting to sneak into the art room to create art. This is the point where I began to transition from 2D to 3D.

Passion is what motivates artists to draw and create. Passion gives you the patience and persistence to learn and grow as an artist. Was there ever a moment of doubt to question your art career entirely?

After graduation, I earned a scholarship to the Art Institute of Pittsburgh, but I never followed through with it. Instead, I went into the workforce and started a family. After fifteen years, I decided to work for myself and make what I want to make. So finally, I chose to go back to school and enrolled at Marshall University in Huntington, WV in 2014. I began taking sculpture and that really ignited my passion for making art with the material I had grown so accustomed to dealing with working in industry, metal. By the time my time at Marshall had concluded I had applied and was accepted into the Metals MFA program at Southern Illinois University Carbondale where I was lucky enough to be Rick Smith’s Research Assistant, and I learned a ton.

Steven, what is your daily routine when working in your studio?

I try to maintain a daily weekday routine. I was blessed with inheriting a small home in Southern West Virginia, where I have built an art studio in my garage. I had grown accustomed to working in the industrial atmosphere for so long that I have just adapted, and my days are a typical 9-5. I spend the weekdays making and creating, and then on the weekends I like to travel around the region going to craft shows and fairs. If there is such a thing as spare time, I am always looking for gallery opportunities to present my work.

You work with mostly metal and wood for your creations. So, take us through the process of making your artwork. How do you move from an idea to an artwork? Where does an artwork begin for you?

Making my art is a therapeutic process for me. Many events that have happened in my life are what inspires me to create. I feel that I have had an excess of traumatic events that have occurred in my life to this point that really fuel my passion to create. Making helps me deal with traumatic experiences through visual expression. Hopefully, other people feel the same way as I do and can connect with the pieces I develop, but if not, so be it. I do not make my work for anyone else but myself. That may seem selfish to some, but in the end, all of my work is about self-expression. I am a sculptor, and I enjoy using many different materials to create art. However, the medium I use the most is metal. I appreciate its toughness as well as its malleability. Forming things from steel is just so satisfying to me. It represents the area where I am from, through its connection with the steel mills and coal mines of West Virginia.

Somber Toxicity

You take your experiences and hard life lessons and make them outstanding works of art. Is there a central concept connecting all your works together or each series or artwork is unique?

There is a central concept to my work that I am creating now. A vast majority of it revolves around the opioid epidemic that plagues my childhood home. This epidemic is growing uncontrollably not only here in the US, but around the world and no one talks about it publicly it seems, at least not around here. The epidemic was starting to gain the attention of national news back in 2019 but then COVID 19 hit and it appears that society has since disregarded the opioid abuse in this country as if it is not happening. But overdose deaths have since doubled and the tolls this epidemic is taking on my home are unbearable for me to witness. I feel I must at least try to reengage the conversation so hopefully, at least one person’s life may be saved and/or altered in a positive way.
Making art is a therapeutic process for me. I like to make beauty from my pain. It helps me heal.

Different topics come to your mind. You want to bring them in front of the audience and direct their opinion toward the causes, negative points and results. Like, as you said, addiction, and drug abuse. How do you seek and use inspiration for your works?

My work is inspired by day-to-day life and personal experiences. I am an expressionist who uses art as a coping mechanism to deal with the stresses of my surroundings and day-to-day life experiences. Past personal relationships have had a strong influence on almost all of my works.

Noticing some influences cause strong motivations in an artist’s mindset. What are your artistic influences? Who are your favorite contemporary or historical artists, and why?

My influences are few but extraordinary. A lot of my current work is figurative and features a lot of symbolism, but I also enjoy working in the abstract. Of course, I have been influenced by the likes of historical sculptors like Auguste Rodin or Michelangelo, but my favorite pieces stem from the minds of Bruce Nauman and David Smith. Bruce Nauman’s “Hand to Mouth was a strong inspirational reference for my “Into the Abyss” wall-mounted piece.

Steven, Ready to meet art predecessors?! If you could meet one of your ideal artists from the past, who would it be and what will you ask about?

My one ideal artist from the past that I would have really loved to have gotten to meet would be without a question, Davis Smith. From researching his work and reading his books and watching his historical interviews on YouTube, I just feel that he and I would get along famously. I have so many questions about conceptual development and technique but what I really want to know is what is his favorite cigar to smoke?

Now, let's take off to the future! Any upcoming works or future projects you would like to share with our readers?

Currently, I am working with the Tamarack Artist Foundation and Creative Network of West Virginia to present my work throughout the region, and soon, much more of the country. I was selected for this year’s Emerging Artists of West Virginia Fellowship, which is very exciting for me. I am going to continue to develop these ideas on the opioid epidemic but in the future, I am sure I will expand into other addiction-based themes. Addiction is dark, but broad, and has plenty of room to explore interesting new paths to create my work. The ultimate goal, however, is to expand my presence more internationally and broaden my horizons as a professional artist.

I appreciate your concern about my interview. Thanks for sharing your artistic story with our readers. Always shine on the broad horizon, Steven.

Mina Hosseini: The Creation of Truth

Mina, thank you for taking the time to talk about your artworks and art career. Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist.

At the age of 8, I realized that I was very excited and interested in the days when we were studying art. This feeling first came to me when I looked at my classmate who was painting a picture printed on a crayon box in art class. That was a very deep and wide sense of joy that arose in my mind, and I was subconsciously drawn to art.

What happens in a child's mind about art plays a very important role in the future artistic personality of the artist. Was there ever a moment of doubt to question your art career entirely?

Not really - I may have felt weak and helpless at times, but it was fleeting and cursory, and I tried harder each time.

That's true. Amid these doubts, it is important to be able to overcome the situation and continue the journey. What is your daily routine when working in your studio?

I usually work from 10 am to 5 pm and spend the night watching paintings and reading, although this current lock and quarantine has greatly aggravated this.

❝To escape from the truth that is bitter, to relieve of worries that undoubtedly arise in every artist or human being's mind, I paint.❞

Yes. Despite its limitations, this lockdown has provided more time for work. Now, take us through the process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you?

A deep look and attention to the social, political, and moral events in society and around our personal life are pictured in my mind in the form of an image and created my idea. Also, paying attention, focusing, and interfering with personal feelings and expressing them through lines, shapes, and colors can create pleasure in me and finally turned into an artwork.

Untitled

Great job. The artist's accurate look and feeling directly illuminate the art path and guide the artwork process. Is there a central concept connecting all your works together or each series or artwork is unique?

Yes. I think they are in the same direction. Because the issues such as being caught between do's and don’ts, the extreme and fanatical atmosphere and the imposition of beliefs on children, confused people in today's world, fighting and insisting on blindly thoughts and attitudes, have made my mind involved since I was a child. They are my biggest concerns in today's society.

Oftentimes, inspiration defines as an unconscious burst of creativity in artistic endeavors. How do you seek and use inspiration for your works?

By reading philosophical books, poetry and deep films, and great artists’ paintings.

Concerning some influences remain strong motivational factors in an artist’s thinking. What are your rtistic influences? Who are your favorite contemporary or historical artists and why?

Inspired by great artists like Rembrandt, Michelangelo, and Carvajal and contemporary artists like Salvador Dali

Mina, let's travel to distant times! If you could meet one of your ideal artists from the past, who would it be and what will you ask about?

Picasso is the artist I’d like to meet and ask him what his horizons are and how he got ideas from different influences and found this exceptional capability, as well.

Now let's go to the future! Any upcoming works or future projects you would like to share with our readers?

Yes, my next project is about reincarnation, which I’d like to work on.

I appreciate your time about this interview. Thanks for sharing your artistic story with our readers. I wish you success and hope you always shine, Mina.

This interview ends here. We hope that you enjoyed reading this inspiring interview with Joseph. If you want to ask your own questions, please put a comment or write to us by email.

Barrie Dale: The Spirit of Mysticism

Barrie, I appreciate your time and consideration in this interview. Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?

I have always found much aesthetic interest in everyday life. Also, as a teenager, I knew Trevor Chamberlain, now an established Artist, and he inspired me to paint. But at the same time, I was being inspired equally by the beauties of Science, Mathematics, Music, and Chess; so I have always been split five ways.
My pivotal visual moment came while out painting at dawn on a very misty morning. The rising sun suddenly picked out some chimneys and roofs; and there, just across the fields, was my village, which I thought I knew so well, brightly lit, hanging in the air. This taught me much about beauty, mystery, and the capricious nature of reality.
Science tells us that what we think we see is not what is there; and also that our mere presence changes everything. So visual reality is a never-ending mystery that can be explored forever. This leads us to Paul Cézanne.

Exactly. Barrie, you are a man of science whose art is an integral part of his life. Was there ever a moment of doubt to question your art career entirely?

I have no idea where my ‘art’ comes from. Is it real? Does it signify anything? Will it always be there? Or, one day, will it simply dry up?
My images exist because, at one tiny moment, they were instinctively attractive to me. Does anybody else find them attractive? Why should they? (They are not me).
I am trying to find things that haven’t been seen before. But does anybody care?
Having read many books on the subject, I have no idea what ‘beauty’ means.
So in my images, I seek metaphor rather than beauty. Is this even legitimate?
Is my wide range of interests a blessing or a curse?
I still have all these doubts, but I am still taking photographs - the world is such a beautiful place.

You photograph natural forms and try to show what you really want to say. What is your daily routine when working in your studio?

I always photograph looking into natural light; cloudy days are frustrating.
I work hand-held at high magnification. Every image is abstract. I am interested only in those with instant appeal. I capture them immediately.
A session starts with a detailed, high-magnification scan of the subject. There will be hundreds of abstract images to look at. I will capture very few, if any. After half-an hour I will be exhausted. I down-load the files, and then the slow step begins. Knowing that each image was taken without thinking, I now have to ask ‘why did I find this image instinctively attractive?’. Being suspicious of ‘beauty’, I have to find meaning. ‘This image must have expressed an idea to me; what was it?’. This interpretive activity spans everything from very easy to very difficult. Only when I have found the metaphor is the job finished.
I frequently have problems with insufficient light. I edit my images, but only to the minimum extent. I do not manipulate them. I abhor ‘fakes’.

Climate Change 4 - Global Conflagration

Your images appear so genuine that can cause viewers to feel they are immersed in their surroundings, beyond the senses. Now, take us through your process of making your artworks.

I am celebrating Nature. That is central. My subjects have to be natural forms. They have to be intricate, otherwise, the possibilities would be limited. I have had success with flowers, leaves, and grasses; but Orchids are preferred as they are always available, and stay in flower for months.
At the magnifications I use, the eye is no guide to what might be interesting. I have to choose a subject and then start to explore it. I have no idea what might turn up. I cannot decide to take this or that image. Natural light is forever changing, natural forms develop, so every hour, every day is different. I cannot plan.
I want to access my ‘Inner Self’, minimizing the influence of the rational mind. I do not allow time for thinking before capturing an image - for me, the initial reaction is more honest than the considered one. I am looking for ‘the first fine careless rapture’.

❝Once Beautiful, now Fragile; once Stable, now Erratic; once Assured, now Fearful❞

“The first fine careless rapture”…. What an excellent interpretation! You mention you are interested in challenge and adventure, the mountains, human interactions, human achievement, the state of the Earth, etc. Is there a central concept connecting all your works together or each series or artwork is unique?

My work has to be of Nature. I want it to be new, different, interesting. At normal magnification, much of what could be said about natural forms has already been said; so I work at high magnification. Here everything is unexpected and abstract.
I have to be able to distinguish between good and bad images. I am wary of ‘composition’, ‘balance’, ‘harmony’, since these are subjective. So I rely upon the evidence of metaphor. To me, this means that in the instant I made the capture the image was saying something to me that I agreed with.
I accept that this stance may be indefensible. All I can say is that I am an artist. I produce pictures. This is how I do it. I just hope they are different.
I frequently have problems with insufficient light. I edit my images, but only to the minimum extent. I do not manipulate them. I abhor ‘fakes’.

You superbly express your innermost feelings using metaphors and mysterious natural and visual real scenes. We can also feel there is always something that appears to be glowing in your images. How do you seek and use inspiration for your works?

As far as I am concerned, inspiration is all around me. I love the beauty of the familiar. There are few things that wouldn’t reward closer examination. I am constantly seeking inspiration from great, and also not-so-great, artists. Any artist who has made an honest contribution is worthy of attention.
Anybody who has overcome adversity to achieve something important is also an inspiration.

You do know how to attract and engage your viewers’ thoughts. What are your art influences?

My earliest influence, as I said earlier, was Trevor Chamberlain. He started me off and taught me what a wonderful colour grey is.
My three major influences are Turner, Monet, and Cézanne.
Turner showed us, in his watercolours, what a magical, spiritual place the Earth is.
Monet showed us what a wonderful gift a good pair of eyes is, and also transported us into spirituality.
Cézanne, with incandescent honesty, showed us that expressing reality in paint may be beyond us, but that that shouldn’t prevent us from trying.

Excitement

Barrie, come with me to the past art era. If you could meet one of your ideal artists from the past, who would it be and what will you ask about?

I would like to meet Cézanne. I would like to ask him what he would have done next had he lived another half life-time.

Your enthusiasts evoke a whole range of emotions in your artworks. Any upcoming works or future projects you would like to share with our readers?

As far as future work is concerned I would hope to be like Cézanne. He stumbled along, following his nose, painting the same things over and over again, finding new puzzles at every turn. Robert Hughes surmised that Cézanne was asking himself ‘Is This What I Am Seeing?’ My question would be ‘Is This The Message I am Seeing?’
You can’t plan to have an unexpected revelation; you can only be open to one.
I don’t aim to be in control; I aim only to be receptive.
I hope to be exhibiting with the Guild Society of Artists in the Spring.
Beyond that, I want to see where the various Biafarin initiatives lead to.

Thanks a million for taking the time and making us familiar with your luminous art and ideas. I am also looking forward to visiting your brilliant works in numerous future exhibitions. We definitely try to do our best. We wish you the best, Barrie.

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This interview ends here. We hope that you enjoyed reading this inspiring interview with Barrie.
If you want to ask your own questions, please write to us now.