The Sea Casts Its Spell: Interview with Oslo, Norway Figurative Painter, Henrik Aarrestad Uldalen The Fertile Ground of New York City Oil Painter Martin Wittfooth Art As Therapy for the Unsatisfied Man: Interview with Argentine painter, Martin Llamedo Her Sweet Excess: Interview with American Painter Adrienne Stein “We Live Our Lives in Circles”: Interview with Mary Chiaramonte The Poetry of Synchronicity: Interview with Erin Anderson The Uber-Representational Paintings of John Brosio And The Stars Fell: Interview with artist Julyan Davis Intimacy With the Unseen: Interview with Figurative Painter Mia Bergeron Women Under Glass: The Paintings of Alyssa Monks

The Sea Casts Its Spell: Interview with Oslo, Norway Figurative Painter, Henrik Aarrestad Uldalen

“If you as a child would approve of how you live your life, then you’re doing it right.”

The Fertile Ground of New York City Oil Painter Martin Wittfooth

“I’m exploring allegories of rebirth: the notion that we often have to let something die (metaphorically speaking) for something else to be allowed to be realized and flourish.”

Art As Therapy for the Unsatisfied Man: Interview with Argentine painter, Martin Llamedo

“Making a man happy, for more than a few seconds after consumption, is not very interesting to a consumer society; for them an unsatisfied man is preferable. Beauty and art, therefore, is fundamental therapy today.”

Her Sweet Excess: Interview with American Painter Adrienne Stein

“My work is personal, containing symbols and codes for things that are taking place in my life or what I yearn for. The stakes are high, so when others disapprove of your work, they essentially disapprove of you. It is a great risk. The life of an artist is full of self-doubt and isolation. Yet this is a part of everyone’s experience.”

“We Live Our Lives in Circles”: Interview with Mary Chiaramonte

“I like to entertain the idea that we live the same lives over and over. This is the thought behind this painting: that we live our lives in these circles, and all of our time will be experienced again.”

The Poetry of Synchronicity: Interview with Erin Anderson

“I think synchronicities are most noticeable when we look backward. In the moment, our experiences can feel disjointed, especially when the unexpected happens. But when you stand from a higher vantage point looking backward, the individual pieces of your experience fit together with a poetic elegance that just feels right.”

The Uber-Representational Paintings of John Brosio

“I am, of course, not entirely sure of what is going on in these images because, were I too certain, I would have no need to attempt them. But the dissatisfaction, or ‘frustration,’ as you call it, is very much a necessary ingredient. Maybe even the only ingredient.”

And The Stars Fell: Interview with artist Julyan Davis

“She came each day to stand in front of the murder ballad paintings. She had grown up listening to all that music. ‘I just stand here,’ she told me, ‘And the paintings pull the marrow from my chest.’ ”

Intimacy With the Unseen: Interview with Figurative Painter Mia Bergeron

“I’m a deep believer in physical rituals as a way to understand our world. Painting is a way for me to understand my own life.”

Women Under Glass: The Paintings of Alyssa Monks

“I want to somehow express what it’s like to be in their skin. I believe this is what art can do at its best. Maybe this way we will feel less alone in the world, more compassionate to each other, work with, instead of against, one other.”

Igniting the global community through exploration of the arts

28th Sep 2013

Mixed Media Photographer, Yuko Ishii

There is always more miracle and magic than we ever realize.

28th Sep 2013

The Quietest Moments: Thirty days of destruction

What are the characteristics of love, after all? Attention, care, affection, eros, mystery, joy, comfort, fear, unity, possession, passion, sincerity. And yes, these are all characteristics of the emergent experience of great art. And the artist’s hand which shapes with care shares all these things.

22nd Sep 2013

Magic Realism Painter Andrea Kowch: What the Wind Blew

I’ve always been drawn to and intrigued by stories that are a bit twisted; the ones containing strange characters and a prevailing sense of impending danger. Perhaps that’s why my paintings often carry a similar feeling. There’s always an aspect of something unknown about to happen. The story is never fully revealed, it simply continues on, each painting serving as the next page or chapter.

21st Sep 2013

Connecticut Naturalist Ajay Brainard Paints Death As Part of the Flow of Life

My paintings are an exploration of my inner self and speak to the feelings and emotions that are related to the experiences of life. They are not purely portrayals of death; they are windows into my soul.

21st Sep 2013

The Censorship Issue

Freedom of expression. It's a basic human right guaranteed to each and every one of us by the United Nations. But does this freedom in reality truly exist?

14th Sep 2013

Adrift in Surreal Waters: The Paintings of Australia’s Mike Worrall

When I was younger, I wished I had the ability to play and compose music; but alas, my attempts at it were a bit weak, and doomed to failure, so instead, I thought how good it would be if my paintings could convey the same mood as my favorite pieces of music.

31st Aug 2013

Aron Wiesenfeld, Narrative Painter: Don’t Look Now, But We’re No Longer On Solid Ground

"Fantasy by definition is an escape, and it was a way for me to avoid difficult situations and emotions in my adolescence; however, I don’t think of reading as escapism. I think the activities of daily life are more commonly an escape from difficult or strong emotions. It’s in literature and art that one can usually come into more direct contact with those things. That’s why art is so fascinating. Even fantasy books, ironically."

31st Aug 2013

The Primordial Dreams of Aron Wiesenfeld

Many artists enter the dream world, but few can so inhabit it as to give us not only its semblance but the meaning of the dream. Wiesenfeld’s genius lies both in the interiority of his figures and in the exteriority of his dreamscapes.

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