Author: Oleksandra Lykhoshvai

Dmitrii Article Feature Image

One of my mottoes is: “Turn old problems into new projects.”

With my art I want to change the attitude of people to plastic, make people friends with plastic and not enemies. So that each person thinks about his decision before littering the environment and starts to watch for cleanliness around ourselves for the sake of us and the sake of the next generations.

– Dmitrii Ulianov

Oleksandra Lykhoshvai: Your way of creating art is very unique, not often you can see an artist using plastic waste as his/hers main working tool. We are sure that “Why have you decided to use plastic?” Is a very commonly asked question, but want to start with introducing you to our readers. Can you tell us, where was the starting point of you as an artist? What encouraged you to connect your life with Art?

Dmitrii Ulianov: I got into the artist circle and painted with oil in youth. Over time, I realized that oil is from the last century so I was looking for new materials to create my works. During the ecological cleaning of rivers and the disposal of plastic waste, I was inspired to create such paintings I do now.

OL: Going back to the common question, we are also curious to know the reason for you using plastic and no paint in your artworks. Where did this idea come from?

DU: Experimented with plastic at home, the first artwork in plastic was the usual redrawing of a small picture.

OL: We understand that pollution is on a very high level nowadays, and plastic is one the biggest problems, and the main cause of it probably, nevertheless there are other wastes that can be used, lots of glass, paper, wire and old metal. Have you tried to use other materials in your paintings? 

DU: Yes, one of my mottos is: “Turn old problems into new projects.” As an artist, I work with plastic. But I have also worked with metal waste (was creating a sculptural park at the Kazantip festival out of tin waste, used elements of electric motors), worked with various sculptures, and ceramics – mosaics, musical instruments made of different metals (steel, tin). If I had power and time I would love to work with all kinds of raw materials.

OL: What do you find the most exciting in the process of creation of the recycling artwork? How long does it take you to create 1 artwork?

DU: The most exciting thing is when a photograph of an abandoned river is drawn with plastic collected on the bank of the same river from the picture, after which people look at this river as an object of art, and not as a polluted river. The picture is usually created from three weeks up to two months.

Dmitrii Ulianov River Lybid
Painted Object and 3D Painting
120 × 85 cm
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Installation "Fish" Created from the elements of the electric motor
Installation "Fish" Created from the elements of the electric motor

OL: We’ve noticed that not all of your artworks depict nature, for example, “Portal Collector”. Can you share where do you usually get inspiration and ideas for your work? 

DU: I look at objects in real life and present them in a plastic form, this brings inspiration. Also, the understanding of the relief method of transferring the image, when the 2-D picture becomes a semi-painting, a semi-sculpture, after which you feel yourself the creator of a new genre. The process of creating a picture is already a source of inspiration. I study Hinduism, I read mantras, which also inspire me to create new projects: how to become the cleanest of the foulest by the fiery purification.

OL: We also know that you create sculptures. What materials do you use for sculpturing?

DU: For sculptures, I work with iron origami genre, the integration of design elements, the use of metals, glass, and plastic.

OL: Right now a lot of celebrities fight for ecological issues. With their social media, they try to get support for their programs, protests or fundings. Do you have examples of public people that you look up to? Or someone whose ideas you want to bring into life?

DU: My personal idea is not just about recycling, but about transforming waste into beautiful art. I am not particularly interested in the world of stars, so I can not answer the question about a particular person I follow.

OL: Going back to art, do you have favorite style or styles except recycling art? What about the artists, whom you can name as your art inspiration?

DU: Renaissance, Industrial, Gothic, modern street art. Favorite guitarists are sources of inspiration: Steve Vai, Yngwie Mountain, Joe Satriani. Inspires also the creativity of Banksy.

OL: You are from Ukraine, this country is developing and trying to become a full member of the EU. How does the situation with recycling and pollution go in Ukraine?

DU: In Ukraine, almost no one is interested in the progressive processing and recycling of waste, some people are trying to deal with the system, but without government support at all levels this task is very difficult. There are many problems connected with waste and recycling in Ukraine, even despite the fact that this industry is very promising for investors. For my part, I came up with a lot of projects that could draw public attention to environmental issues, but there is no funding.

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OL: Unfortunately Ukraine experienced Chernobyl catastrophe, this event, among others, caused a huge impact on the ecology, and brought pollution into many countries aside Ukraine. Have you ever thought to integrate or bring this topic in your artworks? 

DU: This catastrophe has become a source of income for modern businessmen and entrepreneurs, so I don’t dig or even touch there, not to mention that there are rumors that this catastrophe was artificially provoked by the USSR authorities. My idea is to purify the soul through the purification of the river/water. It’s impossible to grab and try to pay attention to everything, so it’s very important to draw people’s attention at least to the problem of dying rivers in Kyiv.

OL: Can you think of the ecological problem/place/picture that overwhelmed you? Something that you still consider as the most urgent and prior issue to solve.

DU: Ecology of the small historical rivers of Kyiv. With the example of purifying one small river, I want to show people all over the world that such purifying should be applied to all nature.

OL: In Kyiv, there is a street in the city center where a lot of artists and craftsmen sell their art. Do you exhibit on the streets or prefer to sell online? 

DU: Most of the street markets in Kyiv are monopolized by the criminal elements, but soon I want to try to promote my art on the street too and in the web space. But, unfortunately, I do not have enough money, connections, and experience for web promotion and sales of paintings.

OL: Choosing the path of recycling art have you ever came across the struggle of “not acceptable”? Meaning, people usually look for oil, acrylic and other more traditional art. 

DU: Now a few people, especially in Ukraine, fully understand the essence of my work and what I want to convey. Specifically, the painters condemn my art style until they see my paintings personally.

OL: Speaking globally, what would you wish to change in the World to stop the pollution? Or have you ever thought of the laws that you wish to appear/ programs that you wish to integrate that could solve the ecological situation?

DU: First thoughts are about all the plastic in the oceans, so dream to build artificial plastic islands. Solve the problem of inaccessible housing by constructing entire residential arrays of oceanic plastics waste. At the moment, entrepreneurs are already creating construction bricks from plastic, using a thermal press, to create residential buildings no less bright and colorful than my paintings. Also, I am dreaming about creating widescreen 3D interiors and plastic sculptures.

OL: Your art is a perfect way of spreading awareness of current ecological problems. You truly send a very meaningful message to people of all ages. Can you share with our visitors and readers what shall we anticipate next? What projects or plans do you have for the nearest future?

DU: As mentioned earlier, this is a more global format of work, exhibitions in the form of functional interiors, usage of plastic in industrial architecture, change the attitude of people to plastic, make people friends with plastic and not enemies. So that each person thinks about his decision before littering and so we begin to watch for cleanliness around ourselves for the sake of us and sake of the next generations.

I would also like to gain recognition from the ecological point of view, at least on the Kyiv scale. I also really want more people to reach the perception of such recycled works of art.

Dmitrii Ulianov River Syrets
Painted Object and 3D Painting
45 × 85 cm
Dmitrii Ulianov Ancient City
Painted Object and 3D Painting
120 × 85 cm
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We thank Dmitrii for this interview, it helped us to realize true intentions lying behind each of his artworks. At the same time we also hope that it encouraged our readers to be more attentive to the surrounding world, and of course, proved that Art can go hand in hand with Environment. Check Dmitrii Ulianov’s profile here. And support his art below.

Backside (Seaside)
New German Pop Art

Pop Art is, as most would say, a reaction to overly abstract art, whether pop art is rather trivial, even naive. It is not a surprise that pop art came from the English, predominantly American cultural space. Susanne Boehm accepted it as it is, and involved new-teutonic lightness in her artistic touch. Consequently, this art does not demand absolute reality, as well as no clear inviolable purity of the elements.

Susanne Boehm is the protagonist of the “New German Pop Art”. In her exhibition “Power Pop”, that was held in the Galerie im Schloss (Hemsbach, Germany), Susanne was inspired by her own world. In her works, she displayed “a lot of power”. Power in every respect: Powerful colors, Original patterns, Novel painting technique. And empty faces. In a way, a trademark, because, as the curator quotes the artist, these spaces invite the viewer to complete the scene themselves. Despite such self-assured demarcation from the overseas tradition, Susanne Boehm remains true to the nature of Pop Art: her motives are taken from the banal everyday culture, the Zeitgeist (is a concept from 18th- to 19th-century German philosophy, translated as “spirit of the age” or “spirit of the times”), also the mass media, from the daily newspapers to the news from Internet. So her artworks remain almost photorealistic and are figurative because of their flatness, they are very recognizable because of what they represent.

Susanne Boehm

Susanne Boehm "Power Pop" Exhibition
at "Power Pop" Exhibition
"Bar" Susanne Boehm
"Bar" by Susanne Boehm

"Backside (Seaside)"

Backside (Seaside)
by Susanne Boehm


by Susanne Boehm

Of course Susanne plays with the elements of Pop Art, with clear primary colors, reduced to the essentials and always rich in contrasts to the pain threshold. Dr. Paul Weskamp, who introduced the exhibition and has long accompanied Susanne Boehm on her artistic journey, also recognized that she could let off steam in her desire for bright colors on sharply defined surfaces.

Formally, the painter is interested in aesthetic motives, in the content of the rather small absurdities of everyday life, to which she approaches in a playful, sometimes profoundly ironic and slightly provocative manner.

Let’s have a look at the perfectly displayed mental depth that is performed in the “Backside (Seaside)” artwork. The large-format work shows the rear view of an older couple, who are united in understanding, harmony and depressing indifference at the same time, in grief and pain, perhaps on the last day of the holiday with a resigned view of the deep blue sea.

The similar scene we see on the “Summertime” painting. This time, two elderly women admire the view of the water, somewhere at the beach. The color scheme is bright and cheerful, seems like everything is obvious and on the surface, but true emotions that are hidden in these faceless figures are deeper. Looking at someone from the back you can hardly recognize what he or she is thinking about. That’s why it is a key point of the artwork, with no face the figure and surrounding world can tell much more than shown emotions on the face. People are anonymous in their grief, happiness or strangeness.

"Beach Life"

Beach Life
by Susanne Boehm

In “Beach Life” Susanne Boehm uses an interesting trick, the story is told from a bird’s eye view combined with a detailed piece where the anonymous here is shown. The artwork is the pure joy of life. Susanne uses minimalistic and clear forms. With her mastery, she is able to create and convey to the viewer the full picture of summer in one artwork.

To conclude it would important to say that Pop Art nowadays has much more layers. And even though, it was not taken seriously when it emerged, nowadays artworks in Pop style can stand both for ease, simplicity and for deep meanings with multilayering.

The article was created by Susanne Boehm. To start your acquaintance with the wonderful world of Pop Art, we welcome you to review the profile and fantastic artworks of the artist.

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Featured Image Ingrid Bugge 1

How did everything Start?

In 2012 Nikolaj Hübbe (artistic director of the Royal Danish Ballet) invited Ingrid Bugge, to follow The Royal Danish Ballet so that she could create her soul-image of the ballet. Moments that would otherwise disappear. Nicolai experienced that her interpretations of the ballet created magical moments. As well as uniting dance, story, time and place which, as a result, became secured and cultivated.

The photographic collages visualize the nerve and soul of ballet and resemble the classical painting in their expression. The intention of the ballet photography art project was to capture and condense moments from the ballet performances. In order to reveal the essence of ballet.

Ingrid’s thoughts of the performance and her project

“There they are, the dancers. So fine and gracious, with makeup and dressed in elf clothing and troll fur, beetle wings and rococo wigs. It’s an enchanting sight. I carefully take the camera from my bag. I do not dare to press too hard on the release button or stand to close. I feel like a stranger here, trying to settle in. I have permission to photograph from the auditorium, the rigging loft and behind the scenes. From where the light technicians work. Looking through my viewfinder, I constantly discover new expressions in the movement, captivating me. Lights glide poetically over the magical scenery. The orchestra fills the theatre. The skin of the dancers; their challenges, their victories, the stories they so passionately tell with their bodies. And the secret adventures that happens behind the curtain.

I got a deep understanding of the world of ballet and the classic tales the dancers unfold. As a result my art project The Essence of Ballet came to life”

– Ingrid Bugge 

The Poet of The Ballet

Nicolaj Hübbe described the Art Project as:

“A ballet performance, from the first glimpse behind the carpet of Acropolis and masking the stage with the curtain fall after each act. You can compare it with the technical magic of the camera. The stroke on the bar by the stage manager matches the photographer pressing the camera shutter. 

With curtain rise, a myriad of visual and auditory expressions appear which seeps into the consciousness of the audience. In the end the technicians lower Acropolis. From what we have seen, the memories are now embedded in our memory. Different movements created in time and space can now develop through something similar.

These internal images reflect what we have seen or perhaps what we think we have seen! The audience leaves and the theatre closes. However, the camera moves faster than the 2½ hour performance and capture moments from the ballet before the shutter time. Therefore, it has come to capture moments that people do not see. 

Throughout the year Bugge has worked with The Royal Ballet. She has captured these moments in a sensitive and poetic way and composed them in photographic commentaries.  In like manner, she reflects the ballet with a personal approach and with sensitivity to the performances. The images we see through Ingrid’s lens are like the strange and wonderful recollections. In fact, they have gathered in our consciousness after the final curtain fall.” 

-Nicolaj Hübbe

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About Artbook

The art book is a rare and fascinating window to the enchanting world of ballet. Including 63 photographic collages from The Royal Danish Ballet. Also, it includes interviews with ballet master Nikolaj Hübbe, writer and ballet reviewer Erik Aschengreen and photographer Lars Schwander.

Nikolaj Hübbe poetically describes three important events in his life. Especially, his experiences as a ballet dancer and Artistic Director of the Royal Danish Ballet. Erik Aschengreen tells the story of his lifelong fascination with and love for ballet. In particular how he made ballet his profession. Lars Schwander, the founder of Fotografisk Center describes the art of photography and ballet. And how Bugge’s photographs occupy a space in between the two. Furthermore, Ingrid Bugge tells about her encounter with the ballet as well as the artistic process behind the art project.

Overall, the book’s purpose is to accompany the reader into the poetic nerve of the ballet. Its soul and its presence. The Essence of Ballet addresses those who are fascinated by or perhaps in love with the poetic essence of the ballet. Much like the contributors to this book.

Balletbog01 Ingrid Bugge

Pages: 138
Format: 34 x 30 cm
Language: Danish and English
Hardcover with an extra plastic cover
Price: 60 EUR – plus shipping
Contact us for purchase

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Painting with My Camera – Multitouch Ibook

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Go behind the process of the Art project The Essence of Ballet with this interactive multi-touch ebook. Through explanatory videos, texts and images you will get to the finest detail of Ingrid Bugge’s photographs. Bugge made these photographs in 2012 and 2013 at The Royal Danish Ballet.

Delve into the details of the photographs, learn about some of The Royal Danish Ballets many stories. And listen in on how Bugge made the Photographs. This is a unique chance to discover the art-project come to life. From the very beginning to Ingrid’s finished photographic collages.

Art Exhibition

The exhibition, The Essence of Ballet was on display for the first time in Artcentre Silkeborg Bad’s ten halls.  Balletmaster Nikolaj Hübbe opened the exhibition on the 3rd of May 2014. It lasted from the 3rd of May to the 7th of September 2014.

A total of 39 huge pieces of ballet photography were on display. Meanwhile, the visitors had an opportunity to get a look into my work process, through a showing of a movie. In continuation of the exhibit, the Royal Ballet Silkeborg made an appearance on the 13th of June 2014. It was during their sommer-tour of Denmark. While the exhibition was open, it was also possible to see a 30 meter long frieze with selected pieces in Silkeborg.

Afterwards, Galleri Kunsthuset, Galleri Lejre and Galleri Belle exhibited selected pieces from the art project. Likewise, Bugge chose 20 pieces for a specially curated exhibition in Perm, Moscow and St. Petersburg in 2016/17.

Make sure to check the Ingrid Bugge‘s profile and her wonderful Art Photography here.

BeArte Gallery expresses great gratitude to Ingrid for providing the materials for the article.

Frida HD
Frida Kahlo Portrait

This may sound insane and unbelievable, but it is true. Google Arts and Culture app launched their incredible virtual exhibition “Faces of Frida” which is totally free for all the art lovers.

Frida Kahlo was considered one of Mexico’s greatest artists. Being a talented artist she also was known for her political activities. As even having major issues with health she never stopped her political activism.

Frida Kahlo became a world known figure thanks to a movie. In 2002 film entitled “Frida”, starring Salma Hayek was directed by Julie Taymor. The film was nominated for six Academy Awards and won for Best Makeup and Original Score.

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So Google Arts and Culture decided to make a huge present for all those who love and support the art of a magnificent Frida Kahlo by creating the exhibition which is considered as “a closer look at the many faces of Frida Kahlo through her life, art and legacy.”

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The exhibition allows us to looks from all the possible angles at life, often tragic, of the artist. Undoubtedly, the huge work was done, as to present such an exhibition, the several years of cooperation with the network of museums and galleries needed to be managed.

Enjoy the collection from seven different countries which contain around 800 exhibits. And some of them have never been presented yet. So you will definitely open and face Frida from a new side.

The source of the exhibition can be found here: 

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Wally The Organ Grinder With His Parrot Was A Regular Attraction. This Drawing By Joan Dawson From The Old Days Shows Diane Elson's Work. Diane Still Exhibits At Bayswater To This Day!

Nestling deep in the centre of one of London’s most genteel residential districts lies the Bayswater Road Sunday Art Exhibition. Bordering the glorious Royal Parks, visitors can lap up the atmosphere of one of the world’s most famous open-air exhibitions, literally every Sunday of the year. Haydn Dickenson tells the living history of a vibrant part of London’s heritage.

In the 1950’s, the London County Council set up the Embankment Art Show in May each year. The self-representing artists wanted a regular exhibiting area though, so a band of them set up near Hyde Park Corner, not being moved on until roadworks in the 1960’s when they decided to decamp to Green Park, just off Piccadilly. In time, that spot overflowed, so the maverick band tried Bayswater Road opposite Queensway on the old Kensington Gardens wire fence (the ornate iron railings, now reinstated, had been torn down to be melted up for the war effort).

As the pioneering show grew, getting space to exhibit meant a night sleeping in the car. Parking on Bayswater Road was permitted from 6.30pm on Saturday, so artists would arrive the night before to secure their spot by marking their pitch with a painting or sign.  Groups of artists organised themselves by taking turns to stake a pitch for each other on alternate weekends, but it was not a safe place to be – assaults by drunks on the road were not uncommon. Many artists wore pyjamas under their day clothes for warmth, evidenced by two or three inches of stripy material flopping about the ankles when the time came to ply their wares the following morning!

Inevitably there was conflict over spaces, sometimes violent and involving money. The London Mob became involved, roping off large stretches of Bayswater Road, patrolling them with dogs and demanding money from artists for a pitch.

By the late 1960’s and early 1970’s the show had mushroomed into a cornucopia of diverse items. Bric-a-brac, trinkets and cheap reproductions jostled for space alongside the genuine art, and brass-rubbing prints, paper flowers, clothing and even ladies’ underwear were all to be found. Hot-dog sellers, card tricksters and the like also made their presence known, and the fraud squad investigated the potential fencing of stolen art through the exhibition.

By now, the exhibition ran from Queensway to Marble Arch and beyond into Park Lane and local residents, unhappy at the increasingly ramshackle mess, tried to have the show shut down. Crisis meetings with the local council were held, and licensing was introduced in January 1973 to establish the exhibition as one with real credentials for the display of original art by self-representing artists only, a tradition which the Bayswater Road Art Association is proud to uphold to this day.

Headed up by David James (one of the Bayswater pioneers), Haydn Dickenson and a small committee, the Bayswater Road Sunday Art Exhibition will shortly celebrate its sixtieth birthday. Though smaller in recent years – due to the escalating ages of some exhibitors, and the changing shopping habits of the general public – the exhibition still packs a bohemian punch on a fine summer’s day, bursting with atmosphere and offering to the discerning public a huge variety of art across many genres. All exhibitors are self-representing artists – no dealers are permitted – so you can be sure you are buying original art, direct from the artist at studio prices. There is easy (and free) parking on the road, and many exhibitors offer chip-and-pin card payment facilities.

Many artists have been ‘discovered’ at Bayswater, being snapped up by agents or publishers to go on to bigger things – they often return to ‘Bays’ however, even if only to greet their old friends and relive a little of the Bayswater magic that they no doubt miss.

Alongside Montmarte, Bayswater surely ranks as one of the world’s most renowned open-air art events, and as it runs every single Sunday of the year from 0800 until it gets too cold or dark, there’s ample opportunity to pay a visit. Locals, whether buyers or just loyal supporters, become well-known to the artists, and overseas visitors return year after year.

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Haydn runs Social Media pages at @BayswaterART (Twitter) and at @BayswaterRoadArt (Facebook), together with a website  where you can contact him with inquiries and see what the show is doing from week to week. Several new artists are lined up to join this spring, and with plenty of vacancies for newcomers available, artists are actively encouraged to apply. The cost is low, the profile is high, and the camaraderie is second to none!

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Maybe you’ll even get a bit of Bayswater-60th-birthday-cake in a couple of years’ time!

The article was created by our great talented artist Haydn Dickenson. Don’t forget to visit his profile. 

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Are you an Art Lover?

Then do not miss a great 4-day event in Munich. After a great success and a huge amount of visitors in the previous year, ARTMUC will be held 2 times this year. In May, from 1 – 5 and October, 17 – 20.

It won’t be a lie to say that it has become Bavaria’s biggest art event for contemporary art. Around 100 individual artists and galleries and projects from all over Europe are going to present current positions of contemporary art.

ARTMUC will represent all possible manifestations of art – paintings, illustrations, photographs, digital art, sculptures, installations and much more. So you definitely will have a great time and things to observe.

The event will take place in the Isarforum at the Dt.Museum and on the beautiful Praterinsel in the heart of Munich.

For the detailed information visit the official website of the ARTMUC

Take a look at how it was last year

Notre Dame Fire article

Yesterday the whole world was observing with beating hearts the fire of the century.

Horrible news caught Paris yesterday evening, famous Notre Dame Cathedral was burning. Flames burst through the roof and started to spread quite fast. The fire was unstoppable as quite quickly it engulfed the tower, which soon collapsed.
Police were saying it began accidentally and may be linked to building work at the cathedral. Indisputable masterpiece and one of the favorite touristic places with vivid history faced yesterday the hardest burden in its 850 years.
After many hours of hard work of more than 400 firefighters, it is still hard to say how bad are the destructions.
French President Emmanuel Macron posted in his Twitter compassionate message:
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Our history is based on our culture, which has been developed in the architecture, music, sculptures, visual arts, theatres and literature. Losing a part of its culture is like losing part of its identity. There may not be many voters in spending money on art and preserving our culture. But it is absurd that even the same politicians who oppose any kind of immigration. and integration of the same people never fights for the preservation of our own culture. With a strong culture, no one needs to be ‘afraid’ of foreign cultures.
The truth is, it is not cultural influences that we must fear, but corrupt and/or incompetent politicians, from every continent, populists, suppressive religions, greed, inequality and censorship that keep people from developing. Without all of this, we could all live happily and our cultural heritage would survive, no matter if we live in North, South, East or West.
Our support goes to the French people.
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Colourful planes just create and talk about something, building a kind of tension

Interview with Agnieszka Rogowska

VV. You say you are interested mainly in colour and the way it can be a creativity tool. Tell us more about your attitude toward colour.

AR. It is interesting what you say as on the whole we are used giving importance rather to “the idea” than to the means leading to it.

VV. Do you think art can be purely observed?

AR. Yes, in my opinion, art could be purely observed, as you put it. It could be very decorative, very aesthetic; putting aside serious contents, religious, social or political contexts. ension.

Agnieszka Rogowska Interview

VV. Is there then art for art’s sake?

AR. I think the art cannot exist in isolation from the man; I look, feel and admire what emotions can a painting stir. Regardless of its content and form, art creates certain reactions in man, which means it does not exist apart from him.

AR. The essence hence results not from the subject but – as Piotr Potworowski put it – “man’s inner strength.” It is really about whether the artist is able to convince observer; whether we are authentic in what we do. The creative process is the struggle with oneself; it is a kind of ordering one’s own emotions.

The colour stands first in my work. In my quest, using a few primary colours, I invent and compose a whole palette that suits my needs. It is through the colour that I build the image content. In my work colour does not bear any symbolical meaning, nor does it introduce a metaphysical one. Colourful planes just create and talk about something, building a kind of tension.

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VV. How do you approach your paintings, how do you see them after being finished? What does it mean for you to “complete” a painting?

AR. I am often dissatisfied with the results of my work; there is always something to improve, add or remove. That is why hardly ever I do have a sense of a “complete” painting. I happen to repaint my works many times, I like this effect of many layers of paint and besides, the old work often becomes a perfect basis for a new one.

I also like very raw canvas left or peeping through a thin layer of transparent paint. I am constantly looking for my own language in painting. Right now, I am interested in building a painting by the colour and through the colour and I do care to make my works paintings utmost.

AR. Everything becomes my inspiration: what I live, I see, I recognize every day. I like to reach for nature which is a bottomless well of ideas; one can draw from it forever, free to transform and simplify without losing its subtleness and clarity. It remains graceful and tranquil. I believe that the secret of art is that a mere trifle may become much more important, passing the inner transformation of the artist.

For me, painting is a kind of escape from everyday life, to the world of idyll. Struggling with the plane of the canvas I happen to completely lose the sense of time, lose contact with reality, and then fall into euphoria for a brief when the whole world is reduced to this one painting, I am working on. It’s exhausting, but a wonderful feeling!

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VV. Can you name a few contemporary Polish painters whose art you find fascinating? In what way are they different?

AR. I really like to look, admire the art works of contemporary indigenous artists. But to be honest, I am more inspired by the elderly artists and most unfortunately late, like Teresa PagowskaJacek SienickiArtur Nacht-Samborski, Leon Tarasin, Jerzy NowosielskiTadeusz Dominik, and of course Piotr Potworowski. These are very important names in Polish art of the XX century; in vast majority representing the Colourism school by Pankiewicz or being its heirs.

Polish young art – at least that is how I see that – those who tend to analyze a human or rather to analyze anatomy get the loudest applause. Many artists show the dark side of life, using adequate means of expression. I remain true to the pure painting and I hope that is expressive and optimistic.

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Author: The interview supervised by Velina Vateva original text:

At BeArte Gallery you can find wonderful oil on canvas artworks by Agnieszka Rogowska:
World's theatre day. Post

“All the world’s a stage and most of us are desperately unrehearsed.”

― Seán O’Casey


Today is a perfect day to take your spouse, someone from family or friends to the theatre. BeArte Gallery invites you to celebrate the World’s “Theatre Day”.

27th of March is the day of celebration for those who can see the value and importance of the art form “theatre”.

The theater has been one of the most popular forms of entertainment since the Greeks. It may seem like a dying industry due to the movie industry taking its role, but not for those who love the art in general and theater in particular.

Globe Theatre Il Teatro Di Shakespire Romegarden Hotel Preview 940x400

Theatre, as one of Art’s manifestations, has been an influential factor in many people’s lives. Creativity can flourish, academics can improve, and means of self-expression can be developed.

BeArte Gallery has prepared some artworks that will bring you into the “Theatre” mood:

Spring with Love Vibes. London – Love – Art Exhibition

International Art Events London (IAE- London) present LONDON LOVE ART international contemporary art exhibition of paintings, sculpture, digital art and photography.

London – Love – Art is an exhibition celebrating the coming of spring and honoring International Women’s Day (IWD).

Celebrating Woman is a way of feeling gratitude to each and every woman in one’s life, be it in the professional or personal life. International Women’s Day is all about unity, celebration, reflection, advocacy and action – whatever that looks like globally at a local level.

What makes this exhibition so special? – It aims to celebrate women regardless of race, religion, and nationality. The Day is not country, group or organization specific – and belongs to all woman all over the world.

Don’t miss such a massive event, as it is going to be 15 artists, from 9 countries including Belgium, Estonia, France, Italy, Morocco, Romania, Sweden, Switzerland and UK, will be exhibiting.

Exhibition lasts from 8 to 20 March 2019.

Opening Night:
Friday 8th of March 2019, 6.30pm – 9.00pm
508 Gallery, 508 King’s Road, Chelsea, London, SW10 0LD
Drinks and canapés

Opening hours:
Monday – Saturday 10.00am – 6.00pm
Sunday – Close

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Agata Ruman – Great Exhibition “Image without a shadow” Article

BeArte Gallery invites you to visit the Exhibition of paintings and drawings by Agata Ruman which is going to be held this spring.

The opening of the exhibition is on Monday, March 4, 2019 at 17.30 p.m. The exhibition lasts until March 31, 2019.

Sometimes history leaves us more questions than answers. As time passes by and the line between real facts and fictional slowly disappears. All because by the time, a lot of details collapse in disgrace and everything that is left are the crumbs of survived photographs, films and retold stories.

Agata Ruman is the artist who brings the past back to life. Inspired by the pre-war world she uses canvas as the field where the heroes of her paintings and drawings are alive again.

Illuminated, full of color images depict scenes of everyday life. All the details, color choices and Agata’s mastery give us a feeling of presence, presence in the time we have never been.

As Agata Ruman explains:

“My passion, under the influence of which I paint and draw, is the past, recorded in black and white photographs and films, contained in the stories of a generation remembering the reality from before 1939. I am fascinated by the photos of the streets on which passers-by were walking, photographs, on which the scenes of everyday life have been captured.

Photographs are the registration of different places, many of which partially or radically changed their look nowadays.

My works are an allusion to the past, which survived only as a photographic, film or verbal recording. The series of works presented at the exhibition was entitled “Image without a shadow” because there are no shadows on the things that do not exist.

That’s why BeArte Gallery advice not to miss such a great opportunity to go back in time and experience with your own eyes the beauty of past years through the amazing artworks of Agata Ruman.

Exclusive Interview: Alfie Bowen

Alfie Bowen – is a young artist demonstrating his, already phenomenal talent, in wild-life and fine-art photography. 

BeArte Gallery had a chance to talk and ask Alfie questions about his daily grind, inspiration, and future plans. So we are extremely excited to share the first and 100% exclusive interview.

BeArte Gallery: Hi Alfie, and welcome to BeArte Gallery. Could you begin by telling our visitors about yourself, what was the starting point for you as a photographer?

Alfie: I grew up with severe Anxiety and an Autistic Spectrum Disorder, this meant I was the target of a lot of bullying and mockery at school and in society as a whole. 

I have always had a passion for wildlife and began to read wildlife magazines during tutor periods at school; this ultimately resulted in me becoming the center of a splurge of bullying and mockery — this was a painful wake-up call for me, knowing that I was no longer accepted for exploring my passion, it was scary. 

During a period out of school, I began my regular visits to the wildlife park and spent many hours losing myself amongst the fascinating articles I found by trailing the web. Having exhausted all the ways of satisfying my obsession with wildlife I stumbled across my mum’s little Lumix compact camera, and set about photographing wildlife. 

That was five years ago, I’ve barely put the camera down since! Photography entered my life when I was at my lowest and gave me the focus I needed to return to my best. Bullies had convinced me that I was worthless and that I would never achieve anything, but the camera has taught me different.

I’ve spent the last five years carving a career out of my passion and I am determined to use my growing platform to raise awareness of those without a voice, both in the human and animal kingdoms.

BeArte Gallery: You are only 20, yet you devote your life to your artwork and charity work. Very few people your age are doing such things, why do you do what you do at such a young age?

Alfie: My artwork provides me with a much-needed outlet for my anxiety and past experiences. All good artists invest emotionally in their work and it is true that bad experiences result in great artwork.

As Ansel Adams once said — “You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.”. That couldn’t be a more accurate description of work. 

I’m often told that I can be grumpy when working in the field; I’m not grumpy, I am just emotionally invested in my work and re-living past experiences in my mind because these serve as inspiration for my work. 

The charity aspect of my work is incredibly important to me. As I’ve grown-up it has become clear that we, as tenants of this Planet, are doing a fantastic job at destroying it for future generations. We seem to have lost all love for the planet and the species that call it home, and that has to change, or we risk saying goodbye to elephants, to lions and, eventually, humans. 

I will always endeavor to give a voice to those without one and if I manage to educate just a handful of people about the challenges we face then I will be happy. It’s time we all stepped up and took responsibility. 

BeArte Gallery: Photography today is easily accessible – Why do you consider it as an art and a photographer as an artist?

Alfie: I believe every human being is an artist. Art is simply a visual representation of one’s emotions and thoughts, whether that be painting, drawing or photography. 
People often state that a photographer creates good work because of their camera. This is absolute nonsense. The camera is a tool, just like the paintbrush is a tool for the painter and the most important aspect of a camera is the person using it. 

All good artworks have the ability to grab the viewers attention and hold it. People often look at photographs rather than looking at the story within them, but if you actually invest time looking at the work in detail you will pick up on the photographer’s thoughts and feelings at the time of creating the image.

Commercially, few photographers are considered true artists and are represented by fine-art galleries. Collectors often invest in artwork that will rise in value and that is unique, that makes the challenge of creating good work considerably harder. I work hard to find a balance between creating work that is full of emotion and is also appealing to collectors around the world.

BeArte Gallery: What or who inspires your work and who has influenced your career?

Alfie: I have many idols, some are celebrities and some are simply inspiring human-beings. 

Perhaps the most obvious inspirations are Ansel Adams and Diane Arbus, both legends of the photographic world. As a photographer and as a human being there is so much to learn from both Adams and Arbus. 

I am also a keen reader and authors such as Ralph Waldo Emerson, Ernest Hemingway and the genius that is Mark Twain all serve as major inspirations. I think having a good understanding of the current political climate is essential for any artist and I follow the global news with great interest. 

On a more personal level, I have a small but very good circle of close friends and family that inspire me on a daily basis. 

Freddie, an incredibly talented musician, has been by my side for a few years as my career has grown and is always on hand to give feedback on new work or offer any advice. 

My grandparents are perhaps my biggest fans and are always offering support both personally and professionally. 

I also have Emily, a young but very talented individual who has become a very close friend. It’s always refreshing to meet someone that understands what you do, and why you do it and possess an insatiable and infectious desire to improve. We all need someone to push us to do better.

I may have a global reputation and following, but none of this would be possible without my closest friends and family.

BeArte Gallery: Wildlife photography is a difficult genre, why did you choose this? Is there a message you want to share through your photos?

Alfie: I photograph wildlife because, frankly, I love it. If your not passionate about your job, or your subject then you probably shouldn’t be doing it. 

I try to use my work to educate people on conservation efforts, humanitarian issues and the plight of endangered wildlife.

BeArte Gallery: You have developed a unique and powerful style which includes high levels of contrast in both color and black-and-white. How/why did you develop this style?

Alfie: Having a unique style is essential to being successful in the industry. The world is filled with photographs and no one needs to see another photograph of a lion hunting an antelope, they have been seen many times before. 

I developed a style to match my desire to show the beauty, personality, and vulnerability of the world’s wildlife. The high contrast ensures that the imagery is visually arresting and that it grabs the attention of the viewer, only then can it begin to impact them emotionally. 

BeArte Gallery: What is your process for creating a new work from shoot to final print? 

Alfie: Sometimes this process takes months, and sometimes it can take just a day. 

Typically I pre-conceive images in my mind months before actually shooting them. I sketch these mental images out on paper to allow myself to evaluate the visual impact of the composition and the ensure that I don’t forget the image. 

I then research the species/subject involved and the shoot location to ensure that I have all the knowledge that I might require when working in the field. If it is a staged image featuring, for example, a dog and a person, then I source any props that are required and ensure any model release contracts are agreed. 

Once everything is in place I head out to the field in search of the actual image. This can take a considerable amount of time and I have been known to spend up to 7 hours in the field in search of a single image. 

It can be a tough and lonely job and I often leave the field empty-handed. But that is all part of the game and if it was easy then everyone would be doing it.

BeArte Gallery: What do you do to always keep up with the times? 

Alfie: Fine-art Photography is the art form of the 21st century and its popularity is exploding. I try to ensure that the subject, or message behind the image, is relevant to today’s global climate. Current themes include conservation, climate change, politics, and history. 

BeArte Gallery: From your point of view, what makes a good picture? And what can make the picture become a piece of art?

Alfie: A good photograph should be able to grab the viewers attention and hold it for a considerable amount of time. I am very tough on myself and only ever release images that are emotionally moving and visually-arresting, the world doesn’t need more mundane content. 

BeArte Gallery: Can you tell us about one of your favorite works? 

Alfie: ‘Snow White’, 2017.

I had visually preconceived this image weeks before the trip after my research had revealed a small handful of the rare White fallow deer variation called the park home.

Whilst planning the image I had conceded that finding these white deer in five hours was going to be an almost impossible task considering the park is around 2,500 acres in size and is home to over 630 deer but, I’m known for setting my photographic goals rather high and thus my target was to find these rare white specimens. I don’t like giving up.

I needed a cloudy sky because I wanted to shoot against a thicket of forest to form the black backdrop, sun-light would highlight each individual tree hence leaving me with a patchy background. After six-hours I found the perfect location and a herd of seventy-five Fallow deer, most importantly, there was a single white deer! Now it was just a waiting game; I needed her to stand in front of the desired backdrop, which she did after ten minutes!

BeArte Gallery: What are your plans for the future with regards to new works and projects? Can you give us an insight into your plans for 2019?

Alfie: In February we will be launching our work in London before showing in Miami, Dubai and at several art fairs. Keep an eye on our Instagram for further announcements — @alfiebphotos. 

Plans are in place for several large shoots in the first quarter of 2019 and we are excited to release some exciting work throughout the year. 

BeArte Gallery: Why might our buyers be interested in your work?

Alfie: Each work is a beautiful depiction of our endangered natural world and provides the opportunity to own a piece of history. My work has increased dramatically in value over the last year and continues to grow as my reputation strengthens around the world; these works offer a great opportunity for investment.

We thank Alfie, for his personal story and honest answers. We are sure, that now, our visitors will not miss the chance to check out other works by Alfie here.

The interview on behalf of BeAre Gallery / conducted by Aleksandra Lykhoshvai