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Category: About our Artists

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.

Szilard Barta Interview

Interview with Szilard Barta

Szilard Barta

Hungary, Debrecen


Self-educated artist

Main Theme:

Main Art Subject:
Painted Objects

Inspired by:
Nature and tense between materials and surface

Favourite artists:
Leonardo da Vinci, Raphael, from contemporary – Alberto Burri, Roberto Crippa, Edmondo Bacci, Ferruccio Bortoluzzi, Agustino Bonalumi, Hisao Domoto

2012 Budapest Dunapart Gallery
2018 Buják
2019. Debrecen city / Life Science Open Gallery

2018 Young Generation Art Fair, Goldberger Institute of Contemporary Art

Szilard Barta for BeArte Gallery
Szilard Barta for BeArte Gallery

The intention is to have as little space as possible, with minimal and physical tension, to create the space for encounters and the unlimited flow of thoughts. Material and object art is a visual system in which the passion of scattering extends honestly and vividly to the barriers of the two-dimensional plane and communicates with what is around it.

 / Szilard Barta

Beata Piechocka: What is your main activity? Are you a fulltime artist?

Barta Silard:  Being a fulltime artist is the beginning of my goal. But at present, I work as an alpinist. I settle internet aerials powered by microwaves on radio towers.

BP: You have surprised me. The alpinism is associated with a very masculine and dangerous occupation. How did it happen that you have decided to become an artist?

BSZ:  It wasn’t a decision, it was an inner motivation. Art, as a tool of self-expression, was determined in my life earlier as well. The demand for presenting myself and my creations before a bigger audience appeared after a call for an exhibition of my early works. I wanted to show them and others wanted them to be shown.

BP: In your biography, you have written: “I’m looking for challenging boundaries in my creations. The intention is to have as little space as possible, with minimal and physical tension, to create the space for encounters and the unlimited flow of thoughts.” What have exactly you meant?”

BSZ: The aim of my „searching” is to create that origo, where the materials I have used, the surface I have made, and the observer’s attention reach the maximum concentration. Hence, the arising visual tension, in spite of the static presentation, induces energetic moments and thoughts, in this way repressing that cliche which follows every regularity. Thus it leaves room for intuitive feelings, thoughts and impacts. So it operates in space and time simultaneously without barriers.

BP: Why do you choose Painted Object as your main subject, is it because in that kind of art you can show this tension between two different materials you mentioned?

BSZ:  It wasn’t a conscious decision. It was some kind of a sense of loss which made my art to step on this way during the creation. And what I wanted to show overran the sterile „painting palette and frame’. The process of creating is an integral part of the work itself, that’s why I opened up to the approach, that the surroundings aren’t sterile, but it has to link integrally to the work – in many forms. By now, the effects of my creating environment and the attributes of the materials I use, not only means a built-in part but form the result itself.

BP: Can you also explain what exactly is the Painted Object? For me, it is an object between painting and reliefs; I also call it 3D painting. What is your definition?

BSZ: Well… maybe the best phrasing is, that full assimilation of an object, while all of its attributes are preserved in order to gain a new interpretation, thus making it whole.

BPIn principle, it’s difficult to describe your art in two words. Not only that the paintings themselves can be defined as reliefs or Painted Objects, but your art can also be defined as Recycled Art. What kind of materials do you use to create your art?

BSZ:  The materials which can be found in my environment. For the frames and bearers, I use used roofing and floorboard, the bark is always the bark of a fallen tree. I never use the bark of a living tree. Cotton, few nails, sometimes steel wire and rope. The paints are industrial oil paints, industrial glue and ground coat. Sometimes, broken slate and sand, too. Furthermore, which is blown by the wind or the sun burns into the picture during the creation.

U Series V. Flux
U Series V. Flux
Sz.Barta. U Series IX. Black Synchron
Sz.Barta. U Series IX. Black Synchron
Sz.Barta.U Series III. Yellow Synchronous
Sz.Barta.U Series III. Yellow Synchronous

BP: Is the connection with Recycled Art conscious, or did you join this ecological trend by “accident”?

BSZ:  It is an absolutely random connection. I only used what was available, thus it wasn’t a directive.

BP: But you mainly use “natural” materials. Maybe because you are alpinist and you are understanding the power of nature. So what do you think of that Eco-trend in art? Is it art or is it a craft with a noble idea?

BSZ:  I consider it the art of full value. When natural materials are used (despite appearances), it isn’t easy to be conscious and creative during the creating process. I think, its successfulness can be measured by „the more natural the better”.

BP: How are your objects created? Do you have an idea first and then you choose proper materials for it or is the opposite – the material defines the idea, composition, and result?

BSZ:  Yes, the material defines the idea, the combination, and the result. The bark is always the first. After the preparation, the size of the frame can be defined, the demanded beares, the lashing points, and the order. There are no plans for the creations, maybe I make sketches during the work, but only to define the lashing points and the amount of substance. The result can be seen only at the end of the process even for me

BP: Can you describe, step by step, the process of creating a Painted Object?

BSZ: After the studying of the found bark, I clean it, then polish it, it usually takes 2 or 3 days. Then I prepare the slats for the frame and match them. The next step is to form the bearers of the extruded surface – it takes 2 to 4 days again -, then to cut, polish and fix them. It is followed by stretching, forming, and temporary fixing of the canvas (1-2 weeks). That is the step when the bark meets the canvas and I fix them permanently. Then I form the connection of the canvas and the bark and stretch the canvas. It is followed by the proper foundation – 2-3 layers of ground base -, and painting in 2-3 layers again. Briefly, this is the procedure, but the time of the work is defined by the surface, and it is rather longer than shorter.

BP. I see it as a very hard work, where each step is logically thought through. So let’s talk a little about the colours. You use mainly primary colours. It seems the colour is not an essential part of the artwork.  Is it because you want to direct a viewer to the main subject – the tensions between two different materials? Would I be right by saying that colour is the background on which the main scene appears?

BSZ:  Actually, yes. The primary aim of the colour is to psych the observer up to the surface of the work. It is important, because this is the first thing the audience recognizes, and it dictates the focus on the main scene. After that, as visual background noise, it gives some kind of background music to the thoughts and the topic, story of the most important part, and defines the colour of the shadows generated by the lights.  To avoid giving over annoying information, I only use 1 or 2 colours, but I usually make monochrome works.

Read article about Recycled Art

Recycled Art
U Series X. Contact Point 78,5x84,5x15 Mixed Media On Extruded Canvas 2019. 2
U Series X. Contact Point
U Series IV. Resonant
U Series IV. Resonant
U series VII. Harmony
U series VII. Harmony

BP.: You create paintings in series, e.g. “U series”. There is also the “Female series”, which is very suggestive and provocative. Can you tell a bit about the idea of this series?

BSZ:  Representation of women is always a thankful topic. With my woman series, I wanted a new, directly minimalist approach about women, as a complex surface. I wanted it to be sensual, expressive, defining, and typical. That’s why I chose the triple play of leather, wood, and extruded canvas. I divided into five cycles the important life stages of women. The sensuality of the leather with the playfulness of the veins of the wood and the movement and colour of the extruded canvas. The visibility of the sex features is only presented to a required extent. I think it is expressive and fortunately, others think the same. One of the interesting things about it, that I had only a few materials during the procedure, thus I used a lot of things to make it – sewing by hand, paper strips and others.

BP: The painting from U series as e.g. “U series VIII. Feedback” seem to be very natural and “friendly” on the first glance, but object “U series VI. Infinity” is very industrial, modern and „cold”. What did you want to show with those artworks which belong to the same series, but differ so much with their impression?

BSZ:  The U series is about the connection between the natural and the artificial world. The presented materials almost become touchable. The evolved surface makes an impact on the observer, intruding in the space it cuts the annoying outer sources, thus allowing the audience to feel their own thoughts and help them to connect directly. The diversification of the U series shows that openness leads to the infinite possibility to connect to our environment and cooperate with it, which can enable us to create a better and higher world for ourselves. In this artworks, time and space melt into one picture, and while I was connecting to the forming of the surface during the creative process, now the observer can connect to it and to the creating forces, thus a connection is made which defines as a continuum.

BP: What do you consider as the destiny/purpose for Painted Objects in the ordinary home? Some people think that art is only for public spaces. Can you encourage and suggest to the potential buyers how they can present your works in their homes?

BSZ:  Well, I haven’t met this aspect so far, but in this case, we look at these works as if we bring little public spaces into our homes, were either alone, or in a company, we can connect to them and share them with each other.

BP: What do you want to tell the world with your art?

BSZ:  I don’t like explaining, since my works speak for themselves, and affect everybody, but they emphasize the importance of the actuality, significance and understanding of relationships, with our environment, ourselves and others as well. I only hope that I can manage to form something in the audience with these works.

BP: I am fully respecting your point of view. At the end of the interview, I always ask the artist about their artistic plans. What is the plan for Szilard Barta and where will the future bring him? What is he dreaming about?

BSZ:  I rely on my success, of course. The future is here, in every minute, thus I do everything I can. More intuitive, more openness, reaching and presenting the limits of the materials. It is my artistic ambition, which –  hope – can be shown before the world and will generate new cooperations, and will create a change, new artist groups, communities, and greater artworks.

BP. I must say, that it is not so often to find an artist who has such a deep and analytical approach to his/her art. I am impressed by how each stage of your work is logical and justified. I wish you, on behalf of myself and the entire BeArte team, to fulfill all your plans.

Thank you for very much for your time.

Sz.Barta. U Series VIII.Feedback
Sz.Barta. U Series VIII.Feedback
U Series. Infinity
U Series. Infinity
Mulatto 35х30см, MDF,oil. Tatyana Mironova at BeArte Gallery. Winner" of Russian Art Week 2018

Interview with Tatyana Mironova

Artist – Tatyana Mironova
Country – Russia, Smolensk
Born – 1978
Education – High education  – University of Arts
Main Theme – portraits, animals and birds
Main Art Subject – paintings and bas-reliefs
Inspired by – wildlife, human, “holy element”
Favourite artists – Leonardo da Vinci, Raphael, from contemporary – Fred Wessel, Koo Schadler, Loetita Pilaut, Richard Clifton, Slava Fokk and others
2008 – was awarded a letter of appreciation from the Smolensk City Council for the creation of highly artistic paintings – winner at the exhibition of young artists
2018 — winner in the international exhibition «Russian Art Week», portrait genre, category “Professional”, Moscow
Tatyana Mironova for BeArte Gallery
Tatyana Mironova for BeArte Gallery
In modern art, there are directions that are just not interesting to me. For example, abstractionism.
In my artwork, I follow the rules – good drawing, composition, necessary contrasts.
Mulatto 35х30см, MDF,oil. Tatyana Mironova at BeArte Gallery. Winner" of Russian Art Week 2018
Mulatto 35х30см, MDF,oil. Tatyana Mironova at BeArte Gallery. Winner" of Russian Art Week 2018

Beata Piechocka: What was the beginning of Tatyana as an artist?

Tatyana Mironova: Like many children, I began to draw in early childhood and painted mostly people: I understood that I have to paint to have a beautiful image in the end. I really enjoyed looking at the smallest details of painting on wooden toys for a long time. I have this attention to details in painting now. It can be said that in painting the image of a person, a bird or an animal, the process consists of these small details: from small things a large one is born. I grew up in a natural environment in a big house and loved to watch sunsets and sunrises, young leaves of trees in spring, and snow-white fields in winter. Perhaps then I felt the power of colour and contrast. In my grandmother’s house, I really liked to look at the reproduction of the painting “The Unknown” by the famous Russian artist Kramskoy, I liked the beautiful contrasts and the face of the woman painted in the picture. Subsequently, this work inspired the creation of a self-portrait “Harmony in Black”, which participated in the All-Russian, then the international exhibition of portraits in the Erarta Museum (St. Petersburg) and was sold.

BP: Looking at your paintings, it is difficult to avoid the impression that you are very inspired by the art of the Early and Late Renaissance and the Russian icon. Where does this connection come from?

TM: My main subject in the painting is portraits. And, of course, I admired the masterpieces of Leonardo da Vinci, Raphael, copied their works. It is believed that the realistic image of a person was the main goal of the artists of the Early Renaissance. But these great creators have achieved more, reflecting the inner world of man in their paintings. When I look at old Russian icons, I understand that they are spiritualized, forcing the viewer to start a dialogue with himself, to become better. Religious scenes are also in the paintings of Renaissance artists and of course in the portraits, the artist must reflect the soul of man, his inner world. I always remember this when I paint a portrait.

BP. In your biography, you pointed out contemporary artists like Fred Wessel, Koo Schadler, Loetita Pilaut, and Richard Clifton. All of them derive a handful of the achievements in art by presenting it in a new modern version. Maybe except Richard Clifton who rather inspired you about the subject. For what reason do you think old art can be so appealing?

TM: Yes, many contemporary artists are interesting to me. Basically, those who know how to synthesize the aesthetics of classicism and modern art. Very interesting are those artworks where I see the synthesis of genres. For example, a realistic classic portrait of a person on a gold (or decorative) background, possibly with elements of abstraction. Thus, realistic art appears in a more modern context.

BP. In modern times it is difficult to indicate one leading direction of art, basically, everything is allowed. How do you feel with such freedom as an artist? Does the lack of rules in art bother or help you in your artistic work?

TM: In my opinion in modern art there are directions that are just not interesting to me. For example, abstractionism. In my artwork, I follow the rules – good drawing, composition, necessary contrasts.

BP. If you had to choose the direction of the art that is closest to you, what would it be?

TM: Realism, animalism, symbolism. These are the directions of art that are closest to me when the artist influences the feelings and mind of the viewer and expresses the joy of life.

BP. What kind of technique do you use in your painting?

TM: I paint with acrylic and oil paints on canvas or wood (MDF panels). I also use gold and silver leaf in my work, this is one of my favorite materials that give originality to my artworks, and this is a very important moment for the success of the artist, something that distinguishes him from other artists.

BP. What motivates you to paint?

TM: For me, art is life. Without it, life is boring and uninteresting, I understand that painting develops my mind, taste, sense of beauty. Often, the picture begins with the idea of a combination of colour, then I think about composition, and the patience and work. And, of course, I am glad that I found my viewer who loves and understands what I am doing.

The Little Red Riding Hood by Tatyana Mironova at BeArte Gallery
Little Red Riding Hood by Tatyana Mironova at BeArte Gallery
Self Portrait in Red by Tatyana Mironova at BeArte Gallery
Self Portrait in Red by Tatyana Mironova at BeArte Gallery

BP. In 2018 you became a winner of the international exhibition “Russian Art Week” in Moscow in the category of “Professional” in the portrait genre. The painting which was rewarded is “Mulatto from series of portraits the “Faces”. What do you think has determined your win?

TM: The picture “Mulatto” is a small but original work, which participated in the nomination “Synthesis of genres”.  A young black woman on the background of gold leaf – really original and creates a beautiful contrast. In addition, there is a feeling of luxury, chic.

BP. “Mulatto” reminds me of the coffin portraits from Fayum in Egypt. So, all this together: the icons, the Byzantine golden background contains the element of Greek art after Christ. What do you think about my connotation?

TM: Yes, this picture is really similar to Fayum portraits in colour, gold leaf is also often used in iconography. If in portraiture a gold background is applied, then it emphasizes the divine origin of man, reminds us that each has his own mission on earth.

BP. When I look at golden backgrounds and deep, spiritual eyes on your portraits I have the impression that you are the heir of the idea of a “holy” element in each of the paintings you’ve created. Is that what your artworks are about, about this divine element?

TM: In portraiture, the psychological component is very important, the image and the viewer interact. It takes time, effort, the skill of the artist in order to really create a living portrait. I think that the portrait is good if it contains the idea of the “holy” element.

BP. When you are painting portraits, what do you pay the most attention to?

TM: In portrait painting, as in any painting, good drawing and composition are very important, but what is always difficult is that the artist must reflect the soul of a person, his image

BP. In addition to portraits, you also create icons. Do you copy ideas or involve your own interpretation?

TM: There was a period in my creative activity when I was looking for my own way, so I experimented a lot with different styles, techniques, materials. I was always interested in icon painting, especially ancient icons. I studied the technology of icon painting with egg tempera on a plank of wood, as icon painters of the distant past did. Canonicity is the main feature of an icon, of course, it is an exact copy of the image from which a new icon is being drawn. I made several icons to order, but I came to the conclusion that I was more attracted by realistic oil or acrylic painting.

BP. You also paint icons, they are very popular In Russia. What do you think about why they are so popular?

TM: Icons are really very popular in Russia, as this is our history, culture, often it is a family value: parents pass the icons to their children. It is believed that icons protect the house from evil forces and have contact with saints and God.

Paired In Life By Tatyana Mironova At BeArte Gallery
Paired In Life By Tatyana Mironova At BeArte Gallery
African Bird By Tatyana Mironova At BeArte Gallery
African Bird By Tatyana Mironova At BeArte Gallery
Blue Birds By Tatyana Mironova At BeArte Gallery
Blue Birds By Tatyana Mironova At BeArte Gallery

BP. In addition to painting, you also create reliefs. This is quite a non-typical area of activity. Most often, it is associated with stucco and plaster that is used in palaces. Why did you choose such a niche as part of your artistic path?

TM: I studied the technology of creating a gypsum panel on wood (MDF panels) and in this way my artworks are really original wall decor. The bas-reliefs attract me by the fact that there are much fewer competitors here compared to painting.  Also, the works are very stylish and beautiful, people like it, and many have already found their buyers in Western Europe and the USA.

BP. What application would you suggest for reliefs for the ordinary interiors?

TM: I believe that the bas-reliefs are perfect for the popular and romantic style of Chebbi Chic with its light pastel colours. But for ordinary interiors, the bas-relief panels are also suitable, giving them originality. All my bas-reliefs are ready for hanging, they can be used as a panel or framed. Fine will also look a few bas-reliefs on the wall in one row.

BP. I know that you create reliefs in your own unique technique. Can you tell us a bit more about the work you go through while creating a relief?

TM: The process of creating a bas-relief begins with the preparation of the base – a wooden board, on which I apply a layer of acrylic glue impregnation. Then, after drying this base, I make a mixture of high-strength glue and plaster and place bas-relief elements in it — flowers, leaves in a beautiful composition. I prepare gypsum flowers and leaves for work separately.

BP. This sounds very complicated and time-consuming work. Which of the stages of creating a relief is the most difficult?

TM: The greatest difficulty is the creation of a successful composition of the bas-relief and its elements – flowers and leaves.

Flower Composition With Orchids. T.Mironova At BeArte Gallery
Flower Composition With Orchids. T.Mironova At BeArte Gallery
Flower Bas Relief With Orchids. T.Mironova At BeArte Gallery
Bas Relief With Orchids. T.Mironova At BeArte Gallery
Flowers By Tatyana Mironova At BeArte Gallery
Flowers By Tatyana Mironova At BeArte Gallery

BP. What do you want to express through your art?

TM: It is very important for an artist to define his mission, to choose his own way. In my work, I focus on the portrait. Through my art I want to express a simple idea -it’s good to be a man who understands his high destiny in this earthly life. I often study exotic faces, national costumes, ethnic jewellery belonging to women from different parts of the world.  In my series of paintings “Faces” images of people of different nations and races will be painted. So, viewers see that every nation has its own beauty, an interesting history, and this unites us all.

BP. Can you share with our readers your nearest artistic plans?

TM: This summer I take part in the international exhibition, in the world-famous project “Geysers of the Subconscious” in Moscow. And, of course, I will continue to work on the series of paintings “Faces”.

BP. Tanya, we wish you successes in this exhibition and on many others. We are also waiting for more of your beautiful artworks.  Thank you for time and the interview.

Tatyana Mironova with her artwork
Tatyana Mironova with her artwork
Auction online at BeArte Gallery
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.

Make An Offer 2
From Devils Dyke by Philip Tyler
Philip Tyler
Philip Tyler self-portrait

Philip Tyler is an English artist and teacher of visual research and colour theory, who in one of his interviews said about himself: “I draw, paint, make prints and work digitally as well as take photographs”.

He has a track record of exhibiting work both nationally and internationally since the mid 1980s and his work has exhibited in The Ruth Borchard Self portrait prize,  ING Discerning Eye, Royal Institute of Oil Painters, The Lynn Painter-Stainers prize, The Garrick Milne Prize, The Royal Overseas league, East, The National Open and the Whitworth young contemporary’s competitions.

His work is in both public and private collections in this country as well as in America Australia Finland Hong Kong and Sweden, including Brighton Museum and Art Gallery, Peterborough Museum as well as being collected by Brian Sewell

Campanent by Philip Tyler
Campanent by Philip Tyler

Since May, Philip Tyler has been a member of the BeArte Gallery and together with other English artists has been presenting his landscapes on canvas.

What is most amazing is that Philip creates such unique landscapes with eye-catching colour combinations, despite the fact that he is colour blind.

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Beata Piechocka: Can you tell our visitors how your adventure with art began, why did you become an artist?

Philip Tyler: The decision to become an artist was not one which happened quickly. I began drawing properly about the age of 7 and I took my studies very seriously once I went to secondary school. I was lucky enough to have two fantastic art teachers who guided me through my final years at school and onto and Art Foundation in east London. As a working-class kid, the idea of being an artist was outside of my experience, so I was focusing on becoming an art teacher. It was only in the final year of my degree at Loughborough College of Art and design that the idea of being an artist became a serious one I have strived to push myself and my work ever since.

BP: With what direction, the trend of art you identify or associate yourself the most?

PhT: I am really not interested in trends or fashion in the art world. The internet is full of images of people adopting mannerisms and approaches to look current. I’m only really interested in responding to the emotional situations I find myself in.

BP: What motivates you to make artistic work?

PhT: Of course, I am inspired by the work of other artists.  I want to be the best artist that I can be and the only way I can do that is to match myself against the very best.  When I am painting I completely lose myself, It’s the place where I can truly be me and forget my concerns.

Overlooking Findon by Philip Tylor
Overlooking Findon by Philip Tylor

BP: You cover many topics in your artworks, self-portraits, also portraits of stars, landscapes, and views of cities. Which of these topics is the closest to you and why?

PhT: I tend to work in series and at any one time I am completely absorbed by the subject. When I am painting landscapes I am obsessed by them, when painting portraits, I am obsessed with that.  But my self-portraits are probably the things that I am the most obsessed with, whilst the landscape have a real emotional resonance with me because they were made after my father died.

BP: In one of your interviews, to the question about an experience in your life which influenced your art, you mentioned the loss of loved ones and the birth of your daughter. These are different occasions which bring different emotions, sadness, loss and joy. Just like life. How these personal events influenced your art? Can you share a bit more about it with our readers?

PhT: Painting can be used as a cypher fore complex ideas. The ability to channel whatever ones feels into work is challenging, but if one is able to do this then one will always work, whether you are happy, sad or indifferent, you can always make work

BP. When I look at your work, I feel that regardless of whether you are painting the sky, face or streets of cities, you are painting a portrait. I mean, it’s not just a physical resemblance or an impression of reality on the canvas. It seems to me that you want to convey the essence of the object you paint, both physically and mentally or maybe even metaphysically, even if it concerns the clouds. What do you think about my interpretation of your art, how compatible is it with what you paint?

PhT: Yes, I think that I want to capture the essence and the spirit of a place or a person.

BP: Great Britain has a beautiful tradition of landscape painting. The most famous and known to the world are Turner, Gainsborough and Constable. Turner,  painted the impressions even before the Impressionists, Gainsborough is known for his portraits of the landed gentry, also dreamed about the rural village and painted romantic, often creating, idyllic landscapes. Constable went away from embellishing of what he saw and painted the truth: realistic, natural and chaotic landscapes. Among these three artists, whose style is the closest to you and why?

PhT: I think that I feel more of a connection with Constable in terms of his directness of approach.

Philip Tylers’ self-portraits

Philip Tyler
IMG 20180802 153504
IMG 3942
Philip Tyler Selfportrait

BP: When I first saw your paintings, these were landscapes. However, I admire, for example; Your self-portraits, but most of my attention was caught by your way of depicting clouds. In my mind, maybe a little funny, I was calling you Lord of the Clouds, because that was my strongest impression after reviewing your artworks. What intrigues you in the landscapes that you want to paint them?

PhT: I grew up in London surrounded by tower blocks.  The landscape has poetic and romantic connotations for me as I first really got to grips with landscape painting once I left home for the first time.  The landscape also reminds me of the few family holidays I had as a child with my mum and dad. In more recent times landscape has a real emotional connection to me, especially after I lost my father and had to come to terms with the impact that had on me. I think that there is something uplifting and perhaps spiritual about being in a massive cloud and space it inhabits.

BP: Most artists paint other fragments of landscapes, e.g trees, groves, rivers. Why did you soar higher and have chosen clouds? What does the sky have in itself that Earth doesn’t?

PhT: I think that it is the sky that seems to capture everything I want, especially if there is a storm brewing, or has just dissipated.


BP. Looking at your paintings, I can see that you’re using a unique palette. The colours, although not intensive, but are light. This is not a typical palette for the UK landscape, which is associated mainly with grey. Your landscapes remind me more of Italian views. Have you always been accompanied by such colours? Where does the intention of using this palette come from?

PhT: I think that there is a real difference between the colour that you see on the screen and the colour you see in the actual paintings. I am obsessed by colour and I teach colour, but I am also colour blind, so rather than thinking about what the colour is in the landscape, I am much more interested in what the colour can be.

BP: Do the colours you are using result from what you see or are they the result of a conscious and analytical decision? For example, for strengthening and balancing the composition?

PhT: Colour is explored in a systematic way in terms of my choice of the palette, but also used in an intuitive emotional way. The colours you see if often the top layer or many other colour decisions.

BP. The composition of your landscapes is for 70% of the sky and 30% of the land. It is also mainly horizontal. Is this a way to strengthen the effect of the presence of the clouds?

PhT: Yes I Iove the tension between opposites, empty space and gestural areas, hot against cold, soft against hard.

BP. In your paintings, it is difficult to look for some significant dominant elements, the main “heroes” of the landscape so to say. It’s hard to decide which element is important, except for the clouds. Is this your way of achieving the illusory effect, where space enclosed in the image format?

PhT: The landscape is a real one, not imagined but translated. I am often drawn to those Sussex views which disappear away toward the horizon, where not one thing is the single protagonist, but all parts contribute to the whole.

The cityscapes of London by Philip Tyler


BP: At prestigious auctions of modern art, it is difficult to find many examples of landscape paintings. However, as the reports show, the landscapes are selling as one of the best topics among individual art lovers. What do you think, why landscapes are still so popular?

PhT: Landscape evokes many things in the viewer.  Whenever I have tried to paint a picture to sell I have failed.  I only seem to sell the paintings that come from my emotional response to the subject.

BP: Can you share your way of painting your landscapes? Do you paint in the open air, do you use photos or memory? Can you describe the stages of work?

PhT: All things are permissible and used. I draw and paint in the landscape, take thousands of photographs, make print and loads of colour studies. All of this then gets synthesized into a large painting.

BP: In which technique do you paint? Is it glaze, verdacio, alla prima, inpasto? And why?

PhT: All techniques are used to achieve different effects, vaporous clouds, trees, shadows, paths, rain, sunlight. You achieve these phenomena by adapting how the paint is applied, but the process of painting a landscape usually starts off in an explosive way with lots of energy being thrown at the canvas.

BP: How do you build the illusion of space on the image?

PhT: Physicality of paint, thinness, thickness, saturation, tonal contrast all of these things are the formal elements used to create space as well as the perspective of course.

BP: You wrote the book “Drawing and painting the landscape”. Lisa Takahashi gave an excellent review of this book. What prompted you to write a book about painting landscapes?

PhT: I have really enjoyed the process of writing and the books are an attempt to share my knowledge.  One day I am going to die and it is nice to think that alongside the paintings I leave behind my thoughts on drawing and painting have been recorded as well

BP: In the book, you give examples of your favourite artists. Can you tell our readers who they are and why you include them in a book about landscapes?

PhT: Virtually all the artists in my books are either artists I know personally, have shown at the same galleries or have admired online.  There are many good artists out there who do not always get the coverage they deserve.  The books provide an opportunity to promote their work

BP. Do you have any advice, suggestions for the beginner landscape painters

PhT Buy my second book and be prepared for failure. You learn from your mistakes, so the more that goes wrong the more you can learn from these.  You do not have to have a studio, not copious amounts of time.  You have to work with what you have but you will learn by making painting after painting

BP. What does a great painted landscape mean for you?

PhT: When you encounter a great painting, you are brought into contact with the person who made the work, you touch their spirit and their humanity.

Drawing and Painting the Landscape: A course of 50 lessons

Drawing and Painting the Landscape: A course of 50 lessons
By Philip Tyler
Paperback: 208 pages
Publisher: The Crowood Press Ltd (1 Sept. 2017)
Language: English

Contact us for purchase

Fulking escarpment by Philip Tyler
Fulking escarpment by Philip Tyler

BP: Does the process of teaching others to help you to develop your artistic skills? If it does, in what ways?

PhT: Sometimes, but equally teaching is very difficult. It is not always about what I do, more often than not I have to out my head into what the student is doing and figure out a way of working through their problem.  I have to be aware of a lot of art and design and a lot of ways of working if I am to guide the student in the right direction.

BP: Will you describe the fact that your works are in many foreign galleries around the world as the final artistic success? Or does it mean something different for you?

PhT: It is exciting to see that one’s work is spread around the world, but success is elusive.  How is this measured?  Is this about appearing in a major show, appearing in important magazines, being bought by major collectors?  If this is a success then I am a long way from this. If success is not having to teach every day, then that is what I am working toward

BP: What we as BeArte Gallery can wish you on your artistic path?

Ph.T. Having a more international presence and having worked in some museums and art galleries would be nice.

BP: Looking at your artworks, I’m sure it will happen.  Thank you for your time and we wish you will soon fulfil your plans.

From Devils Dyke by Philip Tyler
From Devils Dyke by Philip Tyler
Visit Philip Tyler

Explore landscapes from other artists at BeArte Gallery

Clouds by Ilona Primus - Ziarnowska
Clouds by Ilona Primus - Ziarnowska
Inverno I by J.Malinowski
Inverno I by J.Malinowski
After Battle by J.Haluch
After Battle by J.Haluch
Landscape with a Lake Agnieszka Rogowska Gallery BeArte
Landscape with a lake. Agnieszka Rogowska. Oil. 80 x 65 cm. 2018
Forest, March 2018 by David Harrison
Forest, March 2018 by David Harrison
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

Auctions 2

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

News (1)

Painting with My Camera – Multitouch Ibook

IBook Billeder 1

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.

Agnieszka Rogowska, Landscape 24x30cm, Oil On Canvas Copy

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.

Landscape II, Agnieszka Rogowska, 90x90cm, Oil On Canvas Copy

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!

Seascape, Agnieszka Rogowska, 100x100cm, Oil On Canvas Copy
Seascape, Agnieszka Rogowska, Logo Interior 1

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.

Flowers 06 Agnieszka Rogowska, 100x80cm, Oil On Canvas

Author: The interview supervised by Velina Vateva original text: http://www.public-republic.net/artist-of-the-week-agnieszka-rogowska/

At BeArte Gallery you can find wonderful oil on canvas artworks by Agnieszka Rogowska:
The Art of Photography by Dmitry Savchenko Article

The Art of Photography
by Dmitry Savchenko

The Art of Photography by Dmitry Savchenko Article

The artworks of photographer Dmitry Savchenko are used by leading world theatres, such as The Metropolitan Opera (New York), Opera National de Paris, Teatro alla Scala, Teatro Massimo (Palermo, Italy), The Bolshoi Theatre of Russia, Mariinsky Theatre, as well as for the purpose of commercial campaigns by other administrative theatrical institutions and promotions within the ballet industry.

Artworks by Dmitry Savchenko are featured in private residential collections throughout the USA and Europe as well in the private collections  of the Royal Romanov family, Prince Krzysztof Konstanty Radziwill and Princely House de Ligne, HH Prince Edouard Lamoral de Ligne de La Tremoille, HH Princess Isabella de Ligne de La Tremoille (Isabella Orsini) and in the collection of the Zamoyski Museum in Kozłówka, Poland.

The Art of Photography by Dmitry Savchenko Article

The Timeline

As a young photographer, I was blessed with discovering my life’s love and passion at an early age as I witnessed an awesome splendor in the architecture everywhere I would go along with the beauty of light as it was met with the dancing of shadows as they moved mystically across the landscape ever changing although appearing to remain the same.

It is said “The Eyes are the Window to the Soul” and I believe this to be true because our eyes define who we are, both in how we are seen by others as well as we how to perceive the world around us. Through my eyes, I have found beauty in everything I see and I have realized there is a magic in the fluidity of light and motion as it graces the surface of the tallest structure or the face of even the smallest child.

As I grew older, I became intrigued not only by the beauty of that which I could see and capture with my photography but also by the mystery of that which was unseen and left for my imagination. In addition, was my discovering the beauty of the woman and the story in their eyes as I was blessed once again during a performance of a ballet. Almost as if in a dream, I experienced the fluidity of the movement of light and shadow however this time, it was coupled with a raw and explosive power demonstrated from a seemingly fragile and delicate form of a ballerina.

My mind raced and my heart leaped as I had a revelation and grasped the understanding that True Art Photography is not just a thing but rather, it is a timeless, living breathing powerful and creative force that has been lent to us to be shared with others during our time on this earth. At that moment in time, my vision of art was born when I realized my purpose was to bring my visions of blending and forming these, my passions together.

The Art of Photography by Dmitry Savchenko Article
The Art of Photography by Dmitry Savchenko Article

Translated by writer Brian Gregory, Los Angeles, CA

The Light and The Beauty

I have, since that time, traveled the world through connecting my photography with the beauty of the variations of light together with a woman’s beauty, especially her eyes because they express too, the beauty of her soul. Art for me is my photography as it has become both my dreams and my visions. Photography is as if I am drawing and painting with light and with shadows and I am constantly discovering new ways to unite the classic beauty of a Ballerina, with the proper architectural setting and bringing separate parts together in a creation that is whole. I am at this point able to create and capture a moment that travels in and out of time that is both flawless and timeless in beauty.

It must be understood that light is the most important essence in the Art of Photography and it is the center of all things Classical as it always has been and always will be. Likened to the Earth as it travels around the sun, it is always changing but forever staying the same. So too, is it with art as it is viewed by different people from different vantage points, positions or perspectives, it too, is a journey for the observer as though they move in and out and through time just like the art as though there is no definitive beginning or end. I  am driven by my feeling that one lifetime is not enough to convey my creativity fully and completely and it is my hopes that through my photography that I can paint my dreams and visions to share with future generations.

Dalia Ferreira - Venezuela Décalage
Dalia Ferreira – Venezuela Décalage

Venezuela en Décalage is the name of the new exhibit of Venezuelan artist, Dalia Ferreira, which will be showcased in the French cities of Lyon and Valencia, simultaneously, this coming March.

The artist will present her work in a format she has never used before.  It is a series of about 30 clock-shaped pieces, positioned in a diversity of stands, while digital projections take place.  These artistic interventions will invite the audience to reflect on the concepts of distance and the inevitable timelessness that exists between Venezuelans and their relatives in exile.

Unifying Venezuelans in exile through a series inspired in clocks

Venezuelan migration to other countries is a phenomenon that is impacting the whole world and has turned into a regional crisis for Latin America.  It is estimated that, by year’s end, approximately 10M courageous Venezuelans will have already left the country by air, bus, foot, hitchhiking, smuggled, despaired, displaced, legally, illegally or almost on the run, in pursue of new destinations.

“Our clocks work because our longing winds them.  Some of us have sundials which don’t work in geographies that lack sunlight.  Others carry hourglasses made with beach sand.”  Dalia Ferreira

In addition to the fifty pieces aesthetically inspired in clocks which represent the new relationship that the Venezuelan immigrant establishes between time and space, an artistically-intervened video will be running, depicting the testimonies of fifty Venezuelans who answered Ferreira’s call, in 2018, through her Instagram account @daliaferreira.

Venezuela en Décalage reflects on the distance, to which the artist admits feeling completely related.  She identifies herself as an additional victim of the incessant and daily-growing exodus that she has had to deal with during the five years she has lived in France while her family has had to remain behind in Venezuela.

“It’s an invitation to stop time; to think that we are all still together under the same sky, with the same weather, having the same traditional meat pies for breakfast.  It is like being around family and friends, again, altogether and at the same time.”  Dalia Ferreira.

Decalage: Poem in English

How many miles separate you and your family at this moment?

How many times have you asked yourself, lately, ‘What time is it there?’ as to be able to call my mother or my sister?

How many times you have checked the time in your adopted country and sighed because the sun hasn’t risen yet in Venezuela?

How many times a day do you find yourself travelling in time, outside of your body, imagining what your buddies, an aunt, your dog or that neighbour you thought you’ll never miss are doing, or if the whistle of the knife grinder can still be heard in your street back home?

Perhaps, immigrants should have clocks, with shared times and coordinates, that could establish parallels with our loved ones.

We should create a time that is just one, with the same sun and the same moon.  We should invent a clock that tics according to the systole and the diastole of the heart of our most beloved person.

Our clocks work because our longing winds them.  Some of us have sundials which don’t work in geographies that lack sunlight.  Others carry hourglasses made with beach sand.

Sometimes, before the day breaks, we wake up with the handles of our small inner clock stuck in our heart, forcing us to place them back in the clock of our new temporality.

In reality, ourselves and our affection share the same time; the space-time concept confirms that we are many people, sharing the same instant, at any place in the planet.

How early the sun rises in the places where we don’t belong!

Thamara Bryson

Remember to visit the exhibition of Dalia Ferreira in Lyon, France:

Thursday 7th March 2019 at 19h.
16 Place Jean Macé, 69007 Lyon
Free entry
Thamara Bryson
@thamarabryson / +33 6 25 21 23 59

Don’t Miss. Malwina Cieślik – “Malachite Meadows” Exhibition.

BeArte Gallery is happy to announce that one of our talented artists is having the upcoming Vernissage.

Great exhibition of the talented Malwina Cieślik – On the 8th of March, at 18.00, in the Gallery of the Municipal Cultural Center in Radomsko (Galeria Miejskiego Domu Kultury).

Once more wandering into country warm
on malachite meadows of the sea
birds of return are dying in their songs
against fruit of crossroad orange trees…

Krzysztof Kamil Baczyński – “Song”

Malachite, sea and endless Malwina’s meadows are pouring out the edges of the image on the canvas. The artworks seem to have no end. Artist invites you to travel through the created oil on canvas.

The image of the sea is emotional, with spirit, sometimes it’s slightly offended, as it has been pressed into the small dimensions of the canvas. Because of this, it becomes a Fates, impenetrable like dark Cobalts and Malachites, yet still broken with intense aquamarine. The anxiety will experience the souls of those who travel through the canvases of Malwina.

At other times, the sea is like jazz and blues, it rocks with calm waves of blue and turquoise colors. The sea that affectionately stroking the warm yellow beaches and gray shades.

“On the Island”

And all these marine landscapes, these malachite meadows do not seem to require a human presence. They are enough for themselves.

The human presence is hidden by expressively painted, but separated from the whole image, with nervous contours, boats or ships.

This is because a ‘man’ is like a guest, a traveler who will soon disappear behind the edge of the canvas or who have moored for a moment on the beach and will vanish after the sunset. The man traveling through malachite meadows, traveling through life, captured in a very short time of its existence and unlike the sea and beaches, is the only fragile and transient.

No ‘man’ is a hero on the canvas but the sea. Water, wind, and sand – are elements of the painting. Travel – as a metaphor of life. Sea – as a metaphor of infinity, unbridled nature and freedom.

That is why the landscapes of Malwina are not just simple views of the open air. Malwina grows every image in her heart, in her mind. In the privacy and comfort of her studio, she creates her own understanding of the landscapes on canvases. She creates her own reality, which is a combination of what the artist has seen, remembered and what she wants to convey from herself.

“Last Summer Sailing”

Typical for Malwina are wide spots of colors painted expressively using a putty knife. Sometimes it brings out an object from the background with a help of a nervous, dark line. Minimalism in colors, where the highlighted details give the image meaning and make them even more eye-catching.

Malwina’s paintings are a reflection of her emotions and character. It is a manifesto in which she cries out: I love freedom, I love life, through which I can breathe freely. I am happy every moment, and this moment I share with others through painting pictures.

In the series “Malachitowe Łąki” (“Malachite Meadows”), the artist refers to a poem by K.K Baczyński, which was created during his stay at Solta in Niecuam. Just like a poet, the painter was enchanted by the surrounding nature of Solta. She created her own poetry, in which words were transferred to oil on canvas.

Once more we set our feet in heated youthful grit
Once more wandering into country warm.

Krzysztof Kamil Baczyński – “Song”

For those who missed the Exhibition, we are happy to share insights from Polish resources. Check the links to see the photos and read the reviews about the event at Radomszczanska.pl and Wiadomości Radomsko Naszemiasto.pl

Written by – Beata Piechocka, happy owner of Malwina’s paintings.

Make sure to check Malwina’s artworks at BeArte Gallery

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