🖍 Dave Baranes est un artiste peintre autodidacte. Il grandit en banlieue parisienne où il se passionne pour le graffiti et le Street-Art. Très vite, sa passion du « mur » le conduit vers la réalisation de fresque murale en trompe l’œil. Ces années de peintures décoratives lui ont permis d’acquérir une parfaite maîtrise des techniques de peinture mais également une ouverture sur l’art plus traditionnel. En 2015, Dave ose se lancer dans une collection d’œuvres et va réaliser des félins aux regards saisissants souvent très colorés, parfois noir et blanc. Une collection très émouvante où l’expression des regards nous interroge sur notre propre humanité. Le succès sur les réseaux est immédiat… En 2018, les œuvres de Dave cumulent toutes ces influences : les fonds de ses toiles sont travaillés avec des techniques du trompe l’œil, un savant mélange d’aérosols et d’acrylique pour la réalisation des graffitis : au traité « Old School » que Dave affectionne particulièrement. Les animaux plus réalistes illustrent, dans ce décor ultra urbanisé, le chaos de ce monde en nous questionnant sur l’impact de l’homme dans notre environnement.
🖍Dave Baranes is a self-taught painter. He grew up in the suburbs of Paris where he was passionate about graffiti and street art. Very quickly, his passion for the "wall" led him to the realization of an optical illusion. These years of decorative paintings have allowed him to acquire a perfect mastery of painting techniques but also an openness to more traditional art. In 2015, Dave dares to embark on a collection of works and will make felines with striking looks often very colorful, sometimes black and white. A moving collection where the expression of the looks questions us about our own humanity. The success on the networks is immediate ... In 2018, Dave's works combine all these influences: He mixes aerosols and acrylic for the realization of graffiti: the "Old School" treaty that Dave is particularly fond of. The more realistic animals illustrate, in this highly urbanized setting, the chaos of this world by questioning us about the impact of man in our environment.
A l’âge de 6 ans, Juan Miguel est un garçon très hyperactif. Sa mère ne trouve pas de moyen de le canaliser, et décide de l’inscrire dans un cours de peinture en lui faisant croire qu’il s’agit d’un cours de karaté. Bien que déçu par le mensonge de sa mère, Juan Miguel Palacios est impressionné par les toiles, chevalets et accessoires de peinture présents dans la salle d’art et c’est à partir de ce moment-là qu’il trouve sa vocation.
Juan Miguel Palacios a effectué ensuite ses études à l’école d’arts décoratifs de Madrid « Amadeo Roca Gisbert » où il a travaillé pendant six ans. Cette période va fortement inspirer Juan Miguel Palacios dans chacune de ses créations.
Pour l’artiste, les murs cassés sont utilisés comme surface, sur laquelle la peinture vient fusionner afin de donner des œuvres d’une puissance inouïe. Juan Miguel Palacios aborde les concepts de deuil, d’agitation et d’inégalité, ce qui lui permet d’explorer en profondeur les émotions propres à l’être humain.
De Medicis Gallery a l’honneur d’exposer ses œuvres d’art au 18 Place des Vosges
JOSHUA JENSEN NAGLE a commencé à photographier les plages dans les années 2000 car il en garde des souvenirs joyeux et juvéniles, des souvenirs de pur bonheur. Selon lui, les gens vont sur les plages pour échapper à la foule et se laisser aller. Pour lui, chaque plage est différente : la couleur de l'eau ou la forme des vagues.
La première étape de son travail consiste à effectuer des recherches sur Internet. Il se sert notamment de Google Earth pour savoir à quelle période de l’année les plages sont bondées ou désertes
Une fois qu'il a trouvé le parfait emplacement, la deuxième étape consiste à utiliser un réseau de fixers (Généralement utilisé par des personnes travaillant dans l'industrie cinématographique et qui ont des contacts dans le monde entier) pour savoir quelles sont les autorisations locales nécessaires pour filmer/photographier ces endroits. Généralement, ces autorisations sont limitées à des endroits précis et pose des limites d’altitudes autorisée.
Pour mener à bien son travail, Joshua s’accompagne d’un pilote professionnel car effectuent souvent des manœuvres délicates pour trouver le meilleur angle pour la photo.
Da manière anecdotique, Joshua raconte qu’il déteste voler et l’avion car il trouve cela très angoissant surtout quand il y a des turbulences. Mais il arrive à se calmer ne regardant par la fenêtre et la vue lui permet de se détendre. Il raconte également que la météo est un facteur important dans son travail. En effet il y a beaucoup de facteurs environnementaux à prendre en compte comme le vent par exemple.
Stikki Peaches’ is an anonymous street artist who is strongly influenced by pop culture references and street culture. From his beginnings in 2009, his “What If Art Ruled The World?” tagline had every passer-by engaged in thought, while enjoying the uniqueness of his nostalgia-laced street art.
Having had his first international solo show in 2013 in New York and having participated in the Scope Art Show NYC, Art Basel Miami and Urvanity Art Fair in Madrid, Spain, Stikki Peaches now looks forward to his first Euro exhibitions in late 2017 and 2018. His work as also been seen in the urban areas of Paris, New York, Toronto, Los Angeles, Berlin, Stockholm and London.
Between chaos and rebirth, her works are a reflection of our environment, and perhaps even a reflection of us as well.
Born in 1964, this visual artist represents through her heckled portraits, broken and glued back together, fragile, reconstituted from nothing, the passing of time and make us deal with emotions that bring two beings
Through the series « the timeless »made with feathers, staples, and pins, Marie Ange tries to revive old photos by applying contemporar y technology and by magnifying what is at first a simple material.
With the feather portraits held by thin threads, the artist explores the fragility and the melancholy of the moment. The feelings and the characters that emerge are thus like the feathers that makes them up: suspended, frozen in a fall or a whirlwind, both eternal and motionless. Femininity is exacerbated by the lightness and the fragility of the medium.
DISTANCE CREATES BEAUTY
Isabelle Scheltjens has put an original and contemporary touch on classical pointillism. She developed a new way of portrait making, whereby thousands of pieces of glass in specific patterns optically form an image. Pointillists used small, distinct dots of pure colour on their canvases, placed in close proximity so that they would blur into new colours. Isabelle applies a similar technique, using layers of coloured glass instead of paint. She immersed herself in the understanding of colour and creates her portraits with maniacal intensity – featuring intricate detail, lighting and shadows.
Prefab77 used to be a collective working out of Newcastle, and now one artist, Peter Manning represents the title. Number 77 in Prefab77 refers to the year of 1977, which was a very successful year for British celebrities in the arts field. They made a great impact on the British street art scene. Their work included giant paste ups that are almost as big as a three-storey building. Their works are an interesting blend of rock, punk with an ethnic African headgear, and other imagery with women in the center. Manning creates artwork that often has political and sometimes anti-establishment tone, but these images are beautiful and reveal a lot from the modern culture. His work is a dark world of money, fashion, music, and politics woven into a luxurious mixture of acrylic, spray paint, wheat paste, and varnish.
Manning started his career as a printmaker and designer for the Queen in the British Army. He worked as a designer for well-known fashion brands. His work was commissioned by brands like Converse, Gap, Hurley, NIKE, Keds, and Ride Snowboards. In 2011, he created the cover art for Dancing Backward in High Heels, which was the fifth and final studio album by American rock band New York Dolls from the 1970s.
Jésus Curia Perez est né en 1969 en Espagne et travaille à Madrid .
Ses sculptures sont principalement réalisées en bronze.
Il sculpte la nature humaine , ses faiblesses, ses joies, ses peines auxquelles il applique une technique irréprochable.
Sculture per un mondo in transito: I Voyageurs di Bruno Catalano
Li seguo da anni, dalle sponde di Marsiglia, fino all’aeroporto di Singapore, passando per le strade innevate di Courchevel. Sono i Voyageurs, i gruppi scultorei di Bruno Catalano, creature eteree , affascinanti nel misterioso rapporto tra vuoto e pieno, capaci di instaurare un dialogo con il mondo circostante, fino ad identificarsi con esso.
Sono migranti o nomadi, muniti di una valigia alla mano e di una speranza nel cuore alla ricerca di una vita migliore. Uomini per così dire “perforati” e forse ridotti a pezzi, come li ha resi metaforicamente l’ambiente circostante.
Con uno sguardo introspettivo procedono con passo incerto verso una realtà sconosciuta.
Kurar, tombe dans le graffiti dès la fin des années 90. Pendant 10 ans il va peindre, travaillant sur la 3D, le volume, et la couleur.. Au fil du temps et des expériences il va diversifier ses techniques, Graff, Vandale, Pochoir, Collage, pour ce concentrer sur le travail des pochoirs.
Au travers du pochoir et de son travail sur toiles, ce street artist traite des sujets actuels et nous pousse à prendre du recul sur notre vision de la société. Mélangeant univers ancien, et détails contemporain dans ces œuvres Kurar traite avec poésie, humour et provocation, des sujets sensibles comme la guerre, la religion, et la société de consommation.
L’utilisation et la représentation de l’enfance, est un des points récurent et une certaine « marque de fabrique » de Kurar. Il utilise brillamment ce symbole de l’innocence pour contraster avec l’aspect satirique et provocatrice de ces représentations.
Depuis une ascension en 2013, marqué par une exposition personnelle à la galerie Parisienne Onega, le street artist enchaine les expositions personnel et expose dans les galeries du monde entier, New york, Los Angeles, Genève, Dusseldorf, La Reunion, Bruxelles, Berlin, etc..
Entre cynisme et péosie, nostalgie et humour noir, il touche le public par la profondeur et la pertinence de ses messages.
Juan Miguel Palacios' journey started at the School of Decorative Arts of Madrid which gained him the opportunity to join the studio of renowned Spanish artist Amadeo Roca Gisbert for six years. These years were cruicial for Palacios' artistic flair and this training is visible in every artwork he creates.
Concepts such as mourning, restlessness and inequality are vital in Palacios' work as they allow him to explore a range of human emotions. His powerful and modern techniques involve almost abstract brushtrokes and a strong use of colour to create a feeling of decay and abandonment.
Driven by his search for new forms of expression, Juan Miguel Palacios created series such as Wounded, where the artist has used broken walls as the surface for his works. This technique has created an extra dimension in his work which he allows the viewer to dissect. His works blend reality with dreamlike worlds, with his subjects seeming to escape their two-dimensional invisible cages and become tangible parts of reality.
Canvas, vinyl, meth-acrylate, aluminium and drywall surfaces are where Juan Miguel Palacios presents his work.
"Une valise, un homme. Il s'en empare, et se lance vers l'inconnu. Voyage volontaire vers un horizon qu'on embrasse et qu'on voudrait infini, ou voyage forcé, contraint par l'exil et la souffrance, en quête de liberté et guidé par la survie.
Le voyageur de Bruno Catalano est cet homme laissé à lui même, un homme propulsé dans l'infini du temps et de l'espace. Sa maison n'est plus qu'une valise et son être, progressivement, se dépouillera de tout ce qu'il croyait indispensable, de tout son moi si savamment construit par nos sociétés. Il n'est plus l'homme d'un monde, mais l'homme dans le monde, encore empreint de sa culture mais devenu fragile face à l'immensité. Sa quête ne se fera pas sans dommages.
Homme défragmenté, déstabilisé, dépouillé de ses repères, il marche vers son salut autant que vers sa perte. Tout sera désormais a réinventer. Ce voyageur s'échappe de lui même, à la rencontre de sa terre inconnue."
- Anne Maitre
L’artiste espagnol travaille depuis plus de 25 ans la sculpture, où il nous invite à nous glisser dans un monde onirique. Le travail de Jesus Curia nous transmet une sensation de paisibilité, de profondeur et d’un équilibre certain. Un univers parallèle apparait devant nous, où des personnages hybride, avec une morphologie humaine à laquelle vient s’ajouter fréquemment des lignes droites et des formes géométriques. Sa sensibilité à l’espace et le monde qui nous entoure, lui permet de façonner ces œuvres d’une manière harmonieuse, en créant très souvent le sentiment de suspension des personnages dans le vide.
Les colonnes de Jesus Curia se caractérisent par le contraste qui se crée à partir de la pesanteur du bronze et la représentation de légèreté des sujets.
Nous retrouvons ainsi des enfants suspendus dans l’espace par un fil invisible, ou par une main bienveillante les empêchant de tomber. Plongés dans le jeu et l’amusement, ces enfants forment une colonne montante vers le ciel, avec une gravité inexistante. La douceur et la poésie sont au rendez-vous avec une œuvre qui nous invite à un voyage lointain dans des terres inexplorées.
Chaque colonne est unique, l’interaction et la position des personnages étant organisée de façon différente à chaque fois par les soins de l’artiste. La patine, qui varie également, vient sublimer ces êtres naïfs en constant équilibre.
ISRAELI ARTIST DISPLAYS CUT-OUT SCULPTURES
David Gerstein / DeMedicis Gallery
Art by Israeli artist David Gerstein
Israeli artist David Gerstein, 73, loves observing small animals, especially butterflies whose beautiful colors and dancing amaze him. He also likes watching crowds of people that make him feel the energies of city life. Although he is not good at sports, he is fascinated with the grace which athletes demonstrate.
He transforms his affection for these things into cut-out sculptures, with series called Butterfly, Sports, Beach and Urban.
The series are now on show at Beijing's Today Art Museum, as part of his China debut exhibition titled Layers, through May 16. His paintings are also on display.
Early in his career, Gerstein was into painting, but gradually focused on sculpture in the 1980s, which he sees as adding a third dimension to his paintings.
For his cut-out sculptures, he cuts out shapes from metal plates, paints on them and layers them.
Describing his show, he says, "The exhibition (in Beijing) is (for me) the most important one in a decade. But it is not a retrospective. That time hasn't yet arrived."
You can find the full article here
SNIK INTERVIEW BY STREET ART UNITED STATES
by Sami Wakim
Initially inspired by the Graffiti scene, Snik has been working with stencil and spray can for 10 years now. Constantly pushing the boundaries, this artist duo has developed a unique style which is equally captivating on walls as it in on canvas. Staying true to their form, Snik hand cuts up to nine layers at a time, working with different mediums, techniques, paints and varnishes. Regardless of size, the level of detail is insane, and use of colours and forms, inspirational. Showing in Galleries, shows and forums across the globe, they had their inaugural solo show in 2011, and now has a serious following of admirers and collectors worldwide.
Let me first say that I am fascinated about the way you create your art. Although, I don’t really know anything about you, could you explain who you are, where you´re from and how did you get started in the street art scene?
Snik was originally started by myself (nik), back in 2005. I had always been a keen artist, but never really viewed it as something that could get me from place to place doing what I loved. Over the years people have shown an interest, and invited me to places all over the world to paint, which has been incredible. As the years have gone on, I have always tried to go bigger and better with each piece, I feel, constant progression and improvement are the things that help to keep me on my toes. About 4 years ago I met my other half, and we began to paint bigger walls together. Having 2 people on board meant we can cut bigger stencils quicker, and paint larger walls that one person with a stencil couldn’t, so it’s been a huge help to become a duo. Some people don’t know that, we have never really pushed, as I don’t think it matters so much. When you view art you never question how many people, just the nature of it and how it makes you feel.
Do you have a formal education?
We have both been to college, but neither studied Art. It was never helpful for either of us in the direction we were heading.
Your art is multilayered and complex. Could you describe the development process of your artwork?
I think stencil work is a form of OCD. To sit for hours on end, cutting small pieces of card from bigger pieces of card, it’s not a standard method of art, but a more precise and exact craft. The way we try to balance this, is by painting very quickly, and very rough and ready. Every canvas we paint is painted the same way it would be done on the street, drips, smudges, mess and mistakes are all a part of it. The tightness of the stencil is only a balance to the freedom of the painting.
How much does your art affect or influence your everyday life and are there any role models or artists who inspired you?
Everything we do is art related. There isn’t a day that goes by that you don’t read up on a recent paint event, or check out a recent gallery show. That being said, we are very separate in the fact that we live in the countryside, and not a city. We don’t get caught up in a scene as such, but obviously are inspired by just how much incredible art is being produced all around the world right now.
How do you go about creating your street art? How do you choose a street/environment?
Normally we will cut the stencil, then source a spot. It can be a quick thing, or can take a while. Stencils can be restricting in your size and surface you have to work with, but this can also be the challenge to it. Spray paint works on anything, so it’s all down to how you use a stencil, and how you approach the aesthetic of the area.
Has your style developed throughout the years?
I would say so yes. The stencil cutting is a lot more free, and as each new piece is produced, there are new lessons learnt. The use of lighting has always been a big influence in the work, shadows especially effect the final outcome. As mentioned before, the use of the stencil can be restricting, so it’s important for us to work around this, and make the final piece more relaxed and natural, as stencils can sometimes be very stiff and harsh in final appearance.
How do you feel about the role of the Internet and social media in making your work more accessible to the public?
The internet has revolutionized the way people view artwork now, in every sense. Some street pieces only last a day, but once it’s online, it is pretty much there forever. The same goes for any little post we may put about a new stencil, or a test spray. For those who don’t have gallery connections, or good hook ups for walls, it’s a great way to get yourself out there and get noticed. We always enjoy painting street as much as possible, but it’s just not always possible for us to get every single new piece onto a wall straight away, so we get into the studio and produce a work to showcase the new cuts this way instead. But in the back of our minds we always want every piece to eventually make it to a wall.
Which countries have you visited to paint so far and where did you like it best?
We have visited France, Holland, Switzerland, Germany, and Spain. Each one is incredible in its on way, it would be impossible to select a favourite, as every paint trip has so many great memories. The meeting of new people is definitely one of the best points about what we do, and it’s what we enjoy the most.
Is there a message in your art?
maybe there is, maybe there isn’t.
Street art is still considered vandalism, how is it for you to go out and paint in the street? Did you ever have any problems with the law?
When I started in 2005, I used to enjoy going out and doing paste ups, little 1 or 2 layer stencils. It was a fun rush, but of course it created friction with authority, and was never going to end well. As we grew older and developed, the illegal thing lost an interest, mainly because our stencils evolved into such technical works that to rush them in 30 minutes would be a really poor looking final piece, and not the sort of thing we want to produce. It’s really rare that we do a full illegal piece, and even if we do we don’t advertise it, for obvious reasons.
What have been your most challenging and rewarding piece of work thus far?
The most challenging piece was the Winged-Fire (pictured above) piece we painted in our home town last year. It was only an 8 layer stencil at around 7 foot tall, but each layer was 5 different colours. So to get the cuts natural, and the blends working took a very long time, and a lot of stress. It helped to push us a lot to progress in the direction we have, so It is definitely one that sticks in our mind.
What do you do when you are not creating art? What are your hobbies?
Dog walking. Wine drinking.
What’s next for you? What shows or projects do you have planned?
We have a big year planned, but you’ll have to keep an eye on our social media for info.
Any words of advice for aspiring new artists?
Don’t stop. Always wear a spray mask.
THE UNIVERSALITY OF DAVID GERSTEIN'S WORKS
David Gerstein / De Medicis Gallery
David Gerstein is an Israeli sculptor, painter and illustrator. His works are recognized internationally since they can be found all around the world.
“OBLIQUE” AND “CATOPTRIC”: ANAMORPHIC ARTWORKS BY JONTY HURWITZ
Jonty Hurwitz / De Medicis Gallery
The painting The Ambassadors (1533) by Bavaria-born artist Hans Holbein the Younger (c.1497–1543) occupies a special place in the history of Western art. It features Jean de Dinteville (French Ambassador to the court of Henry VIII of England) and Georges de Selve, Bishop of Lavaur (in southern France). Important elements include an Azerbaijanian rug and mathematical instruments like dials and quadrants. The artwork remains most famous, however, for a strange momento mori in the foreground, at the bottom – a human skull – tilted, contracted, stretched. Visible in its correct form only when seen from an oblique point of view. This is an example of “anamorphosis” – a distorted projection of an object that is set right when regarded from a specific perspective or when reflected on another surface.
The Ambassadors (1533) by Hans Holbien, Wikimedia Commons
The skull in The Ambassadors, Wikipedia
It is believed that the practice goes back to Leonardo da Vinci. The Biblioteca Ambrosiana in Milan has a large collection of the Renaissance polymath’s notes. There, on folio 35 of the Codex Atlanticus, are two strangely elongated sketches of a child’s head and an eye. These distorted and hesitant drawings, the first known anamorphoses (c.1485) – along with Holbein’s painting – are the seeds of inspiration for Jonty Hurwitz (born 1969) – a London-based South African artist, engineer and entrepreneur, known for his scientifically inspired works. “Leonardo pushed the boundaries of his time by exploring how the observer’s perception is implicitly linked to the observation,” says Jonty. “My art uses Leonardo’s theories as a starting point.”
A member of the Royal British Society of Sculptors, Jonty creates sculptures of both “Oblique Anamorphosis” and “Catoptric Anamorphosis”. The first requires a new angle of vision and the second, a reflecting surface like a steel cylinder. Jonty is also into nano technology and holds the Guinness World Record for the world’s smallest animal form – “Fragile Giant” (2015), a life-like sculpture of an elephant measuring 0.157mm in height.
POP ART FOR THE PEOPLE: DAVID GERSTEIN’S HAPPY PALETTE
David Gerstein / De Medicis Gallery
Museums and galleries tend to abide by the “no touch” rule to safeguard the artworks they display. But Israeli contemporary artist David Gerstein encourages a hands-on approach, firmly believing that his creations are for the public and not for private collectors or curators.
“My philosophy is that art should touch life. It shouldn’t be something that you see once a year when you go to a museum,” Gerstein tells ISRAEL21c at his studio in the Bet Shemesh Industrial Zone.
There’s a pop-art feel to the everyday items he depicts in his multilayered wall sculptures, outdoor sculptures, paintings, prints, drawings and designed objects.
“It’s my personal pop art. I’m not following Andy Warhol but I’m using the same feeling about the colors, about the popular images,” he explains. “It’s about speaking with the audience at eye level. My work is not a riddle. Many times I go to museums and see artworks that are vague. I want people to understand what I mean.”
The subject matter for his paintings and sculptures all comes from scenes in his past. “My memory of my mother riding a bike became the Tour de France wall sculpture,” he explains. “I’m not just inventing images. They’re all based on my memories.”
Gerstein has succeeded in bringing his universal language of playfulness, humor and optimism to the public-at-large in many countries.
His most famous work, an 18.35-meter-high painted steel outdoor sculpture called “Momentum,” is installed in Singapore’s central business district. “It became an icon,” he says.
“My best works are outdoors because it’s in the public domain. I like people to experience it when they’re walking, driving, being part of the public. That gives me the most pleasure,” he says. “It talks with the environment, with the surrounding architecture. It’s my great experience, doing public works.”
Which of his works is his favorite? “My most favorite is the one I’m going to do,” Gerstein replies.“My mind is always thinking about the next creation.”
You can find the full article on the ISRAEL21c's website here
PEOPLE AS PIXELS PRODUCE PORTRAITS OF PEOPLE
Craig Alan / DeMedicis Gallery
American artist Craig Alan creates portraits of Marilyn Monroe, John F. Kennedy the Statue of Liberty and even Audrey Hepburn from Breakfast At Tiffany’s and Paris Hilton, like you’ve never seen them before. That’s because he uses people as pixels.
Of course, he’s not the only one who uses humans as visual pins to generate a mosaic. It happens in North Korea all the time (see image of the Mass Games in Pyongyang – a propaganda-filled synchronized performance done by 100,000 people by photographer Sam Gellman). But there is something about Alan’s work that combines the ability to see close up, and the big picture that feels more artistic and substantive.
You can find the full article on the Five Thôt website here