Posts tagged Girl
Rachel Gregor

Rachel Gregor is a fine artist currently living and working in Kansas City, MO. She graduated from Kansas City Art Institute in 2012 and has studied abroad at Studio Art Centers International in Florence, Italy. Born and raised in Minnesota where her parents own and operate a farm and greenhouse, floral motifs are a constant present throughout her drawings and paintings.


In her work, Gregor seeks to create psychological portraits of young girls caught between an awkward tension of girlhood and womanhood, innocence and sexuality. Depicted in oil, the figures are painted in a naturalistic manner but tiptoe between the line of realism and artificiality. The figures are caught in a single moment between the mundane and the melodramatic. Wide-eyed and wistful, the girls become frozen in a state somewhere between boredom and shock. The spaces can become completely ambiguous, and through patterned wallpaper or a crocheted blanket, only suggest an idea of a setting while retaining a strong sense of nostalgia.

Shawna Gilmore

Born and raised in the Upper Midwest, Shawna draws deep from the winter-forged well of her overactive imagination. Her narrative, vintage and folk-style paintings explore many topics such as science, metaphors, nature, humor, patterns, paradoxes, fairytales and a wide variety of musings on domestic subjects. Shawna graduated in 2000 from the University of Minnesota - Duluth with a BFA in Studio Art, Emphasis on Drawing and Printmaking. She has exhibited both locally and nationally. Shawna lives with her verbally talented husband(Eddy), their twins and a menagerie of critters in a lively neighborhood near lovely Lake Superior.

Statement

My surrealistic and narrative work explores a wide variety of themes from personal observations to otherworldly dreams. Fueled by an insatiable love of fantasy, science fiction, and folklore, storytelling is central to the way I approach a painting. Every painting is like a page in a book, waiting for the viewer to fill in the plot.

Characters in my images often encounter scenarios that are both playful and poignant. I find this tension to be most accurate to my life experience. Raising a family has particularly heightened my awareness of this reality. Seldom does a day pass without my children jarring the heavy moments of my mind with their curiosity, creativity, humor, and basic needs.  

With a strong affection for vintage photography, I frequently use these stoic-faced images as source material. Ever since I was little I have been drawn to these strange and ancient-looking people who seem to transport me to another time and space. I imagine their lives, who they were, or what they were doing. The timelessness of vintage portraiture provides mythical characters for my paintings that are rooted in history.

I paint primarily in acrylics on cradled wood panels. I am partial to the hard, durable, flat surface of wood. I also appreciate the history and life, evident with each grain. Just knowing those years of growth lay beneath the paint gives me pause. My rather impatient personality enjoys acrylics for their quick drying time and ability to be rapidly reworked.

Through painting, I have found ways of escaping, if only for a moment, to laugh, ponder, or dream. Escaping is a breath that fills our lungs and eases our burdens. My paintings give you permission to jump through a portal, imagine new places, and limber up your thinking.

www.shawnagilmore.com

Victoria Rose Martin 

My work is a reflection of life. The pieces are memories of people, places and things I have known. In the small faces, I can see members of my family, people I once knew, and even myself. The work tends to be whimsical with a slightly dark under current. My sculptural forms are hand built using lowfire clay. My art is collected both nationally and internationally. It’s in the permanent collection of the Cafesjian Center for the Arts, Armenia. I’ve shown my work at SDC London, England Pence Gallery,

Davis, CA, the Clay Studio, Philadelphia, PA, the Florida Craftsmen, St Petersburg, FL, and the Piedmont Craftsmen, Winston-Salem, NC. My sculptural work has appeared in the books/publications: Doll Master (Russia), Ceramics Ireland, The Art of the Contemporary Doll, 500 Figures in Clay, The Ceramic Design Book, 500 Handmade Dolls, and Art Doll Quarterly.

I am a full time Professor 1 and Department Chair for Fine Art and Graphic Design at Palm Beach State College, Lake Worth where I teach both fine art and graphic design courses. I have earned two separate Master’s of Fine Art in Ceramics and Printmaking and earned a Summa Cum Laude B.F.A in Graphic Design and Illustration from the University of Miami. My students have won international awards for their work.

During the summer you will find me sketching in several of the great museums of Europe because travel is my other passion. The past few years I have visited: The Louvre, The British Museum, The Reina Sofia, The Van Gogh, The Rijksmuseum Museum, The Hermitage, The National Museum of Scotland, The National Portrait Gallery, The Tate Modern, Britain, and Liverpool to mention a few.

www.victoriarosemartin.com

Tahnee Kelland 

I'm 34 and living in Dawesville, Mandurah Western Australia. I'm a self-taught artist and failed art in high school. Actually, I think I relieved an "E" on the report card. Is that worst than an F? Who knows. Could have had something to do with me painting/drawing what I wanted, not what I was told. Not much has changed. For the first 10 years After leaving high school, I hardly painted or drew a thing. My confidence was low and I never finished anything I started. At around 27 I picked up my pencils and committed to finishing anything I started. I promised myself to finish anything I started even if I hated it. I'm so glad I did that because it taught me about " the ugly stage". I feel like everyone has that ugly stage in their work where it's not quite looking it's best and all the fear and doubt creeps in over if it will even work. Then you push through and of course it does. I never knew that. I gave up before even trying. Now things are different and I've over come that hurdle.

Then there was the next challenge. Style. It's taken me about 6 or 7 years to find "my style". I was always looking for a short cut and hoping I'd find it over night. But all the advice I received was, unfortunately, correct it takes a lot of work and a lot of time. I also get bored easily so I'm not sure if that helped or hindered.

The work I've submitted, My most recent work feels like the closest to "my style" I've ever got. I love patterns on patterns, muted, dirty colors and fabric. So they feature heavily in each work. The women in the painting represent myself I guess. Ive always been content in my own space with my thoughts, I can go weeks pottering around the house without seeing another human. A lot of people have questioned if this is healthy for my mental health and shone a negative light on having so much alone time. So I wanted to celebrate it. It doesn't have to be a bad thing to want to spend long periods with just yourself. I find that I grow as a person in the stillness.

www.tahneekelland.com

Lauren Rudolph 

Creativity has been the purest connection to my inner and outer world for as long as I can remember. As a child I sat and drew constantly my favorite subject of choice, faces. There is something about a portrait that pulls me in. I am fascinated by emotions and the human experience. My desire is to feel a complete engagement with my subject and tell their story.

Art is my true life force expression. When I am in the zone and my energy is flowing, magical things happen. I feel at peace, open and whole. I feel very blessed to do this work and to be an artist. My life like my art is a work in progress, ever evolving. I look forward to where the path may lead.

www.laurenrudolph.com

Interview: Natalia Fabia

A graduate of the Art Center College of Design, Natalia Fabia began showing her art in group exhibitions around Los Angeles in the early 2000’s, establishing herself as a contender in the figurative painting arena. Using her surroundings and life as a rich garden of inspirations, Fabia began making colorful, sultry scenes filled with people, lush environments, ornate fashion, light, interiors, glamour, graffiti, landscapes, punk rock music and an unapologetic sexiness entirely her own.

Fabia finds a genuine comfort and truth in the realness and imperfections within her subjects. She glorifies the individuality and unique aspects of her human figures. Hers is a colorful world celebrating the vibrant diversity and beauty of the life she lives and that exists around her. Painting, she feels, exists to allow artists to create any world they want – make it, and make it yours. Infused with Fabia’s signature style, vividly saturated candy color palettes and a dazzling spectrum of light, her work is a combination of fantasy narratives and actual moments captured from the artist’s life.

Influenced by artists the likes of Henri Toulouse Lautrec, John William Waterhouse, John Singer Sargent, Rebecca Campbell, Lisa Yuskavage etc., plus fashion designers like Alexander McQueen, Fabia’s painterly studies in oil are marked by bold, determined strokes that offer depth and clarity. Having studied with many contemporary masters, her knowledge and understanding of the color palette underscore her ability to bring life and light to canvas.

Fabia's work has been featured in numerous galleries including Jonathan Levine Gallery in New York, The Shooting Gallery in San Francisco, Q Art Salon in Santa Ana, and M Modern in Palm Springs. Museum exhibits include Bristol Museum of Art, MXW Masterworks group exhibition at Long Beach Museum of Art and Lancaster Museum of Art.

She has been featured in Juxtapoz, New York Arts magazine, Hi Fructose, Art Ltd., and Angeleno Magazine. Fabia was featured in LA Weekly’s 2010 People Issue as one of “LA’s 100” most fascinating people. Born in 1983, Natalia Fabia is of Polish descent and was raised in Southern California, where she graduated class of 2006 from Art Center College of Design in Pasadena. Fabia has had multiple solo shows and is represented by Corey Helford Gallery in Los Angeles. Fabia currently works from her studio in Costa Mesa, CA. 

www.nataliafabia.com

When did you know you wanted to become an artist?

Gosh. I think since I was very young.

Well, I honestly cannot remember a day that art was not in my life. I was always around it because my parents were both artists. But I do remember one day when I was about three. I went to my dad and asked him to draw me a girl and I watched his every move. I was always drawing and attempting to paint, always creating. I remember laying out all of my drawings on our living room floor when I was a kid when my parents’ friends would come over. I would try to sell them my drawings. They were nice and came over to look at my drawings, but never bought any! Thanks a lot!

After high school I attended Art Center College of Design in Pasadena. I knew that was all I wanted to do. For me there was no other option. That may sound naive, but it felt right not to overthink it, and it launched me into my work.

What do you love most about painting?

The entire process. Watching something appear from pushing paint globs around and slowly a whole world emerges. I love converting a developing idea to a form. 

I also love painting from life and the entire experience of working with the model and having their personality come through in the piece. 

Tell us about the figures in your work. What would you say your paintings are about? 

Most of the figures in my world are my close friends or people I know. They are all strong women, composed of mothers, other artists or yogis. 

The rewards of painting my friends and the female form is that we have so much fun! We talk, listen to music, have wine, and have great conversation. I really get to know someone very intimately when I paint them. 

In my opinion, there is nothing more beautiful than the female form. I love skin, curves, and the soft and diverse anatomy. Women are very powerful.

My paintings have different meanings, depending on the theme of the show and the individual piece. In my last solo exhibition, I explored what’s known as the seven year life cycles, and the emotions experienced in those time frames. I explore our shared connection to ourselves and the universe through cosmic stardust. This concept is incorporated into my work with rainbow sparkles, splatters, and expressive marks. My previous work focused on strong women and that was still a big part of my last show, but I went deeper than I have before, addressing meditation, spirituality, oneness, and the cosmos.

What are your hobbies when you are not in the studio?

Yoga! I am a crazy yogi. 

It is a big part of my life and if I even miss a day or two of it, I start to freak out. I have been practicing for about 12 years now, and it has helped my painting and every single aspect of my life. It is very grounding and meditative. It gives me energy and helps me stay balanced and manage stress.

What is something you are very proud of in your career so far?

All of my solo shows and the feeling of creating complete bodies of work. Looking back at them , sometimes I can’t believe how they evolved from start to finish. I never know what the final paintings will look like. My original idea gets formed through research, photo shoots for reference, and getting into the zone of painting for hours on end. It is fun and exciting and a ton of work, but well worth it.

I also enjoy teaching and showing my daughter the value of a strong work ethic, and allowing her to play and create freely in my studio.

What advice would you give your younger self?

My advice to my younger self would be to plan, value, and prioritize studio time. Time is precious and painting requires consecutive hours to really escape, and get into that magic mode where time does not exist. I would tell my younger self to always experiment and push boundaries. I did that a bit but I don't feel like I did it enough. I'd definitely say paint for yourself not for others, and know yourself. Paint and draw from life each week—as much as possible! 

I would say to always keep learning, take criticism, take praise, learn a little about your own work and business, and remember why you love creating art! 

Chris Guest

Chris Guest is a London based Artist.

He creates paintings in a classic figurative tradition, coupled with a contemporary twist, utilising classical drawing and oil painting techniques, learnt at London Fine Arts in Battersea.  

He began painting and drawing from a very young age, and first started making money from art aged just 14, drawing portraits of music icons for other pupils at school.

At age 18, Chris began showing his work in galleries in Cornwall, and has since exhibited extensively throughout the UK and the US.

His originals and prints are collected worldwide, and his art has been featured in many magazines, publications and galleries around the globe.

Chris also teaches painting and holds regular workshops around the UK.

https://www.chrisguest.co.uk

Hayley O'Connor

Illustrator & Graphic Designer from Melbourne currently living on Gold Coast. 

I specialise in fashion illustration, portraiture, t-shirt graphics & patterns. I use pencil, pen & water colour and I draw inspiration from women in fashion, textiles, tattoos & nature.

"The sweet-faced mademoiselles of illustrator Hayley O’Connor are seemingly hiding a fantastical secret from some far off whimsical world. An array of pencil and sparkling water colours, the Melbourne based artist and graphic designer obviously is as passionate about fashion as she is art. Her works shine with a fashion illustration edge" - Yen Magazine

http://hayleyo.com.au/

Ivana Besevic

Simply put, I paint my fascinations. I’m inspired by people, everyday stories, the raw and real side of us that we try to often hide, visuals and cinema. I’m also very much influenced by the way a good actor would approach his next character, from different angles, and I wonder if I could approach my portraits the same way. I’m not a conceptual artist, even though I tried, it’s just not my thing. I rely strongly on visual, I want people to look at my work and just feel things, simple as that. In fact I’m very intuitive in general, so I follow these feelings first and then I try to understand and explain it through work. It’s a really enjoyable process of thinking and discovery that usually lasts for a period of time, sort of a research until I find perfect understanding.

I experiment a lot, one thing leads to another and affects changes in my style all the time. I built a certain range throughout the years, so I paint sometimes more expressive work, and sometimes more illustrative & neat. What I seem to care about the most is the face and the expression. This is what I would like the viewer to focus on primarily, so these areas are often painted with the most detail and attention, while the rest disappears in wider and more expressive brush strokes. When successful, I think these contrasts give dynamic and life to the piece.

I have been practicing art in various mediums for the past 10+ years, from traditional, wall painting, illustration to conceptual, video art and digital photography. 
I often contribute to the causes that are important to me, such as human rights, prevention of violence against women, children, and animals. Very often these feelings will be visible in my work.

http://besevicivana.wixsite.com/besevic

Chambers Austelle

Chambers Austelle is a contemporary figurative painter and educator living and working in Charleston, SC. Austelle is best known for her compositions of vivid color and women subjects. The isolated environments in which she places her subjects challenge the viewer to question the way beauty and women are perceived in our culture.

Her work has been exhibited nationally and most recently, she was awarded Best in Show at The City Gallery for “Piccolo Spoleto’s 2016 Juried Exhibition”. Austelle’s work has been featured in publications and blogs such as Expose Art Magazine, The Artist Catalogue, Fresh Paint Magazine, and The Jealous Curator.

Statement

I am exploring the complex way in which our society views women and their relation to beauty. Inspired by fashion photography and the evolution of the roles of women, I place idealized women in isolated settings saturated with bright colors, challenging the viewer to confront the dichotomy between the perception of liberation and that of confinement.

www.chambersaustelle.com

JT Daniels

JT Daniels is a Kansas City, KS native. In 2012, he graduated from Park University with a BA in fine art. In 2013, JT was given his first chance to lead a small group of youth through their first community-based mural project. Due to the success of his first mural, in 2014, he assumed the role of Quality Assessor for what then became MAP-IT Murals. Utilizing his roles with MAP-IT and as a Youth Development Coordinator for Mattie Rhodes Center, he's able to mentor youth on varying aspects of art, storytelling and community engagement. Aside from teaching, you can find him either painting live at various events or leading larger group workshops, where his clients include URBANA, ARTS KC, KC LIVE, LISC, Silpada Designs, Ruins Pub & KC Streetcar Authority.

Statement

My current work focuses on the idea that our hair is seemingly trapped within a state of constant fluctuation, gradually transforming our external identities and our internal selves. By focusing on the more surreal qualities of human hair, I believe that it can also become a representation of our own self-acceptance. The presence of knives and ray guns is an affirmation of the constant struggle to possess and maintain our sense of self.

www.jtdanielsart.com

Carrie Beth Waghorn

Carrie Beth Waghorn is a contemporary artist specializing in monochromatic renderings of the female form. Both raw and expressive, her work invokes an unadulterated sense of feminine beauty and vulnerability. She uses a minimalistic approach and bold line work to create stunningly simplistic pieces, portraying roles of feminine stereotypes and sexuality. A survivor of sexual abuse, her painful past adds a poetic layer of complexity to each piece. She currently paints from her sunny studio in Charleston, South Carolina.

Statement

Feminism is the New Black and White

At the age of 14, I became a statistic. When I went to sleep, I was myself. I was whole. I emerged from slumber as half a person, as half a girl. My body was there. He was there.

When it happened, I vacated my body. My mind was absent, detached. Any form of intimacy that followed this event left me as the same girl I was when it happened. I would retreat into my mind, the one place left untouched, though even this defense left me dissociated, removed. No limbs, no movement no grace. I remember being too afraid to move. Some of my pieces consist of busts, women with a missing limb or no arms at all, an abstract head on a limbless body. These women express a paralyzed form of beauty. Immobile, yet awake. Dismembered, yet still beautiful. All a direct metaphor for the scattered ways in which I experienced intimacy.

It’s difficult for me to exists as monochromatic artist, so many people are moved and inspired by color. Our entire world is driven and manipulated by images which constantly depict some form of perfection. Instagram filters, social media posts, endless ways to cover up your true self if only to resemble some trivial from of absolute perfection. The same is true for what our society expects of a woman. I struggled for years with this double standard, being the perfect woman meant having an innate ability to love freely and passionately, yet I was numb and out of touch with a complete inability to open myself up and experience healthy intimacy. The only way for me to compensate was through my work. And so I immersed myself into my craft. Each new women on the paper was akin to a new extension of my own rediscovered femininity. In this way, through a combination of movement and creation, I slowly purged the darkness that had taken refuge in my own form.

The pieces I create are not just figurative drawings; they represent a part of me that has been rediscovered, a part of me that has come to form. I seek to constantly explore themes of the modern feminine sexuality and stereotypes in my work. The images I create are derived from negative sexual experiences in my life. They are powerful and sometimes ironically erotic.

I like to play off modern stereotypes to add irony to my work, depicting the balance of feeling empowered with the vulnerability and objectification that is always too often the burden of a modern woman.

When every color on the color spectrum is combined, the result is black. This is the color our society tends to neglect. It is reserved for high fashion editorials and funerals, a color of elegance, dignity, mourning, and obscurity. I am driven and transformed through my pain and often find solace in complete desperation. I hope everyone can at some point truly inspect themselves and revel in the darkest, most damaged parts because that is where we most often find our light. For me, there is no greater beauty than the stark contrast of ink against canvass. It is a product of every form of color, light, and beauty combined with one another. Every woman is a canvas. Every color is a story. This is the source of my ink. Contrast is what makes life beautiful.

www.carriebethwaghorn.com

Ziling Wang
The-existence-of-us-and-them-in-time-and-space-No.2.jpg

I graduated with MA in Fine Art at Central Saint Martins College of Art & Design in 2011.

My work has won the Premium Art Special Award from the Society Of Women Artists Annual Exhibition, Mall Galleries, won International Confederation of Art Critics Art Contest 4th Prize and is confirmed to be published in a forthcoming issue of Saatchi Magazine. It has also been shortlisted in the London Solo Award 2016, and won the bronze prize at ‘Giant Cup’ Today National Art Students Annual Awards, Beijing Today Art Museum, where it was collected by the museum.

Artist Statement

I am interested in exploring our identity in the outside world as a manifestation of the representations of our consciousness.

They are composed of collective fragments of objects and daily experiences emphatically associated with our memories, and which rely on a sense-making and rational re-interpretation to complete a reconstruction of an experience.  Therefore these past events become our cognitive experience of the outside world and define how we see ourselves in this space.  This experience of perception includes our self-consciousness of our own existence and our awareness of the sense of nothingness, and the perceptions of the order and relationship between things.

The state and relationship of objects in my paintings signify the externally defined image of female identity and the state (phenomenon and circumstance) of a female in that space.  This social representation is reconstructed internally by fragments of a person’s sense of self and stream of consciousness.  As our internal identity interacts with our external self, a sense of alienation and exile can arise. Thus, our perception of where and how we fit in the external world is an imposition of person’s consciousness, rather than the ‘thing-in-itself’.

www.wangziling.co.uk