VERY PRIVATE ART

art-quotes:

Artists, individualism and comfort zones
When you do something for yourself, even if you don’t entirely love it, you’ll still pour your heart into it, right? It’s for your growth, after all.
Is this always true? Sometimes, when we’re our own boss, might we cut corners or let that critical self-review slide? With an external motivator, like a client’s deadline or a gallery’s curation, there’s a chance of getting complacent. We might bask too long in our comfort zones, needing fresh challenges.
On the flip side, self-driven projects can be gold mines of passion and authenticity. They’re like personal letters to the world. We often touch others more deeply by doing something for ourselves. Plus, there’s an unmatched joy in creating without external constraints - like a bird soaring high on its terms!
So, while the pull to work passionately for oneself is undeniable, always keep the fire of self-improvement burning. Because passion, without progression, might just remain… well, passion.
Have you ever done a project solely for yourself and felt its energy was different? Do you always give 100% when no one’s watching? What do you think?
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Quote from Taaye: her website (From an article reviewing Superfine Art Fair, this kind of fair that skips the need for gallery representation)

Dark Art by Emil Melmoth

Mexican Artist focused on the Dark Surrealism and the Macabre Art.

“ideas of religious immortality and paradise with the reality of bodily imperfection, dissection, and truths of scientific knowledge.”

His Ig

bebs-art-gallery:

The Knight of the Flowers (1894)
— by Georges Rochegrosse

unsubconscious:

Derek Penix“Into the Blue”
Oil on canvas, 91 x 91cm

Portraying Trees by Kim Dorland

“I’ve used trees in different ways in my paintings – the set a scene, or a tone/psychology. I’ve also focused in more closely on individual trees or groups of trees, sort of like portraits. I like to think of trees as witnesses – they were here before us, “watched” us evolve and unravel, and will probably be here long after we’re gone.”
- Kim Dorland

Source: thetreepeople.org

paranoid:

Yung Cheng Lin

Persian girl

by Reza Afshar (Be - As)
Concept artist & illustrator, Tehran, Iran
(+ Scheherazade and Girl portrait)

Landscapes by Angela Sung

Her website, Ig

mosertone:

Ernestesto Bautista “Masses” (2009), transparent lighter filled with blood,

“My work is a constant collision between poetry and violence, darkness, death, memory, transcendence, forgetfulness. It flows between the complexity of theory and literature and the strength of shock from universal poetic signs.”

Ernesto Bautista

Seascape paintings by Marcus Larson

(5 January 1825 – 25 January 1864)

Swedish landscape painter from Åtvidaberg, Östergötland. He has been recognized as “one of Sweden’s foremost 19th-century painters” and labeled as “the most outstanding of the Swedish Düsseldorf painters.”

His paintings were known for being dramatic and primarily depicting rivers under violent skies as well as shipwrecks in storms.

Larson returned to Sweden in 1858 with a small fortune and decided to settle down in the province of Småland. He built a large villa with the intention of starting an art school there for young landscape painters. Before starting the school, however, Larson went to Copenhagen to exhibit his paintings. He spent the autumn of 1858 and the spring of 1859 traveling between Copenhagen and the nearby Swedish province of Scania. When Larson finally returned to his villa, it was burnt down in a fire. In 1860, the indigent artist left Sweden, never to return. After staying some time in Helsinki and Saint Petersburg, Larson traveled to London in 1862 for the World’s Fair. At this time, however, his talent and reputation were decreasing. With almost no assets and suffering from tuberculosis, Larson died in London on 25 January 1864.

It’s like if he saw it coming in his paintings…

Philippe Ramette

“For me, it’s the least of things to be the actor of my own work, to be the participant. (…) Then this character was formed as my work progressed and I think it will definitely be permanent. It also induces a notion of time that is very dear to me: when you see a photographic series, you see that my body is changing, it is getting older. I have this desire to be a permanent part of my work, without a disproportionate ego. It’s like a signature”

Source radiofrance (from the French)

skush-uk:

La Rouille

His website

alcrego:

Breathing Machines

RETROWAVE GIRL | LOVE DEATH + ROBOTS

“The Witness”

In the neon haze of the retrowave night,
There dwells a girl, obscured from sight,
Her face concealed, her heart encased,
Behind an old tape, time bein’ misplaced.

Art by inv4r3d (his Ig, Be)

las-microfisuras:

Heidi Bucher
Body Shells, 1966

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