Artwork by Hieu Nguyen

Curated by Beautiful Bizarre Magazine

Haven Gallery
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631.757.0500 . havenartgallery.com . info@havenartgallery.com
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Adrian Borda, Akiki Ijichi, Amber Carr, Amy Sol, Bella Harris, Caia Koopman, Camilla d'Errico
Carisa Swenson, Chie Yoshii, Ciou, Crystal Morey, Elizabeth McGrath, Emil Melmoth, Emilie Steele
Fay Helfer, Forest Rogers, Glenn Arthur, Gretchen Lewis, Hieu Nguyen, Hikari Shimoda
Jasmine Becket-Griffith, Jessica Joslin, Jel Ena, Kari-Lise Alexander, Karly Perez, Kathie Olivas
Lana Crooks, Laura Colors, Lori Nelson, Mahlimae, Miho Hirano, Miso, Naoto Hattori
Nadezda Kuzmina, Paloma Smith, Peca, Richard J Oliver, Scott Radke, Sheri DeBow, Tracy Lewis
Kurtis Rykovich, Erika Sanada,
Sanada,Virginie Ropars, Yoko d'Holbachie, Young Chun, Zoe Lacchei
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cover: Jonathan Viner
Jantine Zandbergen The Lord’s Macramé, 2016
Jennifer Gori Oil on panel, 48” x 60”

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 TAB LE OF CO N TE N TS

06 Join the Tribe

18 130

F E ATUR E D A RTI S TS

08 Jonathan Viner

22 Ilya Kushinov

36 Hikari Shimoda

50 Aron Wiesenfeld

64 Ashley Joncas

98 Tracy Lewis

72 112 Forest Rogers

126 Amy Sol

140 Kindra Nikole

31
154 Ben Smith

O N TH E R I SE

35
78 Heather McLean

80 Zofia Bogusz
101
82 Miranda Meeks

41 84 Zoe Lacchei

86 Stephanie Law

88 Adrian Borda

90 Che Leviathan

92 Kelly McKernan

94 Harumi Hironaka
50
96 Graeme Balchin
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EXCLUSIVE
CONTENT
Click Here!
J O N A T H A N
“A WORK OF A RT D OE S NO T A N SWE R QUE STION S, I T PROVOKE S THE M;
A N D I T S E S S E N T I A L M E A N I NG I S I N THE TE N SION BE TWE E N THE
C ON T RA DIC T ORY A N SWE RS.” LE ONARD B E RNST E I N
There is something indisputably cool in the work of
American painter Jonathan Viner, the women elegant
and nubile, the men sophisticated. There is more
than a touch of early James Bond movies where style
and panache reign supreme, and each interaction
concludes with a wry but witty repartee. Imagine
yourself transported to a time when mid-century
modern was new, relaxing in an Philip Johnson
designed house, sprawled on a Le Corbusier lounge;
you then cast your mind forward from that time,
imagining what the near future may hold … this is
where Jonathan’s recent work seems to dwell.
Cool can also be used to describe the palette of
Jonathan’s work, the pale blues and snow-covered
backdrops in his Cold Snap series, carrying through to
the more recent works for his Strange Math solo show
at Seattle’s Roq La Rue Gallery. For Jonathan, however,
the use of these colours is not a deliberate theme; he
explains wryly, “In general I just use the colours that
feel right. Why did Picasso have a blue period, a rose
period, etc? Your guess is as good as mine! The cool
colour scheme is a context in which certain intense
colours can really pop. It’s like finding the welcoming
glow of civilization in a dangerous and indifferent
universe. Or the warmth of a shot of whiskey on a cold
winter night, or something. So that’s my guess.”
The cool also emphasizes the seriousness of the
thinking behind these series, where he has used the
style of the 20th century Cold War period – or the
popular movie-based conception of that style – to
comment on “what is now shaping up to be a new
21st century Cold War.”
Jonathan has always been entranced by the dramatic
and theatrical, from his adolescent infatuation with
Baroque art and an eclectic range of early influences
from comics, fantasy and sci-fi fiction, computer
games and heavy metal, to old fine art and classical
music. All grist for the mill for an artist born. “While
normal teenage boys were playing sports, sneaking
booze, and chasing girls, I was copying some
dramatic photo of Leonard Bernstein from a Rimsky-
Korsakov CD cover, and then copying a paused still
from Metallica’s video for “The Unforgiven”, and then
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V I N E R
copying grainy old black and white photos of pre-
Holocaust shtetl life by Roman Vishniak. This was just
the stuff lying around my house when I was growing
up. A few drops in the ocean of random things that
influenced my creative development.”
Following the completion of his Bachelor of Fine Arts
and the Rhode Island School of Design, Jonathan
happened upon a dissertation that was to cement his
personal style in the face of the prevailing opinion
of the establishment. “Shortly after art school, Dave
Hickey’s essay “Enter the Dragon” opened my eyes to
the dissonance within the art world and the psycho-
social mechanisms of taste. I knew figurative painting
was frowned upon at the time, and it made no sense
to me. Even though I didn’t share Hickey’s taste in art,
this essay gave me hope. It also led me to Foucault,
who wrote about systems of power and ‘the gaze’ of
authority figures.”
With the growing acceptance of the figurative in
new contemporary art over recent years Jonathan
has been perfectly placed to ride this increasing
swell of popularity, which has in large part been
driven by the increased exposure available to artists
through the internet. This has also, conversely, been
an increasingly difficult environment for galleries,
and artists such as Jonathan have had to adapt to the
evolving market to make sure their work reaches the
public eye. Fortunately for us this is a challenge that
this talented painter is rising to meet.
“There has been a wave of galleries closing in recent
years. Social media is taking up more and more of
everyone’s attention. It’s a confusing time in the art
world right now, so I’m keeping all of my options
open. I’m working on a new body of work that I’m
very excited about and looking forward to exhibiting
when the right gallery comes along. There seems to
be a major shift of some kind underway. I’m just going
to keep painting until the dust settles.” Meanwhile the
admirers of Jonathan’s work can follow his socials,
purchase prints on his website, or contact him directly
about available work. He is also showing six smaller
paintings at Arcadia Contemporary in LA during an
upcoming summer group show.
Me e t Me in He ls ink i , 2015
Oil on pa n e l, 36” x 48 ”

p r e vi o us p ag e:
Forc e P roje c tion, 2015
Oil on pa n e l, 36” x 48 ”
Ba c k at the C hate au, 2014
Oil on pa n e l, 36” x 48 ”

o p p o site pag e to p :
P re s s Your Luc k , 20 16
O il on pa n e l, 36” x 48 ”

o p p o site p ag e b o t to m:
C o up d’ État, 2016
O il on lin e n , 18 ” x 22”
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 t op:
Again Wit h t he Horror Vacui?, 2 01 6
O il on panel, 1 6” x 2 0”

bot t om:
Hey Neighbor, 2 01 6
O il on li nen, 4 2 ” x 42 ”

oppos it e page :
War Bride, 2 01 6
O il on li nen, 48” x 48”

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 Be n e ath th e Cr y s tal Cle at s, 2 0 1 6
O il on l in en, 2 0 ” x 3 6 ”

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C ult C l as s ic , 20 14
Oil on l in e n , 60” x 7 2”

o p p o s i t e p ag e to p :
T h e Vis i b le Re g ion, 2016
Oil on l in e n , 18 ” x 22”

o p p o s i t e p ag e b o t to m:
L’ C h aim Dande lion, 20 12
Oil on pa n e l, 36” x 48 ”

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EXCLUSIVE
CONTENT
Click Here!
I L Y A K U V S H I N O V
“ S T ORI E S H AV E T O B E T OL D OR THE Y DI E , A N D WHE N THE Y DI E , WE
C A N ’ T RE ME M B E R W HO W E A RE OR WHY WE ’RE HE RE .” SU E MONK K I DD
Ilya Kuvshinov’s expressive, pop-culture infused
artistry is built on endless hours spent reading
and drawing as a child. He was consumed with
animation, comics and video games, and his love
for vibrant stories, all-consuming characters, and
a rollercoaster of plots left him hungry for more.
But it wasn’t until about three years ago he realised
that this is what he wanted for his life. Plagued by
insecurities about his future and his place in this
world, Ilya did not trust himself enough to make
these decisions until very recently. Now he’s
having the time of his life in Yokohama, following
his passion for manga and anime as an art form,
and his interest in Japanese literature and culture.
“The storytelling style is concentrated on character
development, attention to detail, and a desire to
find joy in the simplest things,” he explains. “I
wanted to be a part of the industry, work with the
people I deeply respect so much, be on the same
wavelength with them; so I decided to move to
Japan.”
Growing up in Russia under the keen eye of a
mother who encouraged his knack for illustration
meant he received the level of scholarly training
necessary to hone his skills and widen his
repertoire. Following six years of secondary
education in the arts he decided to study
architecture, but failed the entrance exams. This
unlikely sequence of events pushed him towards
animation instead. After a year of animation he
retook the exams and made it in this time, and
followed these years with a career as a concept
artist in game development. “Then I got to direct
a sci-fi motion comic called Knights of the Void
where I did my first storyboards – 22 episodes of
the show including concepts, colour design and
animation check – and I started to do illustrations
every day to improve my drawing skills.”
Although Ilya has always struggled with career
choices, this was his moment of truth; realising
that he actually wanted to choose this art form.
“I want to be an animation director, I want to be
a video game director, I want to write a comic,
I want to write a book, I want to direct a music
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video for a favourite band, I want to create my own
college of art and design for the entertainment
industry, and I want to draw illustrations just for
fun,” he says, “the last one is easiest for now.”
His process is rather straightforward. Usually,
after inspiration hits, he will sketch his initial idea
and then flesh it out with Photoshop CC and Clip
Studio, or Procreate on his iPad. “More often than
not, I don’t have any plan for my daily illustration,
so I give myself 10 or 15 minutes to brainstorm –
I usually find 3 words I like, mix them together,
and try to introduce the idea with it making sense
in terms of composition and colour design. This
way I change it a lot along the way.” His personal
pieces take about two hours to complete, while
commissions usually take up an 8-hour working
day.
Ilya has a large, avid following on social platforms,
particularly on Patreon. He constantly keeps
fans updated with film references like Leon or
Harry Potter, and of course heaps of his own
extraordinary work. The detail in the eyes, facial
features, and wisps of hair are breathtaking, while
the emotions conveyed are profound and almost
instantaneous in their ability to connect with his
audience. “I’m a big fan of deep, carefully written
characters and plots that can change the viewer,
make him think, make him a better person,” he
says of the anime genre. “There’s an unbelievable
amount of good stories with even better characters
in the contemporary world, in games, comics,
movies, TV series, and of course literature.”
Although he dabbles as an art director, illustrator
and comic artist, what Ilya truly enjoys is
storyboarding. He says this love for visual
storytelling began as a child, imagining the books
he read as movies in his head. “This is the best time
in history for an artist,” he says, explaining how
the digital age has changed the industry entirely.
“The biggest challenge is to finally decide if I want
to create videogames or comics and animation
because there are so many opportunities now!
Thanks, internet.”
T, 20 15
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p r evio us p ag e:
G love s , 2015
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to p l ef t:
Liquor ice , 20 17
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to p ri g h t:
Shian , 20 16
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m i ddl e:
Shir t, 20 16
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b o t to m l ef t:
Ao , 20 16
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bot to m ri g h t:
Midori , 20 16
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Co ckatie l , 20 15
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Cur ve s , 20 16
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Bubble g um, 20 17
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 Ce m e te ry, 2 01 5
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r ight t op:
Pa s s a ge, 2 01 6
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Sus pe nde rs, 2 01 6
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Train, 2 01 6
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 We are working on the new and improved website

www.imaginaryrealism.com
We will be expanding our visibility on different social media platforms so we can
share with you the great artist within the realm of Imaginary Realism. In November
we will start off with the 6th edition of the DREAMSCAPES exhibition accompanied
with the high quality art book. For now be sure to follow us on our Imaginary Realism
facebook page to keep yourself updated!

EDITION

DREAMSCAPES SIX
CONTEMPORARY IMAGINARY REALISM

Tomasz Alen Kopera Pedro de Kastro Bruno Di Maio Michael Parkes David M Bowers

Gil Bruvel Lukáš Kándl Siegfried Zademack Hans Kanters Daniel Merriam

AUSTRIA - TRAUN - 9 NOVEMBER 2017 TILL FEBRUARY 2018

For more information on all artists participating and future dates of this
traveling exhibit please go to www.imaginaryrealism.com
Hikari Shimoda
EXCLUSIVE
CONTENT
Click Here!
H I K A R I S H I M O D A
“ T H E FU T U RE I S NO T A S TR A IGHT L I N E . I T I S F I L L E D WI TH MA N Y
C RO S S ROA D S . T H E RE MU S T BE A F UTURE THAT WE CA N CHOOSE F OR
OU RSE LV E S.” K I YOKO I N AK I R A
Fluorescent, highly saturated landscapes gleam
and glitter, like galaxies of unknown planets.
Children play, their globe-like eyes deep pools
filled with cataract colours, black, blues, and
violets, that twinkle and stare; these young
creatures peer out of their world with a wisdom
beyond boundaries. It’s no wonder really, Hikari
Shimoda, an artist who creates chimerical science
fiction fantasies with oil paint and more, notes
that the manga that attracted her as a child still
inspires her today. “...around five years old I used
to imitate manga girls with sparkling eyes that my
friends drew. I think that this memory of drawing
those sparkling eyed characters are one source
of inspiration for my art now.” The monolithic
heads of Hikari’s characters float in a space that
has its origins strongly pulled from the world that
is manga; the darkness and light come together to
delightfully play upon her canvases.
Hikari admits that when growing up she felt
inferior to her friends who could draw and create
more prodigiously than she. Turning towards
the broad subject matter and style of anime, she
found an outlet that was a visual narrative; the
story told was just as, if not more important than
the imagery itself. This exploration eased Hikari’s
childhood anxiety and internal perspective, at
the age of ten she felt “I have no talent to create
attractive drawings.” But with her teenage years
there came an important discovery: modern
art. This encounter, “taught me freedom of
expression.”
For many, the role of an artist is to be a mirror
to society, to reflect the realities, discrepancies,
and ugly truths often repressed by humanity.
Hikari may paint what on the surface looks
merely like children playing, but in actuality her
work is very much a mirror to civilization. The
world is literally her inspiration, the opinions
she forms on the socio-political, ecological,
and philosophical events of the globe fuel
her paintings and concepts. The vacant eyes
and stern lips of her characters, the cute but
terrifying details like horns and necklaces that
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could actually be razors, stitches or cut throats,
and even the names of her creations like, Epic
Annihilation and Gazing at Never-ending Ruin
and Despair, quickly turn her paintings from puff
pieces to heavily analytical entities.
Cartoon creatures and children may seem like an
interesting way to funnel brutal ideas about life
out into the world, but Hikari has very particular
reasons for using these seemingly passive
characters. “Children belong to less social
categories which are derived from sex, gender,
and age. The more people age, the more social
categories are added to their personalities and
identities such as ‘being a student’, or ‘working
for xxx.’ What I would like to express in my art
is not a particular person, but a concept or
object as ‘human beings.’” Although they are
empty forms in which Hikari imbues her world
view, they are not self-portraits. It is almost as
if they are animatronics, playing out the end
of the world, wearing superhero capes and
magical amulets in small hopes of changing the
imminent future.
Hikari admits that every three months or so she’ll
find herself in a slump. “My brain is exhausted
and starved periodically. That condition seems to
be brought about by lack of inputs, so I always let
myself look, hear, and touch everythiing around
me.” Then, soon enough, she’ll be creating
again with fervency and direction. Although
she dreams of many things for her career, such
as opportunities in animation and film, one of
her ambitions is currently in the works. Hikari’s
kawaii characters are to be made into figurines
and sculptures. An exciting, and incredibly apt
prospect, she looks forward to their production
and “perfections”.
Like with most significant things of this earth,
Hikari’s work is a reminder that everything
deserves deeper contemplation. Her visually
stunning and stimulating works are bewitching
in colour and form, but plead with the viewer to
ponder this world, and their actions within it.
Re c c yc ling Hum anit y , 2 01 6
Mixe d me dia , 64” x 51 ”

p r evio us pag e:
He ro of the D ile mma, 2 01 6
Mixe d me dia , 9.5 ” x 1 3”
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C hildre n of This Planet #2 9, 2 01 5
Oil on c anv as, 1 6” x 1 2 .5”

o p po site page :
C hildre n of This Planet #9, 2 01 3
Oil on c anv as, 2 1 ” x 1 8”

B e aut i f ul Bi z a r re Ma g a z i ne | 41
 He llo Wor ld , 2 0 1 4
Mixed m e d i a , 1 2 ” x 1 2 ”
 to p l ef t: to p ri g h t:
I Do Not Know My Enemy (G ir l ) , 20 17 D e ath an d An g e l # 2 , 20 17
Mi xed medi a, 3 6 ” x 46 ” O il on canv as , 18 ” x 21”

bot to m l ef t: bo t to m ri g h t:
Deat h and Ange l # 1 , 20 17 I D o Not Kn ow My En e my (Boy ) , 20 17
O il on canvas , 18 ” x 21” Mixed m edia, 3 6 ” x 46 ”
 to p l ef t: to p ri g h t:
W hereabout s of God # 2 5 , 20 17 W h e re a bo uts of G o d # 2 3, 20 17
O il on canv as, 2 8.5 ” x 28 .5 ” O il on canv as , 28 .5 ” x 28 .5 ”

bo t to m l ef t: bo t to m ri g h t:
W hereabout s of God # 3, 20 12 W h e re a bo uts of G o d # 2 6, 20 17
O il on canvas, 2 8 .5 ” x 28 .5 ” O il on canv as , 28 .5 ” x 28 .5 ”
W h e re ab outs of God # 11, 201 4
Oil on c anva s, 28 .5 ” x 28 . 5 ”
 An g e l of His tor y , 20 16
Mixed m edia, 21” x 18 ”

o ppo s i te pag e:
Inve r te d Wor ld , 20 16
Mixed m edia, 21” x 18 ”

46 | Beautiful Biza rre M a g a zi n e

Aron Wiesenfeld
EXCLUSIVE
CONTENT
Click Here!
A R O N W I E S E N F E L D
“ I SE E MY PAT H , B U T I D ON’T KNOW WHE RE I T L E A DS. NOT KNOWI NG
WHE RE I ’ M G OI NG I S W H AT I N SPI RE S ME TO TR AV E L I T” ROSALI A DE C AST RO
In stories untold, Aron Wiesenfeld portrays thoughtful
moments against mysterious backdrops that sow
insatiable intrigue. His drawings and paintings appear
as a culmination of his early work as a comic book
illustrator with elements of mysterious and painterly
romanticism. At once familiar and ambiguous, Aron’s
works invite us to experience, vicariously, mysterious
moments of uncertainty. “…I think the most interesting
thing is to show a character right before the moment
of decision, before the journey begins. The paintings
are about staying within a moment of uncertainty, in
which all possibilities are still open.”
Aron’s scenes are portals to enormous worlds that
continue past the edges of each piece, multiplying
exponentially in the imagination of the onlooker. “I feel
more like a midwife to the paintings than a creator,”
Aron explains, as ambiguous subjects in mysterious
pursuits leave the plot open to audience impressions.
He says, “I want the settings to feel very specific, and I
want the characters to be not specific, almost like empty
shells. Sort of unreal and real.” Producing impressively
convincing worlds, and an ease of empathy for his
characters, Aron’s images direct unconsciousness
into consciousness. The imagination, sentiment,
and conviction of the onlooker fills in storied
embellishments.
Born in Washington D.C., Aron’s upbringing was a fated
journey into the arts. He said, “There was a lot of art
around when I was growing up, and paintings on the
walls. My grandmother was a very good watercolour
painter. My first love was comic books. I started copying
comic books, and then drawing my own. When I was
about 12, I was determined to one day be a real comic
book artist.” He went to art school in New York right
after high school. However, the focus on abstract and
conceptual art eventually disinterested him, and he left
early to pursue a career in comics. At 24 he returned to
his studies, this time studying painting at the Art Centre
College of Design in Pasadena, California, and now
lives and works in San Diego.
Aron’s journey has ever been a winding road. The
things that have motivated, as well as the hurdles
that he has overcome, are unique to his personal
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journey. Aron reflects on the greatest challenges of
his artistic journey, describing, “Lack of confidence,
especially when I was younger, which was expressed
as perfectionism. That’s been my biggest struggle to
overcome. It took time and a lot of conscious effort to
be comfortable with the fact that not every painting is
going to be a masterpiece. Sometimes ‘good enough’
really is good enough.” Luckily for Aron’s following, his
“good enough” is, precisely, a prolific masterpiece.
Aron’s narrative paintings usually focus on isolated
female subjects in various twilight surroundings.
Subjects are beautiful, and the settings impose a
dichotomous motion, toward both a romantic and
vaguely ominous ambience. He describes the joy of
conception as telling a story through images. “My
favorite part is the initial sketching of an idea, initially
getting it on paper to tell the story, and visualizing it
as a composition. That’s the most fun for me because
it’s making something out of nothing.” Something
out of nothing seems understated, as Aron’s works
spark wildfires in the imagination, with all the mystery,
emotion, and intrigue of a prizewinning literary novel.
Aron Wiesenfeld has been the subject of eight solo
exhibitions in the U.S. and Europe. Since 2006 Aron has
held eight solo shows at galleries in the US and Europe,
and his works have been featured in several museum
exhibitions, including the Long Beach Museum of Art
and Bakersfield Museum of Art in California, and the
Museum Casa Dell’Architecture in Rome. His artworks
have graced the pages in a multitude of publications,
including Juxtapoz, Hi-Fructose, Art In America, and
The Huffington Post; as well as the covers of 9 books
of poetry, and a large monograph titled “The Well,”
published by IDW Press. Aron’s favorite vehicle to reach
his audience is through books. “I like the intimacy, and
tactile quality of books. I always saw art in books. I love
that you can hold an artist’s entire life’s work in your
hands.” Aron says he has started a story-in-pictures that
he has considered making into a new book. He also
has an upcoming exhibition of paintings in the works
for 2018, to be announced. For now, Aron continues to
inspire intrigue; telling us stories of unknown journeys,
in misty twilight backdrops, and moments of reflection
and uncertainty.
 G re e n h o u se , 2 0 1 2
O il on canv as , 3 3 ” x 3 0 ”

prev i o u s p a g e :
Home comin g , 2 0 1 4
| 25
O il on canv as , 26. 5” x 3 4 ”
B e aut i f ul Bi z a r re Ma g a z i ne
 B unke r, 20 16
Oil on c a nva s, 32.5” x 4 4.5”

70| |
6 Beautiful
BeautifulBiz
Bi a
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agag
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BBeeaut
auti fiul
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Bizzaar re
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Maggaazzi ne
ine | | 717
 Br ide , 20 14
O il on canv as , 26 ” x 3 9 .5 ”

o ppo s i te pag e to p:
Th e G ar de n , 20 12
O il on canv as , 3 6 ” x 3 0 ”

o ppo s i te pag e bo t to m :
Th e Re tur n , 20 14
O il on canv as , 3 0 ” x 3 3 .5 ”

56 | Beautiful Biza rre M a g a zi n e

B e aut i f ul Bi z a r re Ma g a z i ne | 57
 o ppo s i te pag e:
Lan dfall , 20 0 9
C h arco al on p ap er , 5 0 ” x 3 8 ”

to p:
Thicke t, 20 0 9
C h arco al on p ap er , 19 .5 ” x 12.5 ”

bo t to m :
Fis h G ath e re r , 20 0 6
C h arco al on p ap er , 5 0 ” x 3 8 ”

ri g h t:
G ir l With D o g , 20 0 8
C h arco al on p ap er , 5 2” x 29 ”

58 | Beautiful Biza rre M a g a zi n e

B e aut i f ul Bi z a r re Ma g a z i ne | 75
 D rop o ut , 2 0 1 2
O il on canv as , 3 3 ” x 2 4 . 5”

76 | Beautiful Biza rre M a g a zi n e

G A L L E R Y A F

WORKS ON PAPER
SEPTEMBER 2017

“You are You” Mixed Media on Paper, 2017, by Michael Alan

Michael Alan • Jennybird Alcantara

Jean PierRe Arboleda • Sergio Barrale
Rick Berry • Bill Carman • Sam Wolfe
Connelly • Justin Hopkins • Chris Lieb
Francis Livingston • Alessandra MariA
Steven Skollar • Pol Turgen
aron Wiesenfeld • Martin Wittfooth
Hannah Yata • AND OTHERS

54 Greene St. New York, NY 10013 | info@afanyc.com | www.afanyc.com | 212-226-7374

 Modern Symbolists
August 23rd -
November 5th 2017

image: Roku Sasaki

Juile Baroh
Aloria Weaver Reiko Murakami
Kim Evans
Carrie Ann Baade Roku Sasaki
Liba WS
David Heskin Samuel Araya
Maj Askew
Erich Moffitt Timea Tallian
Mark E Nelson
Graszka Paulska Vladimir Ovtcharov
Martin Stensaas
Gromyko Semper Yoann Lossel
Michel Bassot
Jason Mowry Yuko Ishii
Oliver Benson

www.krabjabstudio.com
EXCLUSIVE
CONTENT
Click Here!
A S H L E Y
“ Y ES ; I A M A DRE A ME R. FOR A DRE A ME R I S ON E WHO CA N ON LY F I N D
HIS WAY BY MO ON L IG H T, A ND HI S PUN I SHME N T I S THAT HE SE E S THE
DAW N B E FORE T H E RE ST OF THE WORL D.” OSC AR W I LDE
Falling down a rabbit hole by mistake is perhaps
one of the best ways in which to find your calling.
Ashley Joncas stumbled upon photography when
she became captivated with light and shadow on
forms while doing photo references for her work
as a painter and illustrator. “The only way to grasp
it fully was to buy a camera and get a feel for it, and
instantly I became obsessed with photographing
people.” Fast-forward eight years and Ashley now
has her own photography and design studio,
Enigme, based in Seattle, with a fluid vision for the
medium in which she works. “I always combine
my traditional art techniques as a painter when
editing, so I almost always refer to myself as a multi-
disciplinary artist before photographer.”
Enigme is a fusion of all the creative mediums
Ashley dabbles in, with her studio work split 50/50
between client commissions and “a small swirling
hurricane of photography, post production, and
creative directing”, which she confesses is her
favourite part. Being her own boss has not only
allowed her to jump in and out of roles, and although
the work is tough, she believes in her potential to
trail blaze the industry. This, she says, outweighs the
instability and the constant need to hustle. “People
will spend years living for other people, and I had a
moment of ‘fuck it, I could die tomorrow,’ and didn’t
want to look back at what I’ve done with not enough
chances taken. Since making the decision, I’ve never
been happier. I sleep a lot less but I smile more.”
Many of the dark, ethereal and visceral scenes she
creates are derived from dreams she has had. Vivid
nightmares and dreamscapes are the inspiration for
some of her pieces. “Most of the fire-infused images
I’ve done are direct reflections of nightmares. Most
of the trauma I’ve gone through earlier in life is also
a catalyst, as well as various moments of rebirth from
those unstable times. For portraiture, I sometimes
will be asleep and something will spark an idea,
so I keep a notebook with me at night for those
moments.”
She explains that in photography and art she has
found a way in which to transcend whatever
www. e n igm e st u d io . c om | Wor d s : K i m C row ie
66 | Beautiful Biza rre M a g a zi n e
J O N C A S
fear these dreams instil, creating beauty out of
terror. Of Earth is her favourite series of personal
works she has done to date for this very reason.
“I wanted to find the more intense elements of
nature, such as fire and desolate burnt land, and
make it feel tranquil. For me it was therapeutic
because it helped me channel a lot of internal
turmoil into art.” She is also deeply inspired by
music, film, and gothic literature. Edgar Allan
Poe is one of the few poets who speak to her in
a most intuitive way. Reading his work paints
intense, resonant pictures in her head, while
Steven King’s body of work is “forever an ongoing
inspiration”.
As a self-described ‘design disruptor’, Ashley
is all about introducing new thinking, ideas
and elements through the work she does. “To
me disruption is just a lot like a strong wave or
energy… I run in the opposite direction of what
is ‘popular’ while still attempting to stay relevant
and true,” she explains. “It doesn’t guarantee
success or even a proper place for me to succeed,
but staying safe in the arts is catastrophic to your
soul. So disruption is less like destruction, and
more of an inherent conversation starter, which
I believe is the true catalyst for the progression of
art across all spectrums. I honestly just want the
world to take more risks with what they see as
beautiful, and so I aim to keep it weird and fresh.”
Ashley is currently working on a collection of
pieces inspired by a recent trip to Iceland, where
she will showcase the country’s contrast-filled
landscapes in a new way. She has also been
working in video and creative directing, and has
a slew of secret projects underway in which she
hopes to change perceptions of what a photo is,
and what it can be. “I’m hoping to eventually get
more into directing and set design for movies
or television. My brain thinks in scenes and
atmospheres, so doing portraiture and small scale
stuff is something I eventually want to phase out.
At the end of the day I know my purpose in life
is to create, so I’m leaving the future open to
whatever mediums, projects, and paths find me.”
Eve r Falling , 20 15
Mode l, Ha ir, Ma ke - up, St y li ng: Ashley Joncas

p r evio us p ag e:
Nig ht Craw le r, 2017
Mode l, Ha ir, Ma ke - up, St y li ng: Ashley Joncas
 to p: He ath e n Child , 20 16
Rituals , 20 16 Mo del , Hair , Make-up , St y l i n g :
Mo del , Hair , Make-up , St yl in g: As h l ey Jon cas
As h l ey Jon cas

bo t to m :
Bor n of Fire , 20 16
Mo del , Hair , Make-up , St yl in g:
As h l ey Jon cas

68 | Beautiful Biza rre M a g a zi n e

B e aut i f ul Bi z a r re Ma g a z i n e | 69
 Nig ht Te rrors , 2015
Mode l, Ha ir, Ma ke -up,
Stylin g : As h le y Joncas

48 | Beautiful Biza rre M a g a zi n e

B e aut i f ul Bi z a r re Ma g a z i ne | 25
72 | Beautiful Bi za rre M a g a zi n e
Forg ot te n Lands , 20 15
Mo de l , Ha ir, Ma ke - up, Sty li ng:
As h l e y Jon c a s

o p p o s i te pag e to p :
C ur s e d Grounds , 20 15
Mo de l , Ha ir, Ma ke - up, Sty li ng:
As h l e y Jon c a s

o p p o s i te pag e b o t to m:
T h e S ha dow You Us e d to Know, 2 01 5
Mo de l , Ha ir, Ma ke - up, Sty li ng:
As h l e y Jon c a s

B e aut i f ul Bi z a r re Ma g a z i ne | 73
 24 |
L a st D an c e , 2 015Beautiful Bi za rre M a g a zi n e
Mo de l , Hai r , Ma ke - up, Stylin g :
As h l e y Jon c a s
 Representing
the work of
Loss Of Innocence • 18” x 30” • Oil on Masonite

Kierstin
Young

Tosena Splendida • 10” x 8” • Oil, Ink and Acrylic on Panel

1412 Wazee Street | Denver, CO 80202 | 303.355.0950

abendgallery.com
Opening Reception: Saturday, October 21st, 6-8pm
October 21st – November 26th, 2017
 O N TH E R I SE

H E A T H E R M C L E A N
w w w. h b o m b . c a

Healer, 2016
Acrylic on mesh and panel, 25” x 35”

78 | Beautiful Bi za rre M a g a zi n e
ON T H E RISE

Z O F I A B O G U S Z
w ww. z of iaa r t .c o m

The Shepherd, 2016

Oil on wood panel, 48” x 48”

B e aut i f ul Bi z a r re Ma g a z i n e | 81
 O N TH E R I SE

M I R A N D A M E E K S
w w w. m ira n d a m e e k s . c o m

Dusk, 2014
Digital

82 | Beautiful Bi za rre M a g a zi n e
ON T H E RISE

Z O E L A C C H E I
w ww. z oelacc h ei .c o m

Dagiraz Girl, 2016

Mixed media on recycled paper, 20 cm x 30 cm

B e aut i f ul Bi z a r re Ma g a z i n e | 85
 O N TH E R I SE

S T E P H A N I E L A W
w w w. s h a d ow s c a p e s . co m

She Sleeps, 2015

Watercolor on paper, 10” x 10”

86 | Beautiful Bi za rre M a g a zi n e
ON T H E RISE

A D R I A N B O R D A
w ww. adr ian bo rda.co m

Follow Me, 2015

Oil on canvas, 100 cm x 80 cm

B e aut i f ul Bi z a r re Ma g a z i n e | 89
 O N TH E R I SE

C H E L E V I A T H A N
w w w. c h e levia t h a n . c o m

Arson, 2016
Oil on panel, 9” x 12”

90 | Beautiful Bi za rre M a g a zi n e
ON T H E RISE

K E L L Y M C K E R N A N
w ww. kell y m c ker nan.c o m

Curiouser and Curiouser, 2016

Acrylic and watercolor on paper, 16” x 20”

B e aut i f ul Bi z a r re Ma g a z i n e | 93
 O N TH E R I SE

H A R U M I H I R O N A K A
w w w. h a r u m ih iro n a ka . b ig c a r t e l. co m

Sick, Sad World, 2016

Mixed media on paper, 40 cm x 45 cm

94 | Beautiful Bi za rre M a g a zi n e
ON T H E RISE

G R A E M E B A L C H I N
w ww. f acebo o k .c o m/g raeme.bal c hi n

The Girl Who Got Eaten by a Tree, 2017

Oil on linen, 150 cm x 100 cm

B e aut i f ul Bi z a r re Ma g a z i n e | 97
Tracy Lewis
EXCLUSIVE
CONTENT
Click Here!
T R A C Y
“ T H E POE T RY OF T HE E A RTH I S N E V E R DE A D”
In the years after World War One the economy
flourished worldwide. A global cultural movement
originated and took the world by storm. We now
know this period as the roaring twenties, or as
the French would say: ‘Les années folles’; the
crazy years. In the ever sunny City of Angels the
film industry was booming. One movie classic
after another was made on the sets of Hollywood.
Reporting on all this glitter and glamour was
Hollywood Life, a magazine owned by the
grandfather of artist Tracy Lewis.
Tracy Lewis grew up in Southern California,
meaning she got to spend a lot of time in
Hollywood. Young Tracy loved dressing up in
twenties attire and attended screenings of all the
classics at the Silent Movie Theater on Fairfax. It
was then and there that a deep connection with
the dark and mysterious secrets of Hollywood
emerged. Secrets hidden away in a hazy glow of
perpetual sunshine.
The dualism found in Hollywood’s brightest
and darkest moments is something that can still
be found in Tracy’s feminine portraits today. “A
woman can be both very delicate and feminine
while being powerful and fierce at the same time”,
Tracy tells about her portraits. “I think the women
in my portraits desire to draw you near, yet possibly
for their own protection, also like to keep you at
arm’s length. I see them as otherworldly beings,
protectors of the natural world and of themselves.”
Speaking of nature, the natural world is another
theme that makes a vivid appearance in Tracy’s
paintings. It’s not only the sublime flowers that
look so fresh you can almost smell them - it’s in
the details. With meticulous, translucent layers of
paint Tracy creates lush and lifelike tones, like the
layered petals of a fragile flower or the wings of a
butterfly. When asked what it is about nature that
appeals to her so much Tracy says: “I’m fascinated
by the gentleness and fierceness, by the innocence
and lack of ego that nature is. We are all one, all
interconnected. Animals are our more quiet selves.”
www. t r a cy le wi sa r t . c om | Wor d s : Ja nt i n e Z a n d b e r g e n
100 | Beautiful Bi za rre M a g a zi n e
L E W I S
JOHN K E AT S
How Tracy transforms watercolour into
something so natural is a sign of true
craftsmanship. Watercolour is often described
as one of the toughest mediums to work with:
where you can correct tiny mistakes in acrylic
or oil - when the paint is still wet that is - there’s
no second chance with watercolour. Not a
problem for Tracy though, as she states: “I love
that watercolour wants to do its own thing, and
by observing what that is you can work with it in
a kind of partnership to help it do what it wants.”
If you’re intrigued with Tracy’s watercolour
skills you’re in luck: she’s a teacher too. From
the knowledge she got from her teachers Gary
Pruner and Jeannie Vodden, to the tips and tricks
she acquired over the years: she loves to share
her skills with students both offline and online.
“I’ve had so many wonderful opportunities come
about as a result of Instagram alone. Everything
from connecting with other artists or with fans
of my work to amazing gallery shows. It’s also
nice when you spend so much time alone in
the studio to share your work and connect with
people that enjoy it, that alone can be really
motivating. I’m grateful for everyone that takes
the time to like and comment on my work.”
At the moment Tracy divides her time between
creating new work for various upcoming group
shows and a very special project, opening
an art gallery called Alchemy with friend and
fellow artist Lynda Trujillo. The gallery opens a
window of opportunities, from a new place to
host watercolour classes to room for bigger sized
work. When asked if there’s anything left on her
bucket list Tracy doesn’t need to think twice. “I’ve
been wanting to do a collaborative show with
my daughter, Gretchen Lewis. Our work is so
completely different, but it would be fun to pick
a theme and do a dual solo show with at least one
piece that we both paint on. We’ve talked about
it many times, I’ll have to see if we can make it
happen soon!” A wish that might become a reality
very soon, keep an eye on Alchemy Gallery!
 Cl an de st in e , 2 015
Wat erco lo u r on 3 0 0 l b. Arch e s Ho t P re ss
w at erco lo ur p ape r , 1 6 ” x 1 6 ”

pr e v i ou s p a g e :
As Within , So Wit h o ut , 2 017
Wat erco lo u r on 3 0 0 l b. Arch e s Ho t P re ss
w at erco lo ur p ape r , 1 2 ” x 1 8”
 Ben evo le nt P rop h e cy, 2 0 1 6
Wat erco lo ur , 12” t on do

ri g h t to p:
Alle g or y, 2 0 1 6
Wat erco lo u r , 17” t on do

ri g h t bo t to m :
Reve r an ce , 2 0 1 6
Wat erco lo u r , 10 ” x 13 ”

102 | Beautiful Bi za rre M a g a zi n e

 Sil k Mot h , 2 014
Wat erco lo u r on 3 0 0 l b . A rc h e s Ho t

| 107
P res s w at erco lo ur pape r , 1 3 ” x 1 7 ”
B e aut i f ul Bi z a r re Ma g a z i n e
Bre at h e , 2 015
Wat e rc o lo ur,
1 0 ” x 10 ”

op p o s i te p ag e to p :
Fait h , 2 0 15
Wat e rc o lo ur,
4 ” t ondo

op p o s i te p ag e b o t to m:

|
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6
Wat e rc o lo ur,
|
C h ar it y, 2 015
Beautiful
Beautiful BizBi
a rre
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M aM
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4 ” t on do
B e aut i f ul Bi z a r re Ma g a z i n e | 105
106 | Beautiful Bi za rre M a g a zi n e
 Fadin g , 2 015
Wat e rc o lo u r , 8” x 1 0 ”

o p p os i t e p a g e l e f t :
St e r lin g , 2 016
Wat e rc o lo u r , 5” x 7 ”

B e aut i f ul Bi z a r re Ma g a zo ipp
neos i t e| p a25
ge right:
Har b in g e r, 2 016
Wat e rc o lo u r , 5” x 7 ”
 |
Mar ip o s a, 2 016
112 Beautiful Bi za rre
Wat e rc o lo u r on 300 lb . A rc h e s Hot
M a g a zi n e
P re s s w at e rcolour pape r, 12” x 1 5”
ARTWORK ©2017 MARTIN WITTFOOTH

THE 12TH ANNUAL BLAB SHOW

OPENING NIGHT: SATURDAY, SEPTEMBER 9, 2017 / 8:00-11:30 PM
MARTIN WITTFOOTH LUKE CHUEH CHRIS MARS CRAIG LAROTONDA
RYAN HESHKA JOHN BROPHY NICOLETTA CECCOLI CALEF BROWN
TRAVIS LOUIE MARC BURCKHARDT KUKULA MATTHEW SCHOMMER
JANA BRIKE DAN MAY TIM O’BRIEN DALE STEPHANOS
PETER FERGUSON OWEN SMITH GREG CLARKE AMANDINE URRUTY
LOLA GIL TOM BAGSHAW VIKRAM ADRIAN COX
JOE SORREN FRANK FORTE CHARLIE IMMER KI SUNG KOH
VICTOR CASTILLO JOE VAUX JASON LIMON NAOTO HATTORI
GLENN BARR HANNA JAEUN SCOTT ROHLFS CASEY WELDON
DAVE MACDOWELL AMY CREHORE GRETCHEN LEWIS KURT DEVINE
JAY FERGUSON JULIA HAW NOUAR . . . AND MORE
SHARK TOOF BOB EGGLETON BRIAN SMITH
ROBERT CONNETT TOM GIESEKE BILL CARMEN SHOW RUNS THROUGH
CLARE TOMS SHAG! CAMILLA D’ERRICO SEPTEMBER 30TH

COPRO GALLERY / 2525 MICHIGAN AVE. #T5 / SANTA MONICA, CA / 310-829-2156

WWW.COPROGALLERY.COM
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F O R E S T
“ T H AT V I RT U E OF ORIG I NA L I TY THAT ME N SO STR A I N A F TE R I S NOT
NE W N E S S , A S T H E Y VA I N LY THI N K, THE RE I S NOTHI NG N E W; I T I S
ON LY G E N UI N E N E SS.” JOHN RU SK I N
Forest Rogers has the creative charm and
humble open wit of a Renaissance play actor
in a traveling troupe. Even her name speaks to
the heightened awareness of nature, and the
probing philosophical literary leanings of that
era. Her work itself is also robust in expression,
though it defies any real connection to time or
place. The sculptures feel otherworldly, with
touches of Art Deco, Baroque and more. They
are wonderfully belletristic, it is as if each of
these creatures has an entire life and narrative
within them.
While most adults remember their artistic
beginnings as awkward play with crayons
and colourful pipe-cleaners, Forest applied
her efforts elsewhere. “Many of my earliest
sculptures were created in the bright red wax
off the rinds of my Aunt Lucia’s round cheeses.
I’d peel off some wax, crawl away into a corner
or under a table, and make little animals.”
This unassuming outset led Forest to receive
her BFA in stage design, and then continued
her education with an MFA in costume
design. However, life is often not placable or
controllable, and upheavals led Forest to turn in
other directions. “The icky and wonderful fact
that caterpillars apparently melt almost entirely
to a kind of pulp in the chrysalis before turning
butterfly is a useful metaphor at times of pivotal
trauma. I’ve been shredded and squashed more
than once, and while I wouldn’t choose it, I’ve
come to believe it plays a vital transformative
role, like forest fires and caterpillar goo.”
Transformation is key, not only for Forest
herself, but also for her artwork. Wire and clay
do not magically assume a form in the night,
but come to life through the talented fingers of
a dedicated creator. Books and stories greatly
influence Forest’s pieces but the start is very
much unfettered. “I scribble the same subject
repeatedly, as a way of contemplating it. I keep
these drawings very loose. That allows freedom
when I go to sculpt, and lets the piece talk back
to me and change. After the initial sketching
www. for e st roger s . c om | Wor d s : Ju s t i n e Mor row
114 | Beautiful Bi za rre M a g a zi n e
R O G E R S
stage I usually create the head of the being. The
head helps me make decisions, as heads carry
identity. Headhunters everywhere agree.” It is
this constant conversation she has with her
pieces in process that ends in the embodiment
of something emotionally stirring. The
sculptures have movement; there is no stillness
to be found within these clay bodies. It is not
only the actual objet d’art that stimulates the air
around it, it also begs response and moves the
viewer. “The more one draws deep on unique
internal qualities and individual experience, the
closer one strikes to the heart of a subject and
the more universally eloquent the result is likely
to be.”
Forest not only reaches others through her
creations, she also helps them with their own
artistic endeavours. There is an entire blog on
her website called “How To”, which is dedicated
to answering questions and elucidating
information about materials and techniques.
This is something that is of great importance
to Forest. “In pursuit of sharing, I’ve begun an
informal teaching effort on Patreon. A work
in progress, but it excites me.” She also freely
gives advice on artist’s block and cultivating
motivation in a world that continually crushes
dreams. “Remember you are in good company:
some, many, of the artists and writers you
admire most have likely paddled the same
leaky, doubt-swamped boat. What a loss if
they’d flipped over the side and not painted,
written, sculpted or sung the thing that spoke
to you!”
The future holds much for Forest. “I’m mightily
excited about the Hearts Blood show, guest
curated at the Haven Gallery by — yes! —
Beautiful Bizarre Magazine in spring, I’m
plotting a one-person show with IX Art’s IX
Gallery online, perhaps called Seven Tales of
Wonder, with Annotations. Her work breathes
life into its environment, whether viewed
online or in person, and is, no doubt, a powerful
cathartic viewing pleasure for any audience.
 O c t op oid , 2 0 1 3
Po lym er, al um inu m a r m at u re , 1 2 ” t all

p r e v i ou s p a g e :
Octop oid D e c e n din g , 2 0 1 7
Po lym er , ep ox y, b r a ss ro d s &
s t ain l es s s te e l w i re , 4 3 ” t all
94| |
6 Beautiful
BeautifulBiz
Bi a
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agag
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to p l ef t:
Be an Sid h e (Ban s h e e ) , 20 12
Po lym er, mul ber r y p ap er, wo o d
& m oh air, 12” t all

to p ri g h t:
Yu ki Onn a , 20 14
Po lym er, s il k gau z e & ram i f iber , 8 ” t all

bo t to m :
E a s t Of Th e Sun , 20 12
Jap an es e air-dry cl ay, ep ox y cl ay
& wo o d, 14.5 ” t all

o ppo s i te pag e:
Faun For Th e Se a Of Tre e s , 20 14
Po lym er, bras s , wo o d, gar n et s
& onyx , 15 ” t all

B e aut i f ul Bi z a r re Ma g a z i n e | 117
118 | Beautiful Bi za rre M a g a zi n e
 Faun For Th e Se a Of T h e e s I I , 2 0 1 6
Po lym er , wo o d, ga r n e t s, 1 9 ” t all

o ppo s i t e p a g e l e f t :
Th or n e d Faun , 2 0 1 6
Po lym er, s t ain l e ss st e e l w i re
& ga r n e t s, 1 5” t all

o ppo si t e p a g e r i g h t :
Nig ht Blo om , 2 0 1 6
Po lym e r , wo o d , b r a ss
& ga r n e t s, 1 9 ” t all

B e aut i f ul Bi z a r re Ma g a z i ne | 97
 t op:
Kit sune, 2 01 4
Poly mer, st ai nless steel wi re
& silk gauze, 8” tall

bot t om:
Mot her of S ecret s (WIP), 2 01 4
Poly mer, st ai nless steel wi re
& wood, 1 8” t all

oppos it e page :
Wint er’s Night Mermaid, 2 01 4
Polymer, mohair & wood, 12” tall

120 | Beautiful Bi za rre M a g a zi n e

B e aut i f ul Bi z a r re Ma g a z i n e | 99
 Hor n e d Fr a g m e nt , 2 0 1 2
Poly m e r , wo o d
& al u m inu m ar m at u re , 1 2 ” t all

24 | Beautiful Bi za rre M a g a zi n e
AMY SOL
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A M Y
“ YOU S E E T H I NG S ; A N D YOU SAY, ‘ WHY?’ BUT I DRE A M THI NGS THAT
N E V E R W E RE ; A N D I SAY, ‘ WHY NOT?’” G E ORG E B E RNARD SHAW
Rising gently off the grass, nature’s palette fades
into softer hues, browns and golds whisper as a soft
invisible dew dreams itself into the vestiges of collective
consciousness. Amy Sol’s work sings a lullaby to nature
and those that stir within its roots, she creates an
intimacy between imagination and the harsh winds of
reality; exploring, dreaming through half closed eyes
and discovering a connection between the worlds of the
two and four legged. The essence of nature is captured
as animals fall gently and romantically onto the page,
inviting you to embellish the interconnection of kindred
spirits that often lays hidden beneath our existence,
but it isn’t distorted, rather heightened, magnified and
deepened.
Amy uses her art as an anchor to feel connected to
the world around her, and although she is incredibly
talented, painting doesn’t always come easily. Spending
many hours perfecting her pieces, she sees the
process like “climbing a mountain, hiking alone and
then arriving home in one piece, with a memento of
my journey,” a memento that can be shared by her
enraptured audience.
For the most part Amy considers herself a self-taught
artist as she has had no formal training, but there was
no lack of influence on her journey. Born into a highly
creative family under the lights of Las Vegas and then
spending her childhood in South Korea, before moving
back to Nevada, she was surrounded by books that
provided the visual imagery that carried itself into her
work. Her flair for the arts formulated itself at a very
young age “I don’t recall a time in my life in which I
wasn’t immersed in some kind of art, but I have picked
up techniques and methods here and there from books,
videos, teachers and other artists I’ve met. A huge chunk
of my process of painting and making comes from
experimentation.” Amy reflected that she has gone
through many phases and styles of work in her early
years. “I feel my work now resembles more closely
what I was most interested in as a child. Soft coloured
dreamlike worlds with fantastical characters, plant life,
and animals.”  an exhibition at the “Life is Beautiful” festival in her
Part of the alluring charm of Amy’s pieces are the muted
tones used to express the intimacy and engagement
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128 | Beautiful Bi za rre M a g a zi n e
S O L
she has with reality. Amy captures these moments and
builds a representation of what was found, she details
how the painting Night Be Still materialized “it started
with a floating Kirin like animal. I wanted to capture the
creature in still motion, that was all I had to begin with.
But over time other elements began to gather. One of
them happened after seeing blooming flowers lit by a
street lamp and imagining a scene coming together. It
was spurred by a feeling of complete peace and mystery
but also knowing that moment was temporal. I start
drawing a study for the piece, then I begin painting.
Sometimes new ideas come to me in the stages and the
painting changes along the way.”
As many artists can attest, painting is a sedentary
experience and she manages those hours staying
inspired in subtle ways, exploring her environment
on her daily walks around her home in Oakland.  Amy
describes how the many hours of lonely self-reflection
spent can be tainted with worry and doubt, eventually
balancing itself with the elation of completing a piece.
However it’s not long before the feeling of being off kilter
and lost emerges and beckons her to begin the process
again.
The affection for Amy’s work may come from her ability
to pull intricate details from shapes and colour, music
and books. Listening to classic audiobooks like Moby
Dick and East of Eden, there is no doubt they would
weave a great tale and dream their stories into her studio
helping her to remain optimistic and brave. “Being
creative is all about exploring the unknown and taking
chances. The most important advice I’d give to myself
retroactively would be to - be kind to yourself and be
brave.”
As that desire emerges again and again to fulfil her
creative urges, Amy has no plans on slowing down.
Inspired from her recent road trip through grand
deserts and mountain landscapes, expect to see their
influence in a new body of work for her Solo next
spring at Thinkspace Gallery in Culver City, California,
hometown of Las Vegas, and the upcoming Beautiful
Bizarre Magazine curated exhibition Hearts Blood at
Haven Gallery, Newport, New York this September.
 Sp ir it Flam e , 2 0 1 3
Acr yl ic on wo o d p an el , 1 6 ” x 2 0 ”

prev i ou s p a g e :
Bo un d , 2 0 1 3
| 25
G o uach e an d gr ap h it e on bo ard, 1 2 ” x 1 2 ”
B e aut i f ul Bi z a r re Ma g a z i ne
Miora s C up , 20 16
Oil on wo o d pa n e l, 18 ” x 24”

op p o s i te p a ge lef t:
Mor nin g Lig ht, 2017
O il on Fab r ia n o a n d wood , 12” x 2 4 ”

op p o s i te p a g e r ig ht:
Tow ar d s Ev ening , 20 16
O il on p ap e r, 14” x 18 ”

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B e aut i f ul Bi z a r re Ma g a z i n e | 131
B e a c on , 20 14
Ac r y l ic on pa n e l, 12“ x 12“

o p p o s i te pag e to p :
Midnig ht Garde n, 2015
O i l o n w ood, 24” x 24”

o p p o s i te pag e b o t to m:
Nig ht b e Still, 2013
Ac r y l ic on wood, 24” x 24”

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B e aut i f ul Bi z a r re Ma g a z i n e | 133
134 | Beautiful Bi za rre M a g a zi n e
middle :
Cosmic Lichen, 2 0 13
Acry lic on Panel, 14” x 14”

t op:
O riel and Blu, 2 01 2
Acry lic on Wood pan el , 3 0 ” x 3 6 ”

bot t om:
Pouring of Cups, 20 13
Gouache & i nk on Pap er, 11” x 14”

oppos it e page :
Brambles, 2 01 1
Acry lic on Wood, 9 ” x 14”

B e aut i f ul Bi z a r re Ma g a z i n e | 135
Nig ht G arde n I I I , 2016
Oil on p a n e l, 12” x 16”

B e aut i f ul Bi z a r re Ma g a z i ne | 25
kelogsloops
the art of hieu nguyen

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EMAIL: ADVERTISING@beautifulbizarre.net
Kindra Nikole
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CONTENT
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K I N D R A
“ ON E T OUC H OF NAT URE MA KE S THE WHOL E WORL D KI N.”
W I LLI AM SHAK E SPE ARE
The love of a mother can nurture the creative soul
of a child as, in its own bittersweet way, the loss of a
mother can too. For American photographer Kindra
Nikole, mourning the passing of her mother allowed
her to give life to her own fantastic universe, for as
well as her imagined tales of chivalry it is also partly
therapy.
From death emerges new life, from darkness, light.
Kindra’s imagery is an answer to her fear of death and
to her audience’s at the same time. But don’t expect
anything macabre to come from the young artist. For
her, there’s a fine line between exploring darkness and
succumbing to it, a line she treads carefully but does
not cross. She muses “Validating the darkness within
myself by nodding to my fears and reservations has
been one of the most liberating practices of my art.”
Her photography is a visual mantra, both for it’s
creator and womankind: “I want women to know
that no matter what the world throws at them, they
aren’t alone.” The heroines in her work are not lonely,
only solitary, her photography reflecting the fortitude
one can find in solitude. But, according to Kindra,
we’re never fully alone, there is always a soothing and
invisible presence, which is, of course, nature. The
artist spent countless hours clambering up trees and
romping through forests as a child and still spends as
much time outdoors as possible. “It brings me peace
no matter how distraught I might feel,” she says, “in
many regards, nature has been a stand-in parent for
me throughout the years.”
A passionate ecologist, she is saddened by the state of
the world and our treatment of the environment. As
technology advances, we disconnect more and more
from the earth, and this issue is a major motivation
for Kindra’s work. She claims “Nature often steals
the scene in my images, and that’s by design. I hope
that my work reminds the viewer of our inherent
connectedness to the planet. Even though we regard
ourselves as evolved beyond most other species, it’s
important to remember our deep roots. We are no
greater than the trees and no less than the stars. We
need to find a way to live in harmony with our one
true home.”
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142 | Beautiful Bi za rre M a g a zi n e
N I K O L E
In this way, she perceives her work more like a
reflection of a reality she wants to make real rather
than an escape. Her fantasy inspiration comes from
her early years, hiding away in blanket forts with
piles of books around her, learning about mythology.
Growing up, movies also polished her imagination
and visual education. Buying a camera was just
one step away, and she jumped over, starting a 365
project that consolidated her photographic calling.
Kindra recalls, “It was a wild ride, and I had no idea
committing to that project would end me up where I
am right now. I will never allow myself to shelve my
creativity again. Not while I’m still breathing.”
Always enthusiastic about her work, she enjoys
sharing the emotions and thought processes
behind her pieces. Many of them are therapeutic
self-portraits but she also often indulges in larger
productions involving other models, as well as
creating props and elaborate costumes. The outdoor
settings can present some very unique challenges,
particularly in the Pacific Northwest, where the
weather can be unpredictable, but Kindra loves
this wild ingredient. This authentic vibe is also
perceptible in the final touch.
Kindra adds mixed media to her completed images,
which are printed onto fine-art archival paper and
mounted to hand-stained wood panels before she
embellishes them with acrylics. She then resin glazes
her works for a lustre effect. You can admire the
results at one of her many upcoming exhibitions,
including the Summer of Love group show at San
Francisco’s Modern Eden Gallery, where she will
release her first triptych.
The energetic Kindra has several irons in the fire,
including a book collaboration with oil painter Redd
Walitzki, based on their travels to Iceland in 2016.
She will also explore her short movie skills, with a
script and collaboration with friend Cassie Meder.
“Further ahead, I’m planning to begin dabbling in
a larger body of work exploring some new themes”
she concludes. “It will touch on ancient mysticism
and dive pretty deep into the dark end of the ocean
for me.”
O f Wit h e r ing Ab undanc e , 201 5
Mo de l : Su zA n n e He le n Ste b e n
P h o t o g r ap h
p r i nt e d on wood pa n e l,
re s i n, 16 ” x 20 ”

p r e v i o u s p ag e:
C aml ann Fie lds , 2016
Mo de l : Me re dith Ade la ide
A rc h iv al fi n e - a rt print
m o u nt e d t o wood pa n e l,
ac r yl ic s , re s in , 24” x 30”

B e aut i f ul Bi z a r re Ma g a z i ne | 25
 Sle e p e r, 20 14
Mo del : C as s ie Meder
Digit al p h o t o gr ap h
Hair , m akeup & s t yl in g: Kin dra Niko l e

o ppo s i te pag e:
G e r min ation , 20 14
Mo del : Meredit h Adel aide
Hair , m akeup & s t yl in g: Kin dra Niko l e
P h o t o grap h p r int ed on wo o d p an el .
res in , 20 ” x 3 0 ”

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B e aut i f ul Bi z a r re Ma g a z i n e | 145
146 | Beautiful Bi za rre M a g a zi n e
T h e Quic ke ning , 20 15
Mo de l : M ia Alle n
Hai r & m a ke up: Ch ristin e Shields
Syl i ng : Kin dra Nikole
D ig it al p h otog raph

o p p o s i te pag e to p :
T h e Fore st’s Se c re t, 20 14
Mo de l : Me re d ith Ade la ide
Hai r & m a ke up: L aure n Young
St yl i ng : Kin d ra Nikole
P h o t o g r aph printe d on wood panel,
re s i n, 20 ” x 30 ”

o p p o s i te pag e b o t to m:
As h e s t o As he s , 20 17
Mo de l : Kin dra Nikole
M ake up : Re d d Walitzki
D ig it al p h otog raph
B e aut i f ul Bi z a r re Ma g a z i ne | 25
T h e Pathle s s Woods , 201 4
Mo de l: K in d ra Nikole
D ig it al ph otog raph

o p p o s ite pag e:
Alic e’s Se c re t, 20 15
Mo de l: K in d ra Nikole
D ig it al ph otog raph

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B e aut i f ul Bi z a r re Ma g a z i n e | 149
Th e L as t of He r Fa ding Pow e r, 2 01 4
Mo de l , h ai r & m a ke up: Ca s sie Meder
He adp ie c e : Ele me ntal Ch ild
Dig it al p h otog raph

110 | beautiful.b i za rre

 MARIA ABAGNALE SYBILE ART

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Ben Smith
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B E N S M I T H
“ I’VE T RI E D T O DE S IG N T H E WORK SO THAT I T CA N L A ST BE YON D THAT
I M M E DI AT E PE RCE PTION OF I T.” LE ONARD C OHE N
The art of Australian painter Ben Smith speaks of change,
of transition, both in a physical sense and through
metaphor. For the physical, doorways are often featured,
with the protagonist peering through to an uncertain
future, from light to dark or dark to light. Similarly modes
of transport are used to portray this allegorical journey, be
they vintage cars, busses, mopeds, on horseback or just
walking. However fraught with uncertainty, perhaps for
Ben these are positive transitions, for in his works where
the subject has already passed through their portal they
are shown as uplifted or at peace.
The overt and physical are only the simplest
representations of the metaphors for change that Ben
employs, the true joy in his work is delving into the layers
of meaning that he imbues into each of his paintings.
Figurative morphs into abstraction, realism merges with
the surreal, and each point of transference cumulates
into the journey of understanding.
Ben has undertaken his own journey, his own
personal transition to become an artist. From studying
engineering at university and starting to work in that
field he came to the understanding that creating art was
where his life’s dreams would be realised. From there,
Ben was determined to make painting his career come
what may.
“Growing up I never thought I would be able to become
an artist. However after a couple of years of working as
an engineer I threw everything at getting a scholarship
to art school and fortunately I got one. I then spent
several years working part time while also working very
hard at my art. In a strange way the GFC helped me as
I was made redundant from my engineering job and I
decided to spend a year doing nothing but paint. At the
end of that year I was almost broke, but I fortunately I
suddenly started winning art prizes and I haven’t had to
do engineering work since.”
Studying, and later teaching at the Julian Ashton Art
School in Sydney gave Ben the grounding in the
techniques and skills he has since expanded on in his
own practice. The artists that he admires most, from
Rembrandt and Francis Bacon in his younger years,
to Neo Rauch, Justin Mortimer, Adrian Ghenie, Alex
www. b e n sm it h a rti s t . c om | Wor d s : Ric h a r d P u r s s e y
156 | Beautiful Bi za rre M a g a zi n e
Kanevsky and Louise Hearman more recently, have
the same strength of narrative as his own work and also
utilise both realism and abstraction.
In 2010, a breakthrough year for his career, Ben won
both the Waverley Art Prize and the Amanda Phillips
Emerging Artist Award at the Mosman Art Prize. These
awards, along with numerous finalist selections in some
of Australia’s most prestigious art prizes over recent years,
have well and truly brought his work to the attention
of an appreciative audience. In common with many
figurative artists in Australia in recent years, however, he
has had to deal with a fine art establishment which places
less value on his chosen oeuvre. But Ben has persisted in
his practice and feels that the winds of change may now
be blowing favourably for work such as his.
“It can be tricky being a figurative artist as it seems many
commercial and non-commercial galleries are a little
figure shy. However things have been getting better in
recent years and figurative work is making a comeback,
especially internationally. Resistance to the figure has
made me think harder about what makes a good piece
of figurative art. Often the key is a strong concept. I don’t
see necessarily figurative art and conceptual art as being
mutually exclusive.”
Generally starting a new piece with only a rough concept
of the final work, Ben is a great believer in playing with
different staring points through drawing and collage
before finalising on an idea to progress. Indeed more
recently this play with colour, text, and abstraction lasts
until the final brushstroke. The point at which to strike a
balance between figurative and abstraction in each piece
is perhaps his most problematic creative puzzle.
“I really wish I knew the precise answer to this question
as it would save me a lot of anxiety. It is an exciting but
difficult part of my painting process.”
Currently, Ben has been drawing new works themed
on Australian megafauna, a concept he is beginning to
explore but is still maturing in his imagination. Given his
past work we eagerly await this new direction, a further
personal transition from this talented teller of tales on
canvas.
 Be a d s an d Wo lf
O il on bo ard, 5 0 cm x 6 0 c m

prev i ou s p a g e :
Tr an sit ion
O il on bo ard, 8 4cm x 1 2 2 c m
 t op:
The S hif t
Oil on board, 1 2 2 cm x 1 90cm

bot t om:
A charact er marked by
cont radict ion
O il on board, 122 c m x 16 5 cm

oppos it e page :
It i s all s traight forward f rom here
Oil on board, 1 87cm x 1 95cm

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Grif f in Cub
Oil on board, 1 00cm x 1 2 2 cm

o p pos it e page :
Nick II
Oil on board, 60cm x 80cm

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 Fox an d La dy
O il on bo ard, 5 0 cm x 75 cm

o ppo s i te pag e:
Th e little lion
O il on bo ard, 6 0 cm x 8 0 cm

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B e aut i f ul Bi z a r re Ma g a z i n e | 163
 Por t al
O il on bo ard, 9 1c m x 1 2 2 c m

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2017.9/26～10/7 Tomohiro Takagi Exhibition 2017.11/7～11/19 Midori Hayashi Exhibition

2017.9/26～10/7 Ayumi Doll Exhibition 2017.11/21～12/3 TAMA Exhibition

 SHOP OUR BACK ISSUES
ISSUE 17 | JUNE 2017
FEATURED ARTISTS: ON THE RISE:
MARTIN WITTFOOTH Lora Zombie
Edith Lebeau June Leeloo
Tran Nguyen Marta Adán Martínez
Emilie Steele Akiko Ijichi
Agostino Arrivabene Lisa King
Matt R Martin Relm
Glenn Arthur Jin
Nona Limmen Chrystal Chan
Ingrid Baars Collin Elder
Melanie Delon.. Adipocere

ISSUE 16 | MARCH 2017 ISSUE 15 | December 2016 ISSUE 14 | September 2016 ISSUE 13 | june 2016

FEATURED ARTISTS: FEATURED ARTISTS: FEATURED ARTISTS: FEATURED ARTISTS:

FIN DAC Anna Dittmann Jeremy Mann Dino Valls
JOEL REA Rodrigo Luff Jeremy Geddes Sergio Lopez
CHRIS GUEST Yoko d’Holbachie Derek Gores Tamara Dean
Laura Makabresku Miho Hirano Jasmine Becket-Griffith Igor Skaletsky
Kate MacDowell Hannah Yata Dorielle Caimi Katarzyna Widmanska
Camilla d’Errico Elizabeth McGrath Julie Filipenko Sas Christian
Sarah Dolby Soey Milk Nicomi Nix Turner Kent Williams
Darla Teagarden Rebecca Leveille Ellen Jewett Kim Simonsson
Lois Van Baarle POLINA WASHINGTON Brian Ziff Chris Berens
Alyssa Monks NEIL CRAVER Nicol Vizioli Bao Pham