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Wayne Barlowe Retrospective Exhibition and Interview

Last Modified November 5, 2022 Leave a Comment

In collaboration with ArtPage Publishing, Gallery Nucleus presents a retrospective exhibition of select paintings and drawings by world-renowned science fiction and fantasy artist/author Wayne Barlowe.

We’ve previously covered some of Barlowe’s visionary concept art here, and we are pleased to share the news of this retrospective and an exclusive interview.

November 19, 2022 – December 3, 2022
Opening Reception / Nov 19, 5:00 PM – 8:00 PM

a canyon with a sunset in the background

OPENING RECEPTION AT GALLERY NUCLEUS

Nov 19, 5pm – 8pm
Free admission / No RSVP needed
Exclusive prints to be released

EXHIBITION FEATURES

On display Nov 19 – Dec 3 (closed Mondays)
Free admission / No RSVP needed
Various reproductions from some of Wayne’s notable book projects and film work will be on display
A curated selection of original drawings and paintings will be on display and available for purchase

ABOUT WAYNE BARLOWE

Wayne Barlowe is an American science fiction and fantasy writer, painter, and concept artist. Barlowe’s work focuses on esoteric landscapes and creatures, such as citizens of hell and alien worlds. He has painted over 300 book and magazine covers and illustrations for many major book publishers, as well as Life magazine, Time magazine, and Newsweek. His 1979 book Barlowe’s Guide to Extraterrestrials was nominated in 1980 for the Hugo Award for Best Related Non-Fiction Book, the first year that award category was awarded. It also won the 1980 Locus Award for Best Art or Illustrated Book. His 1991 speculative evolution book Expedition was nominated for the 1991 Chesley Award for Artistic Achievement.

Barlowe has worked as a concept artist for movies such as Galaxy Quest (1999), Avatar (2009), and Harry Potter 3 and 4, among others. He is known to have worked closely with Guillermo Del Toro, serving as a creature designer for the Hellboy film series and Pacific Rim (2013). His work on Hellboy (2004) awarding him a nomination for the 2005 Chesley Award for Product Illustration. Barlowe was the Initial Creature Designer for Avatar (2009) and worked on The Lord of the Rings: The Rings of Power (2022) Barlowe was the creator and executive producer of Alien Planet, a documentary adaptation of Expedition produced by Discovery Channel in 2005. He has written two fantasy novels: God’s Demon (Tor Books, 2007) and its sequel The Heart of Hell (2019).

See more art and info here: waynebarlowe.com

Wayne Barlowe Interview

SurrealismToday: What work are you most proud of? And why?
Wayne Barlowe: I suppose the best answer to that question would be my Hell series. While I started out primarily as a science fiction artist specializing to some degree in alien life forms, my work in Hell has challenged me in ways I could have never envisioned. EXPEDITION was my first foray into writing. It was foundational for me but was heavily augmented with a lot of artwork. With Hell, I took it up to the next level, writing actual novels that did not depend on artwork. Sure, the artwork was created before the books and established much of what I’d write, but the narratives are where I think I’ve challenged myself the most. And they are probably what I’m most proud of. It was world-building on an epic scale. The entire world of the fallen demons had to be created. And, it was a world that pre-existed before their Fall. That meant that an entire ecosystem had to be considered and represented both in words and art. Tying all of this together with consistency was and still is a great challenge.

ST: What are you most inspired by today?
Wayne Barlowe: I’m steeped in the past. I am still mesmerized by late nineteenth century and its fin de siecle art. Orientalist and Symbolist painters, in particular. The Orientalists brought rendering skills to an almost unattainable apex. I’m not sure anyone can do what they did with paintbrushes anymore. At least not with the same authenticity. And, from a different perspective, the Symbolist movement, with its enigmatic imagery and beautifully subtle palettes also provides me with serious inspiration. To be honest, nothing being produced today pushes buttons in me as do those two schools of art. I can still look at a Ludwig Deutsch piece or a Khnopff or Hiremy-Hirschl with as much joy as I did when I first discovered them.

Mount Grigori and the Monastery of Azazel

ST: What is one thing they tried to teach you in school that you knew immediately was wrong?
Barlowe: I had a pretty unfortunate college experience. Cooper Union in the late ‘70’s was not a safe harbor for wanna-be illustrators. To be fair, it was my own fault – I should have applied to a few more professionally oriented schools. For example, I had two drawing instructors. One asked his students to immediately draw like Matisse and the other asked her students to draw like her. Neither of these choices seemed right to me from the start, and I expressed my feelings to one of the instructors. I don’t think he was too pleased with my voiced rebellion. Add to that, no teaching of the fundamentals like composition and color theory, and I knew I was not getting what I wanted out of my education. Shortly thereafter I decided to leave. I briefly toyed with transferring to another, more conducive school. But I was getting work and saw no point in continuing in school.

ST: What is the best piece of advice you have ever received?
WB: Draw every day. This, from my first instructor, Gustav Rehberger, at the Art Students League in NYC. Never better advice.

ST: What is your dream project?
WB: I’ve written a couple of screenplays that I’m extremely invested in. One is quite close to becoming a reality. This one is a traditional SF film. The other, also SF, is non-traditional. To see either or both come to fruition would be the fulfillment of my personal dreams.

ST: What is currently on your playlist? Do you listen to music when working?
Wayne Barlowe: I do listen to music when I paint and write. I grew up listening to nothing but classical music so I have a lot of that on my computer. Painting allows me to listen to wilder stuff. Nine Inch Nails is my favorite group so a ton of that goes down. I’m also a big soundtrack listener – I’ve probably got a couple of hundred on my flashdrive. Hans Zimmer – the man is brilliant. Almost anything by him is inspiring. When I write I need more atmospheric, somewhat quieter music. Lustmord, Jeff Greinke, A Winged Victory For The Sullen, Max Richter. I like a real variety of genres. If I hear it and like it, I don’t care where it’s from. Anyway, currently, it’s AWVFTS’s INVISIBLE CITIES, Zimmer’s various DUNE OSTs which are brilliant, Max Richter’s TABOO OST. Oh, and some BOARDS OF CANADA.

ST: If you could visit any artist’s studio, whose would you visit and why?
WB: Apart from going back in time and visiting my parent’s studio, you mean? I’m guessing you mean living. I don’t have a good answer for this one. I worked, briefly, alongside John Howe and Alan Lee in NZ. Both really good people and wonderful artists. Might be really fun to see their studios.

ST: What ideas are you currently pondering or questioning?
WB: I’ve got a few back-burner projects that I’m tinkering with. I’m not very interested in depicting Heaven – the Above as I named it in GOD’S DEMON – but I recently did a painting of an angel that opened a few interesting design doors. That said, I just don’t envision Heaven as being anywhere as interesting as the world I created in Hell.
I’ve also, relatively recently, created a new alien world in the same vein as Darwin IV from EXPEDITION. This new world, Gessner II, is inhabited solely by evolved plants some of which are intelligent. Creating creatures within this parameter is intriguing so I may pursue that one. Kind of an EXPEDITION II project.
As for questioning – nothing more or less than my place in the Universe.

ST: You’ve said previously: “Make sure you know how to draw because to me drawing is the beginning of everything all techniques spring from that.” What would be your advice for young artists inspired by narrative and figurative work who might be in educational environments pushing other types of work?
Wayne Barlowe: I’ve done a number of guest lectures in various schools. I always encourage students to create a back-burner project – something personal that they’re passionate enough about to keep working on in off hours. Maybe write a few lines that can become a catalyst for some narrative project that can be illustrated. Storytelling and world-building are the two elements that can grow a project into something of value later on. When I was in college, I invented an alien character named Thype. He was meant to be an itinerant, ronin-like god-killer on a journey of self-discovery. I did a series of drawings and paintings of him and his world that to this day, many decades later, still pique my interest. High fantasy in another world. I actually think Thype would be a great video game. I haven’t done anything with him in years, but I don’t rule out eventually figuring him out. Or doing the occasional painting related to him. But it’s that kind of project that can blossom into something unpredictable. And, that kind of project is what I wish for students.

ST: In a previous interview when asked about advice for would-be writers you suggested more originality was needed in the field: “I would say, please, please, be original. Enough with the Tolkien fantasies, enough with the Alien rip-offs, enough with the well-worn tropes of things that we have seen done a million times. And I would say this to screenwriters and game writers as well. We are sinking under the collective weight of commercially conservative ideas that lack any originality or creativity. Think outside the box with the price tag on it.“
What parts of your creative process do you attribute to helping you create original work throughout your career? Do you have any specific techniques to spice things up if you find yourself leaning too much on a formula? (Some artists have been big fans of introducing randomness in their work.) What have you done to get out of past creative ruts?

a person sitting in front of a building — Book Cover for *Bloodchild*

Barlowe: I hate the notion that anything I might do falls onto a well-trodden path. As a kid I used to dislike it when someone would ask me if I copied something or traced it. It rubbed me wrong. I try very hard not to fall into a formulaic, self-derivative approach to my work. Therein lies stagnation. Even though I have a few worlds that I populate with artwork, I try to not repeat myself either with subject matter or approach. It’s my way of trying to keep the imagery fresh and keep a viewer engaged. This is one reason I’m not entirely sure I fit comfortably into the gallery world. I have friends who are there and I get the impression that what they are doing is creating “the same but different” artwork because clients and potential customers want that. I wouldn’t enjoy cranking out the same image with subtle variations simply to keep product flowing. Maybe a bit short-sighted on my part but I know myself well enough to know what would very quickly become boring.

ST: What informs your work that most fans might find surprising?
Barlowe: I’m not sure this would really surprise anyone, but I’m a huge ancient history buff. And I love paleontology. Both of these elements find their way into my work in, sometimes, less than obvious ways.

SurrealismToday: I understand that Del Toro does a lot of the creature concept by hand, based on dreams that he has had. How does the concept work you do translate into the design process? Does it flow from wireframe to 3D model, etc?
Wayne Barlowe: I am a very pragmatic person, despite working in imaginative realism. So, when I don the hat of a concept artist I become slavishly interested in fulfilling a director’s vision. I’m particularly interested in hitting the marks with whatever language a director uses in describing what he/she/they want. This comes from my background as an illustrator. Whenever I was handed a manuscript I would always read it thoroughly and take notes. I didn’t want to be caught doing a cover that was in any way inaccurate.
So, the same applies to concept art. I see myself as a kind of pathfinder when it comes to designing creatures or characters. I don’t go into the process expecting whatever I’ve done to be entirely literally brought to the screen. If that happens – if something I’ve designed makes it through the many hands it passes through on its way to the screen, and it makes it without too many changes then, of course, I’m thrilled. But I don’t have that expectation. What I do is a careful drawing based on careful thinking. This then goes on to 3D artists with the input of a director or art director. Film work is always a team effort. You cannot lose sight of this, or else you won’t be happy working in that milieu.

*Elytracephalid*, Newsweek editorial illustration

ST: What is one thing you believe that most people do not?
Barlowe: I’m only just becoming aware of the block universe theory – that, in a few words, the past, present, and future all exist simultaneously. I’ve always believed this in my gut but never knew until recently that it was an actual theory. I’m guessing this isn’t a widely held belief.

ST: What have you been most happily surprised by in your career?
Barlowe: I’d have to say the reception I got from readers regarding my entry in authorship. EXPEDITION was my first foray into writing but because that book was so heavily dependent on artwork the challenges were not the same as those found in writing a novel. While I had a backlog of artwork to support GOD’S DEMON, none of those images were going to be published within the book. WHich meant, of course, that I had to describe everything that I’d either painted or drawn. As well as so much more. I like descriptive writing so this wasn’t a chore for me. But the fact that so many readers found the world so convincingly described was a thrill for me. Hell isn’t a pleasant place but, because I spent a lot of time describing it, I sense that a lot of readers would like to return. Which has encouraged me to attempt to finish up what I started with a third and final book – LUCIFER’S SOUL.

ST: What was a difficult art or career challenge that you faced and how did you overcome it?
Barlowe: Transitioning from pure illustrator to author – a title I still have trouble articulating. To me authors spend their entire lives learning and implementing their craft. I didn’t go to workshops or school to learn to write. So taking that leap so many years ago was scary and ambitious. I had had a bellyful of the paperback cover world and really needed to find another way to express myself. So, one day I conceived of EXPEDITION in an effort to pull myself away from that other world. I did a single painting and a two-page outline of what I thought a naturalist’s experiences on an alien world might be like. I walked into the publisher’s office, pitched it, and sold it. By today’s standards – a miracle. It was a leap of faith. Putting aside rent-paying work to complete what would take me close to two years to finish. A lot of uncertainty and hard work followed. But it was just the right decision at the right time. No regrets!

ST: Any words of advice for young artists and illustrators?
Barlowe: Well, I’m going to repeat myself a bit here. Be original in every way you can. If your work resembles someone else’s, retool it to be yours. Your own style will evolve over time so co-opting someone else’s doesn’t do you credit. Work to your strong points but expand them. Be influenced by your art heroes but don’t copy them verbatim. Perfect your craft by being relentlessly self-critical. The eraser and the undo button are your friends.
And, secondarily, find a passion project that excites you. Add to it with art and words. Make it your pet, back-burner project that one day might blossom into something bigger. Build on each piece with consistency and a bit of what came before. Every Hell piece I’ve ever done has the seed of the next piece in it. And every painting or drawing I did informed my writing. One hand inevitably washed the other. For me, a painting or drawing could act as a catalyst for my writing and vice versa.
With all of that in mind, go forth, be passionate and Create!

ST: What imaginary place would you most love to visit?
Barlowe: Maybe E. R. Eddison’s Mercury. THE WORM OUROBOROS is my favorite high fantasy novel. I’d love to see that world.

SurrealismToday: What are you most looking forward to now?
Wayne Barlowe: Finishing my third novel, LUCIFER’S SOUL. It’s taking forever and is very heavy lifting. It’s more ambitious in its scope than the previous two novels. And I cannot wait to get it all out on paper!

WAYNE BARLOWE RETROSPECTIVE EXHIBITION

EXPEDITION BOOK

PSYCHOPOMP BOOK

Other Resources:
WayneBarlowe.com
Books on Amazon
Instagram.com/waynebarlowe_thedarkness
Our previous coverage of Wayne Barlowe

Kristin Kwan

Last Modified July 16, 2022 Leave a Comment

Kristin Kwan is an artist who makes illustrative paintings and drawings, living with her family and crowd of pets in Lincoln, NE. Her artwork uses elements of fantasy and allegory to explore themes of life, death, and rebirth.

“When I was growing up my family moved many times, and every new home held mysteries and secrets. I dreamed of hidden stairways that led to unknown attics, or cellars underneath that held forgotten treasures. I knew I could get there if I just kept looking. That low door is still elusive, but when I pick up my pencil or paint brush I can find it for a little while. When I paint I try to bring some of that magic country back with me.” – Kristin Kwan

Kristin Kwan Interview

What did you want to be when you were growing up?
A paleontologist.

What is the best piece of advice you have ever received?
Keep starting, that is the trick to productivity and progress. Don’t worry about anything else, just start, and start again, and start again, all day.

Who is the one person, dead or alive, that you would like to have dinner with and why?
Terence McKenna.

Where is your favorite place?
There’s this place that lives in my memory, from when I was a child, it was down the dirt road we lived on, in someone’s back 40, you went through a swampy place full of nettles, through blackberry brambles maybe 10 feet tall, and there was an old apple orchard, it felt enclosed from the world and timeless.

Who are your biggest influences?
Robert Bateman, 20th-century surrealists, mid-century sci-fi and fantasy cover artists

What can’t you live without?
Free time

What is your dream project?
Oh, it’s always the next thing, the next painting is always the dream project.

What’s your favorite artwork?
The Virgin of the Rocks, by DaVinci (the Louvre version), also the Rolin Madonna by Van Eyck

What is currently on your playlist?
Age of Adz by Sufjan Stevens, a lot of Joni Mitchell, endless Alan Watts youtube lectures

What are your last three Google searches?
I’ll never tell.

What gives you life?
Going for a run that hurts

What is your superpower?
Total obsession

What is your Kryptonite?
4:00 in the afternoon

If you could visit any artist’s studio, whose would you visit and why?
I would love to visit an old renaissance-type art studio, the workshop kind, and see the apprentices at work and the slow process of it all. What I really want to see is the Ghent Altarpiece in progress in the workshop, I’d stop in there.

What was the last thing you bought?
A book

What ideas are you currently pondering or questioning?
How to achieve some kind of work/life balance, how to let go of the endless desire for control

What do most people believe that you do not?
In free will

What is one thing you believe that most people do not?
Breakfast is totally unnecessary

What imaginary place would you love to visit?
Finn and Jake’s treehouse, the waterlily sea at the end of the ocean in Narnia, Green Gables

What is your favorite thing in the world, and why?
My family

If you could collaborate with anyone, who would it be, and why?
A musician for album art, but I don’t listen to enough music to know who

What’s next for you?
Leaping into that void of tomorrow, also a few group shows this year

GOLDEN AFTERNOON: A KRISTEN KWAN SOLO EXHIBITION

August 13, 2022 – August 28, 2022

Gallery Nucleus welcomes Kristin Kwan with her first solo exhibition at the gallery, featuring a collection of brand new personal artwork.

Opening Reception / Aug 13, 5:00PM – 8:00PM

Gallery Nucleus
210 East Main St
Alhambra, CA 91801

MORE DETAILS

Marisa S White: Certain These Clouds Go Somewhere

Last Modified January 13, 2022 Leave a Comment

Certain These Clouds Go Somewhere is an unfinished series navigating the unchartered waters and skies of spirituality. Simply put, it’s a deep dive exploration into the artist’s psyche, pondering existential questions we all come to face. Why are we here? What is our purpose? What exists on the other side?

Marisa lost herself in countless hours reading various thoughts and theories, dabbled in energy healing work, and discovered the unexpected in meditation. In the end, she came to recognize that these new horizons unveiled limitless possibilities across time and space.

The repeated use of clouds and the infinite landscape serve as metaphors for the unknown. Marisa manipulates perspectives and scale to blur reality and touch upon concepts beyond this three-dimensional world, but with the intent of imparting a sense of peace and calm.

marisaswhite.com
shop.marisaswhite.com
instagram.com/marisa_whitesparks
facebook.com/whitesparksphotography

Min Kyung Kwon

Last Modified January 2, 2022 Leave a Comment

Biography

Min Kyung Kwon is an artist based in Adelaide, Australia creating art of otherworldly beings that are beyond physicality and can be only seen through our mind’s eyes.

Kwon’s portraits are inspired by mythology, legends, folk storybooks, science through contradicting images of eeriness and cuteness with a glimpse of sensuality & innocence in their gesture.

Min Kyung’s work contains mysterious and secretive ghost-like beings with rich and warm oil colors in a sharp, carefully executed vision. Her characters are vivid and colorful with an expression of anomaly and chaos yet with dreamy calm eyes.

The Forest of Illusion (2017) Min Yung Kwon

“Paradox” from Kwon’s first series “Resurrection” was exhibited at Hive Gallery for its anniversary group show in 2017 named “Best of the Hive show”. Paradox was invited for the “CARDED!” show for Hot Art Wet City Gallery Vancouver in the same year.

Min Kyung was born in Daegu, Korea in 1978 then she grew up in Seoul watching Anime and reading comics (Manga) and she became interested in creating her characters. She started to draw and paint from an early age and attended after-school art/design classes throughout her teenage years which she learned the fundamentals of drawing and painting.

Kwon enrolled in Hongik University in Korea in 1998, where she received a B. A. in Industrial Design. After graduation, she started working for an exhibition company doing visual arts and designing show booths for major design conventions, Expos, and art fairs. Some of the clients include Samsung Electronics and LG Home Appliances.

G.H.O.S.T Series Artist Statement

The G.H.O.S.T series of work contains four paintings (Widow, Diabolica, Siren & Dawn) of spiritual beings, nymphs, inspired by Greek mythology, ancient folklore, and legend.

Each painting has its own distinct: predominant color; shapes; and creatures. The combination depicts physical and spiritual realms, and the feelings the mythological stories bring to me. Expressing the mythology, and my feelings in hearing these stories was my challenge and joy.

Widow

Series: G.H.O.S.T.
Year: 2019
Medium: Oil on Wood Panel
Size: 16″ X 20″

The widow was inspired by Arachne, (Greek: “Spider”) in Greek mythology, the daughter of Idmon of Colophon in Lydia, a dyer in purple. Arachne was a weaver who acquired such skill in her art that she ventured to challenge Athena, goddess of war, handicraft, and practical reason. The image of a girl looking through a purple fog came to my mind from the story. It would be a highly intuitive soul with wisdom in her deep purple eyes. She expresses her world through myriad spider webs with magnificent patterns and ever-changing abstraction

Diabolica

Series: G.H.O.S.T.
Year: 2019
Medium: Oil on Wood Panel
Size: 16″ X 20″

Diabolica (Idolomantis diabolical, a.k.a., the devil’s flower mantis) was inspired by African mythology. A unique characteristic of the mantis is that the female kills and eats the male after he has impregnated her. In myth, Mantis personifies the concept that creation is not only birth but death as well and that through death, life is renewed. Myths about Mantis often reveal him as a shapeshifter. Mantis is the most beloved incarnation of the San Creator god Kaggen. Kaggen could transform himself into any animal form, but the forms of the mantis and the eland (a type of antelope) were his favorite. In one myth, Eland was the well-loved first son of Mantis, who wept when Eland was killed. This myth taught the San to honor the death of an Eland, their master animal.

Siren

Series: G.H.O.S.T.
Year: 2019
Medium: Oil on Wood Panel
Size: 16″ X 20″

Siren was created based upon Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn). Sirens were dangerous creatures, who lured nearby sailors with their enchanting music and singing voices to shipwreck on the rocky coast of their island. Roman poets placed them on some small islands called Sirenum scopuli. The vision I saw from the story was a beautiful young female who was heartbroken by someone she loved once and now all she has is the feelings of vengeance. Will she ever feel love again? Or will she always be a fearful spirit who would curse and destroy someone?

Dawn

Series: G.H.O.S.T.
Year: 2019
Medium: Oil on Wood Panel
Size: 16″ x 16″

Dawn was inspired and created by Greco-Roman mythology Eos(Greek) the personification of the dawn. According to the Greek poet Hesiod’s Theogony, She was the daughter of the Titan Hyperion and the Titaness Theia and sister of Helios, the sun god, and Selene, the moon goddess. Dawn is a visualization of a female goddess who brings hope at the end of a dark tunnel.

Her serenity makes the world feel more peaceful and calm.

Min Kyung Kwon Art Prints

Interview with Min Yung Kwon

Q: What are you thinking about these days?
In the last year both of my parents have passed away, this has brought many of my thoughts to the meaning of life, our consciousness of thought, and death. Pondering life and death has never been far from my thoughts throughout my life, even when I was young.
It is obvious what happens to our physical bodies when we die but we know so little about what happens to our minds when we are dead. These days thanks to technology and the internet humans can connect without having to use our physical selves, time and space limits do not necessarily exist. In part we can exist on a conscious level which may be similar to our existence after death, connecting to other passed loved ones and even loved ones that remain through our conscious thought.

Q: What do you tell people when they ask about the ideas in your work?
I am intrigued by human minds. I question myself, what happens after our physical bodies die? The characters who frequently appear in my works(spirits, ghosts, or nymphs) are the ones who not only live in one body but keep shapeshifting and can be anyone and everyone. I normally start getting inspired by those inner questions before painting.

Q: Tell us about this latest series?
The title got named G.H.O.S.T. What if, after our physical bodies have gone back to the dust after death, the minds and thoughts remain and they can have different shapes accordingly, what would happen?
And then, what if the beings such as insects, bugs, and sea creatures that are less dense in both physical & spiritual than humans could have human consciousness and shape how they would look? I then combined the stories from mythologies and legends with those creatures to come up with the visualization of the paintings.

Q: What’s your background?
I started to learn to draw & paint from an after-school art school at the age of 15, then I started to learn Industrial Design from the university at the age of 20. After graduation, I worked as a graphic designer at a design company. I still work as a UX/UI designer part-time. It’s not possible to pay bills without a daytime job at the moment. haha. Then I enjoy design work as much as I enjoy making art, too.

Q: Who is the one person, dead or alive, that you would like to have dinner with and why?
Dead: Hieronymus Bosch —> I am so mesmerized by his world of craziness. I would ask him questions about all those characters in his paintings all night long!!!
Alive: Mark Zuckerberg —> I’d try my best to steal ideas from him about Metaverse and make my own company and become a billionaire… haha

Q: Who are your biggest influences?
Steven King (the writer). The very first book I read from him was ‘Carrie’. – Maybe I watched the movie before I read the book – I just could not believe the story was written by a male writer, Carrie’s emotions and feelings were so precisely described. It’s the best of the best of any books out there, well at least to me it is.
Also, there’s a book called ‘On writing’. It’s about writing but anyone who happens to ‘create’ something should all understand what he’s talking about. He made me laugh and cry at the same time! Strongly recommended book ever for any creators.

Q: What’s the best piece of advice you’ve been given?
“Write with the door closed. Rewrite with the door open.”
“Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right — as of right as you can, anyway — it belongs to anyone who wants to read it.”
-Stephen King

Q: Which current art world trends are you following?
I don’t particularly follow any art trends as such, however, I have always been mesmerized by Lowbrow arts – all started by Mark Ryden – I’ve been a huge fan of pop surrealism as well as a painter of it. 🙂

Q: What can’t you live without?
A very easy question! My MacBook Pro!!!

Q: What is your dream project?
A collaboration with Banksy? Just the thought of it would keep me awake all night with excitement!

Q: What’s your favorite artwork?
‘My Bed’, Tracey Emin, 1998 | Tate’
One of the rare artworks that made me cringe (out of such joy and excitement) as soon as I saw it. I’ve always loved Tracey Emin. Such a strong female artist. I truly admire her wildness and courage to be herself at any time.

Q: What are your last three Google searches?
Min Kyung Kwon (haha)
Haunted places in the world
Crop circle

Q: What gives you life?
Creation. Inspiration. Humans.

Q: What was the last thing you bought?
Winsor & Newton – Liquid Original (It’s a fast-drying medium I use)

Q: What ideas are you currently pondering or questioning?
I’ve been thinking about my next series as to how I will go forward developing my unique style. The 1st and the 2nd came out a bit differently in styles. It will be my job to make my 3rd series somehow consolidate the 1 and 2 then turn into my style.

Q: What imaginary place would you love to visit?
Mars & Venus (I know they’re not imaginary places however I’ve always wanted to visit those two planets)

Q: What’s next for you?
I’ve been brainstorming for my 3rd series, the 2nd series was done in 2019 so I’m getting behind. I’m hoping to get started with the 3rd before the end of 2021.

Min Kyung Kwon Art Prints

Website: minkyungkwon.com
Facebook: facebook.com/minkyungkwonart

Marta Zubieta’s Alice in Lockdown

Last Modified January 5, 2022 Leave a Comment

Alice in Lockdown is a self-directed illustration project by Marta Zubieta that explores the confusion and self-transformation journey we have gone through since the beginning of the lockdown in the UK.

Bringing vibrant color to quite bleak subjects, Zubieta explores the millennial culture and its issues through pink-tinted glasses, neon colors, and dreamy characters. Zubieta found in Alice the perfect metaphor to explore the reality she was living in during the outburst of Covid-19.

Alice’s Adventures in Wonderland represents the child’s struggle to survive in the confusing world of adults. To understand our adult world, Alice has to overcome the open-mindedness that is characteristic of children. Apparently, adults need rules to live by. Going down the rabbit hole: in the book is a representation of going into the unconscious, connected with lockdown, Covid-19 seems to be the hole that has trapped us all at home, forcing us to deal with our inner monsters but also with the voice we listen to the most; the mass media.

Interview with Pop-Surrealist Marta Zubieta

Q. What did you want to be when you were growing up?
A. I wanted to be a veterinarian until the age of 10, then I brought my cat to be castrated and everything changed.

Q. What’s your background?
A. I studied fine arts in Sevilla, Spain, but I didn’t make the most of it or I didn’t know how I could ever get “real work” out of it so I started studying graphic design alongside.
Before I moved to Bristol I was a poor long-time intern graphic designer during the day and session singer at night. Once in Bristol, with my “Spanglish” it was hard (impossible) to find a job in the design industry. I worked in hospitality for a long period while playing music and just trying to do illustration for fun, I even stopped painting for a while. But I think all that working at night, the music, the street art, and the collaborative spirit of the city gave me the push I needed to connect my passions into my paintings and illustrations which have now become my main work and which I am very grateful for now.

Q. What piece are you most proud of?
A. I particularly like my “Alice in Wonderland” series because I feel with it I really grasped the power that pop culture has for communicating controversial ideas.

Q. What is the best piece of advice you have ever received?
A. You can do everything you want, but just don’t get caught. (Not sure it is the best, but it makes me laugh.)

Q. What is one thing they tried to teach you in school that you knew immediately was wrong?
A. The hierarchy of power, The catholic religion, and Iceberg lettuce.

Q. Where is your favorite place?
A. Close to the water, the sea, or a river, when I am in a landscape that reminds me that we are one, then my problems and the noise in my head become smaller.

Q. Who are your biggest influences?
A. I find my roots in pop culture. Old cartoons and movies appear in my work without me even realizing it. The other day I found myself rewatching the movie “Yellow Submarine” (one of my father’s favorite movies) and noticing how many connections of myself I could find in the imaginary world the movie had created.

"Love Canyon" art by Marta Zubieta — Love Canyon

Q. What’s the best piece of advice you’ve been given?
A. Love what you do.

Q. Which current art world trends are you following?
A. I really enjoy current artists’ aesthetics like James Jean and concepts of art activists like JR, I am interested in how they analyze nowadays issues through their own eyes and how their work impacts others. I also love to have a look at other artists like me on Instagram and how they develop their own storytelling.

Q. What can’t you live without?
A. Love & Music

"I Love you Quadrato" art by Marta Zubieta — I Love You Quadrado

Q. What is your dream project?
A. To collaborate with animators in a surreal music video for an artist I admire.

Q. What’s your favorite artwork of the collection?
A. I personally like La Petite Mort because it became the visual representation of a personal moment of change. When I started it I was in the middle of a big emotional hole and I stayed for a while in a loop just painting over and over the pink lines.
As I started growing out of my personal situation I could also see the evolution of the painting, the changes in the face, and the flowers growing.

Q. What is currently on your playlist?
A. I love listening to Latin American music, especially Brazilian bossa, samba, and Peruvian cumbias. They really transport you into another world. I started my illustration career making posters in Bristol for the world music collective Worm Disco Club and making the merchandise for my own cumbia band Camo Clave, in both psychedelia and nature were very connected, so a big part of the inspiration for my colors and aesthetic comes from listening to these rhythms.

Q. What is your favorite piece of art?
A. This sounds like a cliche but I will always think of Hyeronimous Bosh and his “The Garden of Earthly Delights”. I got in my hands one of his gallery books when I was very little and since then I was fascinated with the number of detailed characters that inhabit his pictures, I think of them as the TV of our era (now the internet), I imagine the rich families getting him to paint the most beautiful, twisted and fantastic stories of their times to entertain their days.

Q. What gives you life?
A. An amazing gig, playing music myself, running away from the city into new places, getting lost, and connecting with people.

Q. What is your superpower?
A. Being stubborn is my superpower and my kryptonite.

Q. What is your favorite thing in the world, and why?
A. Finding inspiration, getting in the flow with things, and forgetting of the world around

Q. What ideas are you currently questioning?
A. How can the human race be so beautiful and twisted at the same time

Q. Who is the one person, dead or alive, that you would like to have dinner with and why?
A. I would like to sit with my parents before they had me and ask them some questions about life.

Q. What’s next for you?
A. Dinner!