This painting depicts the limitations society places on women, corrupting what truly is beautiful by placing them in these prisons of identity. By doing so, society is asking them to become superheroes. The work is an offset of American comics, synonymous to entertainment and fun. This is exactly the goal of the series - a daily struggle against that which is imposed by society and the very expectations we impose on ourselves I keep myself busy in many ways; single mom, business woman, artist, the household, romance, errands. It puts a lot on one’s shoulders. We overwork ourselves. We are all slaves to something or of something. And in comic books, despite all the playfulness of the thing itself and all the “POW BING BAM,” superheroes are also fragile. We are merely human men and women and we are entitled to the flaws and errors. Lets be proud of who we are, be fierce and strong.
Sandra Chevrier, who calls herself a “gaze collector,” creates hyperrealistic paintings of women that stare out towards the viewer. Reinterpreting the superhero mask, Chevrier covers these images with a collage of comic book prints, using scenes from Superman and Batman to conceal the faces of these idealized women. Chevrier selects sections of comic books that portray “fragile heroes,” promoting the idea that vulnerability often underlies heroism. Titled “Cages,” these mixed-media works encourage viewers to consider how the modern woman—like these superheroes—might also be surrounded by expectations of effortless perfection.
Jennybird Alcantara's minutely detailed oil paintings possess un-borrowed symbolism, drawing the viewer deeply into a world both strange and beautiful. Dreamlike narratives form the core her paintings where the complex interconnectedness of opposites appear through the prism of myth, fable and fantasy. Jennybird uses the symbolism of duality to explore the connection of life and death and the veil in between.
Born a minister's son in 1977 in Seoul Korea, Young Chun remembers as a child, living in a small attachment to a hillside church for a brief time. The weekdays spent running around with imaginary friends in the dim empty chapel has fueled his imagination, contributing to his artistic growth. The "chapel" has become a permanent fixture in his creative mind - where he constructs, develops, and stores works in progress, before they ever meet a sketchpad. In 2000, Young received his B.F.A, from the Art Center College of Design, in Pasadena California. After several years of painting without clear direction, he stumbled into the opposite end of the spectrum - into the healthcare field - to search for "substance" and "something deeper in life". The years spent working as a respiratory therapist, helping people who were faced with life and death situations, has expanded his outlook in life; adding to his artistic vision. In February of 2011, Young resumed working as a full time artist. He currently lives and works in Orange County, California.
Image of beauty, grace woman combining independent, craftiness and femininity. The cat has a sense of freedom as it doesn’t want to be caught or locked up by anybody. Also cats are often considered the personification of: desire,perversity and laziness;darkness, witchcraft and evil force the souls of the dead. At the same time elegance, vitality, artfulness and invulnerability are the cat’s inherent traits and can be found in a real woman. Having such traits ideal woman could direct an indefatigable men’s strength and power in positive creative way. If we could equate the role of women in structure of the world to men’s role lot of society’s problems will be solved. The «Sphinx Cat» doll is a manifestation of my vision and feeling of the ideal woman who both cute Flirty and femme fatale inside. She has inexplicable appeal to men. The name of this appeal is Femininity.. I hope that in my works I managed to convey at least part of the spectrum of this mysterious woman qualities.
My name is Tatyana Trifonova. I live and work in Moscow-city, Russia. After I graduated from the university of MARHI, I took part as an artist-designer in a great number of decorative designs. Those projects were of vast directions and complexity levels, starting with apartment designs and continuing to government order for aircraft's cabin interiors. Developing a wide range of design-projects and solving a lot of artistic tasks coupled with a great passion for the world of dolls and fantasy led me to create the first porcelain doll of mine in the year of 2010. To my surprise, it's obtained recognition among doll-fanciers and professional artists. Those people gave me a lot of helpful advice and shared their rich experiences with me. Eventually all the sudden for me the hobby, so to speak doll by doll, became something more substantial and in the year of 2011 the project "TriffonyArtwork" was launched. Nowadays some of the most popular dolls of "TriffonyArtwork" brand are made not only of porcelain, but using polyurethane in order to meet rising customer's interest and demand for dolls. It allows offering some of the most popular dolls for more affordable prices as well. From the very beginning the most important thing for me was not only focusing on embody conception, but making strong emphasis on fine details which are very important for final image perception. Collaboration with the "Stardoll" company helps to maintain high standards of workmanship quality during production of polyurethane dolls. Welcome to my world of dolls.
We are twin sisters Ekaterina and Elena Popovy, professional artists and fashion designers. We were born and grew up in Perm, Russia. We graduated Ural State Academy of Architecture and Arts in Yekaterinburg. We started making dolls in 2004.
At the beginning we were interested in realistic human gesture. The magic of certain personalities inspired us to create their images. We tried not only to make portrait dolls but also to convey the nature of the characters through the gesture and costumes. Before making a portrait doll of the personality we were interested in we made a thorough research of the biography, read interviews, gathered photos and videos. Thanks to this interest we deepened our knowledge of human anatomy and facial gesture. We also learned to work with various artistic materials: china, self fusing plastics (paperclay, efa plast, la doll), fumo, baked plastics.
However portrait doll didn’t let us express ourselves as designers and we started experimenting with materials. Finally we found a perfect solution by combining our passion for fashion design and dolls art. This has grown into small conceptual collections of 10 to 15 dolls.
Huge amount of preparative work is behind every collection. First an idea/emotion is born and we develop a concept of a project. Then we start preparative work: we learn the history, search for the images, develop the texture, choose technique and draw sketches. Figure’s gesture, stylization, artistic delivery and costume design all of this goes along with one theme to express the idea to maximum extent.
The first conceptual project called fashionMOON was presented at the 3rdInternational Salon in Moscow. The collection was readily accepted by the audience and justified our boldest expectations. The project received two high awards. This was a powerful motivation for our further creative work.
We challenge ourselves with every new collection. We make several dolls or one collection a year. Every doll is handmade from start to finish. We make them patiently, thoughtfully and with a lot of love. We always work together, inspiring and completing each other, besides it’s interesting and a lot of fun.
During our artistic life we took part in many events: in Yekaterinburg fashion shows and festivals, art-salons in Perm, Novosibirsk, Moscow and international salons in Russia, Lithuania and Japan.
You can see our dolls not only at the events but in various publications, including foreign ones that call us the “new wave of Russian art-doll designers”
Reaction of our audience is very important to us. We love watching the people’s faces. The exhibitions bring us heaps of positive emotions, interesting acquaintances and warm talks with colleagues and audience.
Our projects are not only dolls, but also the way we present them to the audience. This includes decorating of the display area and playing background music. The music is written by Igor Korzhov, a Ukrainian musician (Necrotic Trust project).
Profession associations (we are the members of):
Team Koyaala, Japan
TSHR, Творческий Союз художников России (Creative Union of Russian Artists)
MOAK, Международная Организация авторов кукол (International Association of Doll Artists)
UAHK, Ural Association of Doll Artists
She represents a strong female presence as well as our human connection with nature. Two themes intertwined, we are all connected and the power of the femme. Her eyes are locked onto the viewer as if to challenge them to look closer, to understand her message. Her feminine beauty is not soft but rather dark and exotic, daring the viewer to enter her world with no guarantee of it being a safe or comfortable place. Moths are amazing animals yet incredibly delicate, too much oil from one's fingertip can be a death sentence for them. We have reached a tipping point in history, humans must stop killing everything and start protecting everything that still exists, we are all connected and we are all in danger of a domino effect of extinction. My femme is a fierce sentinel for all the delicate life we must protect, as well as the messenger.
Caia Koopman is a preeminent pop surrealism artist who has been featured in prominent galleries from California to Canada and France. Over the years, her paintings have graced the walls of Thinkspace, Spacejunk, and La Luz De Jesus Galleries as well as the pages of numerous books and magazines. The appealing symbols in her work evoke fundamental human emotions in exquisite, surreal detail making them well received in the action sports industry as well as the fine art world. Signature series Oakley sunglasses and goggles are adorned with her designs while her illustrations gild designer Rossignol snowboards, skis and more.
While attaining her BA in Fine Arts from the University of California in Santa Cruz, Caia was a skateboard enthusiast immersed in the punk rock scene of the ‘80s. She continues to live in Santa Cruz where the youthful vitality of a college town is an ever-present, pulsating force. Her professional career began by creating designs for skateboards and snowboards. Enchantingly beautiful female characters in her paintings are imbued with this fearless sense of defiance. As a second-generation conservationist, loving the environment and acutely aware that humanity is dangling our planet over a dangerous flame of pollution, nature is often woven into the haunting fabric of her images. Birds, flowers, plants, butterflies, animals and mythical creatures are interlaced with iconic symbols of love, mystery, soul searching and timeless values. Lurking throughout these visual fantasies are “Día de los Muertos” skulls, cute yet macabre reminders of the interlocking yin and yang of life and death.
Koopman’s popularity stems from the dazzling, intricate dreamscapes that depict deeply-rooted subconscious themes flavored with contemporary culture. Feminine energy infused with power and daring is blended with delicate elegance. An edgy juxtaposition of seemingly contrary ideas and emotions is persistent, and reflects the uneasy balance we maintain with our 21st century lifestyles. Technology coexisting with nature. Vulnerability accompanied by strength. Streetwise sensibility embodied in dainty, tattooed nymphs. Whimsy in spite of pathos. Vibrant life hand in hand with death. These fundamental aspects of the human condition, surrounded by the elements of modern life, all flowing through gorgeous imagery, are the essence of Koopman’s masterpieces.
Internationally celebrated artist Brian M. Viveros has an unmistakably arresting hand. His highly detailed paintings of defiant doe-eyed beauties summon a raw poetic of intractability. Beautiful and yet barbarous, they draw from the power of the feminine and its reconciliation of vulnerability, beauty, and power. His subjects are fighters and survivors, rendered immaculately, and just bloodied enough to remind us that they are formidable opponents not to be taken lightly. The artist’s hyperreal portraits deliver cult worthy heroines emerging triumphant from battle, complete with cigarettes anchored from parted lips, and tattoos and wounds to rival any soldier’s; they are steel tough victors rendered with something of the sublime. Viveros’ work elevates the iconography of the femme-fatale as a powerful emblem of strength and retaliation: insubordinate beauties undaunted by the unruliness of a messy fight.
A technical perfectionist, Brian Viveros’ oil, airbrush, acrylic, and ink paintings are highly saturated with pigment, luminosity, and depth, while the compositions are poignant and simple. The artist’s emphasis tends to be on focal points such as the eyes, lips, and skin, conveying the subtlety of minute expression and the power of an impaling gaze. The paintings feel cinematic, like haunting stills from a film, owing to their evocative suggestion of narrative and to the iconicity of their subjects. The artist’s creative cosmos is beautifully stylized, never derivative, and distinctly recognizable as his own.
Viveros’ recognition and exposure was catalyzed by his participation in a major group exhibition in Switzerland in 1997 entitled: The Art of Porn, in which he exhibited alongside celebrated artist and academy award winner H.R. Giger. Since then, Viveros’ work has been widely exhibited in North America and Europe, and showcased in numerous international art fairs. Most recently, Viveros’ exhibition War of the Roses was sold out as a solo presentation for Art Basel Miami through Thinkspace Gallery in Los Angeles.
Brian M. Viveros’ paintings have been published extensively in print. His work has been featured in books such as: Les Barany’s Carnivora: The Dark Art Of Automobiles, Harry Saylor and Carolyn Frisch’s Edgy Cute: From Neo-Pop to Low Brow and Back Again, Matt Jordan’s Weirdo Noir, and Erotic Signature’s The World’s Greatest Erotic Art of Today – Vol. 1 and Vol. II. The artist has also been featured in the pages of Juxtapoz (no. 118), Secret Magazine, In the Flesh, Skin Two, Drawing Blood, Darks Art, Joia Magazine, Tattoo Extreme, XFUNS Magazine, Let’s Motive, Truce, Digital Temple, Riviera Magazine, Uce Magazine, Ego Magazine, Real Detroit Weekly, .ISM Quarterly, Tattoo Society, Dark Art’s Parlour Magazine, Revolution Art, Iniciativa Colectiva, Fetish Magazine, and was recently featured on an episode of the TV show ‘LA Ink’ (when artist Nikko Hurtado tattooed one of Viveros’ paintings onto a client).
In addition to his painting, Brian M. Viveros has extended his practice to include film. His feature short Dislandia, marked his debut as a filmmaker in 2005, and explores the desolate dreamlike world of an unsettling young girl. The surreal psychodrama is replete with imagery from the bizarre to the symbolic, and explores a quietly eerie eroticism. Similarly, Southern 2008, Viveros’ first full length surreal film, is a highly stylized exploration of primordial impulses, troubling eroticism, and violence. The artist and the Dislandic crew were featured in a behind the scenes look at the making of the film on the Sundance Channel’s ‘Pleasure for Sale’, a feature that ultimately informed the making of Southern. Other recent films include: Tercio De Muerte, and Lesser Eleusinian Mysteries. Viveros’ filmic work, much like his painting, captures something powerfully uncanny and symbolically unsettling from the depths of our strained psyches, and yet keep us entranced by an undeniably seductive urge to keep looking.
Jasmine Becket-Griffith (b. 1979) is a freelance artist who specializes in fairy, fantasy, and gothic artwork. Her preferred medium is acrylic on canvas or wood and her designs appear on many lines of licensed merchandise, notably through the chain stores Hot Topic and collectibles through the Bradford Group including co-branded Disney projects. She is also a staple at fantasy conventions, namely Dragon*Con, MegaCon (Orlando) and FaerieCon.
Since 2006, Jasmine began doing freelance co-branded artwork with the Walt Disney Company as an independent contractor.
Jasmine's physical gallery for her artwork is at Pop Gallery Orlando at Downtown Disney in the Walt Disney World Resort. Her licensed Disney character artwork can be found at Disneyland's WonderGround Gallery in Anaheim, California as well as Disney World's Disney Marketplace Co-Op. She lives in Celebration, Florida with her husband/assistant, author Matthew David Becket, and also maintains a small studio in London, England.
Camilla d’Errico is an Italo-Canadian artist who has been making waves in the fine art and comic industries with her manga-influenced style. Ever the prolific artist, Camilla is comic artist/creator and Pop Surrealist painter, while also contributing to the vinyl art toy movement, and expanding her style into fashion, accessories, toys and other merchandise.
Camilla resides in Vancouver, BC, where she paints and draws comics, and more recently has been working with entertainment companies on feature films and videogames. She has distinguished herself through her ability to seamlessly weave comic art and manga with surrealist elements, wrapping it all together with an extensive emotional palette. Thanks to her relentless energy, dedication, and creativity, she has followed her dream of successfully working creatively for a living.
For me it’s always been important to see and hear dissonant women within the culture. My attitudes about women were formed when I was made to feel humiliated for being a “girlish" little boy. To me, THAT is a very engrained heritage of misogyny that goes unnoticed for the most part. I have a theory that gay men are fascinated by powerful, flamboyant women because it’s so validating to see that feminine principle we identify with rise up and command reverence. In this painting I wanted her to be a symbol of power and discordance, so I mixed some elements of the Virgin Queen, the Salem Witches and punk. I wanted her to be defiant and fearless of burning for her authority. So I thought it would be a good idea to have her mouth somehow resemble a smoking gun.
Known for his surrealistic portraits of elongated women with stretched oval faces and simplified features, self taught artist Troy Brooks once joked that, had he gone to art school, it would have “fixed” his work’s most defining characteristic. “One thing that used to drive me crazy was that I always made the faces too long. It was something I used to have to go back and fix in my drawings. When I began creating my own characters I decided to just accentuate it,” Brooks says.
Influenced by classic Hollywood films from the 20s, 30s and 40s particularly, the women that he paints have a timeless glamour about them, lit dramatically to give them a sense of eerie seductiveness and intensified emotion. On why he paints women, Brooks relates the subjects in his oil paintings to his own feelings and expereinces as a gay artist who was bullied as a child for being “like a girl”: “The women in my paintings were confrontational and in charge. They had access to everything I felt was out of reach for me. They faced my fears in cryptic tableaux and conquered,” he says. Their androgyny implies their uncompromised sexual identity, where the woman is creating chaos and embracing it with courage, in Brooks words, “completely visible and not backing down.”
I've been painting strong women since always I guess, as it's probably something I aspire to be. Lately I'm focusing on women, yes strong, but who also have insecurities and anxieties. Even the ones who look the strongest have baggage and deal with self-doubt. I'm exploring with the idea that even though someone can feel extremely insecure it's very easy to hide it from the world and make it seem like everything is perfect.
Edith Lebeau is a Canadian artist based on the north shore of Montreal, Quebec. She spends most of her time painting in her studio with her Evil cat named Jack. For some time, Lebeau lived in the countryside, surrounded by fields, forest and a distant horizon line. Lebeau paints strong female figures intricately paired with fauna and flora elements. She draws inspiration from pop culture, movies, music videos, fairytales and various mythologies. Her works has been exhibited in Montreal, Berlin, Rome, Los Angeles, Las Vegas, San Francisco and New York among other cities.
I've always been fascinated with the concept of duality and the balance between two halves of the same whole. As the title, "Femme to Femme Fatale," suggests, you cannot have one without the other. My painting, "Intertwined," depicts the most known and delicate balance of good vs. evil. Woven together, they know they must coexist, even with their backs turned against each other. The femme and the femme fatale are one in the same.
Glenn Arthur is a self-taught visual artist from Orange County, California. Born in February of 1979, he grew up in a conservative, religious household with little to no influence in art. After shedding his roots he quickly realized that creating art would be his calling. Although he constantly doodled and sketched throughout his youth, Glenn did not come into painting until his late twenties when a friend forced a paintbrush into his hand and said, “You need to do this!”
Since then Glenn has been diligently working on creating his own brand of beautifully painted images. Using several different types of media, he adds in elements and influential symbols of his past and present to each piece. Beyond the aesthetics of his artwork, Glenn brings an overwhelming sense of passion to his paintings. Touching on themes of love, death, conflict and duality, Glenn’s art tells stories of strength and hope through emotion and sentiment with his sensual beauties and signature hummingbirds.
Glenn’s artwork has been shown in galleries and museums throughout the United States in solo as well as group shows. His work has also been published in several art books and magazines. Glenn is sponsored by Trekell Art Supplies.
This of course is a continuation of the Painted Roses theme I am working on, which I believe is a natural fit for the Femme To Femme Fatale show theme. This painting is at once immediate and impactful and reveals more of itself the more it's studied. It's almost grotesque in its presentation of this woman that at first appears to have 3 legs, yet when you step to it and see what it is, you slowly find out that it's a double-exposure of two similar poses that are stacked on top of each other. They both meet in unexpected ways. It is almost like a puzzle that invites the viewer to solve it in their mind, yet is almost unsolvable. I am confident that the viewer will be engaged with this piece.
Sergio Lopez, born in 1983, is a graduate of the Academy of Art in San Francisco - and is an exemplary painter in a variety of mediums. His artistic knowledge ballooned when he discovered his love of oil painting and charcoal drawing. He filled sketchbook after sketchbook with observations from life as well as drawings from his imagination. The Golden Age illustrators, Bravura painters, contemporary artists, concept designers, graffiti writers, and photographers have been some of his strongest influences in his pursuit of painting. He continues to study by visiting museums and observing the Great Masters, which he strives to learn lessons of beauty from.
His paintings of female nudes are unique and arresting. They have been soaring in popularity since they first began appearing in publications such as Juxtapoz, Hi-Fructose, Spectrum, Bluecanvas, and more online publications than are fit to list here. He has even been selected twice as a finalist for the Art Renewal Center’s prestigious yearly Salon.
Sergio continues to work in a variety of mediums and styles. From oil and gouache landscapes in and out of the studio to nude gesture studies in newsprint, he enjoys it all. Sergio especially enjoys discovering new vistas, setting up his easel, and creating a piece on the spot. He believes there is no better way to discover the truth and essence of a scene than by standing before it and studying it carefully. Sergio is a native of Sonoma County. He finds the area ever-inspiring, and never ceases to find a new gorgeous area no matter how often he explores.
Since he began participating in plein air events in 2010, Sergio has won multiple awards, including Epperson Gallery’s Valona Paint Out best of show award two years in a row, 3 awards in the 2010 Paint San Clemente Festival, 2nd place Artist Choice Award for Telluride Plein Air 2013, and Honorable Mention in the Alameda Plein Air event two years in a row. He uses the knowledge gained from painting outdoors in his studio paintings. He also is the co-founder of the North Bay Plein Air Painters group and has been helping organize monthly paint-outs since 2009 .
Chie Yoshii's oil paintings explore timeless psychological themes with a contrasting mix of techniques and styles.
On the one hand, the brushstrokes and the luminosity of her panels are reminiscent of traditional Flemish paintings, in which the details, the quality of shading, and the softness of each character’s complexion are presented in a masterly manner. On the other hand, the subtle symbolism and compelling presence of the figures bring an unexpected air of accessible modernity.
Much of her work is inspired by the relationship between human psychology and mythical archetypes. The enduring themes are woven into surrealities filled with symbols and visual narratives. The enigmatic images embody contradicting elements such as novelty and nostalgia, innocence and sensuality, and strength and fragility, mirroring the complexity of our psyche.
Chie Yoshii was born in year 1974 in Kochi, Japan. She moved to the US to complete her BFA at Massachusetts College of Art in 2000 and studied with a realist painter Adrian Gottlieb from 2002 to 2008. Her paintings have been exhibited in galleries worldwide, including Dorothy Circus Gallery in Italy, Urban Nation in Germany, Roq La Rue Gallery in Seattle, Thinkspace in Los Angeles, and William Baczek Fine Arts in Northampton, MA. She currently lives and works in Los Angeles.
Saturno Buttò, born in Venice in 1957, started his exhibition career in 1993, when he published his first monograph titled “portrayed from Saturn: 1989-1992”. Since then he’s exhibited in Italy, Europe and US (New York, Los Angeles, San Francisco).
In addition to two other monographs “Works 1993-1999″ and “Martyrologium” (2007), the Mondo Bizzarro Gallery in Rome at the recent exhibition has published his latest catalog in chronological order: “Blood is my favorite color” (2012).
Saturno Buttò’s artwork is characterized by a personal, formal interpretation of European sacred art and technical skill, that reminds one of the great masters of our pictorial tradition.
Figurative rituals, tableaux vivants, neo-Gothic altar pieces are the skillful creations with which Butto extracts the fascinating mysteries of an “obscure, dark religion. This concept is brilliantly illustrated by the juxtaposition between the body’s innate sensuality and its deeper spirituality. Through illustrating the conflict between eroticism and pain, transgression and rapture, Buttò’s valuable paintings on wood examine in depth the strict and conflicting vision of Western religious iconography by comparisons with the body. The body is, on one side exhibited like an object of cult, while simultaneously being denied its value of nascent erotic beauty. It’s a fascinating tension that above all exalts the human figure, to the centre of the exhibition.
The human figure, which in Buttò’s poem, is constantly represented as sacred, is depicted in its physical and psychological decadence. It is sometimes illustrated by instruments and/or medical tools, that represent human pain on one hand while simultaneously highlighting the will to defeat death in a Utopian way. It also manages to vividly depicts the inescapable condition of physical decline, more accurately than ever.
This way, a beautiful girl’s parade consecrate from a golden halo, as the Byzantine icons, shine from a lively and sensual physicalness, but are hidden from a mysterious demoniac fascination, as if they were wedded in purity to destruction and decay.
Chris Berens grew up near the historic Netherlands city of ‘s-Hertogenbosch, steeped in the atmosphere exalted by painters like Rembrandt and Vermeer. From an early age, he was immersed in his own inner world, a luminous realm inhabited by enigmatic characters and menageries of strange, compelling creatures. After studying illustration at the Academy of Art and Design in ‘s-Hertogenbosch, he retired to an abandoned building near his hometown and proceeded to teach himself the techniques of the Old Masters, consumed with a desire to document the wondrous narrative unfolding within him. Eventually he set aside his oil paints and began experimenting with drawing inks, a fluid medium which allowed greater flexibility than oils, as well as spectacular distortion effects reminiscent of the view through an ancient handmade lens. When he was able to depict his visions with some degree of accuracy, he moved to Amsterdam, and in 2005 began exhibiting at the venerable Jaski Gallery. After four successful shows in Amsterdam, he released the book 2239, and then moved on to conquer the New World. His 2008 American debut, “Go West,” followed the shambolic journey of his internal universe across the North Pole to the show’s venue in Seattle. Since then, Berens has continued to paint with a passionate fervor, resulting in a remarkable evolution in his technique and three more triumphal exhibitions. In his most recent work, he wraps his visionary mythology around an epic saga about the arrival of his first child, Emma Leeuwenhart.
Los Angeles, June 2011
The dark, the beautiful and the bizarre. Three elements that make the modern woman so powerful a subject to paint. Their endless desire to play dress ups has given me an endless expanse of subject matter to work with. Embedding their cos-play into environments that seem to evolve from the end of my brush onto the canvas. Like an extension of their fantasy, each painting containing a dialog built around the mood of the subject, evolving into an imaginary playground where the viewer can fleetingly flirt with the model. I call them, unreal realism, it could happen, but chances are, it never will. The fleeting thoughts of a flirtatious artist, captured for all to see.
The traditional image of a femme fatale is one of a seductress. This thought, however, was not my intended goal. I wanted to emphasize the strength that is at the core of the femme fatale... the stature combined with a certain amount of grace and elegance. The model I chose for Maul is the epitome of these characteristics. Her strength stands on its own while the additions of the feathers adds a certain degree of softness around the edges.
Kate Zambrano explores the human condition though visual stimulation. Often coupling the standard idealization of beauty with a deep, haunting melancholy, she uses monochromatic and subtle colors in her paintings to create a genuine and simplified journey into individuality. She works with different mediums and techniques as well as incorporating texture and drips to create an unsettling concept of what is attractive.
Her work is made to bring up the emotions, ideas, and opinions of the viewer. It forces self-exploration and internal dialogue. She leads the viewer to reflect on him or herself.
Kate is an American painter hailing from across the United States. She grew up, with her sketchbook in hand, having a fervent desire to recreate the things she found beautiful. Self-taught and ambitious, she works night and day on her passion for art with a temporary head space in her studio.
My work is concerned with the concept of glamour and its role in social identity. I am particularly interested in the idea of beauty through transformation. The notion of the Femme Fatale is of particular interest to me. Seductive and demanding of attention,the viewer is drawn in, yet inevitably kept emotionally and physically at a distance. Intrinsic to the temporary and fragile nature of the make-up often used to conjure up such an effect, the onlooker is forced to play the role of voyeur, never fully engaging with the illusion.
Digital photography is an essential tool in my work. It creates an emotional platform to connect with the subject, whilst the staging and the artificiality of a photo shoot serve to enhance the visual language of the imagery and the subsequent portrait.
I am a self-taught painter having graduated in a degree in biochemistry at the university of Bristol. I have been a resident of Jamaica Street Studios in Bristol since 2006.
In the last year or so, my work has increasingly focused on creating portraits and figures immersed in the "urban" context. Whether a close up examination of the glamorous and modified, adorned with tattoos and piercings or a figure caught in a fleeting moment of city life.
I am drawn to the vibrant and youthful, care-free characters I see everyday outside the doors of my studio. I am lucky to reside in a beautifully eclectic area of Bristol city where fashion and identity are of foremost importance, and provide constant inspiration and fuel my desire to paint.
In my most recent work I continue to explore the use of paint, mark-making and surface texture within the framework of my hyper-realist technique.
I come from a small country, Latvia, in the North-Eastern part of Europe. In the earliest chronicles that mention these parts, shortly after crusaders came to invade, it says that they found out ~ every woman here who reaches a certain age, is a witch. Every single one of them. To me it always meant ~ a free and sacred woman who is the master of her own reality, who lives and works in harmony with nature cycles and her own body, with integrity and intuitive female wisdom, the very soul of her place: a woman who forges her own destiny in the fire of her heart. Nothing else speaks more of a femme fatale to me than that. And not some official temple priestess, but every single woman. And I’m the great granddaughter of those witches. The photos for my painting were taken during the midsummer’s eve last year. It is part of my life and tradition.
Jana Brike was born in Latvia, a small country in the Northeastern part of Europe, while it was under Soviet occupation. Her childhood was bittersweet, molded by dark stories of war and deportation told to her by her grandparents, the cold and conservative atmosphere of catholic church ceremonies, and heightened by breathtaking ballets at the Opera House. Her inspirations are as diverse as folklore fairy tales, children’s book illustrations, imaginative Soviet animation films, and supernatural classical paintings. She is also influenced by the colorful but forbidden imagery of Western pop culture that was guarded by her religious upbringing.
Brike has been exhibiting her artwork internationally since the age of 15. This will be the artist's first solo exhibition in San Francisco.
Handiedan‘s artistic universe revolves around some leading visual motifs and yet it amazes thanks to its complexity, both in terms of formal composition and in terms of the technique she uses for making them. These two aspects together determine the irresistible charm of her art.
Undisputed protagonists of Handiedan‘s sculptural hand-cut collages, her vintage pin-ups immediately recall the burlesque genre. However if we look into them further many sources of inspiration are revealed: the Neo-Classical and Victorian ages, the Parisian Belle Époque, up to the 1940’s and Post-War sexy imagery. But none of Handiedan‘s ‘models’ really existed. In fact each of them is composed through by assembling anatomical parts of different pre-existing images. The newly formed woman is the result of a complex layering process that gives to Handiedan‘s art a three-dimensional quality and makes a collaged bas-relief out of every work. Her cheerfully sexy creatures seem to lively bend in and out of their background.
Notwithstanding the ‘less is more’ design theory so prevalent in Dutch culture, Handiedan‘s art responds more to a fascination with minute ornamental details. In each work the background is as much intriguing as the feminine creatures emerging from it. Filled with tiny exquisite details, the backgrounds incorporates old postage stamps, antique currencies, playing cards, music sheets and all sorts of odd antiques, even cigar bands. They are composed as to create elegantly decorative motifs and patterns.
Once Handiedan has gathered all the visual fragments and having in mind an atmosphere rather than a specific subject, she ‘plays’ with them on the computer. When the digital design satisfies her, she prints the elements that will form the layered collage on paper. She also uses old wood and even zinc as a canvas of the final image. Her beautifully complex work is completed by her own drawings and pen doodles marking both the background and the body parts of the pin-ups. Mounted into antique ornamented frames, the works are finally ready in all their exuberant liveliness.
If Handiedan‘s pin-ups look like something in between an orientally adorned femme fatale from a noir film, a sexually joyful pin-up from a 1950’s calendar and a tattooed rockabilly gal, each work also works as a treasure trove of symbols scattered on the background in form of decorative detail. For instance, her most recent work focuses on Quantum Physics, Cosmology, Easter Philosophy and Sacred Geometries. Different ways of observing the continues motion of Energy/Life.
Though she has opted for a monochrome treatment, her new series confirms the complexity and depth coming from this form of layered collage, where everything is hand-cut and assembled with great care. The new pieces are as much proof of Handiedan’s accomplished technique as the previous ones (if not more).
With this piece “Harmless Monster", I wanted to explore the notion of woman as “The Other.” Often throughout history, mythology and fiction we see frightening supernatural women, who are in part unknowable because of their femininity. My little monstrous siren is holding a deep sea angler fish - a species where the males are almost superfluous (they exist only as tiny sperm packets). Angler fish look alien and terrifying to us as well, but they are merely a creature perfectly adapted to a harsh environment.
Redd Walitzki draws her inspiration from the lush surroundings of her home in the Pacific Northwest, and the ornate Baroque ornamentation of her native Bavaria. The vivid muses in her paintings are influenced by the glamour of high-fashion, while often exploring the darker side of human impact on ecology. Her earliest memories are of painting at the kitchen table with her Grandfather, pulling flowers and foxes out of the bright splashes of pigment. This initial passion led her to pursue a career as an artist, and Redd completed her B.F.A. from Cornish College of the Arts with a concentration in Painting. Redd can be found in her studio painting to BBC Documentaries, playing with her pet opossum, or chasing down the next strange adventure on her scooter.
Born in London on March 30th 1964 to a loving and outgoing mother. He hated school and apart from art classes found the whole thing rather frustrating and useless. At the age of 15 he left school and lived for a year in Morocco with his mother, brother and sister. The cultural difference was very liberating. Upon his return to England at 16 he worked at a record music store and in 1982 became a DJ and was a stage manager for a large nightclub in the south of England. This is where he met his wife Sas in 1989.
In 1992 Colin moved to the U.S where he and his wife started a small business making latex clothing for fetish stores around the country. Their work was featured in Penthouse and Skin Two magazines. Taking what he had learned from the clothing manufacturing and combining it with his interest in movie special fx, Colin started to produce fiberglass figures and displays. In 1998 he produced his first production figure, an anime girl called “Suki” – a towering 7 feet tall and anatomically correct.
Colin decided to put his career on hold for a few years to take up commercial sculpture. Sas was developing as a painter and if this was to be encouraged she had to be able to devote herself full time, learning how to paint. The commercial work paid the bills for both of them and would support them both until Sas was ready to support herself. During this time Colin produced pieces for stores, museums and various businesses. A robot he made for the American Heart Association was interviewed by Katie Couric on the Today show and he also constructed the worlds largest mousetrap for pest control company Truly Nolen, which is now featured in the Guinness Book of World Records.
Colin now works full time on his original sculptures, finding inspiration in old sci-fi movies, pinup girl/supermodels, anime, ambient electronic music and H.P. Lovecraft. In 2004 he started using silicone in his sculptures, a difficult material to use but one that helps him achieve his goal of true cartoon realism, a line drawing made flesh. He is not looking to create every imperfection and flaw, but to take the exaggerations and perfections of cartoons and make them into a realistic 3D form.
Reality is somewhere between clear and abstract, somewhere between inside your head and what others see. I've been enjoying mirrors lately. Do we see two people, or one? Or both? When I collage I grab things intuitively, like a time capsule for myself. This time I swiped from the Grimes song, Kill V Maim, to fuel the art a bit: Oh, the fire it's alright 'Cause we can make 'em all go crazy We can make 'em wanna die Oh, the fire it's alright The people touch it I can't touch it, even though it's mine I don't behave, I don't behave, oh ehI don't behave, I don't behave, oh eh I don't behave, I don't behave, oh Are you going to the party? Are you going to the show?
In his collage portraits, Derek Gores recycles magazines, labels, data, and assorted found analog and digital materials to create the works on canvas. The series showcases Gores' contrasting interests in the living beauty of the figure, the angular and abstract design aesthetics of fashion, and a fearless sense of play. His fine art canvases are exhibited by galleries in New York, Los Angeles, Chicago, Sydney, Cologne, Miami, Santa Fe and more. Gores' design clients include Dwell Magazine, Lincoln Motor Co., ESPN, Lenny Kravitz, Lucasfilm, Kings of Leon, U2, Adidas, Madonna, Harley Davidson, Standard Collective, the National Football League, LiveNation, SEIU and more.
The Rhode Island School of Design grad lives and works in Melbourne, Florida, exhibiting and curating with the bold upstarts there, surrounded by the intellect and culture of the Space Coast. Derek was honored to have his work selected for the Manifest Hope DC exhibit coinciding with the Presidential Inauguration in 2009, and in 2010 he was named "One of the 40 important artists of the New Contemporary Movement", while in an exhibition in London.
"I like my pictures to barely come together with teasing little details. Sort of like how the mind can't help but wander, even when trying to focus on one thing. In the collages, some of the little bits I use are deliberate, but in most I'm trusting randomness to help build an end result more interesting than I could have planned. One friend calls it a 'Zen Narrative.' "
His subjects are simply figures and objects in a space, influenced by heroes Gustav Klimt, Egon Schiele, Franz Kline, Rube Goldberg, Max Ernst, and, "those great old long-exposure photos of Abraham Lincoln, where you can feel the whole minute inside each image. I love that buzzing stillness. I do reference a classic beauty, but made of raw and geometric and un-designed parts. My real subject in the figurative women is the study of 'Fierce'. Strength, honesty, vulnerability- admired with utmost respect. I'm not interested in heavy, conscious concepts- I make something simple and let the elements combine in the head, reacting with each history the viewer brings to the table. When it goes well, I hope to create a real experience, instead of just a picture of an experience. But that sounds a little too huge... really I'm always hoping for that feeling of having the senses of a kid, where everything is new."
Menton3 started drawing and painting as a child, already then he wanted to make comic books. His gift developed over the years and now he can be called self-taught painter. For some time he turned and dedicated himself to music. After the Saltillo album was released, he thought of painting his wife a canvas. Doing so brought back memories and for next few years he painted as much as he could. The idea of creating comic books came back to him, consequently he self-published his graphic novel, Ars Memoria. He admitted, in interview from 2010, that up to this date, it was the hardest and most rewarding thing he have done artistically. He had a pin up in Proof #25 (image comics), and Zombies vs Robots Aventure (IDW publishing) a four issue miniseries of which he has ‘the first nine to eight pages of, plus a great deal of independent covers and pin ups’.
Asked about his future work he replied "I heard a writer once say, that he did not really write things, and much as he just wrote it down. Painting for me is a great deal like that, if I could articulate it with words I would not have to paint it. It is the need to manifest the internality of my own psyche. To place in the external world my own personal internal architecture, iconography, tropes and loci, connecting them together and seeing them in ways that my psyche does not naturally do outside of dreams, to the point that resolution was a foregone conclusion."
Since then he collaborated with different writers and created a lot of illustrations.
For me the imagery in the painting was about drive and transformation, the power of will and intention. How what we put into the world slowly shapes and changes that world - the smoke, in a surreal manner, attempting illustrating that idea. I enjoyed the mystery of not knowing if the girl in the painting is sinister or innocent as well though. Her appearance is sweet, but the smoke suggests something potentially ominous. The viewer is also looking slightly up towards her face, giving the girl a kind of power and elevation. There's also this dichotomy between the girlish pink and the darker reds, further adding to the ambiguity of her intention. I see the piece as both the femme and the femme fatale. It's not meant to be a perfectly understood/communicated message, but something more felt and more elusive.
Toronto based young artist and illustrator Sarah Joncas shows off mysterious inner life of female portraiture placed in cartoon and film-noir atmosphere.
Sheri DeBow creates emotive and intricate dolls and sculptures from clay and various mixed media materials. Never using molds or taking shortcuts, each piece is a unique result of meticulous creation. As a student, she worked and studied under sculptor Franco Vianello, Phil Cornelius, Michael Maday, Professor Sakaguchi, Richard Carter and Sensei Kusakabe. She now works as a full-time artist and mom to five children in California’s Napa Valley. Sheri DeBow’s work has been featured twice on the cover of "Art Doll Quarterly" and her dolls have received accolades and honors across the globe.
Sheri DeBow creates emotive and intricate dolls and sculptures from clay and various mixed media materials. Never using molds or taking shortcuts, each piece is a unique result of meticulous creation. As a student, she worked and studied under sculptor Franco Vianello, Phil Cornelius, Michael Maday, Professor Sakaguchi, Richard Carter and Sensei Kusakabe. She now works as a full-time artist and mom to five children in California’s Napa Valley. Sheri DeBow’s work has been featured twice on the cover of "Art Doll Quarterly" and her dolls have received accolades and honors across the globe.
Women are innately life providers. My piece ‘ Flourish ‘ depicts a woman literally bursting with life. She is portrayed as a goddess who is forever growing, blooming, nurturing, passionate and connected to the natural world. Flora and fauna are represented through symbols that embody the different characteristics that define a woman.
Born and raised in Miami, Tatiana Suarez’s work draws you into a surreal, creamy, and ethereal world filled with doe-eyed figures ornamented by unsettling accompaniments and sexual undertones. On both canvas and walls, Suarez’s work is rich with symbols from her Brazilian and El Salvadorian heritage, juxtaposing the beautiful with the exotic and creepy to create enchanted narratives. The natural mythology and folklore from her respective parent cultures influence her work, from the indigenous face paint and adornment used to the rich and tropical color palettes of the South American landscape.
I started this painting as a personal project, it has been a long time since I felt the need to do something just for myself. I was having a bad moment in my life and decided to use fire to represent my discomfort of everything falling apart. Then I read the theme of this show and saw how much this painting will fit into it. It's about the struggles that women face every day, the challenges we have to deal with alone. The girl is standing in the middle trying to protect herself a little bit with her hand knowing that she will have to face all the fire, patiently waiting for it to stop burning. It's a simple concept about the things that, even if we work hard on it and on ourselves, still need time to pass. The title of the painting is "Worlds on Fire", a song by The Butterfly Effect.
Ania Tomicka was born in 1985 in Lodz, Poland.
When she was only 9 she moved to Italy, where she started to draw seriously: manga at first and realistic things afterwards. She attended an art institute and graduated in 2004. During the school years she starts to paint with oil colors, a technique that soon to became her favorite. Hence she attended the Academy of Fine Arts of Venice where she found a lot of inspiration for her realistic and academic art. A year later she moved to Tuscany where she graduated at the Academy of Fine Arts of Florence. She focused her interest in more things like digital art, illustration and new materials such as wood.
She also completed her studies at the academy of digital arts NEMO NT where she gained the title of student of the year.
Ania has always been interested in realistic, renaissance works. Her first loves are Salvador Dalì and Wojtek Siudmak's big canvases, full of absurd and strange creations, painted in a divine way.
Her current paintings are inspired by the American Pop Surrealist movement.
In the painting Flux, deconstructing and reconstructing the form let me play outside of the bounds; fusing detailed realism with abstraction. The fragmentation felt in today's quick pace of life and the mask we wear in negotiating our day, including online, are reflected in its "moving parts." For this exhibition it plays out in the female experience as shared by a dear friend- one of expectations and seemingly opposing forces in the definition of femininity seen through the media, the home, the workplace, film, advertisement, etc. Creating and maintaining a successful career while being an available mother is similarly such a common pull and concern. I sought to honor her impressions while working in a way that rethinks the painting process as an excited exploration of shape, form, and identity." -Daniel Bilodeau
Daniel Bilodeau’s paintings have been exhibited in solo and group shows in galleries and museums throughout the United States and abroad; including the Peninsula Museum of Art in California, 101/Exhibit in Miami, Sotheby’s New York, and the Guardian Gallery in Tokyo, Japan. His work is featured in numerous public and private collections including those of the Citadel Museum in Canadian, Texas, the New York Law School in New York, New York, and the Ringling College of Art and Design in Sarasota, Florida. Recognized in the Art Renewal Center International Salon and listed in Who’s Who in American Art, Mr. Bilodeau is the recipient of a number of awards and honors including the George Sugarman Foundation Grant and the Leslie T. and Frances U. Posey Foundation Scholarship. His work is included in many private collections and has recently been published by Rizzoli press in The Figure: Painting, Drawing, and Sculpture, a book chronicling the use of the figure in contemporary art. He is the recent recipient of a summer residency in Giverny, France with the Terra Foundation for American Art.
Mr. Bilodeau’s contemporary realistic figurative and still life works touch on post-modern life, consumerism, and identity. Producing monumental scale works as well as tiny miniatures, Bilodeau blends passages both smooth and textured, graphic and naturalistic in his painting style. Born in Montréal, Canada, Mr. Bilodeau lives and works in New York City, where he earned an MFA in 2013 from the New York Academy of Art.
Born - 1988
Location - New York City
"As I was exploring the ideas of "Femme Fatale" I started thinking about the influence male-dominated society has played in determining what makes a woman, who she can be, and what she is allowed to do. In an homage to Botticelli's "Birth of Venus" I decided to depict the immaculate birth of one of my favorite recurring characters - Bat Girl. In this piece, Bat Girl appears in a giant shell, symbolizing the exquisite perfection of nature and woman's connection to it. A Fat Cat and an Egg-Head Flim Flam Man watch - not at all pleased standing next to a tortoise with the world on his shell (representing archaic thinking). Bat Girl's sisters come running to her side to welcome and protect her. Bat girl has arrived with no outside influences of pressures from the world she is entering and she represents organic, mysterious womanhood."
Mab Graves is a Contemporary Pop-Surrealist artist living and painting in a converted 1800’s tavern in a small corner of the dusty American Midwest
Her work is inspired deeply by Science, 60’s Space culture, fairy tales and old classic literature. She adores narrative and all her works have deep symbolism and stories.
Mab’s passion for creation has been an overwhelming obsession since she could grip a crayon. A self-taught artist, Mab spent her childhood and teen years exploring graphite and pen mediums and then discovered painting in early 2009.
Mab’s work has been shown is galleries globally and her work has appeared in print articles, magazines, books and has been sold in more than 56 countries.
She currently lives and works in Indianapolis, IN.
Femininity is a spectrum of beige complexities that can be harsh as a darkened pupil yet soft as the lilac hue. Of a contingent nature, the modern woman shapeshifts from one role to another, leaving imprints on her body to tell the tales of her intricacies.
TRAN NGUYEN is an award-winning illustrator and gallery artist. Born in Vietnam and raised in the States, she is fascinated with creating visuals that can be used as a psycho-therapeutic support vehicle, exploring the mind's landscape. Her paintings are created with a soft, delicate quality using colored pencil and acrylic on paper.
Nguyen has worked for clients such as VH1, Tor Books, Chateau St. Michelle Winery, and has showcased with galleries in California, New York, and Italy. She is currently represented by Richard Solomon and Thinkspace gallery.
My painting has to do with the modern woman and her lost sense of self; her fragmentation from feminine concepts. She is a part of nature, but when looking to the world outside of herself what is reflected back is a convoluted version of femininity. She as a being is complete, beautiful, strong, wild, nurturing, compassionate, and whole - it's just a matter of her beginning to see herself for herself - not through the lense of our society - but to feel her own body and love her own skin.
Hannah Yata was born in 1989 and raised in a small town in Georgia. She is half Japanese and Caucasian. She grew up with a deep love of nature and animals passed down by the beautiful surroundings in the country and her mother. As a young adult, she studied feminism, psychology, and art in college. Graduating with a BFA in painting from the University of Georgia in 2012 she moved up to New York to focus on her work and how to put her ideas into paintings. In 2015, she was commissioned to do several works of art for musician B.o.B, which are now featured on his latest album: “Psycadelik Thoughtz.”
In her own work, Yata seeks to interweave political ideas, (using nature, women, and feminism almost synonymously), environmental degradation, and themes of moral injustice into increasingly chaotic paintings. She uses masks from a mix of other cultures to speak to the different relationships that native tribes and cultures have with the earth, while giving anthropomorphic qualities and symbolism to the animals to speak their consciousness. The increasing psychedelic features to her work are inspired by beauty and the energy of nature, while communicating the anxiety and tension she feels brewing in the world. These elements are combined many times to celebrate the female form that denies objectification and exploitation of nature and interweaves them into grotesquely beautiful, surreal dreamscapes.
The contemporary woman is diverse in nature and circumstance. I chose to represent woman as a universal entity, rather than an individual figure. I wanted to focus attention on the powerful, timeless, enduring quality she possesses as a creative and nurturing force. Even though I have used the symbolism of the pregnant belly in the central figure of the work and the female reproductive organs in the decorative leaf-like framework, I mean creative, fertile and nurturing in a more generalized sense. I realize not all women can bear children, nor do all want to. But I think all women have a creative nature, a positive life force and this can manifest itself in many ways, which may include the raising of their own children or not. The images of water, fish, bees, plants, fruit and cherubs act as a metaphor for abundance, creativity and life.
Marie Larkin is an Australian Pop Surrealist. Her art embodies an undeniably feminine oeuvre, meticulous execution and attention to detail. Works in painting, drawing and sculpture have been inspired by fairytale and nursery rhyme narratives, pop culture, beauty and the feminine persona.. She creates richly coloured, finely detailed, alternate worlds inhabited by beautiful girls, strange and mesmerising, with expressive eyes and dark natures. Most recently, female characters have an undeniable feminine force, strong, empowered and aloof. Her bodies of work continue to mature, gaining greater sophistication of style and consistency throughout.. Paintings and drawings retain her signature women who embue the works with narrative and emotional content.
Marie Larkin has a Bachelor of Art Education and has been a visual artist and art teacher since 1980. She gained national recognition and success in the 1990’s as an embroiderer.
Pippa McManus has emerged as one of Australia’s best-known fashion illustrators after
a decade of professional work in the industry. McManus began studying fine arts in Perth in 2000 before transitioning into fashion and textile design. She soon discovered she felt at home with a foot in both art and fashion, and began to carve out a niche in fashion illustration. By 2005, McManus began participating in group shows and promoting her work through social media.
It was a community project with Perth artist Stormie Mills that led to a series of collaborations with
other notable artists and designers from Australia and the rest of the world. After Mills selected
McManus and her business partner Leon Krasenstein to be a part of his group exhibition at L.A’s
Scion Gallery in 2007, McManus caught the eye of Perth fashion designer Aurelio Costarella.
Their collaboration saw McManus illustrate the invites for Costarella’s New York Fashion Week show.
But McManus’ first big break came when she was asked to illustrate the 2009 campaign of luxury
jeweller Linney’s. Her work for the Perth pearl company led to commissions from a string of Australia’s top fashion and lifestyle brands, including Ellery, Urban Walkabout, Dusk and Manning Cartell. McManus was also commissioned to create a series of in-store murals for the likes of
Zara Bryson, Chick & Kent, Zomp and Rummage.
McManus’ strong ties to the fashion world mean she regularly attends Sydney’s Mercedes-Benz
Fashion Week and the L’Oreal Melbourne Fashion Festival, and is a permanent fixture on the Perth Fashion Festival schedule. Her 2012 entry into an international illustration competition held by London-based designer Mary Katrantzou beat more than 130 other entries to win McManus tickets to the designer’s Spring/Summer 2013 London Fashion Week show.
Since 2012, McManus has sold out four solo shows of her work: ‘A is For Arizona’, an A–Z of her
favourite models; ‘Best Western’, a print exhibition in conjunction with Perth Fashion Festival; and
‘With Flowers In Their Hair’ and ‘Sleeping Beauties’, two shows at her residency at 140William.
These shows have led to a consistent flow of private commission requests both nationally
and internationally. Scoop Magazine asked McManus to blend her illustration techniques with fashion photography for a cover and feature editorial in 2013. She continued her commercial magazine work, landing a two-year contract illustrating teen publication Girlfriend’s monthly star sign feature, Girstrology. This led to a string of art book features including the cover of Somer Flaherty Tejwani’s guide The Art of Fashion Illustration, which features techniques and inspiration from leading fashion artists. Taschen also chose McManus’ work for a six-page feature in the book, Illustration Now! Fashion.
McManus’ strong social media presence has attracted the attention of Australia’s leading fashion
brands. She has been asked to curate the Instagram accounts of one of Australia’s top make-up
brands, Becca, with a series of 10 illustrations released over 10 days. Perth’s premier shoe boutique Zomp also asked the artist to create nine illustrations of her favourite looks from its Spring/Summer 2015 season.
McManus held her first national solo show, ‘Gypset’, at Friends Of Leon gallery in Sydney’s Surry Hills in September 2014, after eight months of research and painting. The show featured 20 highly intricate, bohemian-themed fashion illustrations, which referenced traditional Moroccan, Spanish and Indian costumes. The work sold out a week before the show opened. Additional pieces created for the show also sold out on the night, totalling 30 works sold in all.
Three months later McManus’ year-long collaboration with photographer Caitlin Worthington, stylist Emma Bergmeier-Varian, florist Fox & Rabbit, make-up artist Rebecca Collins and hair stylist Melissa Cook was realised in the form of, a group exhibition. ‘In Bloom’ opened to sell-out success at Fremantle’s Many building. The collaboration featured 10 illustrations and eight photographic prints of model Narcisa Music sporting incredible floral crowns and dreamy fashion and accessories.
This year has presented a diverse array of creative projects. McManus is no longer producing private commissions or commercial work, and has instead been able to contribute pieces to two nominated charities, StyleAid and Cord. McManus’ donated works have been auctioned to help raise money for the important work of these organisations.
McManus is now focusing solely on her fine art, and recently partnered with Perth’s Little Wing
Collective to participate in two ‘Photobomb’ events where selected artists illustrate over a photographic print. The project allowed McManus the opportunity to blend two art forms, and she used an artist talk at Little Wing’s Corner Gallery to reflect on her passion for such experimentation and her career highlights. In May, McManus launched her first online exhibition ‘Teen Queens’, an online catalogue of 20 pieces of work available to an exclusive client list. The artworks were based on images of royal women and combined elements of wicca and religion.
The rest of the year holds some exciting projects, including a group exhibition in October at Friends of Leon gallery that will place McManus alongside 25 of the world’s best figurative female artists. ‘In Bloom Two’ is also scheduled to open in December at a handpicked styled space in Perth CBD’s EnEx building. Studio 281 Gallery has also come onboard to represent McManus and regularly show her work.
McManus has been invited to exhibit at her favourite international gallery, Modern Eden Gallery,
in San Francisco in September 2016. Her work will be part of the group show ‘Femme to Femme:
The Feminine in Contemporary Art’, curated by Beautiful Bizarre magazine’s Danijela Krha.
Perth Fashion Festival / Mercedes Benz Fashion Week Australia
L’Oreal Melbourne Fashion Festival / Propel Youth Arts
The Telethon Adventurers / Art For Spine
Fashion, Beauty & Lifestyle
Zivago / Zomp / Manning Cartell / Aurelio Costarella / Ellery / Joveeba / Garth Cook
One Fell Swoop / Mary Katrantzou / Becca / Head Studio / Linneys
Urban Walkabout / Dusk / Bunkers Wines / Dlux Interiors / Miss Bunting
Girlfriend / Catalogue Magazine / Scoop / Skywest Magazine / Box / Russh / White
Taschen / STM / Sportsgirl / Pedestrian.com / Draw A Dot / Swide by Dolce & Gabbana
140 William / Bib & Tucker / Claremont Quarter / Chik & Kent / Rummage
Chatswood Chase / Hatch / Louis Baxters / Frankii
Zara Bryson / The Annex / Zomp
To me the spirit of the feminine is :She is a creator and destroyer. A multi armed symbol of absolute love and absolute cruelty. Like mother nature the eternal cycle of creation and destruction, life and death, positive charge and negative charge keep the balance. Ouroboros is life renewal and black snakes are a sacred symbol of fertility.
Leilani Bustamante was born in Santa Rosa California and is a graduate of the Academy of Art University. She grew up between the suburban sprawl and rural Fort Bragg, where she draws inspiration from their simultaneous decay and growth. Her work often voices themes of mortality exploring elements of death, rebirth, beauty and spoil, the loveliness of the macabre and the mournful influence of osteological motifs. She currently resides in the San Francisco Bay Area.
'Karen in the Digital Age' was inspired by reflections on how women portray themselves in the selfie age of social media. Images on platforms like Facebook and Instagram are groomed and tweaked to look as perfected as possible, often creating a false standard to which other women feel they need to rise. I was interested in making the environment look packed and chaotic, as though there are many elements competing in the background of Karen's mind. In the bottom right-hand corner you can see faint stylized etchings of typical social media "selfie" poses. It's my way of understanding how images stay with us in the recesses of our brains.
Born in 1987 in the small town of Waterville, Ohio, Erin was immersed in art from a young age. Enrolling in her first art lessons at seven years old, she spent her early years learning to paint and draw copying works of the old masters and spending summers drawing from life at the Toledo Museum of Art. In 2009 she earned a B.A. in Psychology and Entrepreneurship from Miami University. Upon graduation she decided to enroll in an independent program called The Waichulis Studio and later moved to Bethlehem, Pennsylvania where she lives and works today. Her work has been featured in national publications as well as exhibitions throughout the U.S. She is represented by Dacia Gallery in New York.
Iam inspired by complex dynamics and relationships within individuals and groups. Working on copper sheet, my compositions remain anchored in representational figure painting juxtaposed by abstraction. The metal substrate and paint work in concert to communicate layers or levels of reality: one that is easily perceived and directly in front of us and one that can be felt and is dynamic or changing. To explore the connective nature of our experience, I make visual comparisons between the figure and systems in nature. I find that studying the ways in which nature is connected informs the ways I create atmosphere within and around my subjects. The ensuing work is an exploration of our relationships to one another and our fundamental connection with the environment.
Iconography can tell a story. Believing it’s subtle power shapes us, Alessandra Maria's work is an attempt to create a modern feminist idol, to redefine feminine divinity and to combat objectification and dehumanization. Her work re-imagines traditional depictions of female divinity. Throughout history, and particularly within the Abrahamic religions, feminine power has been embodied in three forms with few exceptions: the virgin, the whore, and the mother. Put another way, women's highest expression of virtue was defined insofar as their being a vessel for someone else child. The echoes of these restrictive archetypes inspire her to create icons whose power transcends that of a woman's physical vessel, who’s sexuality evokes strength, stalwartness, and edge regardless of sexuality.
“Though she graduated from Pratt Institute only in 2012, rising artist Alessandra Maria is already
making waves with her delicate, mixed-media artworks.” - Hi Fructose Magazine
“Alessandra's beautifully eerie illustrations appear to be illuminated by the night sky.
Her subject's glowing eyes make us wonder who exactly they are.” -Juxtapoz Magazine
In today's society I feel we need to celebrate the spirit of the feminine as once upon a time the Pagans celebrated the magic and mystery of Women. It is my hope my portrayal of 'The Woman' is one of all that she encompasses. Beauty, allure, strength, magic, mystery, tenderness, and love.
Bec Winnel is an accomplished Australian illustrator and artist. Winnel’s portraiture combines the illustrative precision of a graphic artist with the sophistication and emotiveness of a painter. The ethereal quality of the her work is the result of carefully accreted layers of pencil, pastel and washes of paint.
Winnel’s work is delicate and otherworldly, and seems to border on the immaterial. Her imagery emerges from the surface like a dream state: soft, plush, and seemingly on the brink of dissolving into thin air. The artist’s subject’s are beautiful, and explore the haunting of femininity, romanticism, nature and a tendency towards aesthetic nostalgia.
Her pieces are rendered in a palette of candy pastel hues, with a gossamer like delicacy. Hyperreal and uncannily executed, the seduction of the imagery is ultimately contemporary and odes to feminine beauty that combine nostalgia with timeliness, hyperrealism with stylistic license – hovering seductively in the realm of dream.
Winnel is represented by Thinkspace Gallery in Culver City US, a member of PRISMA Artist Collective and an advocate with Element Eden.
Helice Wen was born in Shenzhen, China where her interest in art began at the age of 5 when she first started copying children’s book illustrations. After graduating from the Academy of Art University San Francisco in 2009, she began working as a children’s book illustrator. After leaving her illustration job a few years ago, Wen is now focused on creating gallery works. She has exhibited in New York, Florida, Melbourne, Los Angeles, and San Francisco. She currently resides in San Francisco, working as a full time artist.
My painting “Omniscient” represents the quintessential female. She is a balance of the nurturing feminine and the seductive femme fatale. With her lush blossoms and impending thorns, attracting bees and ladybirds, she is self-reliant, yet nurtures community. She is secretive, intuitive and filled with eternal love.
“Sometimes I’ve believed as many as six impossible things before breakfast.” - Lewis Carroll
For almost twenty years I’ve lived in the Sierra Foothills. My home has a tree house view of the world that has made nature an integral part of my life and my art. The metamorphosis of seasons and the cycles of life and death are reoccurring elements. A collection of curiosities, along with my love of fairy tales, Art Nouveau and Old Hollywood Glamour have also found their way into my art.
I paint primarily in transparent watercolor, layering luminous glazes of pure hue to give everything a candy coat of Easter-like color. - Tracy Lewis
This painting is about the beauty and power held within a gaze. Often times women are criticized for they way they portray themselves, accused of having a sour look, or being told to smile. My piece fully embraces an icy glare, and the strength as well as influence it can have on a viewer. The Flowers and lace blouse represent her fragility, juxtaposed with her stern posture and fixed stare, she is a woman to be reckoned with, traditional of the Femme Fatale.
Kelsey Beckett is a Michigan native and an Illustration graduate of College for Creative Studies. She is a freelance illustrator and fine artist who has shown work in numerous galleries across the country. She Works mainly in acrylic and oil. Her work has been featured by Juxtapoz and Supersonic Art, as well as published in “Spectrum #20” and "Women of Wonder: Celebrating Women Creators of Fantastic Art."
Alex Garant studied visual arts at Notre-Dame–De-Foy College just outside Quebec City. After graduating in 2001, she ultimately settled in Toronto, Canada.
She decided to truly commit to her passion for Arts after suffering from a heart attack in 2012, changing forever how she would see the world.
Alex has shown works all over Canada and the United States as well as Portugal and Australia; she also has been featured in publications like Beautiful Bizarre Magazine, Supersonic, Hi-Fructose Magazine, Juxtapoz, My Modern Met, The Huffintong Post, Mashable.com, BUzznet.com and many more.
Her alla prima oil paintings offer a graphic quality combined with traditional portrait techniques. Garant uses patterns, duplication of elements, symmetry and image superposition as key elements of her imagery. Alex Garant's paintings are not far from a perfect optical illusion: her protagonists trying to escape themselves, almost possessed by a distinct version of their own individuality, an exorcism of the soul.
The viewers shall try to unearth the main figure by focusing on making those multiples into one. Alex Garant's paintings are certainly conversation pieces as they are meant to engage the observers into an image investigation process and hopefully enlist their senses differently while doing so.
Julie Filipenko is an artist from Tel Aviv, exhibiting in galleries worldwide.
To have a voice, to create our worlds, to fly without looking down. At times victims,and at times immoveable pillars of strength, women are fantastic subjects in contemporary art. They possess fear and confidence, whimsy and courage, and they wear it all on their faces simultaneously- bravely enduring the pitfalls they encounter, often unsure who to trust or when to shriek. Having many sides, not just strength or vulnerability, is what keeps women prominent in art. We are fantastically robust, and exquisitely broken, and therefore, undeniable.
Pamela Wilson has built a reputation for works of art that transcend the commonplace to enter the realm of the sublime and otherworldly. She develops haunting images that evoke moods, dreams, and memories inspired by real life, and which create a remarkably compelling narrative. The physical and emotional isolation of her characters has emerged as a hallmark of her work. She explores the great chasm of the unknown, the abyss that opens when you seek to understand the place of the human in modernity. The people in her paintings are often called “lost, odd, mad,” or similar terms denoting something out of alignment with ordinary reality. She believes that letting ourselves explore the inherent “distortions” in reality is part of what gives us heart, and balance. Addressing “beauty” in a painting feels too passive, and what she is seeking is a psychological moment, a different kind of beauty. She has much to say of the dark and hilarious absurdities we must often endure... while we are creating ourselves.
Pamela received her MFA from the University of California, Santa Barbara, where she was awarded a Regents Fellowship, the Abrams Project Grant, and a Regents Award for her Thesis Exhibition. She is currently Mentor Faculty at Laguna College of Art & Design, Laguna, CA, as part of the MFA Program.
Exhibiting consistently since 1992, her work has been the subject of nineteen solo exhibitions, spanning the United States. She has been included in many museum exhibitions, including the National Museum for Women in the Arts, Washington DC, and a solo exhibition at the Arnot Art Museum, Elmira, NY. Her work is included in many prestigious collections.
The girl had had enough.The fighting; clawing her way out from behind a face of grasping perfection. Her body was something that was worshiped and criticized till there was nothing left to worship.So she became addicted to the criticism because in it, she was reminded of the glory days of adoration. But she was fucking tired.She had been fighting to know herself since her birth, but constantly fought against the current of sandpaper that claimed it existed to make her smooth, but really it just stung, and she worried about the scars it would leave. She had been battling the scrutiny, the rulings over her body; her wages; her cellulite; the bridge of her nose. So much war around her that she didn’t know what to fight anymore: Others or Herself.So she became very quiet. She put her face on, and bled in silence. She kept telling herself that she was not a whore...a silly thing to employ as consolation when she knew herself to be a Lamb. She developed ways to cope, ways to appease; ways to manipulate from behind her beautiful facade, for she was not allowed to have it out on the battlefield; some might call it kind of sexy, maniacal crazy. But beneath the god-damned rules, and below her raging hormones, and the drama, and the urge to pull away, which she dutifully resisted, no one could touch her. No one could claim their right to her skin and mind, and in the quiet hours of the night, she knew this to be truth. So she woke up, and she rose from the trenches of her soft bed, and she put her face on: her makeup; her face paint; her war paint; her “whore” paint, as some might call it, their eyes squinting in slits of judgement. Her battle, she knew, was one that existed outside, as well as inside: a civil war. Her only job was to know when to fight, and when to put her hand up, never in surrender, but in dismissive mockery. She would take back what little of herself that she had, and she would fight for it. So nanny nanny boo boo, mother fuckers, nanny nanny boo boo.
Dorielle Caimi was born in Alexandria, VA, USA in 1985, raised in New Mexico, and currently lives and works in Albuquerque, New Mexico.
She completed a BFA (Summa Cum Laude) in Painting from Cornish College of the Arts in Seattle, WA in 2010 and a Master Class in Painting at the Art Students League of Denver, CO. in 2013. Caimi’s work has been shown/featured internationally, and in publications such as PoetsArtists, American Art Collector, Hi-Fructose, Combustus, Juxtapoz, and Printer's Devil Review (cover). She was recently awarded the William and Dorothy Yeck Award in 2015, juried by Franklin Sirmans, for work that "visually responds to painting in the 21st century." Her works have been acquired by Miami University Permanent Art Collection, The Tullman Collection, and The Art of Elysium Charity Auction. She is currently represented by Gusford Gallery in Los Angeles.