Bfakcdejg4h871i PDF

IS SUE 015 D E CE M BE R 2 016
CO-FOUNDER & ADVERTISE WITH US

EDITOR-IN-CHIEF
[email protected]
Danijela Krha
SHOP
CO-FOUNDER &
TECHNICAL DIRECTOR www.beautifulbizarre.net/shop
Richard Purssey FIND A STOCKIST
ONLINE EDITOR www.beautifulbizarre.net/stockists
Bella Harris
BECOME A STOCKIST
FINANCE MANAGER [email protected]
Jeanette Bartholomew
SUBMIT YOUR WORK
SUBMISSIONS MANAGER www.beautifulbizarre.net/submit
Susan Santamauro
DISTRIBUTION MANAGER
Natalia Fedoruk
LET’S CONNECT
PUBLIC REL ATIONS MAN AGER
Miu Vermillion
E D I TO R ’ S PA
Kylie Dexter
DESIGNER
Hieu Nguyen
© Beautiful Bizarre Magazine. All

CONTRIBUTING WRITERS
content is copyright with all rights
Richard Purssey
reserved. Reproduction in whole or
Miu Vermillion in part without the express written
Dylan Bryant permission of the editor-in-chief is
prohibited.
Jackie Lemmon
Jennifer Susan Jones
Justine Morrow
cove r : Anna Dittmann
Kim Crowie Bauhinia, 2015
Kristy Senko-Hall Digital
NEXT IS SUE ON SA LE M A RC H 2 017
www.beautifulbizarre.net
TAB LE OF CO N TE N TS
F E AT U R E D A RT I S TS
9
04 Anna Dittmann
18 Yoko D’holbachie
32 Polina Washington
24 46 Rodrigo Luff
60 Miho Hirano
74 Elizabeth McGrath
88 Rebecca Leveille
102 Neil Craver

53
116 Hannah Yata
130 Soey Milk
O N T H E R I S E
106
142 Bella Harris
71
143 Lauretta Lizzio
144 Laura Parsons Oversat
145 Fay Helfer
146 Marie Larkin
147 Ewa Pronczuk-Kuziak

32
148 Kindra Nikole
149 Carly Janine Mazur
150 Lana Crooks

116
151 Carisa Swenson
EXCLUSIVE
CONTENT
Click Here!
A N N A D I T T M A N
A PE RS ON N E E D S N E W E X PE RI E NCE S. THE Y JA R SOME THI NG DE E P
IN S IDE , A L L OW I NG YOU T O G ROW. WI THOUT THE M, I T SL E E PS SE L DOM
T O AWA KE N. T H E S L E E PE R MUST AWA KE N.” FRANK HERBERT
The air is crisp today. The Haar is rolling in off the in Adobe Photoshop. She allows for the “happy
North Sea, kissing the lush rolling hills and their accidents” that artists religiously pursue (and are
bared rocky crags with the wispy lips of fog, first often associated with classic mediums rather than
gently and then all at once; the world seems to digital) by working quickly in the initial phases of a
glow with health, despite the churning pewter sky. piece, allowing her reflexive strokes to inform the
As the mists begin to settle in the green blanketed rest of the painting.
valleys of the Pentlands, distant hilltops swirl and
waver until swallowed whole, folded gently into the When asked about her success, she heart-
palms of the great grey beast slowly inching across warmingly attributes much of it to her online
the horizon. Welcome to Edinburgh, Scotland, the supporters. “To be honest, if I hadn’t been so
idyllic home of painter Anna Dittmann. encouraged by the online art community, I may
have produced much less work. I was fuelled by
Just as the fog spills across the Scottish landscape, the sheer positivity of considerate strangers, and
elements of nature are interwoven into nearly I owe most of my growth to their kindness.” The
all of Anna’s portraits. Her digital paintings are a true medal of honor, however, goes to her father.
fusion of human flesh and other organic matter; Not only was he “constantly refuelling sketchbooks
from tentacles to scales to horns, the inclusion and pens”, he inspired Anna “to stay motivated in
of these natural elements surpasses simple art and live as positively as possible.” His success
adornment - they are a very part of the beings’ may be most evident in her definition of beauty:
anatomy. For Anna, abstract natural forms and “Beauty is selflessness and altruism. Beauty is
patterns are a perfect complement to the human anything that makes me pause in wonder.”
figure. The result is otherworldly, women who
exist in fantastical realms with rules far different Anna Dittmann aspires to travel, to see the
than our own. Yet despite their foreign appearance, world. Ever expanding her horizons, every new
the world they exist in runs parallel to ours; they experience will be material from which to draw,
represent the relationship with nature we strive for, and inspiration to inform her work. As her story
a complete symbiosis, a perfect balance. They hint unfolds so will we see a new chronicle in her art.
at a relationship long lost, an ancient beauty with She is currently freelancing, but imagines a future
which humanity is slowly losing touch. in which she can sustain herself from her personal
work. One of her more recent personal projects
“Capturing emotions and crafting a story through involved creating a painted calendar, basing the
expression is what I aim for,” she explains. “I hope content on the symbolism she associates with
the viewer feels captivated and engages with the each month. In the future she hopes to further
portrait, inspiring curiosity and a sense of intrigue.” explore this in depth in other series.
As a child she can remember gazing fondly at the
iridescent beetles in her father’s insect collection, Anna will likely continue to seek out new
their shells glistening like oil in the light. Anna experiences with nature, to continuously rekindle
draws nearly all her inspiration from the world and nurture her own personal relationship
around her, particularly color palettes; thus was the with the natural world. We can only hope that
allure of Scotland, where stark beauty thrives just these experiences manifest themselves as more
outside her window. paintings. And eventually, the sleeper will awaken.
“I just hope my art can bring just a little beauty and “I am a daydreamer, who once had hopes of
warmth to someone’s world.” exploring the stars. While those childhood
ambitions never did pan out, I still look upwards
Despite their traditional appearance, the vast and often get lost in the distraction of my
majority of Anna’s portraits are digitally created imagination.”
www. a n n a dit t m a n n . c om | Wor d s : Dyl a n Br ya nt
6 | beautiful.biz a rre
Sc ale, 20 13
Dig ital
p revio u s p a g e :
Nove m b e r, 2 0 1 3
Dig ital
22 | beautiful.bi za rre
opposite page:
Adorn, 2014
Digital
Aerial, 2013
Digital
b e aut i f ul . b i z a r re | 9
Bloom, 2014
Digital
Bramble, 2015 Censor, 2015

Digital Digital
Ink, 2014
Digital
op p p o s it e p a g e , t o p :
April, 20 14
D ig ital
o p p o s it e p a g e , b o tt o m :
B o lt , 2014
26 |
D ig ital
beautiful.biza rre
opposite page:
Petal, 2014
Digital
Vine, 2014
Digital
ivana flores
@ivanaflores.art /ivanaflores.art
www.ivanaflores.com
EXCLUSIVE
CONTENT
Click Here!
Y O K O D ’ H O L B A C H I E
“ N E V E R, E V E R U N DE RE S T I M ATE THE I MPORTA NCE OF HAV I NG F UN.”

RANDY PAUSCH
At once cute and strange, and perhaps coated panel using carbon paper. Afterwards,
mischievous and a little dangerous, Yoko she paints the piece layer by layer, with the
d’Holbachie’s painted creatures are impossible addition of more and more and details. Upon
to ignore. Without a hint of self-consciousness, close scrutiny, the number of layers she paints
they are always ready to gaze back at you. As in order to create her signature vibrant and well-
you are taking a closer look at their multicolored blended multicolored works becomes even more
features, seemingly embossed skin, and ornate apparent.
fineries, they would challenge you to a staring
contest. In the back of our minds, we can sense Nevertheless, because painting peculiar
that - at the slightest hint of an invitation - they creatures is one of the sources of her happiness,
would jump out of their portals and reach us. she doesn’t consider her workload a hardship.
The question is: Are we ready for them? While listening to recorded Rakugo (traditional
Japanese comedic stories that were written
According to Yoko d’Holbachie, the striking several hundred years ago) and sipping a litre
creatures in her paintings have been living inside of smoothie or non-caffeinated soy latte, she
of her head ever since she was a young child; improves her painting skills while enjoying the
and once she’d learned the fundamentals of things she loves on a regular basis.
drawing, she started to bring them into existence
one picture at a time. And now, with her current What many people do not know about the artist
drawing and painting skills, she makes it possible is that she is a mother of a young child; and
for hundreds of these creatures to migrate from when she is not painting, doing housework, or
the imaginary realm into corporeal existence. having a great time with her child at the zoo,
amusement park, or ocean-side playground,
In a way, every artwork is a self-portrait of its she teaches figure drawing and character
creator. To discover an artist’s true self, we only design to first year students at an art school in
need to take a closer look at the artist’s works. Tokyo. When asked for advice on how to create
Even at a fleeting glance, no one can miss the fascinating artworks in the pop surrealism genre,
vibrant whimsical joy and playful liveliness that she emphasizes the importance of immersing
emanate from Yoko d’Holbachie’s paintings. one’s self in one’s dream world; and if your
Without a doubt, these works can only come imagination is too abstract, she recommends
from a spirited, childlike, and fun-loving artist. translating your imagination – little by little
By her own admittance, childlikeness is the – into gradually more concrete and easier to
essence of her works. It is something she aims fathom forms.
to maintain by continuing to do the things she
loves to do. At the moment, Yoko d’Holbachie is working
on numerous artworks for her seven upcoming
Childlikeness, however, is not the same as exhibitions in 2017 including: Sensory Overload
childishness; Yoko d’Holbachie’s work is not Group Show at Corey Helford Gallery, Los
entirely fun and playfulness. She creates her Angeles in January 2017; Wings of Lore at Alexi
work methodically almost every day, starting Era Gallery, Eugene, Oregon in March; a mini
from 3 am until noon, without stopping and solo exhibition at Copro Gallery, Santa Monica
without eating. Each one of her paintings is in June; the beautiful.bizarre curated group
meticulously planned. She starts her work by exhibition Heart’s Blood at Haven Gallery,
creating a sketch which she fine-tunes until Northport, New York in September; and Hide
she feels completely satisfied with the way it and Seek at Waswal Gallery, Tamworth, NSW,
looks. Then, she transfers the sketch onto a Australia in December.
www. dh olb a ch ie . c om | Wor d s : M iu Ve r m ill ion
Ba ku (D re am E ate r and G ir l ) , 2 0 1 5
Acr yl ic on co at ed p a n e l , 1 4 ” x 1 8”
p rev i o u s p a ge :
Vir g in an d B e ast , 2 0 1 4
Acryl ic on co at ed p a n e l , 1 6 ” x 1 2 ”
t op:
Fate in the Tail, 2 01 4
Ac r y l ic on c oate d b oa rd , 1 4 ” x 1 1 ”
bo tt om:
Pandora’s Hope, 2 01 5
Ac r y l ic on c oate d b oa rd , 18” x 1 4”
o p p o sit e page:
Ve nus, 2 01 4
Ac r y l ic on c oate d b oa rd , 9” x 1 2 ”
72 |
NAKED HORSE, 2016
beautiful.bi za rre
Acrylic on coated panel, 12” x 16”
top lef t : t o p r ig ht :
Naught y Hear t, 20 11 Se e d s (Hainuwe le ) , 20 12
Acry lic on coat ed panel, 10 ” x 16 ” Acr yl ic on co at ed p an el , 16 ” x 21”
bo t t o m le f t : bo t t o m r ig ht :
Goddess Ba s t, 20 12 Th e Wor ld Tur nin g , 20 12
Acry lic on coat ed panel, 13 ” x 18 ” Acr yl ic on co at ed p an el , 21” x 29 ”
op p o s i t e pa g e :
Judit h , 2 015
Ac r yl ic on c oate d pa n e l, 14” x 1 8”
Happy World 2, ( With Smile), 2 01 2

Ac r yl ic on c oate d pa n e l, 18” x 2 4”
t o p le f t : t o p r ig ht :
Ay ida Weddo , 20 12 Moth e r Unive r s e , 20 16
Acry lic on coat ed panel, 1 5” x 1 8 ” x 0 .8 ” Acr yl ic on co at ed p an el , 14” x 18 ”
bo t t o m l e f t : bo t t o m r i g ht :
The Beginning and t he En d , 20 16 Tre e of Life , 20 16
Acry lic on coat ed panel, 16 ” x 20 ” Acr yl ic on co at ed bo ard, 14” x 11”
Stillness, 2015
Acrylic on coated panel, 12” x 16”
EXCLUSIVE
CONTENT
Click Here!
P O L I N A W A S H I N G T O N
“ T H E B E AU T Y OF A WOM A N MUST BE SE E N F ROM I N HE R E YE S,

BEC AU S E T H AT I S T H E D O ORWAY TO HE R HE A RT, THE PL ACE WHE RE
L OV E RE SI DE S.” AUDREY HEPBURN
Breaking the mould of ‘documenter’ is a The artist, or visual explorer as she likes to
challenge that many photographers face. call herself, is often the subject of her own
But a greater challenge still is the sometimes experiments with light and colour. Self-
arduous, life-long task of loving yourself portraits are an important part of her life and
– for herein lies true strength and beauty. her work, and began as a sort of ‘personal
P o l i n a Wa s h i n g t o n u n d e r s t a n d s t h i s visual diary’. “It was easy and comfortable
personally, crafting mysterious, gothic realms to work with myself. I didn’t have to explain
through her unique approach to analogue something, and didn’t have to hurry up. I had
photography. Although she fell into the art as much time and attempts as I needed…I
quite unexpectedly – stumbling upon some art was sure I wasn’t born pretty and had lots of
shots online – she says she’s always yearned to difficulties with accepting my appearance,
create something special that was connected but those regular shootings helped me to
to her personality; to express her feelings, her change my mind. It gave me confidence
vision, her emotions through imagery. relating to people and in everything I did. As
I’d been exploring my personality through the
“But it wasn’t so easy,” Polina explains. “Using self-portraits, it also did well in developing
regular plots, techniques and instruments my vision. Understanding my true nature,
couldn’t help me to go deeper into my nature. I was able to use this knowledge in regular
I had to find something new to me, where shootings. So everything was connected.” As
I could truly feel myself inexperienced as a she discovered and became sure of her own
child, because my knowledge in photography beauty, others around her discovered it too.
with all these rules I’d learned in a University
made me numb. So I started working with The melancholic atmosphere of St. Petersburg,
colour film and the multi exposure method. coupled with her studies as a director of
I’d been learning to accept colours and to photography, helped influence and motivate
work with them for a long time, and double her. These days, she paints the colours in her
exposure was a huge field for experiments. life and the process is never the same. Initially
It was like starting photography from the she will go out in search of an impression. “I
beginning. And all this helped me to break my love walking long distances, it’s refreshing.
visual borders and let something new appear But I can even shoot without leaving my
in my shots.” place – if there’s an interesting light or my
mood is very creative I can figure out to shoot
M a ny o f h e r o t h e r w o r l d l y s c e n e s b l e e d something in my room. But your emotional
into one another, giving one a sense of condition really matters. Sometimes I just feel
unravelling from the inside out and opening my creativity rise up… I take one image instead
up to the natural world. Polina uses woodsy, of hundreds and prefer to wait and explore. So
natural landscapes to create an atmosphere the shooting is really slow – no rush. I need
and a ‘colour harmony’ in her compositions. time to feel something. As a cameraman you
“I didn’t want to capture reality as I saw it. I always spend a lot of time to create the ideal
wanted to transform it. The documentary frame. I see it changed my understanding of
side of photography wasn’t interesting for the photography process.”
me from that moment. That’s how those
dreamscapes were born. I also didn’t plan Polina is currently working on an abstract
to make it in this way, but the mix of my photography project called Bloom, the results
interests, my surroundings and mood created of which are always a surprise to her. She
those dark visions I’ve been shooting for also uses Etsy to sell her prints, and is an avid
several years.” social media sharer.
www. pol i n awa sh i n gton . c om | Wor d s : K i m C row ie
A Bir th of a Fe e li n g , 2 0 1 6
So aked 3 5 m m co lo u r n egat ive f il m , do u b l e
ex p o s ure, 4 0 c m x 6 0 c m
Sp ar k of L ig ht , 2 0 1 4
So aked 3 5 m m co lo u r n egat ive f il m , do u b l e
ex p o s ure, 4 0 c m x 6 0 c m
Mercy of Pro tection, 2015
So aked 3 5 m m co lo ur n egat ive f il m , do ubl e ex p o s u re, 40 c m x 6 0 c m
Mate ria Prima, 2014
S o ake d 35 m m c olour n egative film, double exposure, 4 0cm x 6 0 cm
A Grief, 2016
So aked 3 5 m m co lo ur n egat ive f il m , do ubl e ex p o s u re, 40 cm x 6 0 cm
Self, 2016
So aked 3 5 m m co lo ur n egat ive f il m , do ubl e ex p o s u re, 40 cm x 6 0 cm
Farewell Sweet Earth, 2014
So aked 3 5 m m co lo u r n egat ive f il m , do ubl e ex p o s u re, 40 c m x 6 0 c m
The Hidden One, 2013
So aked 3 5 m m co lo u r n egat ive f il m , do ubl e ex p o s u re, 40 cm x 6 0 c m
Moss Bride, 2014
Soa ke d 35 m m colour negat ive film, double exposure, 40 cm x 6 0 cm
Fern, 2015
Soa ke d 35 m m colour negative film, double exposure, 40 cm x 6 0 cm
Black Fang, 2012
S o ake d 35 m m c olour n egative film, double exposure, 30cm x 40 cm
The Conversation, 2016
So aked 3 5 m m co lo u r n egat ive f il m , do ubl e ex p o s u re, 40 c m x 6 0 c m
EXCLUSIVE
CONTENT
Click Here!
R O D R I G O L U F F
“ O S Y LVA N W Y E ! T HOU WA N DE RE R THRO’ THE WOODS, HOW OF TE N

H A S MY S PI RI T T U RN E D TO THE E !” WILLIAM WORDSWORTH
Picture the most peaceful woodland setting you school he studied traditional life drawing and
have ever experienced in your mind, then put painting at the Julian Ashton Art School in
there the figure of a woman, at ease with her Sydney. When at high school Rod saw his
surrounds, peacefully at one with nature. Can future as a comic artist or illustrator, and despite
you see it in your mind’s eye? This is just the changing his career goals to traditional painting
starting point of the work of Australian painter Rod has continued to be influenced by the
Rodrigo Luff. From here he adds a luminescence magical and imaginative elements of those
that is at once startling in its glow, a limpid earlier forms. His admiration of the works of
aurora caressing the figures it envelops, but JW Waterhouse, Dali, NC Wyeth, John Millais,
also so right, as if the very essence of nature Mucha, Klimt, James Jean, and the films of
has become visible to our eyes, protecting its Miyazaki, Luis Ricardo Falero, Jules Bastien-
children in a shroud of the force of life. Lepage and Herbert Draper have contributed to
the unique style he calls his own.
The life-force of nature also imbues the surreal
elements that Rod introduces to his work, certain That style does not come easily, Rod’s technique
recurring symbolic beings who act as not only is painstaking and highly detailed, and each
the protectors of nature but also as the ideal of piece he produces, using methods honed
humanity’s interactions with the natural world. through years of trial and error, is weeks in
If only we would listen to nature, attempt to live the creation. For Rod often the hardest part is
within that world rather than imposing our own to know when to step away, to call the piece
order on it, or as is often the case, obliterating it complete. Even then he will move on to other
completely. tasks, only to revisit the piece after a time,
satisfying himself that it is indeed finished.
“The owls are totemic in my work, they have an
ethereal presence that is captivating and they’re “Considering that attention to detail, it’s difficult
capable of such a wide range of expression that I to step away! But lately I have been forcing
don’t think I can ever paint them enough. I think myself to stop once additional brush strokes
they evoke that eerie sensation that artist Paul fail to improve the overall effect. At that point I
Klee noticed, “In a forest I have felt on certain usually hide it away to work on something else
days that the trees were looking at me”. The owls and come back to it later with a fresh eye, but it’s
are emblematic of mysterious and chaotic forces taken me years to learn that.”
in nature that we can engage with to some
extent, but never fully understand or escape. Considering the process that he uses it is
astounding that Rod manages to be as prolific
The Sun Face embodies this at the most basic level as he is, having participated in numerous group
as an abstract form of glowing awareness. The shows and holding solo exhibitions in the US,
luminous, sensual energy that infuses the creature Europe, and Australia. Coming up for Rod is a work
refers to the experience of “transversal ecstasis”, for Thinkspace Gallery, Los Angeles, to be shown
losing oneself to the world in euphoria, reverie and at SCOPE Art Fair during Art Basel Week in Miami.
fascination. The tentacle appendages are symbolic There’s also the next instalment of the Moleskine
of the tactility of light and its ubiquitous presence Project, which Rod co-founded, coming to Spoke
in daily life, from technological devices or natural Art, San Francisco in July 2017, as well as the 2nd
forms, which can either embrace or bind us.” volume of the published Moleskine Project. He will
also be continuing to participate in group shows
Born in El Salvador, Rod moved to Australia as well as preparing for a solo exhibition with
with his family early in his life, where on leaving Thinkspace Gallery in the next few years.
www. rodlu f f . c om | Wor d s : Ric h a r d P u r s s e y
Ne m e t on a, 2 0 1 5
O il p aint in g on birch p a n e l , 1 8” x 1 4 ”
Radi at or , 2 0 1 3
Pen cil , co lo u red p en cil , p as te l , i r i de sc e nt
m edia an d acryl ic wa sh , 2 1 ” x 1 1 ”
130 | beautiful.b i za rre
o p p o s it e pa g e :
Sym b ios i s , 20 1 6
Oil on pape r, 9” x 1 2 ”
Saw W he t Tri ad, 2 01 6

Oil on plywood panel, 6” x 6”
o p p o s it e page, t op:
Embrace, 2 01 6
Oil on p aper, 8” x 1 0”
o p p o sit e page, bo tt om:

Plasma II, 2 01 6
Oil on b irc h panel, 1 2 ” x 1 2 ”
Solit ude, 2 01 6
Oil on plywood panel, 9” x 1 2 ”
o ppo s i t e pag e :
Se ntr y, 201 3
Pen cil , p as t el , irides cent m edia, co lo u re d
p en cil , acryl ic an d oil p aint , 11” x 16 . 5”
D ay bre a k, 20 1 5
O il on p ap er , 10 ” x 1 0 ”
b e aut i f ul .b i z a r re | 135
Nemeta, 2016 Cascade, 2016
Oil on plywood, 16” x 28” Oil on paper, 11” x 14”
QAPA
Queer Art Prize Australia
Media Partners
$5000 non-acquisitive art prize and exhibition
to celebrate LGBTIQ art in Australia
ENTRIES CLOSE 11 DECEMBER 2016

www.queerartprize.com.au
Chapel off Chapel (Prahran Victoria)

13 January to 5 February 2017 Australian Arts Review
Queer Art Prize Australia is a not-for-profit initiative run by Australian Pride Network (ABN: 52 551 990 041) australianpridenetwork.com.au
Follow us on Facebook facebook.com/queerartprizeaustralia
EXCLUSIVE
CONTENT
Click Here!
M I H O H I R A N O
“THE COOL WIND BLEW IN MY FACE AND ALL AT ONCE I FELT AS IF I HAD SHED
DULLNESS FROM MYSELF. BEFORE ME LAY A LONG GRAY LINE WITH A BLACK MARK
DOWN THE CENTER. THE BIRDS WERE SINGING. IT WAS SPRING.” BURL IVESCHEKHOV
To view Miho Hirano’s painting is to be immersed Thoroughly innocent and unsullied, though many
in beauty and serenity. Each canvas is like a portal of them are nude or covered with nothing more
to an alternate realm where people are enveloped than water-soaked white gowns, they are not self-
by the tender and nurturing embrace of perpetual conscious about their state of undress. In their
spring. If we look at each painting long enough, Eden, they are safe and loved; and they absorb the
we can feel a slight chill on the back of our upper beauty, gentleness, and peacefulness from their
spine. Although we shiver, we know we are inside surroundings and pass them onto us.
a safe haven. The tranquil smiles of the women in
the paintings give us all of the assurances we need. Deeply inspired by John Everett Millais’ Ophelia,
depicted as a lovely figure floating on water
Buoyed by the soft wind that never ceases to amidst beautiful flowers in a natural landscape
deliver new beginnings, and by the gentle stream moments before she drowned, Miho often
of water that continually purifies and sustains portrays the characters she paints in a similar
them, the women in Miho Hirano’s paintings ambience. Instead of looking at Ophelia as a
are preserved in their pristine ethereal state for tragic figure, Miho focuses on the beauty of the
eternity. It’s not because they are too fragile to face water that purifies Ophelia’s entire being. In that
the world, but because nature loves them so much river, Ophelia is not a drowning broken-hearted
they are not willing to part with their unsullied woman who had lost her sanity. Not anymore.
loveliness. Nature has welcomed her into its embrace and
washed away all of her pain and impurity. At that
Just like the women she paints, there is a quiet very moment, nature transfigures Ophelia into a
strength at the core of Miho Hirano’s soul. Upon legend. Likewise, nature transforms Miho Hirano’s
facing harsh critiques at the early stage of her characters into mythical beings, albeit of more
career, she let the painful memories wash over her tranquil varieties.
and let their impact propel her to become a better
artist. Even so, it doesn’t mean that these women are not
going to lash out when provoked. Along with the
It’s hard to believe that Miho started her career gentle and nurturing qualities they absorb from
as a professional artist less than a decade ago. nature comes the roiling and self-preserving force
She learned oil painting at her high school’s art that sustains and protects them. Hurt them, and
club. Afterwards, she continued her studies at the they swiftly strike back at you; and nature – with
prestigious Musashino Art University in Tokyo the full force of her possessive affection towards
where she learned that the ability to express them – is going to hurl you out from that paradise.
one’s internal thoughts and emotions through
one’s works is more important than technical Miho paints almost every day until around
virtuosity. Her ability to imbue her paintings with midnight, and is currently working on numerous
vivid emotions is the source of gravity that draws pieces for her next solo exhibition at Corey Helford
people to pay closer attention to her works, and Gallery, Los Angeles in December 2017. She is also
the alchemical element that turns the characters in the process of creating a brand new painting
she paints into benign sirens who entice us to stay for the beautiful.bizarre curated group exhibition
many minutes longer. Heart’s Blood at Haven Gallery, Northport, New
York in September 2017.
Unlike the dangerous and hostile sirens in Greek
mythology, Miho’s sirens merely invite us to rest “The beautiful spring came; and when Nature
our weary souls for a little while. Their feminine resumes her loveliness, the human soul is apt to
bashfulness and gentle smiles mask no malice. revive also.” - Harriet Ann Jacobs
www. m i h oh i ra n o. st ri k i n gly. c om | Wor d s : M iu Ve r m ill ion
Bre ath （息吹 ) , 2 0 1 5
O il on canv as , 2 0 . 8” x 1 7 . 9 ”
prev i o u s p a ge :
Twin klin g Win d ( 瞬く風 ) , 2 0 1 4
O il on canv as , 3 5. 8” x 4 5. 9 ”
Affection（自慈), 2015
Oil on canvas, 14.9” x 17.9”
She goes of the flow (移ろうままに), 2015
Oil on canvas, 12.5” × 16.1”
opposite page:
Loop, 2016
Oil on canvas, 21” × 25.5”
Spring whistle（春の口笛), 2015

Oil on canvas, 10.7” × 17.9”
Ouka (謳歌), 2012
Oil on canvas, 20.8” x 31.6”
Temptation ～ Magnolia ～(誘惑～木蓮～), 2014 - 2016
Oil on canvas, 21” x 21”
The Feast ～ Hydrangea ～（うたげ～紫陽花～), 2014 The Feast ～ Morning Glory ～（うたげ～朝顔～), 2014
Oil on canvas, 32.2” x 12.5” Oil on canvas, 32.2” x 12.5”
Elizabeth mcGrath
EXCLUSIVE
CONTENT
Click Here!
E L I Z A B E T H M C G R A T H
“ NO A RT I S PO S S I B L E W I T HOUT A DA NCE WI TH DE ATH.” KURT VONNEGUT JR
Hollywood-born mixed media artist and sculptor her sanity by escaping reality and creating
Elizabeth McGrath has absorbed a frightening distracting new worlds she has control over.”
amount of humanity in her time, having lived
and worked in the Skid Row area of downtown Liz, who has produced two, full-length
Los Angeles for the past twenty years. As the monographs containing images of her work,
daughter of a disaster manager for the L.A. attended Pasadena City College for fashion design
County morgue, a rebellious teenage Liz could be in the 80s and later took various art classes there.
found helping Dad tie toe tags onto the deceased “My painting teacher,” she stated, “wanted me to
(as court-ordered community service she earned explore a variety of mediums which really inspired
for her antics). Not only has she seen her share me to experiment. My first paintings weren’t as
of corpses, Liz has experienced the plight of the successful as my dioramas, and though I loved
less-fortunate firsthand: “My heart breaks for painting, I pursued more of the 3D mediums.”
the homeless people of L.A. who walk around
terrified of their environment, disheveled, dirty Liz’s 3D ventures begin as armatures formed from
and crazed.” a combination of wood, wire, and Styrofoam.
Next, a two-part resin epoxy clay like Magic
At thirteen, Liz spent two years at a Baptist reform Sculp is applied over the armature. The piece
school for girls, where her religious parents is then sanded, airbrushed, and often covered
hoped she’d depart from her interest in punk with clothing, fur, and glittering jewels, until
rock culture. Instead, she learned to dissociate an intricate, dapper creature (a wonderment
from the school’s severe forms of discipline conceived in the fever-dreams of a chic
(which included locking Liz in a closet for three zookeeper) is born.
months) and mentally travel to imaginary worlds:
“Through my experiences there, I live mostly in But McGrath doesn’t stop here. What makes her
detailed day dreams. The times I feel I am truly sculptures ultra-unique, ultra-enchanting, are the
present are when I am creating these things that I holes she carves into her animals, wherein tiny
imagine.” A few years later Liz was back into punk, worlds - illustrating the “gut emotions” existing
performing as the lead singer in the 90s band behind false serenity – tell minute, powerful stories.
Tongue, and later with her husband in their band
Miss Derringer. In the green stages of development, McGrath
visits libraries and coffee shops where she
So how does Liz convey this fearlessness of produces preliminary sketches. Once building,
spirit - this grit - in her art? By making creatures she’ll listen to music sung in a language she
that are “inspired by the relationship between doesn’t understand so she stays focused on the
the natural world and the detritus of consumer task. She also listens to audio books - the longer
culture.” Creatures and worlds that are heavily the better - as her work is time-consuming and
influenced by her childhood visits to the repetitive. “A good story,” she says, “keeps me
wondrous and dark Tiger Balm theme park in anchored and helps me to finish.” Currently, Liz
her mother’s Singapore, and the style of “visual is producing work for her upcoming exhibits
masterminds” like Tim Burton and Stanley at Corey Helford Gallery in L.A. in late 2016, and
Kubrick. BeinArt Gallery in Melbourne on August 26, 2017.
Similar to the way in which carnivals influenced So the next time you’re strolling through a
a young Ray Bradbury, the Tiger Balm theme beautiful cemetery, imagine a rendezvous in
park - which features anthropomorphic animals which Liz’s creatures - crouching, glittering, and
similar to Liz’s, and a man-made dark cave filled snarling – have come to meet you. It’s a thrill
with illuminated dioramas – was internalized not unlike a love affair with an exotic ghost;
by the artist, who now uses those memories of suspenseful, euphoric, and forbidden.
childhood horror and enchantment to “preserve
www. e l i za b e t h m cgrat h . c om | Wor d s : Je n n i fe r Su s a n Jon e s
Th e Ey e s of O p h e li a, 2 0 1 2
Mixed m edia, re si n e pox y a n d
24k go l d l eaf , 1 8” x 1 6 ” x 1 2 ”
Th e Entan g le m e nt , 2 0 0 9
Mixed m edia, re si n e pox y a n d
24k go l d l e a f , 54 ” x 53 ”
Dandy Lion , 20 0 8 Blue, 20 0 6
Mixed medi a, resi n epoxy and wood, 1 5” x 15 ” x 4” Mixed m edia, res in ep ox y, wo o d an d f au x l eat h er, 18 ” x 29 ”
bo t t o m le f t : bo t t o m r i g ht :
Polar Wonder W here , 20 0 7 Lion e s s , 20 0 8
Mi xed medi a, 2 0” x 28 ” x 16 ” Mixed m edia, res in ep ox y, wo o d, 14” x 14” x 3 ”
Cerebus, 2012
Mixed media, 24k gold leaf and Swarovski crystals, 16” x 15” x 15”
The White
Green 2014
Lady, 2016
Goddess,
Mixed media, resin epoxy andon
Acrylic 24k gold20”
panel, leafx and
30”
Swarovski crystals, 20” x 10” x 10”
84 | beautiful.biza rre
le f t :
Savoy, 20 07
Mixe d me dia , re si n epoxy, 4 4” x 2 2 ” x 2 2 ”
t o p , r ig h t :
The D i k D i k , 2009
Mixe d me dia , 24” x 33” x 9”
b o tt o m , r ig h t :
Blue B unny Spe cial, 2 007
Mixe d me dia , 17 ” x 9” x 9”
T h e Folly of St Hub e rus, 2 01 2
M i xe d me dia , re sin e poxy, 2 4k gold leaf
an d Sw a rovski c rystals , 2 4” x 1 5” x 2 4”
op p o sit e pa g e :
Lil Loc o & Mue rte , 20 08
M i xe d me dia , 6” x 9” x 4” b e aut i f ul .b i z a r re | 87
lef t :
Th e Hun g e r, 2 0 1 2
Mixed m edia, 1 7 ” x 9 ” x 9 ”
r i gh t :
Lor d C r an e , 2 0 1 0
Mixed m edia, am et hys t cr ys t al s , 2 3 ” x 1 1 ” x 9 ”
The Royal Weasles, 2006
Mixed media, resin epoxy and polymer clay, 13” x 6” x 6”
Mann | Gandy | Wilson
Three Person Exhibition
Greg Gandy • Looking Down Post Street Towards Downtown • 18 x 18 • Oil
Jeremy Mann • Note In Pale Green No. 7 • 14 x 11 • Oil
December 9, 2016 - January 7, 2017

Opening Reception:
Friday, December 9, 6-9 pm
Timothy P. Wilson • Dusty Mirror (Sketch) • 20 x 20 • Oil
1261 Delaware | Denver, CO 80204 | 303.571.1261 | 888-626-1261 | gallery1261.com

EXCLUSIVE
CONTENT
Click Here!
R E B E C C A L E V E I L L E
“A L L A RT I S E ROTIC.” GUSTAVE KLIMT
A flourish of sultry pink roses and sun-kissed or romantic.” Questions about the nature of
gold leaves fill the eye. A man caresses a beauty, the male gaze, societal expectations,
woman, and fervent, playful desire plays upon are all explored to produce Rebecca’s paintings.
their faces. This is the romantic and bold work Her work is deeply personal, and acts as a way
of Rebecca Leveille. Born to be an artist, her for her to explicate her philosophies on the
mother had attended Mass Art in Boston and monumental subject of life. Rebecca counts
fully fostered Rebecca’s creative inclinations. her own experiences as inspiration, “I’m giving
The constructive criticism and benevolent the viewer a piece of the dialogue that is in my
praise of her mother was plentiful. “She always heart, sharing my conflict, sharing my duality
said that I could be an artist but that it would as it relates to ideals.”
just take a great deal of work and commitment.”
Re b e c c a i s a b e a c o n o f p o s i t i v i t y a n d
Like many artists Rebecca evolved stylistically objectivity. Her advice for young artists striving
and conceptually, but her well of inspiration for success is to be absolutely loving, and
is vast. She gives a nod to comic book the end product she creates is imbued with
illustrators, “I soaked in huge amounts of authenticity. Rebecca asserts, “try not to work
f i g u re i n fo r m a t i o n t h ro u g h o b s e s s i v e l y for approval, but try to make something that
copying people like John Byrne and Paul feels entirely true to you. I think this is a very
Smith.” Looking at Rebecca’s work one can hard thing to do. I struggle with it all the time.”
immediately discern a beautiful attention to As a woman within the artworld she feels the
anatomy, while the vivid line work of graphic incredible opportunity to be a model of bravery
novels and comics is also apparent. Black lines through her work and approach. She strives,
curve around each figure in a breathtaking “to be brave enough to not shy away from the
flow. Rebecca also gleaned an illustrative imagery, and to find a nuanced and evocative
romanticism from N.C. Wyeth, “...we had an old way to bring across what I want to say.”
copy of Rip Van Winkle that I adored.”
Evocative is a choice word for Rebecca’s work
Rebecca attended Pratt Institute for illustration which simmers with fluid sensuality. Each
because the painting program lacked any focus canvas is alive with a captured moment in
on the figurative but, after graduating, moved time, like a quick intake of breath during an
smoothly into a successful illustration career. awe-inspiring moment. Pastels and bright
Though illustration was her first serious in- colors come together to harmoniously
depth artistic exploration, Rebecca became celebrate the female perception. Her portrayal
unfulfilled. “I no longer wanted to create of the female form often serves as an antithesis,
images that were attached to marketing or a mirror image, to the countless depictions of
product. It became too hard as an artist to female nudes from the male perspective that
squeeze myself into someone else’s narratives one can find in the annals of art history.
and characters.” Rebecca set out to create a
gallery-ready portfolio and fully devoted herself Rebecca’s depth and perceptive intuition
to the new venture. permeates the paint and brings to life a vision
of utopian power play. Currently working
While Rebecca’s work is almost hypnotically on her next solo show for Site:Brooklyn,
alluring through color and form, there is also partnering with R.Michelson Galleries, she
a plethora of complex concepts that support notes that the new work will be “expanding
her artistic output. “I feel like I’m always on the soulful beauty of an unexpected face,
pushing into what I want to say, every day that person, or moment.” Swirls of oil paint will
I go into the studio, digging further into the dance in celebration of the divine transience
emotions that are not always pleasant or pretty of reality.
www. rle ve ille . c om | Wor d s : Ju s t i n e Mor row
W h at Lie s B e n e at h , 2 0 1 6
O il on canv as w it h go l d l e a f , 2 0 ” x 3 0 ”
Sava g e G ar de n , 2 0 1 6
O il on canva s, 3 0 ” x 4 8”
Red Sugar, 2015
Oil and gold leaf on canvas, 48” x 60”
opposite page:
Iriza D’ Orsay, 2016
top:
The Acrobat, 2016
bottom:
Monsters, 2016
M ae na ds , 20 16
Oil a n d g litte r on c a nvas, 4 8” x 36”
98
26 || beautiful.biza
beautiful.bi zarre
rre
opposite page:
Paper World, 2015
top:
Little Fish, 2013
bottom:
Time and Chance, 2014
The Dreamer, 2015
Give Me Pretty Things, 2016
Oil, gold leaf and resin on canvas, 36” x 36”
EXCLUSIVE
CONTENT
Click Here!
N E I L C R A V E R
“ L I FE I S NO T H I NG I F YOU’RE NOT OBSE SSE D.” JOHN WATERS
The mystery of water is described by American he studied commercial photography at Randolph

photographer Neil Craver with an overwhelming, Community College in North Carolina.
inquisitive thirst. He curiously imparts, “I like the
innate power of water to create and destroy in the However creatively talented, Neil has more up his
same wave of energy. It’s only from a human’s sleeve than unbridled artistry. It took a very specific
point of view that we label each one good or skill set to endeavor the challenges presented
bad; helpful or harmful. Our first 9 months we in creating Omni-Phantasmic. “If I weren’t an
start floating in our mother. How strange to be adventurous, high energy kid from the country, I
floating in a container inside a human body - also wouldn’t have been able to produce this work. If I
made from water. How powerful it could be to weren’t motivated by an artistic perfection I wouldn’t
retrieve the memory of what that water had been have had the patience to produce this work. My
before it started forming human organs. Could physical abilities were a key factor in getting the
it have flooded a valley of dinosaurs, been the perspective that I needed, to give the series clarity I
urine of Jesus, or the fluid of a dragonfly’s eye?” desired. Free diving with only my goggles and camera
This is the unique mind of Neil Craver. repeatedly under the submerged forest of trees was
extremely taxing! Twenty feet below the surface, in
Neil uses photography to illuminate an intangible imminent danger from loose boulders and broken
realm, far from the architecture of mundane branches surrounding me and with no real lifeline.
societal expectations. His Omni-Phantasmic I’d do this over and over again until either myself or
series embodies fluidity between physical the model was absolutely exhausted. Due to this risky
form and the metaphysical, employing water environment, many people each year drown just
as a powerful metaphorical abettor for his playing in rock quarries. One of the major obstacles
subjects. “I wanted a subliminal composition,” that you don’t realize when viewing the somewhat
he says, “to create an undertow of messages pleasant moments in the series, is the complexity
to stress the strong influences of unconscious of variables, time of year, time of day, hypothermia,
elements affecting and driving people’s lives.” possible drowning etc. My focus in anything I set
Subliminal or not, you are coming in loud and clear, out to do is definitely to have fun while doing it,
Sir. so I guess I am a bit of an adrenaline junkie with
the calm patience of an artist! If it’s not dangerous
Neil’s lens is an empathic kaleidoscope. You are it’s probably not worth doing, words to live by.”
compelled to appraise the stir inside when looking Words to live by, indeed.
at the Omni-Phantasmic series. While the stuff
is of beautiful photographs, skill, and artistry; In the coming months, Neil plans to work on a new
the substance is indefinite. It is the bestowal of a photo series with yoga practitioners in picturesque
personalized epiphany for each viewer. “Their life settings, particularly in Australia. He has a gallery
floods into my compositions with their emotions, showing of Omni-Phantasmic in New York City
fears, and rationalities ultimately controlling their coming up in May 2017, and is working to have a
final experience of my work,” he says, as I consume new series/book well under way by then. Oh, the
this work voraciously…uniquely. How privileged anticipation!
we are to know of this intention—to know that this
feeling is custom made especially for us. Until then, I recommend feasting on this
underwater trove of intangible treasure. “The
Neil grew up in rural North Carolina, where his elements symbolize the fluidity of the unconscious
creative endowment first revealed itself at an early and the rigidity of the conscious. This project is
age. His interest in the arts formulated itself in meant to be consumed with your emotions, and
nature as a small child, when his path began, in not simply perceived with your sensory organs.”
part, in figurative sculpting before evolving into the ...And don’t forget to look for the ever-present
photography he creates today. After high school, phantasm in your own subconscious.
www. n e ilcr ave r . c om | Wor d s : K r i s t y Se n ko -H all

Ps ych o lo g ical Tr aj e c t or ie s, 2 0 1 1
No ctur n al Kn ow le dg e , 2 0 1 1
106 | beautiful. b i za rre
o p p o sit e pa g e :
D is manting Conne c tions, 2 01 1
An c ient Anc hor, 2011
Fr a cture d Atla s , 20 11
108 | beautiful. b i za rre

Intrins ic Inundat ion, 2 01 1
D e lu s ion Illu s ion , 20 11

Manufa c turing Cont ent , 2 01 1
o pposi t e pa ge :
So lvin g So lv e nt s, 2 0 1 1
Invis ible E s c ap e , 2 0 1 1

Ema Frost
AN EXHIBITION OF WORKS & GOODIES BY NEW ZEALAND ARTIST EMA FROST
ORA Gallery,
51 7th Avenue, NY
3 -24 December
Opening weekend Sat Dec 3rd
www.oranygallery.com www.emafrost.com hrs wed-sun 1-7pm
EXCLUSIVE
CONTENT
Click Here!
H A N N A H Y A T A
“IT IS C OM MONLY K NOW N BY I N DIG E NOU S P E OP L E T H AT H IG H-F RE QU E NC Y

VIBRATIONS AC TIVATE C ONS C IOU SN E SS, NOU RI SH W H AT I S H U NG RY OR W E A K ,
HEAL W H AT IS S IC K , A ND INV IT E I N T H E MOST LU M I NOU S F ORC E S OF NAT U RE .”
ARKAN LUSHWALA
You’re looking at a closed box in front of you. Striations of color roll out like carpets, characters’
Opening it sends waves of colors streaking at you, necks exploding with highly saturated pigments.
propelling you backwards with punching vigor. Nude feminine figures blend into animals amongst
Strap yourself in. Ready? Let’s open the box..... impenetrable fog and lush landscapes on canvas.
Rarely, if ever, do Hannah’s protagonists have
New York City artist Hannah Faith Yata was born and human faces. Rather they are replaced with fish
raised in Georgia, US where she studied art, psychology heads and tribal masks and bulbous rainbows.
and feminism at the University of Georgia and Hannah describes the use of these as “masks”,
graduated in 2012. She has become very successful at a what we hide behind concealing our true selves.
young age, having countless international publications Nude figures represent the artist finding strength
and exhibits in her short career. Speed is involved also to overcome the lifelong teachings of shame and
in her creative process; she builds up her surreal oil diffidence, and to embrace the beauty of woman.
paintings lightning fast --straight from her head directly
onto canvas without preliminary sketches -- before “...the fish head became the original mask that I
finishing with carefully placed coats of varnish. became familiar with; something a part of nature
yet so numb in expression. The blank expression
Environmentalism and feminism heavily influences reflected my own struggles with feeling brainwashed
Hannah Faith Yata’s work, gaining inspiration from and insecure...She grew to encompass other spirit
the writings of Sigmund Freud, Eric Fromm, and Paul animals and other masks.”
Shepard. Subject matter is gained also from her own
treatment as a woman growing up that has resulted in Hannah Faith Yata has become more introspective as
a tumultuous relationship with her estranged mother. of late, with her last few paintings “Dancing in Delirium”
Hannah approaches the topic of objectification of being less forcibly vibrant than previous works. Though
women and destruction of the environment through still possessing that psychedelic vibe, the colors are
her smooth brushstrokes. Far from being static, figures more toned back and relaxed but still hold potency
embrace their bodies, strongly standing behind their and plenty of cheeky metaphors. Hannah’s use of
femininity not squandering it behind shame. They colors is directly related to her expression of emotion.
seem to be in constant motion, dancing about their Heightened tension results in heightened vibrancy.
hectic compositions. Born from vexation with chaotic Yata describes her choosing of colors like a well-crafted
world events Hannah strives to bring her viewers to science experiment; she has learned to balance color
that place in her oil paintings; the place where human, and can pair colors together to form catalysts that make
animal, and nature alike morph together to create her work bubble and ooze. She expresses thoughts and
equilibrium and mutual respect. feelings with oil paints, striving to infuse each piece
with energy and extend it out to the viewer.
“The industrial paradigm breeds an unnatural neurosis
with our divorce from nature and the spiritual “I feel like I am a translator of feelings onto canvas
disconnection we have from earth. I think we get with shapes and color. I do feel these emotions in
so wrapped up in movements or political agendas: color, but really to the extent that I’m able to translate
fighting this, helping that- we forget to analyze that in paint.”
ourselves: our way of life, and why certain things
are so appealing to us and why we are so influenced Future plans for Hannah includes exhibiting her
by certain imagery or ideas. Without analyzing the new body of work Dancing in Delirium. In addition,
framework of our being- our psychohistory and own Hannah plans to use her resources to help protect
human ecology- we will never stop our endless cycle the rainforest in Ecuador from oil companies and
of consuming what beautiful world we have left no deforestation, and visiting with native tribes that live
matter what kind of government is in place.” there.
www. h a n n a hy at a . c om | Wor d s : Ja c kie L e m m on

D aug ht e r s, 2 0 1 5
O il on canv a s, 4 8” x 6 6 ”
Th e In s anity De fe n se , 2 0 1 5
O il on canva s, 3 6 ” x 3 6 ”
o p p o s it e page:
Unre pent ant S usanna, 2 01 5
Oil on canv as, 2 4 ” x 30”
D evil’s Breat h, 2 01 6
Oil on canv as, 40” x 48”
Take Me Seriously, 2013

Supercalifragilistic, 2014
o ppo s it e pag e :
Icar us , 20 16
O il on p an el , 18 ” x 24”
t o p:
Ae th e r, 20 16
O il on canv as , 6 0 ” x 6 0 ”
bo t t o m :
In s omnia , 20 16
O il on canv as , 3 6 ” x 3 6 ”
Sublime Madness, 2016
opposite page:
Head Trauma, 2015

Claudia Ducalia
current exhibition:
corpus dei @Nero Gallery Nov 26th 2016
Jan 7th 2017
Via Castruccio Castracane, 9 Rome | Italy | www.nerogallery.com
EXCLUSIVE
CONTENT
Click Here!
S O E Y M I L K
“ S H E I S FRE E I N H E R WI L DN E SS, SHE I S A WA N DE RE SS,

A DROP OF F RE E WATE R .” ROMAN PAYNE
Like antique walls that have been repainted The incredible effortless ambiance Milk brings
and wallpapered over a series of generations, to her work is not without support and process.
so too Soey Milk’s paintings have many layers Milk’s paintings each have their own wonderfully
of vibrant pigments peeking through. Washes detailed preliminary drawing. These drawings
of baby blues and violets are set off by sparks serve as an experimentation to let her ideas
of orange and deep crimson swathes. At the cook. Adjusting, changing, and playing are all
center of the gracefully chaotic colors are part of creating the final painted version, but she
Milk’s nymphets; portraits of lovely women will also abandon uncompleted works. When a
perpetually gazing back with a sleepy sensual painting is too clearly envisioned, Milk reveals
gaze or wrapped in slick ropes and robes. that the preliminary sketch becomes mundane.
Everything on the canvas reads as slippery soft “It’s almost as if the surface needs to frighten
silk. me with its blankness, and then the state of ‘not
knowing’ fires up something inside me.”
Soey Milk grew up in Seoul, South Korea. The
mountains and foothills were her cradle of This sense of the unknown matches well with
life, and looking at her work now she cites Milk’s elemental playfulness. Many of her
the seasons of that land as inspiration. “The paintings include real flower petals, crushed
summers there were lush, and the winters icy crystals, or thread. Immediately when viewing
and shimmery.” But although the inherent Milk’s work a sense of solid textural quality
colors of South Korea’s landscape set Milk’s is clear. The expressive brushstrokes, the
“intuitive palette”, it was also cartoons and juxtaposition of soft skin in the foreground
manga that informed her work. After receiving and tumultuous scraps of brash color in the
one of Nicoletta Costa’s children’s books at age background, matched with Milk’s materials of
seven, Milk fondly recalls, “I drew her cats and dirt and ground gems, create a painted world
cookies over and over, probably hundreds of of absolute beauty. “I continue to ask myself
times.” Later on this fascination with line and ‘why not?’ When I need to set out to explore...
pattern transferred to an appreciation of artists it’s like adding spices to my pieces. I connect
such as Klimt and Antonio Lopez Garcia, but as to the different textures that they give. It’s just
a student Milk still continued to mostly indulge visually intriguing to me.” Experimenting with
in drawing. “Then, when I met Kent Williams, odd and unconventional components not
the painting party started.” only satisfies the needs of the artist, but also
produces what Milk calls her “visual timelines.”
Historically and consistently women have been Each painting, as Milk moves forward through
painted through the eyes of men, however Milk daily life, is created through her “human filter.”
shows that knowing the subject intimately can The imagery she works with naturally echoes
add a dimension of depth that creates a more her progression; new ideas, new perspectives
profound insight into the world of femininity. “I are sifted through her mind and hands to create
am attracted to drawing and painting the female a work that Milk hopes others can relate to.
figure because I understand it so well. After all,
we tell the stories we know.” Milk’s stories are Larger canvas size, pushing out of her
indeed well rooted in complete comprehension comfort zone, and, quite literally, playing
of the concept. Her subjects are entirely at ease with fire are all on the horizon. Soey Milk
within their frame, whether in strong repose, or will continue to experiment and revel in the
lolling about on a bed full of pillows, there is an freedom that multi-media presents. “Success,
ethereal, authentic elegance and poise. for me, is when I have learned a lesson.”
www. m il k b om b . blogsp o t . c om | Wor d s : Ju s t i n e Mor row

p rev io u s p a g e :
Flowe r of the Fifth Se a son, 2 01 6
Oil , drie d b loss om s a n d crushed fool’s
go l d on c a nva s , 28 ” x 24”
Oulid a , 2015
O il a n d drie d b los som on panel, 1 6” x 2 0”
A Particular Place, 2015
Oil and copper on canvas, 24” x 36”

Earthlings, 2015
Oil and dried plant matter on canvas, 36” x 36”
Hymenopus Coronatus, 2013
le f t : r ig ht :
Cir r u s , 20 13 My D ay s Have Be e n Q uie t, 20 14
O il on canvas , 24” x 3 6 ” O il on canv as , 24” x 3 0 ”
62
26 || beautiful.biza
beautiful.bi zarre
rre
Dawn, 2014
Oil on paper, 24” x 24”
Hollow Pollen No.2 (Cropped), 2016
Oil, resin and baby’s breath on panel, 36” x 36”
64
28 | beautiful.b
beautiful.bii za rre
The S cent Under t he Mo on , 20 13 Hidde n , 20 13
Pencil on paper, 10 ” x 12” Pen cil on p ap er, 10 ” x 12”
bo t t o m le f t : bo t t o m r ig ht :
The Q uiet O n e , 20 13 Mo on Blo om, Sn ow, 20 13
Pencil on paper, 10 ” x 12” Pen cil on p ap er , 10 ” x 12”
O N TH E R I SE
B E L L A H A R R I S
w w w. b e lla h a r r is . c o m
Thornheart, 2016
Charcoal, graphite, carbon, and pastel on tinted paper, 12” x 16”

O N TH E R I SE
L O R E T T A L I Z Z I O
www. lo re tt a liz z io . tu m b lr. c o m
The Love Song, 2016

Oil, watercolour and ink on paper, 300mm x 423mm
O N TH E R I SE
L A U R A C O L O R S
w w w. la u ra c o lo rs . c o m
Three Rings, 2016

Acrylic on wood panel, 11” x 14”

O N TH E R I SE
F A Y H E L F E R
w w w. f a y h e lf e r.c o m
Nepenthes (Pitcher Plant), 2013

Pyrography, natural pigment and pastel on wood, 16” x 20”
O N TH E R I SE
M A R I E L A R K I N
ww w. m a r ie la r k in . co m . a u
Force of Nature, 2016

Oil on canvas, 12” x 16“

O N TH E R I SE
E W A P R O N C Z U K - K U Z I A K
www. ewa p ro n c z u k k u z ia k . p l
Who killed Bambi, The Still Life series, 2015

Oil on linen, 80cm x 80cm
O N TH E R I SE
K I N D R A N I K O L E
ww w. k in d ra n iko le . co m
Of Withering Abundance, 2015

Mixed media; photograph on maple wood, resin glazed
Model: Suzanne Helen Steben

O N TH E R I SE
C A R L Y J A N I N E M A Z U R
w w w. c a r l y ja n in e . c o m
Doppelgänger, 2014
Oil and acrylic on board, 16” x 20”
O N TH E R I SE
L A N A C R O O K S
w w w. la n a cro o k s . co m
Anemone, 2015
Hand dyed silk, wool, beads, and antique brass under glass dome, 6.5” x 6.5” x 10”

O N TH E R I SE
C A R I S A S W E N S O N
www. g o b lin f r u its tu d io . co m
William’s Doll, 2013

Paper clay, wire, fabric, wood, mohair, acrylic paint, glass eyes, 14” tall

Bfakcdejg4h871i PDF

Uploaded by

Copyright:

Available Formats

Bfakcdejg4h871i PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Bfakcdejg4h871i PDF

Uploaded by

Copyright:

Available Formats

What is the magazine about?

What is the magazine about?

What mediums and styles of art are featured?

What mediums and styles of art are featured?

IS SUE 015 D E CE M BE R 2 016

CO-FOUNDER & ADVERTISE WITH US

Richard Purssey FIND A STOCKIST

ONLINE EDITOR www.beautifulbizarre.net/stockists

© Beautiful Bizarre Magazine. All

Kristy Senko-Hall Digital

NEXT IS SUE ON SA LE M A RC H 2 017

102 Neil Craver

130 Soey Milk

144 Laura Parsons Oversat

145 Fay Helfer

146 Marie Larkin

147 Ewa Pronczuk-Kuziak

149 Carly Janine Mazur

150 Lana Crooks

www. a n n a dit t m a n n . c om | Wor d s : Dyl a n Br ya nt

Bramble, 2015 Censor, 2015

“ N E V E R, E V E R U N DE RE S T I M ATE THE I MPORTA NCE OF HAV I NG F UN.”

www. dh olb a ch ie . c om | Wor d s : M iu Ve r m ill ion

Happy World 2, ( With Smile), 2 01 2

“ T H E B E AU T Y OF A WOM A N MUST BE SE E N F ROM I N HE R E YE S,

www. pol i n awa sh i n gton . c om | Wor d s : K i m C row ie

“ O S Y LVA N W Y E ! T HOU WA N DE RE R THRO’ THE WOODS, HOW OF TE N

www. rodlu f f . c om | Wor d s : Ric h a r d P u r s s e y

Saw W he t Tri ad, 2 01 6

o p p o sit e page, bo tt om:

ENTRIES CLOSE 11 DECEMBER 2016

Chapel off Chapel (Prahran Victoria)

www. m i h oh i ra n o. st ri k i n gly. c om | Wor d s : M iu Ve r m ill ion

Spring whistle（春の口笛), 2015

“ NO A RT I S PO S S I B L E W I T HOUT A DA NCE WI TH DE ATH.” KURT VONNEGUT JR

www. e l i za b e t h m cgrat h . c om | Wor d s : Je n n i fe r Su s a n Jon e s

Three Person Exhibition

Greg Gandy • Looking Down Post Street Towards Downtown • 18 x 18 • Oil

Jeremy Mann • Note In Pale Green No. 7 • 14 x 11 • Oil

December 9, 2016 - January 7, 2017

Timothy P. Wilson • Dusty Mirror (Sketch) • 20 x 20 • Oil

1261 Delaware | Denver, CO 80204 | 303.571.1261 | 888-626-1261 | gallery1261.com

“A L L A RT I S E ROTIC.” GUSTAVE KLIMT

www. rle ve ille . c om | Wor d s : Ju s t i n e Mor row

“ L I FE I S NO T H I NG I F YOU’RE NOT OBSE SSE D.” JOHN WATERS

The mystery of water is described by American he studied commercial photography at Randolph

www. n e ilcr ave r . c om | Wor d s : K r i s t y Se n ko -H all

104 | beautiful.b i za rre

An c ient Anc hor, 2011

108 | beautiful. b i za rre

110 | beautiful.b i za rre

112 | beautiful.b i za rre

AN EXHIBITION OF WORKS & GOODIES BY NEW ZEALAND ARTIST EMA FROST

“IT IS C OM MONLY K NOW N BY I N DIG E NOU S P E OP L E T H AT H IG H-F RE QU E NC Y

www. h a n n a hy at a . c om | Wor d s : Ja c kie L e m m on

118 | beautiful.b i za rre

122 | beautiful.b i za rre

126 | beautiful.b i za rre

“ S H E I S FRE E I N H E R WI L DN E SS, SHE I S A WA N DE RE SS,