About artist:



Zdzisław Beksiński was born in Sanok in 1929. He studied at The Faculty of Architecture of The Cracow University of Technology and graduated in 1952. He first worked as a builder but also did photography, drawings and relief carving. He participated in exhibitions organised by the Union of Polish Artistic Photographers. Since the late 1950s he has been chiefly a painter and draughtsman. Having moved to Warsaw in 1977, from 1985 until the early 1990s he was associated with the Parisian art dealer Piotr Dmochowski, whose gallery held the exclusive rights to Beksiński's productions. Since 1958 the artist has had about 50 oneman shows at home and abroad, for example in Sanok, Warsaw, Cracow, Poznań, Florence, Paris, Cologne, Osaka, Metz, Dusseldorf, etc. He has also been widely present at group exhibitions in Poland and abroad.
An excellent draughtsman and a very meticulous painter, Beksiński is preoccupied with combining fantasy and eschatology. This catastrophic trait defines Beksiński's chracteristic style, which is marked by a mannerism in colour that emphasises its dramatic composition in both figural paintings and landscapes. He creates very personal art, which stirs extreme reactions, from staunch enthusiasm to fierce criticism.

I am presently working on a book that I hope to publish within the next two years. The book is called The Garden and is an allegorical tale that mirrors the life of an old man who, while dying in a hospital bed begins to recall the people and events that have in various ways influenced his life and led to who he has ultimately become. It’s a sort of Big Fish story. The Garden uses archetypical images and settings to describe the old man’s life as having taken place in a sort of hyper reality, in a house that rests in a place that parallels the memories the old man unravels in his recollections. The Garden is that place. The house in The Garden represents the human body that the old man inhabits and the Garden, the world outside. Inside the house is a child, who represents the seated observer or spirit who over a series of days meets a cst of characters who seek to preserve and destroy the house and the child inside. Most of my work is presently being done with this book in mind, including the children’s book I am working on illustrating now, Once Upon a Time in St. Augustine, which is to be published in the public school system according to the author, Liz Lang, whose husband teaches here at Flagler. This will be my second published book and I’m hoping the proceeds will help pay for The Garden to be published eventually. I’m using my time in school to refine my technique and actually work on the book itself. Last year I filmed a portion of it. The eight-minute segment will be shown at City Yoga on King Street during the Art Walk this month along with a number of contributing sketches and paintings including those done for this class. I have been using the short film’s single frames to convert some of the more powerful images to the canvas. The glazing technique has been quite helpful in this process. So much so that I have further been shooting film of people on a green screen, choosing the appropriate lighting and background to replace the green, finding the best frame in the film sequence, printing that frame and transferring the image through the glazing process to 10 x 12 canvas. I am working on getting seven of these completed in all. Each is a portrait of one of the characters that show up toward the end of the story and gain entrance into the house ultimately contributing to it’s and thus the old man’s physical ruin and eventual spiritual redemption. Almost all characters are played by females, but are in the story called Mr. this or Mr. that. (Mr. Mosquito, for example.) I am shooting for an androgynous quality in the characters that appear throughout the book and an exaggerated or hyperrealism in the final book’s look, which the glazing process lends itself nicely toward. Thanks. It is book illustration that I am leaning toward to pay the bills on down the road.  Books sell while you sleep. Painting coupled with what I’ve in the last year learned in computer land will be my focus as I move forward. Anything I can learn that will help my technique is greatly appreciated. I’ve been painting since I was about 18 and have been selling paintings privately to friends and through various shows I’ve had in Orlando since 2000. Upon moving briefly to Hong Kong and seeing what was going on in the art world there and what successful artists were making, I decided to take a couple of steps back and go through school. Most every artist I’ve come to admire has had an intensive schooling and sports some degree of some sort. If you can’t beat them… Included below are a number of artists and interviews that have struck me in one-way or another. Odd Nerdrum has always been a favorite. I appreciate the human form and the ability to accurately paint that form. Odd Nerdrum does this with a vision that is gripping and hauntingly familiar. He is my present barometer. If an artist can paint something and make it look alive, that artist can do anything so far as I can tell. I was originally intent on becoming a comic book artist when I was a kid. I was always fascinated by what a good illustrator can do for an old idea. Illustration is, I believe, the backbone of fine art. I don’t much care for a painter of squiggles who has not first learned to paint a cup and make it look like a cup. I’ve recently and reluctantly been made to take a course in Modern Art History. I’ve come to appreciate the conversation that has taken place over the last two centuries between what have been some of the great thinkers to emerge from the human landscape and while I still think Duchamp is a jerk, I can appreciate the point he was trying to make, though I believe he did some damage to the collective human conversation along the lines of what Nietze did. Assholes. I have also come to respect Picasso, which is saying a lot. As it turns out, the man could paint to begin with. I never knew that. All in all I see art as a vehicle for communication and I wish to be a great communicator. James Victore, a graphic designer who I’ve come to respect for his philosophy of the art said, “Graphic design is a big fucking club with spikes in it, and I wanna wield it.” I like that and don’t think it applies exclusively to graphic design. When I was a child, Where the Wild Things Are was my favorite book and the lesson in that book I’ve always kept close to my heart. I learned the principle of unconditional love and the act of redemption despite whatever one might do in life through that book. Why? Because the images Maurice Sendak birthed into being through that book captured my child’s eyes and made me want to look again and again.

glazing

Glazes are not simply thinned oil paints. Much of the original character and body of the oil color used to create the tone is still within the thinned paint. The medium used will help determine the finished "feel" of the surface, but turpentine and paint mixed together is not a true glaze. Such mixtures are often used as preliminary washes on fresh canvas prior to laying on any full-strength oil color, but the washes lack the vibrancy of a glaze.
Areas to consider when oil glazing is part of your plan include the quality of medium used in the creation of your glaze. Good quality linseed oil (stand oil) is a favorite with professionals because of the glossy and transparent possibilities. It dries to an enamel-like finish. But for some artists, linseed oil may be too slow drying or may impart too much sheen. In such a case, a fast-drying medium, such as an alkyd medium, might help. Alkyd mediums dry with far less luster than stand oil. All brands of paint have mediums and oil additives that work best with their paint formulas, but testing will help you create your own glaze palette.
Some oils can yellow over time. If this would not complement your work, consider use of a wax glaze or a specially formulated glaze medium. New wax mediums add translucency to oil paints, making them more brilliant, and can be used to create lively glazes as well. These mediums offer the added benefit of being an outstanding permanent topical treatment (applied after the recommended oil painting drying time of about six months). At the appropriate time, simply brush on the wax medium, remove any excess with a soft cloth and lightly buff the surface to a low gloss finish. The wax can be thinned with turpentine for lighter application.
Oil glazing works best on more "solid" grounds such as sized canvas, canvas panels or ClayBord and does not function as desired on paper or illustration board. Super-absorbent surfaces decrease workability or color layering, and their dry surface does not give the sheen that is most often achieved with oil glazing methods. Canvas paper can be used if the layering is done lightly and the areas are not scrubbed or overworked.
Any oil color can be combined with a chosen medium to create a glaze. Layering of several colors allows for subsequent details to be laid over existing details as well as tones to make any oil painted surface more luminescent.

Career Directions

     I am studying fine art here at Flagler College. While I have no intention of becoming a “fine artist,” I find it the closest thing to the education I desire in order to become the well-rounded multi faceted creative juggernaut that I am becoming as is offered by this fine establishment. I have been selling paintings since I was 19 years old and had my first one man show at twenty-two followed by several others in Orlando, Florida, my home town. After a four-year debacle with the music business from 2002- 2006, it was the visual arts that I returned to as my main focus as the visual arts are in my mind more effective than the whorish music industry in reaching people. Shepherd Fairy’s Obama poster is a perfect example. It is effectiveness that I am most interested in regarding my chosen career path. I want to change minds. Contrary to what we are being constantly told through the social ambiguities and cultural relevancy that has become a trend in our diversifying marketplace, I believe there is still such a thing as the truth and it is truth that I am interested in. It is truth that people are drawn toward. It is truth that people pay for. It is truth that I hope to be a proponent of. They say a picture is worth a thousand words. It can also be worth millions of dollars, depending on how clever it is marketed.  Due to the quickening in today’s understanding due largely to technological advances and thus an ever-decreasing attention span in your average citizen due to the constant bombardment of information that constantly assaults us daily, I have come to realize that effectiveness will best be obtained visually. ADD. is not a book reader. A well-trained visual artist can change an opinion in seconds and opinions aren’t hard to change these days as our children are told that there are no such things as absolutes, which is laughable. The human eye takes in an average of 24 frames a second or at least that’s what film is set to deliver to the eye. There’s a lot of opportunity in that second to reach the viewer passing by. People aren’t stupid. Not all of them.

     So far as which of the topics listed in the first reading to address, I choose them all. They’re all relevant to what I’m doing here. The economy is crashing as it was designed to by the global banking cartel, which can be addressed infinitely by a visual propagandist. Good news for me. There is also now a greater opportunity for someone working from home to creatively explore new avenues that have been up until the novelty of our present situation occurred, hidden or uncharted. I have up until two years ago been computer illiterate. Hello, school. Technology has allowed me to exponentially diversify creatively. Film and Web Design are worth mastering or at least worth a minor.

     Globalization is old news. It’s just now being publicly realized as inevitable. Before coming here for school, I was living in Hong Kong where it is more transparently happening. I hope to go back there. After all, America as we’ve known it is no longer and while this is unfortunate for the patriot, it is obviously where our present administration is heading which is painfully obvious due to the egomaniacal speeches our president is making regarding himself, his role, and who he has assumed we are to be according to his vision. He’s not the first and won’t be the last proponent of this goal. While it seems inevitable that globalization is where we are going, the process of getting there has more to do with control of many by few than with establishing a global utopian village as we are being coerced into believing is the goal. Keeping this in mind will, of course, be essential if there is to be any hope in being effective as an artist and entrepreneur in this slippery slope climate. If you can’t beat them, infiltrate them, which leads to cultural diversity. Cultural diversity is a clever way of keeping everyone agreeable and passive in a morally relevant society ruled by the same Anglo- Saxons who’ve been in power for centuries and who are socializing the work place today. No one wants to be labeled a racist.  I get it. All of this fits into the World Events envelope snugly. The goings on in our world today is both unprecedented and novel. We live in a truly enigmatic age and for the visual artist there is ample opportunity to exploit myriad issues with ample effectiveness. And it is effectiveness that I am interested in.

Odd Nerdrum

Odd Nerdrum

 

"Transmission"

- The Dawn of Kitsch -

A greeting to you, gifted one, you who want to attain sincerity in your work. You are a stranger to your time, but do not loose heart! I know Art feels unpleasant to you; you have become a slave beneath an aristocracy of incompetents. Art was never meant for people like you.
Art har its justification - the untalented need comfort - but so do you. You have been ashamed of your ability too long. So long as the skillful craftsman can only aspire to defeat, a great injustice is done. Know this: without you as a subjugated guarantor, the incompetence of Art becomes worthless. The money and honour obtained by artists rightfully belong to you, so take them back! Put an end to the humiliation, withdraw from Art and let it complete its fall into worthlessness.
The 19th century was the twilight of talent; take part in its dawn.
Through Kitsch the talented one can save himself. It is a new discipline in which skill finds a superstructure. A superstructure serving the genius of ability.
Do not allow Art to retain its moral authority over ability.

- A student.

ROCKIN’ JELLY BEAN

Rockin Jellybean

Friday, 18 September 2009

Girls! Monsters! Girls! Monsters! Girls! Ah, who are we kidding? There's girls everywhere in the world of Japanese artist, Rockin’ Jelly Bean. Even when he makes public appearances, sporting Mexican wrestling masks, there's always a girl or two at his side (JB girls!). Is he just a mysterious playboy with a growing gift of the brush and a stylized love for the dimensions of the ladies? Or is this some sort of garage superhero, complete with a nom de plume and a double alias as a way out surf rock bassist? Perhaps all of the above. Driving a style that mashes pin-up with pin striping, the ’60s with the ’70s, cheerleaders with custom car culture, and of course a fascination with horror, RJB lives a life of all he loves to illustrate. But it just doesn't stop there. There's vinyl toy designs with Rumble Monsters (creating the first Pharaohs figure), a series of 3 “Barba Rockets” action figures for Medicom, the Oysters band figures from Sony Time Capsule, and an upcoming rendition of the Fantastic Four's Invisible Woman. Not to mention his t-shirt designs for the Rolling Stones, Velvet Revolver, Hysteric Glamour, BBC / Ice Cream, and BAPE. And of course, there is the Rockin Jelly Bean shop, Erostika,  in the Harajuku district of Tokyo, full of RJB merchandise for boys and girls! An amazingly talented and smart individual, he plays non-stop. Did we mention anything about the Girls? —CE CE: What seems to be unique about your style is that it is really unlike anything in Japan, but still has a Japanese feel to it. What influenced you towards this technique? Rockin' Jelly Bean: I'm glad that you think so. That's probably because of my DNA. I always thought that I was influenced hugely by the good old American "Pop" style culture. But at the same time, there's a great deal of influence from Kyoto where I spent my childhood, and also the world's view through "Zen". Specifically, gargoyles from temples, Ukiyo-e,and the Modernism of hanging scrolls. Are your images painted or created digitally, or both? Both. Most of my current work is done first by pencil, all the line details, then I add color using a computer program. If the time allows, I like to paint with Liquitex. All canvas work is done that way. There is a realism starting to show through in your “girls,” especially the color pieces. How elaborate is your technique when assembling one of these paintings? I like to draw Tim's (Biskup) cute and sexy girls with bold lines, or cartoon style girls by Dan De Carlo and Bill Wenzel. But, I cannot do it well. I don't have any special techniques, but I try to express a girl's soft skin texture and flexibility by studying through models and resources. Then I just work at it until you can feel the reality. When you are creating your girls, do you have references for shadows and tones, faces, figures, and poses? The most important element is the overall balance, and that's the interesting part. For example, "baby face with voluptuous body" or "drawing realistic un-doable pose,” there needs to be balance. The second important part is the face. To bring out the personality of the character on her face. I value "good-nature" in girls! Snobbish and with an attitude, yet she would make coffee for you in the morning. Girls without livelihood isn't sexy to me. The Hysteric mini towel that was made of your painting was amazing! Now there is the “bikini Snatch Monster” towel that is just as crazy. Are you happy with the final result with the items you make for the retail market? When I was little, I showed a huge interest in food packaging and the drawings in children's books. I like fine art, but I'm more drawn to something like a bunch of Campbell soup cans stacked on Von's supermarket shelves. I prefer to have my drawings printed on many girls panties, rather than have my prints hanging on someone's house wall. You have quite the boutique business going, with the Erostika shop in Harajuku, and online sales. Do you feel it necessary as an artist to create product to help you survive? Well, I’m not sure. As I mentioned before, I like package designs and that's my kind of art. Erostika is a wonderful innovation, you could see all my work throughout the years all in one spot, and I enjoyed it very much. It's easier to make clothing based on the limited budget. However, I would like to make other products such as skateboards and small objects. I feel it's very important to continue making products for me and my staff's survival. Speaking of which, Akio told me years ago that the two of you were assembling a book of your art. What ever happened to that? It's been extremely busy, and I haven't been able to collect all the drawings, but I would like to publish it next year. You were one of the last artists to show at the BAPE Gallery in Tokyo. But the strange thing about that exhibit is almost all of your paintings were silk-screened reproductions on canvas. Are you of the traditional Japanese belief of not selling your original artwork? It's not my belief, but if possible, I don't want to give any of my artwork to some strangers. How has the art scene changed in Tokyo and Japan since you first became interested in creating artwork? Japan is such a small country and it has its "trends". Super real, lowbrow art, avant-garde; styles change through generations. However, there's never been a custom to purchase or acquire original artworks from the Edo-era. It's only been a recent trend since Anime, cartoons, or action figures have brought attention from the outside world. We are enjoying this new trend that was created by the Japanese culture. Besides the silk-screened posters, does your music and artwork ever crossover? Do you listen to the same genre of music when you create your work? Since my name is "Rockin", I mostly listen to "Rockin" music while I work (haha). When I'm extremely busy, I like to listen to Japanese Euro Beat (the kind of music with high pitch that's playing at Pachinko shops!). But that's a secret... With the BBC/Ice Cream tees to the BAPE goods, are you starting to be commercially accepted for your talent in Japan? What about overseas? When I came back to Japan, I realized that this is such a hyper-active country and especially young people are thirsty for foreign cultures. For that reason, when I'm home, I get so many interesting projects and that keeps me very busy. What's really hot right now is that the 1st "Invisible Woman", collaboration with Marvel Comics. It will be released in September. The 2nd series is currently in production and that's going to be really hot as well. We have been invited to work with NY's leading figure, A-Bone, and also the legendary SF band, The Mummies, and those projects will keep me busy the rest of this year. Now all that's done, I'm going to put all my effort in the art book production. It will be released in USA and also Europe, so please look forward to it. What do you like working on more, the girls or the monsters? That's enough! I don't want to work on anything else. Last year, I  worked on a project, "Fudo-Myo-Oh (acala naatha)" for a German group gallery exhibit, and that was really interesting. I would like to draw such old Japanese buddha figures. Also planning to work on 3D collaboration with other artists as well.