ARTIST DIARIES

Ester Parasková

PAINTER. PRAGA / ATHENS. CZECH REPUBLIC.

I have an extremely ambivalent relationship with green. Of course I love nature, forests, our small garden, even camo clothes, which is pretty controversial these days, but because I use pre-made oil sticks and don’t mix my own colors, I just don’t trust these greens from the store…

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Ana Barriga

JEREZ DE LA FRONTERA. CÁDIZ. SPAIN

I believe that painters must be honest with our painting and aware of the power it holds. Painting is often more powerful than our ideas, and during the process, the painting challenges you, it pushes back. It is okay to struggle a little with it, but almost always it is the painting that wins the battle. I could see it as a failure, but I prefer to see it as a miracle…

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Alexander Varvaridze

PAINTER. TBILISI. GEORGIA

I spend a lot of time and have tried many different techniques to achieve exactly what I want to see as the background in my work. Along with that, learning when an artwork is actually finished is a constant challenge…

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Mike O’Guinn

PAINTER. OAKLAND, CALIFORNIA. USA

There’s something beautiful about that continued conversation art has over generations, even after we’re gone. We’re leaving our mark and contributing a piece of something that hopefully will continue growth and creative discovery.

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Ludovic Dervillez

PAINTER. CERNAY-LÈS-REIMS. FRANCE.

My choice of abstraction was not accidental. I have always felt the need to express myself according to my own rules and to create my own formal universe. That is also the main reason why I quickly moved away from figuration, which I experienced as a limitation, almost a dead end…

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Peggy Kuiper

PAINTER. AMSTERDAM. NETHERLANDS

When I create only from what I already know, I notice that the process can become repetitive and predictable. It may feel easier or more controlled, but at the same time it risks limiting growth and exploration. I believe that meaningful creative development often happens in moments of uncertainty, where there is room for experimentation, mistakes, and discovery.

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Sam Lock

PINTOR. WEST SUSSEX. REINO UNIDO.

I am intrigued and drawn to the futility of ourselves and also paradoxically the importance we place in ourselves, the centreground we inhabit and the control we pretend to have. I think there is more comfort and reward in being aware of the insignificance…

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Jean-Baptiste Besançon

PAINTER. BORDEAUX. FRANCE

Energy alone is not the source of creativity; I believe that everything emerges through sustained work. I strongly believe in determination, in the act of doing, in taking initiative, in movement and momentum, as well as in curiosity and the ability to find wonder in simple things.

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María José de Simón

PAINTER. ROMA NORTE. MEXICO

I like being alone in my studio, when nobody sees me or talks to me. I concentrate a lot, and noise bothers me. Perhaps the only thing I can think about is colors.

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Tiago Hesp

PAINTER. ALMADA. PORTUGAL.

It is a work about questioning, questioning constantly. Bending the knee, seeing again, looking once more from another angle. What drives me is discovery at every new step, not knowing what comes next. Ignorance is a starting point. Setting out on an adventure while embracing surprise.

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Armando Mesías

PAINTER. MADRID. SPAIN.

I always envisioned my studio as a place to hang out, to get work done, but also just to get comfortable being bored. A lot of what I could call inspiration comes from boredom.

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I want to curate my memories, my thoughts, my observations, the world’s story’s and speak through my work with a hope that it touches someones soul. Ty Nathan Clark.

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An Wei

PAINTER. MADRID. SPAIN.

When I start to paint, I usually put classical music and at the end of day, techno music. I like cigarettes, Dr Martens shoes and Coca Cola, in that order. My sentence: Pizza is from China.

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I begin a painting by walking on the canvas for a period of time to begin a dialogue with history, time and mark making as a language. Margaret Fitzgerald.

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Manuela Karin Knaut

PAINTER. BRAUNSCHWEIG, GERMANY.

I have been making art for as long as I can remember. It started out with sketches and small canvases in my childhood bedroom, but I soon discovered my passion for large scale canvases and paintings.

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I like to read about life of painters, their notes & their diaries. I think the most important book that influenced me is the interviews of David Sylvester with Francis Bacon. Abdellah El-Haitout.

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Reynier Ferrer

PAINTER. MIAMI. UNITED STATES.

The mix of colors, textures, sounds, movements, people that I encounter in my everyday activity acts like punches or caresses in my mind

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To entertain myself and enjoy the process of creating, the process is the art and the side effect is the artwork. Oso Parado Mango.

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Emma Fineman

PAINTER. BERKELEY. USA / LONDON. UK

An encounter can be by chance. It can be romantic or hostile, abrupt, a confrontation, spiritual, religious or rife with mysticism. I am interested in how butting up against something can often be how we discover form. It is through the experience of both confrontation and juxtaposition that things take shape.

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“When art critics get together they talk about Form and Structure and Meaning. When artists get together they talk about where you can buy cheap tupentine” Pablo Ruiz Picasso.

ARTIST DIARIES LIBRARY




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