Art_Market__December_2022

ARIES. 2021. Expanding foam, polystyrene
and ropes. 60 x 60 x 60 cm
Mozart Guerra © All rights reserved.

MOZART GUERRA: You are right! MOZART GUERRA:

It's a very long process that may I would say that my work is more
reveal my obsessive nature! I make particularly appreciated in Europe,
sure that the fixing system with the in France of course, where I live, and
pins is as invisible as possible. South America. I had the opportunity
For example, the realization of a to present my work at ART PARIS Fair,
geisha head lasts about two months. the ART ELYSEES fair, the SP ARTE fair,
the ARTE RIO fair, the ART BO fair, the
ART MARKET MAGAZINE: ART LIMA fair, and SCOPE BASEL fair
in Switzerland, and ART CONTEXT fair
The sculptures look very massive. in Miami.
What is the weight of the artwork?

MOZART GUERRA: Contrary to I maintain a unique link with Japan
by collaborating for ten years with a
their appearance, my sculptures are talented interior designer: Yasumichi
relatively light. For example, a ram's Morita, in significant projects in
head weighs about 16 pounds. (7.5 luxury hotels and restaurants like
kilograms). San Regis hotel in Osaka Morimoto
restaurants in Doha and Las Vegas.
ART MARKET MAGAZINE: My sculptures and my rope technique
in certain decorative elements
Tell us about the development of the (monumental chandeliers) were used
recent years. I've noticed you exhibit in these projects.
your work in prestigious galleries This collaboration has widened the
worldwide; in recent years, you had distribution of my works in Asia and
solo exhibitions in Japan, China, the Middle East.
Brazil, the UAE, The US, and Europe.
In which country do you feel your art
is most successful in publicity, art
collectors, and general interest?

Art Market Magazine

ART MARKET MAGAZINE:

What the future holds? Where can we
expect to see your art in the upcoming
years? Any future exhibitions scheduled
in galleries and art fairs?

MOZART GUERRA: I aim to diversify

my gallery of animals and characters;
seek the acquisition of my sculptures by
Museums of Contemporary Art.
A new project for this year will be
the creation of new animals' bronze
sculptures. And above all, continue to
take as much pleasure in sculpting!

My recent collaboration with the
dynamic Chic Evolution In Art Gallery in
Fort Lauderdale looks promising. They
present seventeen new sculptures and
plan to include my work in future fairs
participation.
In France, my work is permanently
exhibited at JPB Art Gallery in Saint
Tropez as well as in Luxembourg at
Schortgen Gallery.

TAURUS TARGET. 2019. Expansive foam Art Market Magazine
and ropes. 65 x 75 x 110 cm
Mozart Guerra © All rights reserved.

52

"The subjects of IBEX. 2019. Expansive foam and ropes.
my sculptures 80 x 60 x 60 cm
mainly represent Mozart Guerra © All rights reserved.
the excluded or
endangered of
our societies,
subjected to
barbarism
or human
indifference.
Therefore, the
representation
I give is that of
characters or
animals facing
danger situations
with pride,
determination,
and derision."

- Mozart Guerra

Art Market Magazine

MG UOEZRARRATAnExclusiveInterviewWith

chicevolutioninart.com
REPRESENTED BY CHIC EVOLUTION IN ART GALLERY

y Brazilian TORMENT. 2019. Expansive foam and ropes.
origins 146 x 66 x 50 cm
attach me, Mozart Guerra © All rights reserved.
particularly
to the Indians of the
Amazon. Beyond
regional representation,
these Indians embody
a universal subject.
My Indian heads take
the form of dart-ridden
targets, displayed as
exotic hunting trophies
and wild beasts to
illustrate the silent
violence of so-called
civilizing missions on
primitive populations."

- Mozart Guerra

Website: www.mozartguerra.com
Instagram: @mozartguerra
Facebook: @mozart.guerra.52

'Pandora'
Oil, Egg Tempera, and 24ct gold leaf on panel.

30 x 42 cm.
Stephanie Rew © All rights reserved.

An Exclusive Interview With

RSTEEWPHANIEBy Ariel SU

'The Alchemist'
Oil, Egg Tempera, and 24ct gold leaf on panel
40 x 66 cm
Stephanie Rew © All rights reserved.

"I like to bring ancient
mythology into my
work in purely a visual
way the narrative is
not the most essential
element to my work;
I prefer for the viewer
to decide on their
story. To me, the most
important thing is
conveying an emotion.
The women in my
paintings are symbolic
of different elements
of femininity and the
human condition.
I take them out of
the modern setting
by dressing them in
imagined crowns and
robes, making them
into Goddesses of our
own time."

- Stephanie Rew

Art Market Magazine

‘A Heart Hesitates’
Oil and 24ct gold leaf on panel. 40 x 50 cm
Stephanie Rew © All rights reserved.

STERPEHWANIEAn Exclusive Interview With Stephanie Rew at the studio ©
All rights reserved.
By Ariel SU

Stephanie Rew (b 1971) is a Scottish painter the FWSD Award in 2019 in Art Renewal Center Salon is
based in Edinburgh, UK. Her highly detailed a finalist in the ModPortrait17 and ModPortrait19 Award
figurative paintings are in collections across held in Spain.
the UK and Europe, and she is gaining She was a finalist at the Scottish Portrait Award 2017
considerable international interest in her work. and has exhibited at MEAM Barcelona in 'Women
Stephanie won the Elizabeth Greenshields Foundation Painting' exhibitions held in 2019/2020 to celebrate
Bursary soon after graduating from Duncan of International Women's Day. Since then, Rew has been
Jordanstone College of Art in Dundee and since then represented by various respectable galleries worldwide,
has had numerous exhibitions in the UK. She curated and her art gained enormous success through solo
the first Women Painting Women Exhibition in the UK exhibitions and private collections. It's a pleasure to
as part of the WPW (R) evolution movement in 2013. interview such a sophisticated artist and feature her full
She recently won the 'Best Nude' Award in 2018, and of gold latest series.

Art Market Magazine 59

An Exclusive Interview With Top Left: 'Talisman'
Oil and 24ct gold leaf on panel. 30x40cm
RSTEEWPHANIEBy Ariel SU Stephanie Rew © All rights reserved.

Top Right: 'Sorcerer'
Oil and 24ct Gold leaf on panel. 40x50cm
Stephanie Rew © All rights reserved.

ART MARKET MAGAZINE: Hello great taste, and although she never into the water' of the art field?
Stephanie, We are very excited to pursued a creative career (she worked
interview you and feature your in the social services sector), she STEPHANIE REW: The Greenshields
fabulous, unique figurative art. always supported and encouraged me Award was a massive boost to my
Before discussing your extraordinarily to paint and draw. confidence and artistic journey.
detailed technique and the beautiful I had felt a bit lost at sea after
femininity in your work, please tell us ART MARKET MAGAZINE: Soon graduating, not really knowing how to
about your background. Did you grow after graduating from the Duncan make a living at being an artist. The
up in an artistic family? Where did the of Jordanstone College of Art in bursary allowed me to rent a studio to
passion for art come from? Dundee, you have won the prestigious work in, take my painting to the next
'Elizabeth Greenshields Foundation level, and approach galleries.
STEPHANIE REW: Thank you. It's a Bursary', which gave you a good start This organization, like Elizabeth
pleasure having this interview. and opened your journey in the art Greenshields, saw potential in me,
I was the only member of my field. Looking back at this period, which was all that I needed to drive me
family that had any artistic skills or how would you describe the feeling of forward.
aspirations. However, my mother had winning and the 'fast step'/ 'Jumping
Art Market Magazine
60

‘Ever Decreasing Circles’ 61
Oil and 24ct gold leaf on panel. 40x50 cm
Stephanie Rew © All rights reserved.

Art Market Magazine

‘Duality’
Oil on linen. 80x100 cm
Stephanie Rew © All rights reserved.

‘Equilibrium’ 63
Oil and 24ct gold leaf on linen. 80x120 cm
Stephanie Rew © All rights reserved.

ART MARKET MAGAZINE: In your past series of works, you mainly focused on the
background color and the fabric's details. Why did you focus on one color background
and the figure's 'Unlimited' borders? Is there a philosophical idea behind your art?

STEPHANIE REW: The whole surface matters to me in my work. Combining traditional
representational oil painting with gilding allows me to explore the two very different
planes of the painting. I love the balance between the depth and tone of the painted
portrait and the flat textural patterned surface of the gold. I don't want the backgrounds
to look natural. That is the point; the real and unreal elements create a slightly
uncomfortable but symbiotic relationship.

Art Market Magazine

‘Phoenix Blue’ Pastel and 24ct gold leaf. 20x50 cm
Oil, Egg Tempera, and 24ct gold leaf Stephanie Rew © All rights reserved.
on panel. 30x42cm
Stephanie Rew © All rights reserved.

ART MARKET MAGAZINE: I have always had
In your latest series, you a fascination with period
mainly focus on a golden costumes and the imagery of
female figurative; for me, the fantasy world.
it gives a sensation of an I have been inspired by the
ancient mystical world, as if it Early Renaissance frescoes of
was taken from old kingdoms Giotto, Fabriano, and Crivelli
in the first centuries. and the Romantic Painters
The beautiful figure holds of the early 20th century.
the golden crown, wearing The decorative arts have
gold jewelry pieces, and her always affected my aesthetic,
clothes are full of golden which has become more
details. A truly magical pronounced as I explore the
touch made by high detailed ancient craft of gilding. All of
technique. Where did the idea the art I love has the same
for the series come from? sense of drama and humanity.

STEPHANIE REW: I like to bring ancient
My inspirations can come mythology into my work in
from everywhere, from a purely a visual way
book, a piece of jewelry, the narrative is not the most
a costume, a song, a painting, essential element to my work;
and movies. Anywhere really. I prefer for the viewer to
decide on their story.

Art Market Magazine

‘Ice Blue Gaze’
Pastel and gold leaf on a card. 15x20 cm
Stephanie Rew © All rights reserved.

‘Birds Fly’
Oil, Egg Tempera, and 24ct gold leaf on
panel. 40x66cm
Stephanie Rew © All rights reserved.

To me, the most important thing is
conveying an emotion. The women in
my paintings are symbolic of different
elements of femininity and the human
condition. I take them out of the modern
setting by dressing them in imagined
crowns and robes, making them into
Goddesses of our own time.

ART MARKET MAGAZINE: The high-
quality technique of your work is being
expressed not only by the unusual use
of gold and details but also by a classic
figurative artistic style; we can definitely
see the strong influence of the Masters'
art. Would you say you have gained this
high technique in your art studies at the
Duncan of Jordanstone College of Art?

STEPHANIE REW: My time at DJCA was Top Left: ‘Birds Fly’ (Detail) Top: 'Autumns Song'
important, but it didn't teach me the Oil, Egg Tempera, and 24ct gold leaf on Oil and 24ct gold leaf. 15x20cm
classical painting skills I craved. In the panel. 40x66cm Stephanie Rew © All rights reserved.
early 1990s, art colleges in the UK were Stephanie Rew © All rights reserved.
much more focused on their students
creating a concept to their art, an idea, 67
rather than teaching pure technique.
I struggled with this as I definitely had
not found my voice at that point.

Art Market Magazine

‘Floris Orientalis’
Oil on linen. 60x80 cm
Stephanie Rew © All rights reserved.

All I wanted to do was paint the figure ‘Double Dutch’ The more I used it in my work,
well. Figurative painting was not a Oil and shell gold on canvas. 60x80 cm then the more I realized how many
popular choice for that art school. different ways it could be applied
I, because of this, learned a lot about who Stephanie Rew © All rights reserved. and manipulated to make these
I was as a person and how determined I fantastic visual effects. Using
could be when I was steered away from you can learn outside of the academic traditional gesso and clay bole,
representational painting. After four years environment. water gilding is a painstaking but
of training, I also knew that this was all rewarding process. I paint wooden
I ever wanted to do for a job. ART MARKET MAGAZINE: Let's talk about gesso panels with rabbit skin glue
This determination is what has made me the GOLD. You are using oil paint in a gesso at least 12-15 times (a white
succeed, over and above any technique I combination of an ample space covered paint consisting of a binder mixed
have learned since. by Gold Leaf. When and where did you with chalk or gypsum) then sand
In the end, I taught myself how to paint start working with gold? Would you please the surface to a marble-like finish.
with oils by copying old masters, and I describe the workflow and steps of your The design is then engraved, and
worked hard every day to improve. work from the idea stage to the final the raised gesso (Pastiglia) is added
I am always hungry for knowledge, outcome? before painting it with clay bole
and thankfully there are many ways and leafing the whole surface with
STEPHANIE REW: Gold has featured in my 24ct gold leaf. The gold, when
Art Market Magazine work for over twenty years, but I first used cured, can be burnished with an
it more as an embellishment. agate stone and decorated with
In the last five years, gold leaf has become punches (Granitto). Once the
the critical component of my paintings. gilding is finished, I then paint in
oil. It can only be painted after
gilding as the leaf would stick to the
paint. Working this way requires
a lot of planning and patience; I
must have the subject and design
clear in my head before starting the
work – as there can be no 'happy
accidents.

69

‘Narcissus’
Oil, Egg Tempera, Optical lens, and 24ct
gold leaf on panel. 40x66 cm
Stephanie Rew © All rights reserved.

The gilding process is steeped in history, ART MARKET MAGAZINE: Which artists of Holbein's court portraits. The Art
which greatly appeals to me. have most influenced your work and Nouveau period, Pre Raphaelites, and
I feel part of that timeline when I create artistic style? Secession artists are very inspiring, and
works of art precisely the same way the my love of design and texture with gold
Renaissance masters did in the 14thC. STEPHANIE REW: My influences are comes from there. The Arts and Craft
It grounds me as an artist and allows very varied. I'll try and list some. The movement in Scotland, particularly
me to get physically into the making Japanese Uchiyo-e woodcut prints, the works of Margaret Macdonald and
aspect of the work. Painting on its own artworks by Hiroshige and Utamaro, are Phoebe Anna Traquair, are my favorites.
is a very flat 2D experience; I like to feel beautiful in their design, pattern, and I am also inspired by Neo-Classical
that I am not only painting something composition. In addition, the painters of Sculpture of Canova and Bartolini and
but also sculpting and building. I love the Italian Baroque periods, Caravaggio 20thC American Tonalist photographers
how you can see yourself reflected in and Artemesia Gentileschi, have had a such as Weston And Steichen.
the gold when you stand in front of it lasting impact on my work. My love of ART MARKET MAGAZINE: Where did you
and how the changing light of the day chiaroscuro (strong contrasting light) exhibit your work in the past few years,
can dramatically alter the look and and dramatic drapery are directly linked and how did the COVID lockdowns'
feel of the gold. The works are forever to them. The fashion, color palette and period affect your creativity?
changing, depending on how and where mood of James Whistler have influenced
they are viewed. me, as do the costumes and grandiosity

Art Market Magazine 71

'Tomb Raider -Angel of Darkness'
Stephanie Rew © All rights reserved.

STEPHANIE REW: STEPHANIE REW: Top: ‘Tilt’
I am lucky to have a very I enjoy sharing my new work on Gold-point, Watercolour, and 24ct gold leaf. 20x28 cm
supportive gallery at Social media. I think all artists Stephanie Rew © All rights reserved.
Thompsons Gallery. like to get their work out there,
At the very beginning of and to have instant feedback is UPCOMING SCHEDULED EXHIBITIONS:
the Covid lockdown, when excellent. I don't spend much
everything seemed impossible time planning posts, but it JUNE 2022 | Summer Show - Thompsons Gallery,
and uncertain, they offered me has become essential to my Aldeburgh, UK. JULY 2022 | Six Artist Show- Lemond
a solo show the following year. business. Gallery Glasgow, UK. OCTOBER 2022 | The Figure Show-
This meant I could focus on It helps promote upcoming Fotheringham Gallery, Bridge of Allan, Scotland, UK.
nothing else for nearly eighteen exhibitions, and I have had NOVEMBER 2022 | Halcyon Days – Beautiful Bizarre Group
months. This kind of time to some direct sales, although not Exhibition, San Francisco, USA.
work on one project alone is enough to challenge the gallery
a rare thing. However, it also sales in the end. In addition, GALLERIES
meant I could see through all I get commissions this
the ideas in my head to their way and have had exciting THOMPSON'S GALLERIES | THE LEMOND GALLERY
natural conclusion and make a collaborations in recent years, HOME PAGE LIST OF SHOWS | STEPHANIE REW -
body of work that was cohesive such as the 'Tomb Raider -Angel FOTHERINGHAM GALLERY
and thematic. I am not sure this of Darkness' commission and
would have happened without winning the Beautiful Bizarre website: www.stephanierew.co.uk
a lockdown, so it was a silver Magazines Peoples' Choice instagram: @stephrew
lining to an otherwise stressful Award for example, would facebook: stephanie rew fine art
and worrying time. never have happened without twitter: @stephrew71
Instagram.
I have always found solace in Thompsons Gallery, England,
art when things have become has represented me for the
complex in life, and I felt, last ten years, and I regularly
during the lockdown, the need show with Lemond Gallery,
to create bright, beautiful Glasgow and Fotheringham
golden works that transported Gallery, Scotland, and Ballater
the viewer away from the Gallery, Scotland. In addition,
everyday world. I believe this I have been lucky enough
is why my paintings became to be included in two group
much more decorative and invitational exhibitions at
poetic in theme at this time. Arcadia Contemporary in NYC,
and I continue to pursue more
ART MARKET MAGAZINE: representation in the US and
You are very strong on all social beyond.
media channels, with many
followers who admire your
work. Do you put a lot of effort
into these media channels?
Does it bring you many private
sales? Which galleries represent
your work?

Art Market Magazine

AN EXCLUSIVE INTERVIEW WITH

avier Arizabalo

CONTEMPORARY REALISM

I would like not to use the term Hyper-realistic but
Realistic because my intention is not to go beyond
what is real.
I understand where the term comes from and the reasons for it
and its connection with photography, but I have seen so many
bad paintings done using that term that I want to stay out of it.
My intention is not that it would look like a photograph, but I
love expressing reality, the gesture of the brush, the ability, the
treatment of light, and a certain classic way of understanding
the image."

-Javier Arizabalo

Guillermo. Oil on canvas. 65x54 cm. 2021
Javier Arizabalo Garcia © All rights reserved.

© All rights reserved.

AN EXCLUSIVE INTERVIEW WITH

By Ariel SU

Spanish artist Javier Arizabalo is passionate about realism. Javier Arizabalo was born in Saint-Jean-de-Luz
He carries out his works with different techniques, but it is in (France) in 1965 and is currently based in Spain.
oil where he finds the most expressiveness since it allows him He studied with several different local artists
to work in full detail, understanding the light and the structure in the Bidasoa region and at the Municipal Academy
of the human anatomy. His successful creative practice focuses of Drawing in Irun before attending the University of
on traditional figurative subjects such as people and still lives Bilbao (1983-1988), where he earned a degree in graphic
and emphasizes vital realism techniques. Thanks to a keen design. From 1989 to 2004, he worked as a graphic
understanding of light and shadow, Garcia renders three- designer with minor incursions into photography
dimensional models using only oil pigment. and synthetic imagery, teaching at the Irun Municipal
It's a pleasure to feature an exclusive interview with Arizabalo Academy of Painting and Drawing from 1997 to 2001.
and to feature his outstanding Hyperrealistic work (Although In 2006 he turned his attention exclusively to painting,
he doesn't like the term and prefers to call his artistic style working mainly in a meticulous realist style, studying
Contemporary Realism.) the effects of light on the human body. He also explored
the sensitivity and repose of his models, who allow
themselves to be contemplated, creating a feeling of
tranquillity in the viewer.

76 Art Market Magazine

Fig0211. Oil on canvas. 46x33 cm. 2011
Javier Arizabalo Garcia © All rights reserved.

AN EXCLUSIVE INTERVIEW WITH

ART MARKET MAGAZINE: Thank you, Javier. Mónica. Oil on canvas. 162x97 cm. 2022
We were overwhelmed by your high Javier Arizabalo Garcia © All rights reserved.
hyperrealistic technique. Where did you gain this
high-level expertise? Before focusing on art, you
studied graphic design and photography. Looking
back at your academic studies, do you think they
gave you the base for this quality technique?

JAVIER ARIZABALO: Thank you for the
compliments and for this interview. I gained my
knowledge through many places and different
people. It wasn't in particular regulated teaching.
Instead, you accumulate some information from
each step of your journey until, through years of
experience, you create your own composition of
knowledge and your own technique.
I studied graphic design with experts in visual
design techniques at university, but not primarily
in painting. So I'm very grateful to one of the
teachers who made me concentrate on painting
and experience various techniques.
I've experienced many different methods through
Prueba and errors throughout the years until I
developed my own artistic approach and style.

ART MARKET MAGAZINE: Did you study the
Renaissance Master's technique? Which artists
have most influenced your artistic style?

JAVIER ARIZABALO: I have not explicitly studied
any particular technique or period. Perhaps when
I started to learn with some post-impressionist
painters, my favorite artists were impressionists.
I love the work of Jhon Singer Sargent, Velazquez,
something Sorolla, Antonio López. I was drawn to
these artists from a youthful stage in which you
mythologize people; now, I prefer more concrete
works, which at a particular moment, touch and
influence you more because of the emotion of the
circumstances of the moment.

78



ART MARKET MAGAZINE:
On your website, we
can see the beginning of
practicing by experiencing
drawing, which, later on,
in 2007, led you to become
an expert in hyperrealism
oil paintings. Many of these
drawings are focused on
hands. Given their complex
anatomy, hands are often
considered one of the most
challenging subjects to
draw. Still, you manage
to capture the expressive
language of hands and
reach the level of precision
until the painting looks like
a photograph.
How long does it take to
reach this level? Did you
invest many years of study?

JAVIER ARIZABALO:

Yes, to a certain extent,

I felt more comfortable

with drawing, since with

few means you can do

things, and since I was nine

years old, I had a passion

for drawing. On the other

hand, it is the basis for

painting and understanding

volume, composition, and

perspective. I already felt

more comfortable with

painting since there must

be a little more technical

knowledge, which I have

been consolidating over

time. In any case, I would

not like to use the term

hyper-realistic but realistic

Mano0317. Oil on canvas. 116x73 cm. 2017 because I am not trying to
Javier Arizabalo Garcia © All rights reserved. go beyond what is real.

80 Art Market Magazine

I understand where the term them with others of high
comes from and the reasons demand but always considering
for it and its connection with my knowledge of how to
photography, but I have seen so achieve quality coherence of
many bad paintings done using volume, anatomy, and natural
that term that I want to stay out color. My intention is not that it
of it. Over time I have seen that would look like a photograph,
a higher level of precision and but I love expressing reality,
detail is demanded; the gesture of the brush, the
I have mostly gone where the ability, the treatment of light,
collectors and buyers have led and a certain classic way of
me. understanding the image.

I have done my experiments on Top: Fig0217. Oil on canvas. 147x115 cm. 2017
this equation of investment vs. Javier Arizabalo Garcia © All rights reserved.
buyers. Paintings of many hours
of work with enormous details Left: Mano0110. Oil on canvas. 116x73 cm. 2010
but lesser demand, alternating Javier Arizabalo Garcia © All rights reserved.

81

I gained my knowledge through many places and different people. It wasn't
in particular regulated teaching. You accumulate some information from
each step of your journey until, through years of experience, you create your
own composition of knowledge and your own technique."

-Javier Arizabalo

Cristina. Oil on canvas. 162x100cm. 2012
Javier Arizabalo Garcia © All rights reserved.

Cristina.
Oil on canvas. 73x55 cm. 2009
Javier Arizabalo Garcia ©
All rights reserved.

Manci.
Oil on canvas. 20x20 cm. 2019
Javier Arizabalo Garcia ©
All rights reserved.

ART MARKET MAGAZINE: You The same as for dark backgrounds, ART MARKET MAGAZINE: How long
usually use a dark background, which make the figure stand does it take to create each artwork?
sometimes black, in most of your out, make it come out, although
paintings. What is the role of sometimes I also modulate the JAVIER ARIZABALO: It depends on
the dark background and light & background somewhat so that it several factors, my motivation, and
shadow in your artworks? interacts with the figure. whether it is a commission and to
I get tired of specific studio formulas whom it is addressed. A comfortable
JAVIER ARIZABALO: I reinforce the over time, and I hope to tackle the job that does not generate a long
sensation of the volume of the motif subject with more natural light, process is about 60 hours; a more
by using light and shadow. although it is complicated. demanding job is 100 to 250 hours.

Art Market Magazine 85

Right: Fig0109.
Oil on canvas. 116x73 cm. 2009
Javier Arizabalo Garcia © All rights reserved.

The most I have invested in hours is 750 in a
painting, but it is difficult to find someone who
wants to pay for this investment of hours, and
on the other hand, it is hard to maintain the
same level of attention throughout the process.

ART MARKET MAGAZINE: Can you explain
the process of your work? Do you first create
sketches based on a photograph? Do you use
the technique of dividing the canvas into
squares before starting the oil painting?

JAVIER ARIZABALO: Honestly, I see myself also
as a photographer; in that sense, I do base my
work on a photo, and then, as a general rule,
with some exceptions, I trace the drawing on the
canvas. I compose with photography, and I also
forget and extract the traditional way of drawing
on canvas; I am a victim of new ways of working.

86

Fig0807. Oil on canvas. 55x46 cm. 2007
Javier Arizabalo Garcia © All rights reserved.

“Mónica”, Oil on canvas, 92x60 cm. 2021
Javier Arizabalo Garcia © All rights reserved.



ART MARKET MAGAZINE: Top: Fig0315. Oil on canvas. 162x100 cm. 2015 Norma. Oil on canvas. 160x97 cm. 2019
Tell us about the workshops you Javier Arizabalo Garcia © All rights reserved. Javier Arizabalo Garcia © All rights reserved.
teach for learning the technique.
For what level does it fit, and what Art Market Magazine
is the goal of these workshops?

JAVIER ARIZABALO:
My workshops are aimed at people
who have already been experienced
with oil but longing for perfection.
I see little experience with color
mixing as a bad habit. Technically
I am not a great expert, but I make
up for it with insistence and self
demand.
I believe anyone can achieve great
results with simple techniques if
they master the little knowledge
they already have. So I guide
my students through continual
improvement and self-demand.

90

Fig0618. Oil on canvas. 146x97 cm. 2018
Javier Arizabalo Garcia © All rights reserved.

Fig0312. Oil on canvas. 162x65cm. 2012
Javier Arizabalo Garcia © All rights reserved.

Fig0312. Oil on canvas. 162x65cm. 2012
Javier Arizabalo Garcia © All rights reserved.

ART MARKET MAGAZINE: Please tell us about
upcoming exhibitions and which galleries your
art is featured in. Where can collectors purchase
your art?

JAVIER ARIZABALO: I mainly work with two
galleries, Galerie Artmundi in Paris and Two Art
Gallery in Murcia, Spain. I have very few paintings
in my studio, as most are sold quickly. This is the
reason I never have enough artwork for a solo
exhibition; I only manage to take a few paintings to
collective exhibitions.
Currently, I only have some work pending for a
tribute to Antonio López and several exhibitions
abroad.

Art Market Magazine

Fig0708.
Oil on canvas. 195x97 cm. 2008
Javier Arizabalo Garcia ©
All rights reserved.

Website: javierarizabalo.es
Facebook: @javier.arizabalo
Instagram: @javier.arizabalo.painter

Top: Ane. Oil on canvas. Fig0510. Oil on canvas.
92x60 cm. 2020. 55x38 cm. 2010
Javier Arizabalo Garcia © Javier Arizabalo Garcia ©
All rights reserved. All rights reserved.

Art Market Magazine

Mano0317. Oil on canvas.
116x73 cm. 2017
Javier Arizabalo Garcia ©
All rights reserved.

I Can't Feel My Face Masks Artist
(Detail)
Acrylic on canvas,
170 cm x 80 cm
John Paul Fauves ©
All rights reserved

The

FJoauhvnePsaul

Represented by
Chic Evolution in Art

Gallery

John Paul Fauves © All rights reserved

The Masks Artist

John Paul Fauves

My Ear on the Pulse of Culture,
Acrylic on canvas, 170cm x 80cm
John Paul Fauves © All rights reserved

hen judgment is gone, you feel the freedom to create.
I started to paint wearing a mask so I could create
without ego. I could detach myself from the idea that
something has to be in a certain way so it will be liked.
The masks are a life project. I've been focused on masks
for 18 years (since I started painting). It is also partly to show people that being
connected to myself without caring how you look to others is rewarding."

- John Paul Fauves

Art Market Magazine 99

Portrait of the Soul
52” x 64”
Acrylic on Canvas
John Paul Fauves © All rights reserved