MARVELOUS ART MAGAZINE

JANUARY 2010 ISSUE : 9

Labaud

ONLINE EXHIBITION

LaBaud


La Baud is a visual artist born in Montpellier, south of France, and established in Berlin (DE). Having his background drowned in skateboarding and street culture, it is through the study of the applied arts and space design that he signed his name to the art of painting.

 

La Baud’s work refers to figure; to each one hidden face. The figure here is social iconography, a sexual symbol, an aesthetic fantasy. By portraying one’s psychotic and influenced inner self with a style recognized by a strong expressiveness on the line, his faces, grimaces and characters -whether they are alone or in the middle of a crowd-, are here to confront the viewer and to incite each of us to face our own individuality, to challenge and unveil the societal appearances. Who am I behind the mask? Who am I in the crowd?

 

With this great theatre of the persona and its multiple identities, La Baud explores the society and collective’s domination processes on one’s self, and how to detach oneself from this hold.

 

His work has been exposed in various international context such as «Murum» in Montpellier, France or «Dorchester Art Project» in Boston, United States.

 

La Baud is represented by the Kultur Spaeti in Berlin.


https://www.instagram.com/baudhugo


https://labaud.com/

 

MARVELOUS ART MAGAZINE 

JANUARY 2021 ISSUE : 9



INTERVIEWS

  • image description

    Exclusive Interview with Blair Treuer

    Exclusive Interview with Blair Treuer

    (Marvelous Art Magazine January Issue – 2021)
     
    Hello Dear Blair Treuer. Thank you for giving us the chance to Interview with you. Our first question is how the Quarantineaffects your art?
                The Quarantine has allowed me to really focus on my next collection of textile portraits. The portrait series that I am currently working on is very introspective and depicts an internal psychological journey, so staying home with my children, without all of the distractions and all of the social interactions of my typical daily life, and without the outside world dictating my schedule, it's allowed me go go deeper internally into the work that I am creating. This experience has really been a gift. That being said, I am used to being alone in my house while creating my artwork and now because of quarantine, I am juggling the responsibilities of raising children and helping them with their online education while I’m working so quarantine has also posed several challenges for my creative process.  
     
    Can you tell us a little bit about yourself and what drove you to choose art as a career?
                My relationship with fabric developed in a pretty unusual way. My children’s participation in a traditional Native American healing ceremony required me to make blankets as an offering. The process itself was spiritual for me. Because it was the only way I could contribute as a non- native white woman, I poured everything I had into those blankets.  Honestly once the offerings had been made for our youngest child, I didn't know if I would ever sew again. The blankets were a tremendous amount of work, and as I made them, I couldn’t discern whether I was captivated by what I was creating because of what these blankets meant, what their purpose was, and because I loved my children so much, or if I was captivated by the process because I had found my creative gift. It’s become clear to me that all of that played a role.         I taught myself this art form and I cannot let this love affair with fabric go. Though my work is no longer ceremonial, it’s very spiritual for me. An image comes to me first. Visions that haunt me, like a dream you've had that you can’t stop thinking about. Inspiration channels through me faster than my fingers can move. Only when piece is finished do I ask myself “What does this mean?”
                My work is an exploration into the role Native American traditional cultural practices and beliefs plays in shaping the way my family sees itself collectively, the role it takes in shaping the personal identities of my husband and my nine children, and the influences or effect Ojibwe traditional culture has had on my own personal identity. As a white woman, the only non-native person in my immediate family, this exhibit is about my reflections as an outsider and about the emotional rollercoaster I often ride as I stand fixed on the outside, but privileged enough to look in. This exhibition is not just about the pieces of Ojibwe culture I’ve been allowed to see, but also what it’s allowed me to see within myself, and even to recognize what cannot be found there.
     
     
    You mainly work with textile. Can you share a little bit about your creative process?
                First of all, I am not a quilter, though many people refer to me as one. For me the word quilter assumes mastery of various sewing techniques. My sewing abilities are very minimal. I have lots of respect for master quilters and all of the skills necessary to do what they do, so I definitely want to make the distinction. I don’t sketch anything out ahead of time. I refer to photographs and videos of my children when depicting their facial features and the rest of the image, I just hold it all in my head while I work. I use fabric of varying textures, shapes, and sizes and place them on a large blank piece of fabric, like you would a brush stroke onto canvas if you were a painter. Most of the fabric pieces that I cut out and apply are about an inch in diameter, but many are smaller than that. Once I feel comfortable with my composition, I “draw” or stitch over the fabric with thread to permanently tack everything into place. I don’t measure anything, I feel it out instead.
                My portraits are not intellectualized. What I mean by that is, in the image, in its construction, and as I sew it, I’m not thinking through the details or strategizing the piece. I just let instinct take over the best I can. As I’m creating the image, I don’t question or weight out options for conveying the image. I try to stay true to the image as it was given to me in my mind without thinking of ways it could be better or different ways it could be portrayed. And when I'm sewing it together, I’m not thinking to myself…”It would look nice if this stitch ran through the eye, under the nose, and turned around and came back to the ear.” Instead, I just start sewing and I take the stitching where it wants to go in the moment. What I love about using thread in this way is that it serves to blend aspects of the image and soften the rough or geometrical shapes within the piece, and it helps blend similar fabric prints to give the illusion that they are almost a continuation of one another. The thread also adds another layer of interest on the portrait. It’s been said that my portraits look like paintings, especially online or in print. I love that you have to take a closer look to understand what you’re looking at. The face is the only feature in my work that I approach with a high level of care and precision. The rest of the portrait is more freely created and the features of the body, hair, or clothing etc is often more implied and impressionistic rather than realistic.
                           
     
     
     
     
    Could you describe your normal day as an artist?

                The face is usually the most stressful part of the portrait because it takes more of my concentration. So I begin the portrait with the face and I usually begin a new portrait at night when the house is quiet and everyone is in bed. I feel freer to go deep into the creative process at this time because not only is the likelihood of my work being interrupted very small, but at that time of day, there is nothing left for me to do. No housework, no one to feed, no kids activities, nothing scheduled (or unscheduled) that could disrupt my concentration. I don’t have to even be conscious of the time. I have found myself suddenly facing the rising sun, not realizing how long I’ve worked or how fast the time had flown by but I try not to do that too often so that I can carry out all of my other responsibilities. I honestly think that having a husband and children is the one thing that keeps me connected to a “normal" life when I'm working. I could easily be one of those creative types that don’t eat, sleep, or talk to anyone for days while I’m creating a portrait because I’m too engrossed with what I'm doing. Once the face has been created, the nature of my work and the environment I work in changes. From this stage of the portrait until it’s completion you’re likely to see kids playing, fighting, crying, singing, doing cartwheels, and creating their own art in my studio space while I work.
     
    Can you give us a spoiler on whats coming next for Blair Treuer?

                I am really excited about the body of work that I am creating right now. Many of the images included in this exhibition are portraits in my new collection which I am still creating. In fact, many of the images on exhibition here are still a work in process and are not finished. This collection is about the transition from childhood to womanhood, and my muse is my daughter who is entering this stage of life. This portrait series reflects on what it means to be a child and what it means to be a woman, physically, culturally, and spiritually. This collection of textile portraits is titled, “Becoming”. As of now, I envision that this collection will contain roughly 23 textile portraits so I have a lot of work cut out for me. This portrait series will likely not be fully completed until some point in the year 2022.
     
     
     
     
     http://marvelousartgallery.com/

  • image description

    Exclusive Interview with Labaud

     
    Exclusive Interview with Labaud

    (Marvelous Art Magazine January Issue 2021)
     
     
    Hello Dear Labaud. Thank you for giving us the chance to Interview with you. Our first question is how the “Quarantine” affects your art?

    The quarantine affects it in a good way. To a certain extend I enjoy the lockdown routine, depending how strict is it of course. It allows me to have more time for myself, chill and produce a lot at the studio.
    Concerning my work, from the beginning, the main subjects are masks and appearances. So all this situation really feeds it, with this new mask reality, behind which the face and the identity disappear. Depending of the country there are different rules, in France for example, you have to wear it outside. I found it really scary, it is like all those people walking without any face expression, emotion, blank faces.
    I would say that the main problem of the this lockdown is the physical visibility, since a lot of things close, open, close etc. It’s harder to meet people, find places to exhitbit or to do exhibition openings. But yes, it’s an interesting period.

    How would you describe your own personal style?

    I would talk about expressionism. I paint in a really spontaneous way. I don’t have sketchbooks and never do a painting from a sketch, if I am in a researches phase, it will happen directly in canvas. I just paint and let me go with the medium/technique that I use. And sometimes it creates mistakes that are really interesting. For me it’s the beauty of painting. To not especially put limits in the techniques or medium. When you are a painter, I think you have to explore everything. Every kind of paint and technique have special things to offer.

    Can you tell us a little bit about yourself and what drove you to choose art as a career?

    I come from the street culture, mainly with skateboarding and hip hop. The painting was a hobby and passion at first, and it still is now. It’s really important for me to keep it that way. I started painting while I was doing «interior archi- tecture» studies, four years ago. I would say that is was kind of a therapy for me, a way to escape and show and express things that I couldn’t do in an other way. And little by little I had the opportunities to show it, and started to like to show it. But at the beginning I wasn’t thinking about starting to live from this.

    Could you describe your normal day as an Artist?

    A lot of coffee, a lot of biking to go to my studio, and meeting friends at the end of the day. It will be better in a couple of month, winter is cold in Berlin... Right now I am in a shared multidisciplinary studio with six peoples, really nice to work around them. I use mainly oil painting. So it can take time, I always start four or five paintings at the  one time and work slowly on each of them.

    Can you give us a spoiler on what’s coming next for Labaud?

    I really want to do more of outside paintings this year, I did a bit of a break in 2020, big ones, comission or just for fun. And hopefully the lockdown will stop soon. Right now I am showing some paintings in a haircut salon in Berlin named «Friseur Hue», it will reopen at the beginning of February. I am also represented by a gallery in Berlin, called «Kultur Spaeti», I am looking forward to see what will happen when it will reopen.
     
     
     
     
    http://marvelousartgallery.com/

KARISMA

“Dress For The Grave” Collection

We're proud to be a partner of his project of Karisma - “Dress For The Grave”. You can watch the Speedart video with this link : https://www.youtube.com/watch?v=VkS0i8Y_FAY&ab_channel=Karisma And you can follow him on : https://www.instagram.com/whoskarisma https://rekarisma.com
We're proud to be a partner of his project of Karisma - “Dress For The Grave”. You can watch the Speedart video with this link : https://www.youtube.com/watch?v=VkS0i8Y_FAY&ab_channel=Karisma And you can follow him on : https://www.instagram.com/whoskarisma https://rekarisma.com
We're proud to be a partner of his project of Karisma - “Dress For The Grave”. You can watch the Speedart video with this link : https://www.youtube.com/watch?v=VkS0i8Y_FAY&ab_channel=Karisma And you can follow him on : https://www.instagram.com/whoskarisma https://rekarisma.com

Who We Are...

Marvelous Art Gallery is proud to present a selection of their work. They are widely recognized for a unique artistic process and have traveled all over the world to create original, innovative fine art. Owing to unforgettable cultural encounters, great teachers and personal ambition, this talented artist seeks to spread artistry on an international scale. For further details, please get in touch.



ABOUT US


Marvelous Art Gallery is working for Online Art Gallery. The owner of the Gallery as an artist as well. Therefore she knows all the artist problems and the situations. This is why she want to start the gallery. She did do a lot of Exhibitions and Art Festivals in all around the world. And she is still continue to crate art same time.


 “Marvelous Art Gallery” is looking for artists to fill our 2020 online exhibition schedule! In these strange times, we’d like to start a digital project around the work that people are making in their artistic isolation.  It's free to entry and easy! All visual art supports are acceptable (painting, photography, drawing, sculpture, digital, prints ...) with the exception of sound and video arts. Submit your art to be a part of an online exhibition.

We’re looking forward to your online submissions. (Link in bio to start your application or you can send us an e-mail with : marvelousartgallery@gmail.com)
There is no limit to the number of images an artist can submit. Please visit the website to submit your images:

www.marvelousartgallery.com


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We are now accepting art submissions for our Collective Art Book Series No:1 of the our Book "Marvelous Artists". Artists are welcome to submit works in any medium: painting, drawing, writing, sculpture, ceramics, printmaking, photography, textile, installation, mixed media, digital, film (only jpg + link to video) etc. All visual art mediums are welcome. You can fill the form in the above or you can send us an e-mail to : marvelousartgallery@gmail.com