Home – Thor Lindeneg

I think it is an advance that no one has told me how and what to paint. As a young painter it’s dangerous to be influenced by others. I’m lucky to have a free spirit that has not been distorted by professors.

But perhaps some (stupid) critics think that I’m not a real artist without the usual education.

Your work is featured on several book and periodical covers, including Umberto Eco and the British Medical Journal. In these cases, your work is seen outside an artistic context (i.e. galleries, art blogs/websites, and articles). How do you think this affects the level of exposure your work receives?

For me it’s a piece of art no matter what media wants to show it.

Do you think that it shifts your art into something else? Or does it add new layers of meaning to it?

No! And the layers of meaning are all up to the observer.

You had originally started off in a musical career before shifting into the visual arts. Had you been painting throughout this period? If so, when did you start painting? And what inspired you to exhibit your work at Charlottenborg in 1972?

Musical and art career went hand in hand. I painted my first oil painting as 8 years old. I’m sure all artists want to exhibit their work. In Denmark it is important to be accepted at Charlottenborg. In 1972, I felt that my paintings were good enough to give it a try.

Clown – Thor Lindeneg

Could you describe the process of preparing for this first exhibition? And with the benefit of hindsight, what might you do differently today?

If I was to live my life again, I’m sure it would be the same paintings of mine embellishing the walls at Charlottenborg.

Your career is dotted with international exhibitions, from Denmark, Italy, France, Belgium, Holland and the United States. Could you describe some of the challenges you faced during these international exhibitions?

What might some of the differences be when exhibiting within your country of origin?
At the age of 72 I think that I’m through all the trouble that goes with exhibitions abroad, shipping works, being present at openings, etc etc. Exhibiting in Denmark is unproblematic as we are in acreage a small country.

Door – Thor Lindeneg

On your website, you have described your word as Fantastic Figuration. What is Fantastic Figuration for you? Also, how did you come to identify with Fantastic Figuration?

In a North Art Magazine article, Jens Pedersen identified you as a “second generation,” wanting to expose the possibilities that exist outside convention and conformity. How does this philosophy play into Fantastic Figuration?
I belong to the second generation of surrealistic painters in Denmark witch the art-historic described as ‘fantastic figuration’

Fantastic Figuration is for me just a word. I am and will always be a surrealistic painter.

What kinds of projects do you see for yourself on the horizon?
I will just keep on paint til I die…

Ending – Thor Lindeneg

Contact Information:

Official Website: www.lindeneg.dk
Facebook: Thor Lindeneg on Facebook

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If you were looking for a device that could trigger your DSLR shutter using your iOS device but thought the IOShutter was a bit expensive then you’re in luck! The Triggertrap dongle (and free app) is priced less than $50 and promises to do even more than its competitors. We tested the setup with our in-house cameras and it worked like a charm. Within seconds we were setting up noise or distance activated shutter triggers. Some of the advanced features let you create time-warped time lapses, meaning that the interval at which the pictures are taken at increases or decreases. This allows you to create videos that appear to be speeding up (or slowing down).

Here are just a few of the cool ways you can trigger your camera’s shutter. Head over to Triggertrap for more details and to order one for your Camera make and model.

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Fellone – Roberto Rizzo

Roberto Rizzo was born in Naples, but currently he lives and operates nearby Rome. After High School Diploma in Classics he attended IED (European Institute of Design) in Milan and worked as an illustrator for various publishing houses. From 1996 on, part of his professional artistic activity deals with the so-called “rock painting art”. In 2004, Italian publishing house Mondadori published his Rock Painting manual, which achieved great success. Currently, Roberto takes part in exhibitions in both Italy and worldwide. His artworks are showed in various art galleries and included in many contemporary art catalogs.

About His Surrealist Art Works:

I always loved the plenty of shapes and objects Mother Nature gave us. This variety represents my main source of inspiration while I’m painting. Animals especially have fascinated me since I was just a child. I firmly believe artists, in their expressive and emotional journey, are bound to get back to their childish

Apnea – Roberto Rizzo

feelings and passions, because art – apart from meaning discipline – is first of all love and amusement. All my artworks aim to explain to me and to others a specific aspect of living. Usually it happens that a mere detail tickles my mind, and this starts a complex progress which leads me to the ultimate concept.

When I make the core of my idea, I begin to add and remove from it through a sequence of drafts until I find myself satisfied. Most of the times it’s a very long work in progress, because I care so much for balance and spaces, and I often come out with a result which is not as immediate in its symbolic content as I had imagined. Mixing so seemingly conflicting elements gives my art a strong allegorical mood. Therefore viewers foresee a meaning besides it, but this meaning is often difficult to understand. Really it’s the main appeal I find in my activity: I love catching viewers’ eyes, casting doubt on, receiving from my audience new keys of interpretation for my work.

Fox and Grapes – Roberto Rizzo

We humans have forgotten most of our primeval instincts. Our failure to detach ourselves from the mere dichotomy between Good and Evil, between Right and Wrong, our inability to create parallel worlds deeply fascinates me so I’ve been trying to analyze it through animals which are to me a paradoxical metaphor of our condition.

I did it in the ‘Fish market’ cycle, for instance, moving from the mere aesthetical pleasure of putting on canvas the extraordinary colour variety of fishes. The calcareous warts of clams, the sharp metallic reflections of bluefish, their wide-eyed and questioning look, the bloody flashes of gills: all this stuff entices me, and I wanted to describe with my own symbology this precious life mine deprived of its freedom. Of course another source of inspiration has been my birthplace, the city of Naples, where you can find fish stalls at every street corner. I found it obvious to connect this swarming though sentenced life to chaos we ourselves are daily immersed in: we are victims, prisoners caught in the fishnet of a self-referential frenzy that fills our everyday existence. I’ve always been influenced from the city where I lived for so many years: a unique place that mixes multiple cultures and conflicting aspects, a melting pot where life boils and everything is constantly moving but at the same time nothing really changes.

‘a-ciorta – Roberto Rizzo

Contact Information:

Official Website: www.robertorizzo.com
Facebook: www.facebook.com/robertorizzoart

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Oh and did we mention that all of the features apply to video as well?

Don’t take our word for it, check out this video for more details and head over to iTunes and
Download KitCam now.

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This amazing shutter remote lets you control your camera’s shutter with your iPhone, iPad, or iPod Touch.  It has 6 modes: standard trigger, motion trigger, sound trigger, time-lapse, timer, and bulb. Imagine having the shutter triggered by a sound or by a movement. $70 might sound a little excessive but it’s definitely something to look at if you’re already in the market for a new shutter remote.

Follow this link to get yours now!

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Company: Sunrise Artists
Industry: Arts and Entertainment
Job Type: Internship

We are looking for self-motivated journalists to generate content for our not-for-profit website SunriseArtists.com. Our internship program will give you the opportunity to interact directly with international artists and cover various events.

Interns should be self-starters, as much of the work is done at their own pace and content is enterprised by interns. All work is submitted over the Internet, allowing interns the ability to contribute from anywhere.

IDEAL CANDIDATE:
A student in journalism or the liberal arts with an interest in graphic arts. Some experience reporting and/or interviewing is preferred.

INTERN RESPONSIBILITIES:

• Produce about one story/week
• Promote the content via social media
• Research and discover emerging artists
• Contribute ideas to improve the website

HOW TO APPLY:
Send a resume emphasizing applicable
education and experience to:
careers@sunriseartists.com

Indicate the term you are applying for (Winter, Spring, Summer or Fall) in the subject line. In the body of your email, include a short note explaining your goals as an intern, what area of the arts most interests you, and where you will be living during your the internship period..

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How did you first start off your career as an artist?

Well, my career started way back. When I was 8, I saw Danish artist Frank Rubins’ studio in Smaaland, Sweden. He had made some big canvases, with a cow skull, that his son Simon and I had found in the woods. That was the day that I said: “I want to be an artist”. Two years later in 1984, I found myself, through graffiti. I did my first canvas in my father’s studio (Knud Mikkelsens) in Stockholm, the winter of 89-90. A self portrait, Ugly as hell.

It was in 2001, that I had my debut in the Danish art scene. I got in, with three paintings on the artists fall exhibition ( KE ) at the contemporary art gallery Den Fri. From there, one thing just took onto the next….

How would you describe your artistic process? What are the main differences when painting and sculpting?

I always worked a lot. When I was younger I was working in the studio 12-16 hours a day in my studio, all year around for many years. Now, it’s more like 10-12 hours a day. I always work on many projects, shows and medias at the same time and always did. It’s good for me, that I can jump from one media to the next. If I have worked on paintings for a long time, and then get fed up, I can move to make sculptures. It gives me peace, and it helps me to never get bored. The day I think it is boring to make, I will stop!

Do you believe education in art is necessary or an asset?

Well, I “only” have the three years of education, called the Free Youth Education (DFUU) offered by the Danish government for young creative people, rather than just sitting with a book. I hated school from day one, so this was my break .The goal after the three years of different art schools was to make my debut. I did that in 2001, on KE exhibition. So this break helped me on the way to becoming a pro. And I am now.

I had tried to get into the Royal Academy of Art in Copenhagen ten times without luck. In Denmark, it is very important to come from one of the three states funded art academies if you want to make it big. I just kept on going hard. I did it without it. It made me who I am today, and now I’m happy that I never got in! I did it by myself. So I guess it’s not necessary.

Is there a particular artistic movement that influences you?

The graffiti movement has been a part of my life for almost 30 years now, and means a lot to me; it was a crazy experience and I made friends for life! In the art world, the first I read and heard about was Danish Ex-skolen, and Cobra. Henry Heerup has been a big inspiration for me.

What do you feel is the most important way to market your art today?

The most important way to market my art today would have to be to show, work, show, work. Exposing my work around the globe, at cool places with amazing artists. I have good loyal galleries today, that are doing a great job; Mohs in Copenhagen, Munch Gallery in NY, Gallery S.E. in Bergen, Norway and Bongoût in Berlin ( Now a print studio ) printing small books and prints. But also online, like my website frodomikkelsen.dk and tools like Facebook have been a big help over the last years.

Your art has been exhibited all over Europe, North America and even in South Africa. What advice would you give to an artist who wants to have international exposure?

I have so many dreams and wishes for myself in the future, but I still have no idea how I will get there yet. However, an example is, when I got my first NY gallery (Jack the pelican presents, in Williamsburg, Brooklyn ), I went to NY every six months, and I went knocking on the doors. After, 2-3 years of going back, the gallerist suddenly said “You don’t give up do you”, and he let me in. I was there for some years, and it was beautiful. They closed down, in the beginning of the financial crisis. I now have my new gallery in NY, Munch Gallery, is owned by a Danish woman, that I met through the Mohs exhibition in Copenhagen, and eventually, one thing led the next. She is doing an amazing job; selling my work and getting me into museum collections, like at the Metropolitan Museum of Art. So I guess, my way was to work hard and not to give up.

What do the symbols of skulls and the black horse represent and why are they recurrent in your artwork?

I started working with tags in my paintings such as the skull and the black silhouettes. These are just a couple of tags, I have like 20 different ones.

The skull I started using in 2002-03, but in 2005 it went crazy and I painted skulls every day. It goes back to the day when I was 8, and saw Frank Rubin’s painting, but now I also got books on the Mexican tradition, day of the dead, and it was not until I went to Mexico, that I met people more crazy about skulls than me. The black silhouettes, is often myself, as a lone cowboy on a horse, a bear, or something else…But it also helps me with my graphic idea, I love hard graphic. Black figures, bright colors and white background.

What are you future projects?

I’m booked for a long time. My next show is in January 2013. I first have the Art Herning art fair, with Mohs exhibit. Also in January, I have a show in Singapore at Art Stage Singapore, with Gallery s.e. In February, I have a solo at Gallery s.e. in Bergen, Noway, and one week later a show with Fie Norsker and Kottie Paloma in Mohs, in Copenhagen. I’m going to New York in April and May, to start up production for my solo at Skive, a new art museum in Denmark. In January 14, at the same time I have a retrospective show, at the same museum. The same month I’m in a drawing show in NY at Munch gallery, and then art Herning again. Before that in 2013, there is Art Copenhagen, and a group show at Heerup museum in Copenhagen. I just showed at Fanø art museum, and right now I’m showing in Copenhagen, at the Christoffer Egelunds gallery’s winter show. I’m going to start getting more gray hairs… Pure love.

Contact Information:

Website: frodomikkelsen.dk
Facebook: Frodo Mikkelsen

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The Sensu Brush works with capacitive touch screens like the iPad and iPhone (all versions), Kindle Fire, Samsung Galaxy, HTC Desire S, Google Nexus S, the Motorola Atrix, and many more. For $39.00 you need to get yours now!

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Robert Zablocki earned a BFA in Fine Art with a minor in film and video from Emily Carr University of Art and Design. After his formal education he continued to grow in various environments such as in house studios, boutique studios, magazines, newspapers, freelance, small and large agencies. After several years of successful work in Thailand he moved back to Canada, and continues to work as an Artist today.

Robert Zablocki – Valley of Hinnom

About His Work:

My recent work includes several series of paintings that weave inter-related experiences – including growing up with a skewed vision of spirituality, rebellion and famous works of art. My work often displays an unsettling intersection of ugliness and beauty within our world.

Robert Zablocki – Theology by Coldwitch

Contact Information:

Website: zablocki.deviantart.com

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Guillaume Gaudet – New York City

You are a French photographer based in NYC. Why the Big Apple?

Well, simply because 5 years ago I followed my wife who had been transferred to the NY office of her firm. I was doing public relations in France and quit my job to follow her. Since I didn’t have a job in the US, I would spend a lot of time on the streets of NY taking pictures. The city became a great source of inspiration for me, and still is today.

Guillaume Gaudet – New York City

How did you first become interested in photography?

If I remember well, I started becoming interested in photography when I was in high school. I was in a boarding school and I would, sort of, document our daily life. The pictures weren’t great but they’re good memories of that time. I was maybe the only one doing it. I kept taking pictures in college: portraits, parties or vacations with my buddies. I’ve got a lot of photo albums from that time. When I started working, I was less prolific and would mostly take pictures during my holiday trips. I think I’ve always wanted to become a photographer but I didn’t consider it as a potential career. I wish I had started sooner.

Did you pursue studies in photography? Do you feel having an education in photography is necessary?

I’ve never taken any photography lesson, period. I’ve learned from scratch and spent a lot of time reading magazines, books, and online tutorials. Then, it’s practice. It’d be easy to say that it’s not necessary; HOWEVER, I wish I had studied photography because it would have given me a confidence that I never had. I’m still wondering how photographers sometimes manage to take some pictures or do some edits and I feel very frustrated.

What aspects of the city fascinate you and inspire you to want to capture on camera?

I love the City because it’s a mixture of everything: architecture, food, people, etc. It’s a mix of modern and old, neat and dirty places. I think that it’s gentrifying a bit too much. I miss the rough NY. I would have loved to shoot in the 80’s, 90’s. Neighborhoods like DUMBO or Williamsburg don’t really look the same now compared to when I started taking photos there 5 years ago.

Guillaume Gaudet – High Tide – New York City

Does the price of the camera matter to you? Does the quality of the equipment translate into better results?

Yes and no. Most important are the lenses. When I started buying expensive lenses, I could tell the difference. Cameras are less important, it depends on what you’re shooting. If you’re taking night pictures, it’s best to have a camera that allows you to shoot at a high ISO without getting too much digital noise, for example. I have a photo on sale at galleries that was taken with a Coolpix…so it works sometimes.

How important to you is the editing process? How long does it usually take for you to edit a photo?

It’s extremely important. I spend often a lot of time on a single picture, trying different edits and see which one is best depending on the type of picture, its mood, etc. However, some pictures don’t need any edit if they’re beautiful as they are.

What do you feel is the best way to promote and publicize your work? Do you feel like being in NYC puts you at an advantage towards this aspect?

That’s still a good question to me. I don’t know what’s best and I don’t feel that being in NYC is an advantage since everything is publicized via social media nowadays. I’ve got a website, a Facebook Page, a blog, a Tumblr Page, a Twitter account. They all have pretty much the same content but it’s just different ways to reach out to as many people as possible.

Guillaume Gaudet – New York City

On your website you have a publications sections. How did you come up with the idea of photography books and displaying them online?

At the beginning, I just wanted to publish for myself a book with a collection of pictures of NY. I found out that Blurb allowed you to create your own book and publish it entirely online. I thought it could be a nice marketing tool and self-published other books with that in mind.

You took amazing shots of NYC post-hurricane Sandy. What projects are you working on now and what can we expect from you in the near future?

I don’t have particular projects in mind right now. I’m a commercial and editorial photographer. I’m working on assignments on a regular basis but I try to keep practicing street photography on the side. Right now, I’m trying to build a portraiture/lifestyle portfolio. I really like to take life scenes/moments on the street of the city but it’s very random to shoot great pictures. My objective is now to create those moments and shoot them.

Contact Information:

Website: guillaumegaudet.com
Facebook: facebook.com/GuillaumeGaudetPhotography

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