Meet The Artist: Joel Rea

Joel Rea, 32-year-old artist from Australia, works in an unusual genre, combining photorealism with surrealism.
He paints portraits and landscapes, animals and the ocean and it seems that there is no such theme on the basis of which he could not create his picture.Joel prefers to work with canvas and oil, perfecting every smallest detail.

“It is very easy to smile when you win, but for me the most interesting thing is exactly what people do in the darkest hours of their lives, because it is at such moments that you show up as a person,” says the artist.


Meet The Artist: Tomek Setowsky

Image result for setowskyTomek Setowski (his web page is in Polish with lots of images) is a Polish artist born, by his own admission, “a very long time ego” in Kraków-Częstochowa Upland. He revealed his artistic talents at the tender age of three.His learning lasted for a long time…BiografiaThe young dreamer honed his painting skills over the years, displaying his works first at local galleries and then moving to the best showrooms of the world.For many years Setowski has been put under the wide notion of surrealism. Only recently it was decided that artists having a similar style fall under “magical realism” or “fantastic realism” and the artists themselves (what is often stressed by Setowski) are closer to Bosch than Salvador Dali. There are not many representatives of this trend in the world, for creating such works deserves a faultless, almost masterly technique and immense imagination. (From an article on Setowski here.)

Meet The Artist: Sergei Isupov


Sergei Isupov ‘s surreal ceramics combine paintings with sculpture.

Sergei Isupov was born in 1964 in Stavropol, Russia. He studied art in Ukraine, and then continued his studies in Estonia. His professional career began in 1990. He participated in exhibitions in the Baltic States, Sweden, Norway, Finland, Denmark. In 1994, he emigrated to the United States, where he lives and works today.исупов8

Sergei Isupov’s artwork is always multifaceted. Both animal and human essence are intricately intertwined, molding surrealistic creatures right out of a dream.исупов9

Sergei Isupov investigates binaries in human relationships — male and female, good and evil, beautiful and grotesque. Using clay as both a material for three-dimensional expression and as a canvas for his illustrations, Isupov capitalizes on all properties of what he finds to be the most open medium. He sculpts human and animal figures, and then adds illustrations in glaze.исупов97

The paintings diffuse into the clay’s surface, like tattoos on his sculptures’ skin. Taken together, the two- and three-dimensional elements of his work establish a compacted but powerful scene of emotions and narratives.

In their ambiguity, the narratives are remote and uncomfortable. Bodies lie on the ground and embrace in unnatural positions. исупов992

Animals talk eye to eye with their human counterparts, leaning inward and speaking in hushed tones.исупов91

The influence of the Surrealist movement on Isupov’s work is obvious. Proportions are perverted and exaggerated. 

He invents his own outlandish creatures, usually monsters. Although there is something off-putting in his work, his figures evoke empathy and a feeling of comfort.   (Anna Carey, article in Hi Fructose.)исупов1



And more of Isupov:

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Terrific And Terrifying Art Of H. R. Giger. RIP

HP Giger1
Hans Rudolf Giger  died on Monday, in Zurich, from injuries suffered in a fall, according to the H.R. Giger Museum in Gruyeres, Switzerland, as reported to the AP. He was 74.


Swiss artist H.R. Giger, seen here at his “Dreams and Visions” exhibition in 2011, died Monday after a fall in Zurich. Giger’s work includes designs for the 1979 film Alien.

While Giger is best known as a creator of surreal biomechanics an designer of scary creatures for movies, he was also a very skilled artist. Surrealism was  his passion. The artist’s imagination, it is said, was inspired by his dreams.   a

James Cowan, who published Giger’s art books for more than 20 years and has been his friend for just as many years, has this to say in the interview for All Things Considered:

“He would have nightmares, going through passages and tunnels and this sort of thing. And took his dreams and put them on paper.”

“It was his mother who gave him a postcard when he was a little boy of a [Salvador] Dali painting. And it just transfixed him.” 

“He has a place in the pantheon of great painters. No question about it. And if you go back to Salvador Dali and all the great masters of imaginative art, Giger’s right in there.” 

He merged sex, tech and legend; his themes were dark, but not his soul. H. R. Giger was a kind man, and a good friend to many. RIP.

"Giger's vision of a human skull encased in a machine appeared on the cover of Brain Salad Surgery, a 1973 album by the rock band Emerson.

“Giger’s vision of a human skull encased in a machine appeared on the cover of Brain Salad Surgery, a 1973 album by the rock band Emerson.


Giger’s unique aesthetics also inspired a Giger Bar in Tokyo and in his hometown. 

Le Surrealizme At L’objet (Surrealism and the Object)

video-x15zhnxThe exhibition Le Surrealizme At L’objet (Surrealism and the Object) closed last month at the Centre Pompidou in Paris, France. Over the years, the Centre Pompidou devoted several event entirely to  Surrealism —  “Surrealist Revolution” (2002), “The Subversion of Images” (2009),  Salvador Dali and now “Surrealism and the Object”.  img_9779

To the extent that made some critics wonder — skeptics that they are — if the surrealist vein is not permanently exhausted by over-exposure. Isn’t the “surreal source” dried up by dint of being so often exhibited  at so many venues all over the world? Can the art lovers be lured again and again into the galleries to take yet another look at the creations of Breton’s band and its adepts?

The answer, apparently, is resounding yes.  The exhibition had a tantalizing premise…

The idea of the Le Surrealizme At L’objet is to show the integral interaction, interconnection and interpretation of dream and sense, object in its real and physical form with the “sur” of its subconscious representation. In essence, it aims to show the inherent tension and the driving contradiction at the heart of heart of the movement.

Surrealism is rooted in the dream, the subconscious, the secret impulses, intimate, erotic, and then seems to deny reality. Indeed, surrealism favors a world “inside” at the expense of the sensibilities of the real world, as the founding manifesto, launched by André Breton, proclaims.

A hundred or so sculptures and around 40 photographs were brought together, including pieces by Miró, Arp, Dali, Calder, Ernst and more, to substantiate the exhibition’s attempts to follow the inroads surrealist movement. Brassaï. Involuntary sculpture. 1933.

The artwork selection includes the “repercussions of the movement’s ideas that still echo in the art of today” — the works by Cindy Sherman, Ed Rusha and Paul McCarthy. The bias towards ‘installations’ of the more contemporary work  is notable, since installations are “direct descendants” of the surrealist celebration of the object.


Retrospective Bust of a Woman Salvador Dalí (Spanish, 1904–1989) 1933. Painted porcelain, bread, corn, feathers, paint on paper, beads, ink stand, sand, and two pens.

René Magritte. This is a piece of cheese. 1936.

René Magritte. This is a piece of cheese. 1936.



Arnaud Labelle-Rojoux, “A Hands with the Devil” 2013.

Le Surrealisme at l'objet au Centre Pompidou.4

Giorgio de Chirico. Le Surrealisme at l’objet au Centre Pompidou

Hans Bellmer, ‘La Poupée’, 1933-1936 / Dist. RMN-GP Photo : Philippe Migeat, Centre Pompidou © Adagp, Paris 2013


Salvador Dali, “Lobster Telephone,” 1938.