Anastassia Syv

Anastassia Syv studied the skills of academic and traditional painting in Tallinn Art School in Estonia. She paints mostly with acrylic on canvas and the subjects vary from animal and human portraits to abstract and ornamental art.

For me, the most important part of the painting is not the end result but the process. It brings me great joy and a sense of living. Creating art is a meditation, allowing me to escape the sometimes frustrating and boring daily routine.

I appreciate the decorative part of art, and knowing that my art as is a piece of personal experience, colors and, as a result, emotions can revive the space and even positively interfere with it.

In my art I like to insert archaic ornamental motives and to remaster them using paint brush and canvas instead of yarn and fabric, as well borrow different animal portrait pictures and place them in abstract eternal and unclear space.

As a person who knows how much waste an artist is able to produce, I always try to keep my leftovers from the canvases and reuse them later. I usually use leftover parts of the canvas fabric as the pallets for color mixing while working on other art projects and in the end I develop a fast unpredictable mostly small size abstract painting which later is framed. The inspiration for this works comes in a moment and is a depiction of my current mood.

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Cécile Mirande-Broucas

Cécile Mirande-Broucas was born in Paris. She’s a graduate architect from Ensa Paris-La Villette. Having a great interest in artistic creation and visual art, she followed in parallel her practice of drawing and her graphic research. Since 2018 she has devoted herself entirely to illustration and art. Active in the press, she has worked in particular for Télérama, AMI, and Jazz Magazine.

Her drawings are characterized by a search for simplicity and sharp geometries. With their dynamic and tense compositions. highlighted by bright colors, they are always in movement.

Cécile Mirande-Broucas works on different media such as painting or hand-made silkscreen printing. About her digital artwork, she herself makes fine art prints in small formats and works with a professional print worker for bigger sizes to ensure a result faithful to the original drawing.

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Clément Barbé

I live in Paris, where I grew up and studied graphic design and illustration at ESAG Penninghen. I worked for a few years as an art director in different agencies, then I decided to become a full-time freelance illustrator.

Throughout my life as a graphic artist, I became an expert in vectorial illustration, which is usually very cold and geometric, but I try to put life into my drawings by putting a lot of details.
I always try to work with a limited color palette, that evolves throughout the process, unfair advantage of vectorial illustration! I add grain and texture at the end of the drawing.

I usually draw nature, architecture, city, but also car although I don’t know anything about them!

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Eleny Kasemets

Eleny Kasemets is an artist and a co-founder of BrutalArt platform. She has graduated from the Estonian Academy of Arts in Fine Arts and also has a degree from Tallinn Technical University in Business Administration.

Although painting is her primary medium, she has also curated international group exhibition series Wire+Art and monthly exhibitions at JÄÄ-ÄÄR Cafe/Gallery in Berlin. She owns a sustainable brand called Vill Vill where she applies her love towards painting on the hand-knitted garments.

The influence when I’m painting comes from the subconscious. Momentary sensations and subconscious emotions are intertwined, taking final abstract form only on paper in front of me. In order to create unexpectedness and drama, I leave a lot to chance. This is carried by the wish to leave the viewers some room for their wanderings, and freedom to interpret the works the way that speaks to them. Beauty is a mere reflection of its observer.

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Eva Bergera

Eva Bergera est une parfaite iconoclaste à qui pourtant le bon dieu serait donné sans confession. D’autant qu’après tout elle le mérite pour sa drôlerie impertinente et intelligente. Les deux vont d’ailleurs de paire dans ses images et ses textes parfois tapés sur une vieille machine à écrire — ce qui ajoute de l’humour à ses visualisations des victimes assumées et, entre autres, de la chirurgie plastique. L’artiste ne se contente pas d’en offrir des miroirs : la matière des solvants et les techniques de ses peintures attaquent le corps de la peinture et des femmes. Si bien que l’érotisme prend des tournures coulantes ou transversales. L’artiste lutte contre les « immatriculées » conceptions comme celles qui sont refabriquées, mais pas de la bonne façon. Son esthétique se veut radicale sans pour autant tomber dans le trash. Ignorant tabous ou ostracismes, entre provocation et une certaine ingénuité, Eva Bergera joue des figures et des masques. Les titres des séries en disent long sur divers troubles, avanies, dissociations, réprimandes, jérémiades : « Tu finiras mal ! Ta robe ! Va te promener », « Tant pis ! Va déjeuner », « Tache d’avoir l’air convenable » — le tout à défaut de revendiquer un corps glorieux. Et la pauvre chouchoute est rejetée dans ses propres limbes. Si bien que les corps partent en souveraines déconstructions pour revendiquer des genres et des sexualités parallèles à fleur de peau et à l’image d’une écriture vibrante et trouble Le strip-tease des masques déplace les apparences mais les encalmine autant entre élégance et « vulgarité » (en)jouées. L’ironie est corrosive en un tel ordre macrocosmique imminent. La vie adhère comme elle peut aux organismes et leur « simul », leurs « persona », leurs masques dionysiaques ou spectraux. L’œuvre est un régal : rien n’est vrai, toutes les choses sont feintes mais la peinture est là pour, par son rire, effrayer les âmes faibles, les cœurs sensibles. Un tel travail rappelle qu’il n’existe pas de création sans fantasmes mais aussi sans réalité. Les sensations visuelles deviennent des chocs dans les litières de l’existence, de ses apparats et de ses apparences. Preuve que l’artiste est sinon une sainte femme une femme saine : elle représente la vie comme dénuée de centre et de certitude et qui se confond en une pluie de simulacres qui font que souvent nous la ratons – où qu’on nous fait la rater. Que ce “on” soit une mère ou non, il reste toujours, selon l’expression consacrée, un con. Jean-Paul Gavard-Perret

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Ivar Kaasik

Ivar Kaasik (born 1965 in Kuressaare) is an Estonian painter and jewellery artist, who lives and works in Berlin (since 1992). Kaasik studied architecture at the Estonian Academy of Arts but graduated as a metal and jewellery artist. Meanwhile, he continued his art studies at the University of Art and Design in Halle (1989-1992).
For his extraordinary jewellery, Ivar Kaasik has won the De Beers grand Prix at “The Diamonds International Awards” in Paris (1996). To demonstrate his dedication and productivity, Kaasik has had more than 70 solo exhibitions and the same amount of group exhibitions, in more than 20 countries. He is a member of the Berlin Professional Painters’ Association (since 2001).
The range of his painting ability seems limitless – from portraits and landscapes to abstracts and fragments of photographs and films, he masters them all. His works amplify the influence of the era throw artists’ ironic perspectives. The obscure conceptual narratives and connotations are depicted with oil on canvases.

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Jana Marie Cariddi

Jana Cariddi is an American artist residing in Berlin. She has received her BFA from the Savannah College of Art and Design in the Spring of 2015. She has since participated in two residency programs in Berlin, and one in Japan. She has exhibited her work in North America, Germany, and Japan. Through painting, drawing and installation, Cariddi’s work explores memory, nostalgia, play and fantasy. Her paintings are in multiple private collections. Currently, Cariddi is working on various projects from her Alt-Treptow flat. She enjoys spending time with her toy poodle Sid Vicious, drinking strong coffee, cooking and doodling/painting into the evening.

My work is influenced by my narratives and memories. I frequently revisit child-hood and contrive imagery that is equally haunting and engaging—lonely yet vibrant. Through painting, drawing, and installation I create visual memoirs revealing imaginary worlds that exist to humourise, heal and counterbalance the mundane.

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Jenya Pestova

Jenya Pestova is a Russian artist based in Germany. She grew up in Moscow and graduated from the Moscow Institute of Art and Industry. She’s been working as a designer and illustrator, but a few years after she moved to Berlin she pivoted her career to become a full-time artist. Having freed herself from conservatism and the expectations of tradition, Jenya is exploring topics of inner freedom society. Her vibrant and bold abstract compositions are created using mixed media with acrylics, spray paint, oils, oil pastels, ink, and tempera on canvas.

The most important question for me now is to find my inner freedom to do what I want without constantly seeking outside approval. As a woman from Russian traditional society, since childhood, I’ve been told what I should and should not do. My life as an artist is an opportunity to stop doing what everyone around me expects me to do, find what I dream to do, how I dream to paint and to inspire other women artists on this difficult journey.

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Joe Wray

Joe Wray works as an artist from his studio in Berlin, transforming his pen and ink drawings into colourful digital prints. His artwork reflects his passion for pattern, decorative Asian illustration, tribal African imagery and traditional Japanese printmaking amongst many other things. His artwork might be described as a contemporary mashup of past and present, of the figurative and the abstract. He has had solo and group exhibitions of his work in London, Barcelona and Berlin.

The inspiration for this ongoing series ‘Art of the Floating Planet’ comes principally from the Japanese woodblock print tradition of Ukiyo-e (translated as ‘the floating world’), Japanese tattoo culture known as Irezumi and pop art. Many Ukiyo-e prints were depictions of figures in interior scenes, intended to portray the carefree and hedonistic spirit of a time of sudden wealth amongst the merchant classes in Japan in the late 17th century.
Ukiyo-e depicted in some sense, a dream world detached from the world outside. There is a lineage between this floating world and our own image-saturated culture which we experience in a solitary manner largely via our computer screens. We quietly curate these private dream worlds comprised of countless disassociated images. Some of us may even tattoo this visual mash-up onto our own skins.

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Jordi Bisquert

Jordi Bisquert Mascarell is an illustrator artist, with a particular
passion focussed on acrylic and watercolour painting. Unsurprisingly,
Bisquert had always been obsessed with comics growing up and
constantly drew panels and recreated scenes featuring his favourite
characters. Other influences include artists such as Valeri Adami,
Andy Warhol and Roy Lichtenstein and the underground surrealist
pop art movement Lowbrow.

Using his experience and imagination he always finds ways of
making the comic aesthetic relevant to his client’s brief. Little
touches, like carefully chosen and mixed spot colors and his
trademark eyes add to the uniqueness of his creations. He sketches
and fine-tunes everything first, before colouring and finishing the
image. All of this is done by hand in acrylic or watercolour.

His work has been published in the popular media in such places as
FUBIZ the renowned website covering creative news about art,
design & pop-culture. He has also exhibited at Imanart, Barcelona
(2014), Pulsraum in Berlin (2014) and at Let It Bleed in consecutive
years 2017, 2018, 2019.

Born in Denia, Spain 1973 Bisquert speaks four languages and has
lived in New York, Hamburg, Barcelona, Valencia and has been
based in Berlin since 2005. He studied graphic design at School of
Art and Design of Valencia, Spain (1995).

Bisquert directed his own studio in Berlin for ten years, and in 2018
he co-founded and began managing the art gallery LET IT BLEED
with Sylvia Pujol. As a curator of the gallery he has been proud to
include artists from around the world, artists from as far afield as
Japan, New Zealand, Russia, Israel, China, Scotland, England,
Poland, Spain and Italy. His initial driving motivation behind curating at Let It Bleed was that he wanted to be of assistance to emerging artists. If there is something that defines Bisquert it is how much he cares about people – the act of curating means caring and looking after not only the artwork but the artists also. He has learned that the act of curation, by implication, is the creation of a dialogue between the world outside and the world inside the gallery walls and Bisquert strives to make this conversation relevant and interesting to as wide an audience as possible.

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