Ana Pallares, born in Barcelona in 1993, is a self-taught artist, whose practice reflects on pain, death and other intangible realities which all too often occur with little reason.
Ana says, “I strive to find, and attach, new meanings to these realities, hoping to present them in a healthier, more manageable way – ultimately aiming to turn destructive feelings into constructive action.”
She also portrays characters that she is intellectually, emotionally or sexually attracted to. She has exhibited in Barcelona, Madrid and London, at The Hundred Years Gallery, The Brick Lane Gallery, Lacey Contemporary, Walton Fine Arts and the Illustrated Art Fair, 2016.
Ana’s first solo shows appeared in London last year, at The Hundred Years Gallery and Ziferblat. She has occasionally worked as an illustrator for digital culture magazines.
“TRAGICOMEDY” BY ANA PALLARES
In this online exhibition you will find a collection of works that Ana Pallares created between 2015 and 2016. The works were done using Posca markers and acrylic paints on paper or linen.
Universe with its galaxies.
Galaxies with their planets.
Planets with their countries.
Countries with their cities.
Cities with their humans.
Humans with their problems.
Problems with their causes.
Causes with their context.
Ana Pallares with all these stuff inside her head to she’s getting crazy because she has a universe on her mind.
See more from Ana at her Tumblr site, Instagram and Facebook profiles. If you would like to contact Ana, you can do so, here.
Images below from Ana Pallares solo show at The Hundred Years Gallery.
all words and artwork, ©Derek Collins. If you would like to get in touch with Derek, please email us.
I ain’t sure if this makes sense… but I reckon “sense” is a commodity I bartered long long many moons time ago…
Am a epileptic ex-junkie word wranglin’
music manglin’ monad…
presentin’ these pictorial pustules…a pair of perfidious polyps
funnelled through the cold slops of
a broken soul
bolstered + procured by profound
isolation I place my gifts upon yr altar
all my futile generosities, straight from the
id, tremblin’ n naked on the barren shores of a post-addictive alienated consciousness…
image 1: the symptom pool
“the Terrible Mother, the vagina dentata, the Fury, Lilith, Justine the Hag, Babylon the castrating harlot, The Venusian conspiracy…”
image 2: the girl who lived on heaven hill
“the Great Mother, the nurturing anima, The Madonna, The daughters of the heart, Christabel, Juliette, The Yin, La Femme…”
d+sea the otherorganism awaits…
I walk on mirrored angles
broken light insists
I must cross these frozen borders
and upon strange circuits
they melt but persist…
All words and images, ©Susan Mary Gratwick.
I first saw William Blake’s painting, The Spiritual Form of Nelson Guiding the Leviathon, way back in 2007, on a visit to a workshop in the Tate Britain. The image would not leave me. I saw the writhing bodies squirming in and out of the labyrinthine form of the Leviathon, the sea monster, the nearly naked form of Horatio Nelson standing on the back of a crouching black man. And I thought of all the suffering of these different peoples all around this planet of ours, in order to create wealth. Even the Tate itself, purveyor of art to the masses, would have not existed but for slavery, based in and on the sale of sugar, again based in and on the Slave Trade.
For every action, there is an equal and opposite reaction.
“The statement means that in every interaction, there is a pair of forces acting on the two interacting objects. The size of the forces on the first object equals the size of the force on the second object. The direction of the force on the first object is opposite to the direction of the force on the second object. Forces always come in pairs – equal and opposite action-reaction force pairs.”
This is Newton’s Third Law of Motion, and I wonder if this can be applied to actions in political and economic history, such as Slave Trade. I don’t know, but I question it. It somehow feels as if we have built our civilization on moral quicksand, almost as if I had personally murdered someone in order to have the standard of living I now have. William Blake’s tempera painting, with the ‘spiritual form of ‘ Horatio Nelson, the loci of British courage, heroism and valour, standing on the back of a crouching African, reminds us what happened, ‘lest we forget’.
“Firstly you must always implicitly obey orders, without attempting to form any opinion of your own regarding their propriety. Secondly, you must consider every man your enemy who speaks ill of your king; and thirdly you must hate a Frenchman as you hate the devil”
Horatio Nelson to a midshipman aboard the Agamemnon (1793).
I had been thinking about how Great Britain became wealthy in the first place, how this was via the slave trade, and how Horatio Nelson defended this power on the world stage. Slavery created great power and wealth for the powers that were [and are] so, in order to become a world power, to create wealth, someone benefits and someone loses. Slavery, devoid of morality, was a logical means of creating wealth and it was of course morally unsound. To see another human being as a lesser mortal was expedient. Wealth creation on that scale based on logic, rational and expedient thinking – see today’s algorithms which control movement of capital in the stock exchange – but is immoral, as the consequences on the planet and human life and living standards of the ‘ordinary man’ are not part of the equation. Morality is not part of an algorithm.
I love icons, they emanate something directly to my heart. I can deconstruct Christianity, see how it has been and can be used as a tool of politics and control, yet, Christian icons bypass the literature somehow.
I think of the dark side of Christianity and I think of the young girl from Nazareth, who, by a trick of history became a focus of veneration throughout the world, and, imagine that if she actually existed, she might just look on and weep.
I think that this painting is about fear.
This is a ‘What am I?’ painting and is just showing a physicality, and this one wonders what she is doing and where she is going.
Again, she is wondering what to do…
‘Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them?’
I think that the fish represents Christian ethics and values and the snake, knowledge.
I look at the world today, at our cultural values, codes of ethics and the confusion therein. There seems to be a criss-crossing of multitudinous interconnections, inferences, influences, and so very much history and I wonder about it all.
I’m a little bit in love with Bort, a street and studio artist from Austin, Texas. Bort’s work is funny, tragic, engaging, desperate, political and human. She spans spraypaint, posters and legal street art, drawings, photo transfer, prints, wood and canvas in the studio. Her themes are consistent, and because of that, are amplified in their message. I especially like the Vote Bort campaign. Here she is in her own words…
“My street work focuses on my imaginary friend, also named Bort, and the attempt to make Bort others’ imaginary friend as well. Bort has helped me feel less alone. Bort’s been there for me through so many bad days, and has helped me grapple with my past and present problems with mental illness and self destructive behaviour. Without Bort I don’t know if I would have made it through. Bort’s my closest friend.
My studio work focuses on me wanting to die, and the various means to achieve said goal. In the marginalised area between me being a transwoman and my art focusing on my experiences with mental illness, anorexia, and addiction, past and present, I can’t find a place that is interested in with working me. On occasion I can find some group shows, when I’m selling myself as a street artist, but that’s just due to the novelty of that work I guess.
When I started doing studio work a few months after starting the street work, I found art to be extremely helpful with working through, understanding, and coping with my experiences. I had never spent extensive time trying to understand my past, I had actively been trying to avoid it, but this work has helped me shine a light on it and begin to move on.
I don’t think I’ll ever be out of this stuff, I’ll have lapses, possibly relapses, I’ll have depressive episodes, I’ll have long lasting dissociative states, but I’ve begun learning how to address them. I have people I can ask for help and I’m starting to recognise my own behaviours.
The studio work has helped me a lot with all this, so I hope it can help others. There’s often a lack of representation with regards to mental illness, addiction, anorexia, and what little representation there is, is often romanticising issues, problematic or is not visually accessible.
I try to keep my work clear cut, often just a blunt focus either attempting to present an emotional state or a behaviour. I want it to be easily relatable to those with similar experiences.
I have work available in a wide price range, in my online shop. I make sure to have pieces that are monetarily accessible (or accessible as possible, since art is a luxury good). If you’re interested in work, you can email me the price range you have, and I’ll let you know what I’ve got, or if interested in a piece in particular just lemme know and I’ll give you the details. <3"
Bort’s website can be found at www.bortart.com. There’s also a good interview to check out, over at Why We Love Austin.
We were recently contacted by an artist who goes by the name of Schizpup. Loving what we saw, we took time to go through her tumblr page. What we found astounded us – not only for the sheer amount of work on show – but for how accomplished the various styles and mediums are. From fine art painting, Manga-influenced comic narratives, design, to traditional and contemporary illustration. We urge you to not only look at our favourite selections here, but also take a look for yourself at Schizpup’s tumblr page – she’s a ball of pure creative energy.
“I am Schizpup, a conceptual/expressionist/surrealist artist, born in the USA in 1995. I am a self taught artist living with schizophrenia, using art as an outlet for therapy. I consider myself disabled because of my diagnosis, and do not work or go to school.
I make art nearly every day. It is one of the only activities that makes me feel safe and keeps me from panic. I truly cannot use my words to emphasise the importance of this. I’m not the best at saying stuff without specifically being asked questions on specific things. I do not plan what I make, it just happens. Then I look and say “Wow, look at that” and repeat the process forever.
I currently reside in central Texas. Most of my works are made using surrealist techniques such as automatism. They are created with a highly personal concept in mind.”
“My name is John Jennings. I am a practising painter, I live in south west London with my wife and art has been my life since the age of fifteen, although I have remained on the margins of the art world.
I scored a mental health double whammy, having had a sister with paranoid schizophrenia, during my childhood and teenage years, and then myself being diagnosed with manic depressive disorder in my early thirties. I have been in continuous treatment since. My experiences of living with mental health in the home, as a child, and, later, in the community have been painful and isolating.
I joined Outside In in 2012 which was a lifeline. They provided me with an online gallery, and opportunities to show some of my work in public through Bobby Baker’s Daily Life Ltd light box shows in 2014 and 2016. I have also taken part in several `In Practise’ slide shows through the RA Access programme. I also became an art workshop facilitator with Outside In and have done workshops in Chichester and London.
I don’t identify myself as an `outsider artist’, I did a fine art degree in my late thirties, but I am an `outsider’ who is obsessively driven to paint.
I am a colourist and I love paint. For me, colour and paint goes beyond words in expressing life. I hope you enjoy my paintings, the ones shown here represent some current work from 2013 to the present.”
I view my artistic practice as essentially experimental and experiential.
“My focused line of enquiry is the physical and mental feelings of synchronicity via movement and stillness, filled-up and empty space. I create shapes that remind me of the underwater world with all its fertility and mystery, and the symbiosis between elements.
I choose mainly black and white as a metaphor to my ‘everything or nothing’ way of thinking and feeling, yet simultaneously I actively compensate by searching for a balanced visual solution.
My 3D eggshell objects stem from the complex issues surrounding life and the transformations possible within, every fragment of shell found his place onto a new object. A reminder of how our personality is affected from childhood to adulthood and beyond, how it can be broken and reshaped.
My relationship with my work is intense, lonely, playful and personal, and short lived.
There is a feeling of urgency, to release something quickly because it cannot stay the same.
Automatically, I take that moment to its fullest, often destroying or giving the piece away afterwards as if my engagement with it has already gone.
I sometimes regret it as one might regret an old flame.
I have just been awarded a small grant from the Maudsley, to continue with my black and white drawing and photography works. I’m currently printing onto fabric my black and white drawings to add an element of life to them.”
To connect Valerie about here work, you can email here, here.