Shop Mobile More Submit  Join Login
Hello everybody

I regret to announce that I will leave the group as Adminstrator, I have not enough time to manage the group professionally as it deserves.

In the past my two goals were the publication of a book which was made possible with the support of Roman Newak and Exiff, the other was to a group exhibition in a museum or gallery, I assure you that I will continue looking for that.

I appreciate your support and help, I made many friends at this time, I met people who are now part of my life, more than friends.

Again I ask your help to recruit administrators to promote the group, we need new blood.

I am grateful to Devorah, a great artist and beautiful person, who has continued to support us in the administration.

I say goodbye but not before inviting them to my next two projects for 2013: LOST BOOKS and POSTPORNOGRAPHY


I had the great pleasure to interview Italian surrealist artist Luca Rossi (LucaRossiMartini). He tells about his passion for art, the fun of collaborative work and gives some tipps for people who like to draw.

Tanja: Luca, would you please tell something about yourself and your interests?
Luca: Hello Tanja, I am happy and very grateful to you for being here for this interview. Well,  my name is Luca, I am 40 years old and I'm a self-taught artist trapped in a body of a clerk. I have many passions: art in all its forms, and music, literature, cinema and everything appears to my senses fascinating or bizarre. I also love playing the drums, but my neighbors are happier if I draw...

We know each other from deviantArt. In which other art-related communities are you active and do you use them for different purposes?
Besides deviantArt, I am active on Shadowness. These sites are useful to promote my work, but most are a source of inspiration and they bring me in touch with many great artists, from who I'm learning a lot. I like to exchange opinions and viewpoints with them and maybe "snatch" some secrets of their technique. :)

Which kind of art do you like, which not, and why?
II love everything that speaks to me, any kind of art that has something to say. Today I am very attentive to drawing and painting, strictly surreal.

Since when do you create art and can you remember how and why you started it?
I started drawing before speaking! As a child I drew futuristic cities and landscapes of distant worlds...
I was fascinated by the illustrations of NASA of the 70th, those related to space colonies, and also I loved the first Japanese cartoons that landed in Italy, especially the first mecha from Go Nagai. But the most vivid passion and the introduction to the surrealism I owe to Karel Thole, a Dutch illustrator who has worked a lot in Italy. His fanta-surreal covers are, in my opinion, insuperable!!!

Do you remember your very first drawing and do you still have it?
I do not remember, but quite possibly a city of the distant future, in the first 70th. I only have a few sketches of those years... what a shame!

What are your favourite materials and why?
In this regard I am very conservative: pencils, oil, ink, acrylic. Each of these media has its own charm. I like to develop and test new ways of using these media, sometimes with disastrous results! But all is experience.
Today I am very focused on the use of graphite. I had always relegated pencils to a secondary role in the creative process, terrible mistake! Everything starts from them!

I especially like your surrealist drawings. They all seem to tell their own story. When you start a drawing, do you already have a detailed idea of the result or do you just start and see where it ends?
I work both ways: sometimes with no idea of what I do and this happens for most of the drawings. In paintings, on the contrary, I am planning the entire sequence of the work creation, starting from a very specific idea displayed in my mind, usually inspired by current events or personal experiences or, often, by the dreams of my wife and myself.

You do a lot of collaborative work, which means you draw one part of the artwork and someone else draws the rest. Why and how did you start this?
Doing collaborations is very funny, instructive and allows you to get in touch with other artists who share this passion. addictive!
I have begun collaborations and Exquisite Corpse thanks to Immy (Immy-is-Thinking) in 2011, and since then I have not stopped. I was fascinated by this way of doing and sharing art and all the many artists from around the world who participated in this game, an army of incredible talents! I thought it would be nice to try...

How does this usually work?
I usually contact a partner and make agreements on technique and format of the work we do together, the rest is pure imagination! For the Exquisite Corpse there is a rule to follow, they are hidden collaborations: in practice, you draw on one half of the paper covers the drawing except for a small strip visible and sends it to your partner, he will finish the remaining half not knowing what is hidden.

Does someone who wants to collaborate with you have to have certain skills or a certain style?
:)  naaa... I'm just an amateur who wants to learn! About the style I like to work on something unusual and extravagant, surreal!

As you just explained: you draw one half of the paper, hide it except for a small stripe, and the other one draws the second half. Did you ever try other forms, for example spare round parts? If so: how did it work out? If not: do you think this would work? Why/why not?
I never tried other forms of work on the Exquisite Corpse apart from those "classical",  but you can work in any way you described, what matters is that your part of the drawing is hidden except for a small portion visible.
The result is always surprising!

Which tips do you have for artist who also want to do collaborative work with someone?
Just ask to collaborate, and engage strongly in what you will make.  I try to always give the best of myself, I would be infinitely sorry to disappoint anyone who asks to work with me.

Which tips do you have for people who want to start drawing in general?
Practicing every day, try many different techniques and materials, after not too much time everyone will find its way and the medium more congenial to achieve his own style.
I'm still working on this, and it's really fun.

Related to your art: what are you the most proud of?
The one I will make in my deathbed, hopefully when I have one hundred years. :)

Related to your art: What are your goals for the future?
Drawing and painting until the age of one hundred years! :D

:thumb203171688: :thumb283393383: :thumb194426081: :thumb257518914: :thumb297266459:
I had another chance to interview a fellow artist, this time Polish surrealist artist Paulina Góra (paulee1). She tells about her favorite style of art and how music, movies and her children inspire her.

Tanja: Paulina, thank you very much for taking the time to answer my questions. Would you please tell something about you and your interests?
Paulina: I don't know what to say about myself. I am a mom first, an ordinary mom. I am interested in many things but don't have much time. I spend all my free time painting because I like to do this the most. I also like reading, watching movies, listening to music... :)

Which kind of art do you like, which not, and why?
My favorite style of painting... Hmm... I like very dreamy, surreal paintings. I like the romanticism in art and symbolism. And I admire the old masters.

I like your art because it is so very unique. The figures almost always have those big eyes and small mouths. Can you tell how and why you developed this style?
I really don't know, somehow while working... I don't always paint planned paintings. I often paint under the impression of the moment... and I think it began this way, without plan or intention. It's as if the characters themselves wanted to say something, tell their own story.

From your profile on dA I learned that your favorite writers - amongst others - are Kafka, Poe and Verne. Did they influence your art? If so: how?
I really like to read, although I have a huge backlog now :) I never really thought about whether these writers influenced what I do, it's more subconsciously I think. I really like the atmosphere of secrecy and mystery, also I love various fairy tales by the Brothers Grimm and Hans Christian Andersen. :)

What else influences your art (movies, other artists, people in your life...) and in which way?
I think music can have a huge impact, it certainly helps to calm down and enter the right mood. And yes, I like movies, I love Japanese movies: Akira Kurosawa and "Ugetsu monogatari", directed by Kenji Mizoguchi. Generally I am a film buff, I guess. The biggest influence on my work have my children, they give me inspiration and strength. Well, and some personal experience, searching...

From what I can see, you usually paint with oil colors. Did you try other materials and did you like them/not like them? Why/why not?
I like oil colors the most because of their beautiful deep colors. I also like pencil drawing. I don't like watercolors, Maybe because I don't know them well. I admire artists who use  them, it certainly requires really great skill :)

Since when do you create art and can you remember how and why you started it?
Honestly, I think it was most probable in kindergarten. I loved to draw, thanks to my teacher of art :)

Do you remember your very first painting and do you still own it?
:) Yes, my first oil painting. It was a still life and my mom has it.

We know each other here from deviantArt. In which other art-related communities are you active and do you use them for different purposes?
I like dA the most :), but I also use Facebook. There I am in touch with my friends who I live very very much :)

Which tips do you have for people who want to start painting?
Heh ... I mean I try to follow this rule, the painting is to give joy ... I'm trying to build skills and learn as much as possible, you need to do something consequently :)

Related to your art: what are you the most proud of?
I am very happy when I finished something as intended, but after a while I am dissatisfied and I see my own errors :D

Related to your art: What do you want to achieve in future?
I would like to further develop my skills, and I also want to give a bit of joy to others :)

Thank you very much, Paulina, for this interesting interview!

thief by paulee1 box by paulee1 The Cloud Factory by paulee1 walking by paulee1 dream  dream... by paulee1 Pierrot II by paulee1 Dandelion by paulee1 transformation by paulee1 In the garden by paulee1 The Blue Bird by paulee1 5 by paulee1 the magic flute by paulee1 wall by paulee1 2 by paulee1 psycho-phone by paulee1 blue roses by paulee1


Journal Entry: Sun Apr 22, 2012, 6:06 PM

Interview with Martin de Diego Sadaba Interviewed by Teseleanu George


:bulletred: Tell us a little about the art styles that you use:

I develop different kind of works, I do concept, classical illustration and portraits for commissions but my personal works flows between fantasy and dark surrealism. I’m opened to many things it’s hard for me to find a personal line of work or a personal style, maybe my personal strokes would define my style.

:bulletred: Why did you choose these art styles?

It’s how when you are hungry and you open the fridge, you know exactly what your stomach wants to taste. I develop “my styles” because it’s what feeds my hunger.

:bulletred: How can you define in your own word, surrealism?

Intuition speech is the best definition I could find.

:bulletred: What influenced you to become an artist and how did your family/friend react to the idea?

Like someone said. When we are children we all draw, but most of us stop to draw at a moment. I’m one of those children that never stopped, so I never became an artist, I just continued drawing. Because I always drew, my family and friends got used to it, so they never had the chance to react any way haha

:bulletred: How long have you been an artist?

As a professional artist for more than a decade, too much for my poor quality, enough to be double better than how I’m.

:bulletred: Where do you get your inspiration from?

I get my inspiration from my dreams, from fantasy, philosophy, drugs and Deviantart.

:bulletred: What determined you to do collaborations?

I’m an energetic vampire when working. I have double the energy to do whatever if I work in a group and I believe in what I do.

:bulletred: What can you tell us about your first collaboration?

I could say that I don’t remember exactly what it was. I can only remember that some of my first ones were Exquisite Corpses between Ton Haring, Bernard Dumaine and me. I remember that I experienced strong feelings, loving them and partially hating them (my collaborations, not my partners) in some way, but mostly experiencing a heavy surprise at the end. Actually when I do collaborations, both of us (me and my collaborator) work together through all the process, so it is a very different thing than the exquisite corpse experience. Actually it’s more like a studio work, depending on the person with who you work on the collaboration.

:bulletred: Can you tell us how collaborations influenced you and your art?

Some of my collaborations gave me the chance to meet people that today are my friends and fellow artists. Collaborations are the best resource ever to learn, share and help each other, and also collaborations are a good training for working in groups.

:bulletred: How the internet did influence your art?

I live through internet, the simplest question would be “how the internet DID NOT influence my art. But anyway I have no answer.

:bulletred: What can you tell us about your current exhibition?

My current exhibition will be a series of collective exhibition with my partners that can be seen at / and it will be ready soon, for early 2012.

Original interview in LITnIMAGE:…

Psychic decay portrait by AlMaNeGrA

Mature Content

Fleshworld by AlMaNeGrA
   Holy mountain by AlMaNeGrA

Interview with Héctor Pineda by Justin Ehrlich  


:bulletred: What is the current trend in Mexican art?

I think there is more than one trend. Last century artists like Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, Rufino Tamayo and Frida Kahlo, to name a few, still influence many artists in my country. Their pieces are well known at the international level and command very high prices. Furthermore, Surrealism left an important mark in my country, which is still setting a style for many artists. Similarly, in the north of the country the US-Mexico border culture has bred a very distinct art style for decades which is not only pictorial but musical as well, and the south of the country is also interesting, with an art style that blends modern and ancient elements. Good examples of this are Demián Flores, who uses wrestlers, pre-Hispanic symbols, etc., and Dr. Lakra, who is much better known at the international level.

Art in Mexico, as in any part of the world, is still immersed in difficult financial circumstances, with adrop in art collecting and a lack of adequate resources for grants, so that the artist still struggles day by day to live off his or her art. Unfortunately, there are not enough art galleries or showrooms and many artists take low-paying jobs in which their activity is of a more commercial nature. There are a significant number of art forums where artistic pieces can be shown, but there is no formal, earnest sales promotion and the artist needs to be his own promoter even though this is not easy and many lack the ability to do so. There are a few noteworthy exceptions that are fortunately being replicated, but not at the necessary pace.

The fact is that the Mexican mind has changed in regard to art. It is now much more open. There is still quite a lot of censorship, but not at all like 20 years ago when exhibits were shut down because of controversial subjects such as nudity or religion. Spencer Tunick was a positive success several years ago in the Zócalo, downtown Mexico City, there were calls for censorship, but they died down without getting a response.

I hope censorship decreases in the coming years and more spaces for art criticism open. Mexico City is an avant-garde region in this sense, and open-mindedness exists, but there is a latent risk when you go to other parts of the country. Political difficulties and discussions between different ideologies in the country have also had their consequences. The more liberal political parties have brought to the country bolder proposals and people have responded well. With more conservative governments, the difficulties have been deplorable, but public opinion – I insist – has changed.

I know many young people who are fighting for a space and it has been very interesting to see how Internet and the social networks have offered them a grand showcase. Several of them are already selling abroad at international prices. I think this is the right attitude, to keep at it rather than sitting down and deploring the situation. We must fight and come together, this is what we still need to do.

:bulletred: Do you consider yourself an artist of your culture?

Yes, I find social criticism exciting, particularly in regard to religion. The majority of people in Mexico are religious, predominantly Catholic. I was a Catholic up to the age of 17. The history of my country is closely tied to this religion.

:bulletred: To what extent do you see the artistic process as a sexual act?

I don't see it as such. Art is addictive, exhausting, exciting, but there is a difference in that two are needed for the minimal sexual act.

:bulletred: Which qualities do you look for when choosing a model?

I want them to have a beautiful body, long legs and wide hips, although I usually manipulate their images digitally to achieve a final appearance that agrees with the concept of the piece. There is also a spontaneous something that emerges when I look at the position of the body and the attitude of the model.

:bulletred: In your drawings you celebrate the female form, but you surround it with images of decay. Are you warning us of the dangers of Woman or on the nature of desire?

I do not see the female essence as dangerous. As far as I am concerned, its capacity to provoke desire is unbelievable and inspiring. In my works I have always tried to unite two antithetical poles: decadence, many times symbolized by death, and erotic elements as a force which, through sexual instincts, produces the most unexpected and far-reaching changes in our society. Such coexistence is quite natural in fantasies, for how often have we heard the expression "I long to die in your arms" or "better to kill you than to lose you". Society has always coexisted with this relationship, so much so that it has inspired great literary works such as Canto V in the Divine Comedy, which was itself inspired by Francesca de Rimini, a symbol of adultery, lust and love.

Freud said that the desire of children for the mother-object ceases upon the death of the father, and Baudelaire that the ultimate sense of erotism is death. Ejaculation may be a sort of foretaste of the end – la petite mort, blood, virginity, erotism and death, I believe these concepts are more complex and more profound. We are speaking of instincts that have existed for millions of years and which, now that we have created societies, we attempt to control and suppress, often more than is due, in order to achieve a "healthy coexistence". Politicians and the Church have used such control as they like in order to suppress people through fear and ignorance. These instincts should be admitted and people should feel free to express them and to coexist responsibly with them as part of our culture. It is here that artistic expression contributes to human society, it is the channel for their expression.

In a society as hypocritical as ours, these instincts are taboo, and every taboo incites us to break it.

:bulletred: You claim to be an atheist but in some of your works I see the deification of women, and a penchant for altered states of consciousness, is sensuality just Nature's helping hand or do you feel the touch of something greater?

I am an atheist since the age of 17, but my life as a Catholic was intense. I still have certain fears that were bred in my childhood by the apprehension of divine punishment. It is hard to pull oneself away from this unconsciously. In my case, during the creative process, more so with traditional drawing, I usually attain altered states of consciousness in which symbols and images emerge. Many times even I myself do not find the relationship between some of these elements. After a time, at any moment and all of a sudden, this recollection emerges, other times it never does.

Some psychoanalysts use art for communication and the treatment of mental disorders. Evidently, many things can arise during this process. There are artists who purposefully self-induce insomnia in order to experience psychosis, others are bolder and use entheogens, from coffee to ayahuasca and LSD, to name a few.

In my opinion, there is no divine being from a religious viewpoint, and nothing is sacred. For years I have researched the creative process and the brain from a scientific standpoint. It is an extensive and thrilling subject. I have gone to symposiums attended by scientists, shamans, physicians and artists in which grand experiences were shared in an atmosphere of great respect, and indeed, a relationship does exist between hallucinations, the imaginative process, neurotransmitters, brain functions and so on, in a culture medium that engenders great works of art.

The Divine is present in many of my pieces, sometimes as a criticism, sometimes as a symbol of the deification of woman and of erotism.

:bulletred: When did you start exploring digital art?

I started in 2001, when I was 39 years old. I have loved art since I was a child and I occasionally drew and painted until I turned 30. I took me almost ten years to create art once more. Digital art attracted me and was a new beginning. A couple of years later I went back to drawing.

:bulletred: Your digital art, on the whole, is not so dark as your drawings, and it seems that you have explored different aspects of desire in that medium. Why do you feel you are able to express yourself differently with digital art?

Definitely, traditional drawing offers me infinite options which are limited in digital art because of my skills. I am not a Photoshop professional, I never studied, I just bought books and journals, the rest was all self-learning.

Drawing takes me deeper into my personal experiences, desires and fears. Only through drawing am I able to experience a greater depth of concentration and altered states of consciousness such as daydreaming. I have never used entheogens, perhaps the only drug was alcohol at first with digital art, but drawing while intoxicated is impossible.

Many times when I get an idea, it is born by considering first if it will be digital or traditional drawing.

Personally, I enjoy traditional drawing more, even though it is mentally more exhausting. At times I break off drawing for a few days to do something digital and relax a bit.

:bulletred: Describe exquisite corpse.

It is a game, it is a wonderful experience, and it is addictive.

The technique was used by Surrealists in 1925 and originated in a game called "Consequences", during which players write by turns on a sheet of paper, covering part of what they have written and passing the sheet to the next player who looks at the last part and continues the writing of the text.

The name originated in a phrase formed when it was first played in France: Le cadavre exquis – boira le vin nouveau (the exquisite corpse shall drink the new wine). It was used a lot in poetry by Bretón, Éluard, Tzara and Desnos who all said that creation should be anonymous, a group effort, spontaneous and even automatic.

The technique was subsequently used in drawing. At present, a group of artists – myself included – continue playing this game, quite differently from the original in the sense that only the outcome is spontaneous and the actual drawing is not automatic. Those I have made with the artists Gromyko Semper (the Philippines) and Bernd Dreilich (Germany) are elaborately complex, full of symbolisms, and were consciously worked on to achieve a unified concept of the subject as seen from different viewpoints given our own cultural diversity. I am not sure one should continue to call them exquisite corpses.

:bulletred: There is a sense of claustrophobia in some of your work, not just the shibari ones, do you see Shibari as an artform, is there an underlying philosophy to it?

A little bit of aggression gives sex a very different meaning. I think most of us like it but not everyone admits it, from very light things to something stronger, from dirty words to insults, from a slap on the buttocks to something much more elaborate in which function is inverted and pleasure is obtained through pain. Sadomasochism has always attracted me in theory and in practice, I have never tried it and when such scenes are combined with art work they become in my opinion visually delectable.

Shibari was initially a technique for torturing and restraining prisoners which could only be used by samurai warriors. Today it is a very popular tying technique during bondage, in which the individual is partially or fully immobilized and, unlike the original technique, the person tying the bonds also experiences sexual pleasure through domination.

My first piece was a contribution of several images from David Lawrence. I also met online some of his models as well as other women who regularly execute this sort of practices either as models or for pleasure, or both. With Clover, one of David's models, I had a number of very interesting chats that impelled me to keep experimenting with this type of images. She became a sort of inspirational muse and perhaps a fetish.

Sadomasochistic techniques are in my opinion a means by which an individual can fully exert his or her sex life, a philosophy of pleasure, desire and arousal. Artistically, they are a way of expressing my basic ideas on the sexual instinct.

:bulletred: What are your ambitions for the Pandora's Box Gallery?

When I started to create art professionally five years ago, I received a lot of support from friends I met online (DeviantArt and Facebook), Gromyko Semper, Otto Rap, John Paul Thornton, Santiago Ribeiro, Exilentia Exiff, Roman Newak, Bernd Dreilich, George Teseleanu, and many others. With them, I have carried out different group projects, art forums, book editing, and thanks to them I had my first international exhibitions. I believe it is now time for me to do my share and help other artists achieve their goals, and this is the aim of the art gallery: to show art that stirs people's consciences, that is controversial, breeds discussion, and adds to other similar projects, outside the scope of the more conservative trends, through bolder options. This is more to my liking, I have always been a provoker. I also seek to make a sale that allows the artist to be compensated fairly and provides the gallery with income to be used basically for maintenance and publicity.

Mature Content

La resurreccion de Hermafrodita by HectorPineda
LILITH by HectorPineda

Mature Content

Atrapasuenios by HectorPineda

Mature Content

Gravedad Zero by HectorPineda

See it in the Justin´s blog…

Upcoming Shows

:bulletwhite: This May 4th I'll be curating the biggest and edgiest art exhibition in the history of Colorado! "ETHEREAL DARKNESS" doors open at 6 p.m @ Opiate Gallery in Fort Collins, CO. The artist list is phenomenal! 30 international artists will be participating so don't miss out!! The show will go for the entire month of May. Please come and show your support for art in Colorado.

:bulletwhite: You are invited to the exhibition "Convergences Caraïbes 2012" in Martinique from April 21st to May 5th 2012.

Exhibition @ Värmlands museum, Sweden.
19th of may - 2nd October 2012

Link to the museum site about the exhibition:…
More information:…


September 1st to 31, 2012.
Coimbra Portugal

The venue:…

The artists:
Yuri Tsvetaev
Shahla Rosa
Vu Huyen Thuong
Ton Haring
Santiago Ribeiro José Manuel
Victor Lages
Francisco Urbano
Keith Wigdor
Majisme Majo
Liba Waring Stambollion
Steve Smith
Héctor Pineda
Daniel Hanequand
Gromyko Semper
Paula Rosa

  Jeff Christensen

Published in Bizarro Central By Sam Reeve

Sam: I read somewhere that you live in Salt Lake city. Is this current? Do you find that your paintings are influenced by what city/state you live in?

Jeff: Yes, I live in Salt Lake City, Utah. I think my location does have some influence on my painting. There is a large religious aspect to the area and organized religion is something that’s never made sense to me. I was born in Seattle, WA and moved to Helper, Utah when I was 8 yrs old. I’m not Mormon, but I’ve been around it most of my life and I think the culture has a large repressive influence on people’s views on acceptable vs unacceptable artistic expression. That being said, it did have more of an influence on my art during my earlier years as a teenager. I liked doing stuff that made people double take with a look of disgust but at the same time not sure why they’re still looking at it. I still get a kick out of it. And I just like doing the type of stuff I do. I really love living in Utah though; there’s nowhere else I’d rather live.

S: Do you paint full-time?

J: I don’t paint full-time, I wish I did. I have a regular full-time job and I paint in my spare time.

S: I’m particularly fond of your recent piece titled The Hunt. Can you tell me what inspired it and how the idea came about?

J: It was kind of inspired by my own hunting experiences. I like to hunt but I’m not that great at it. I tend to get disillusioned with it when I’m unsuccessful and then I get irritated at all the time I wasted. So the painting is just depicting somewhat of a farcical thing.

S: Who are your favourite artists?

J: Bosch, William Blake, Goya, among others.

S: Do you have any upcoming shows or announcements you want us to know about?

J: I am participating in some group shows next year with brand new works. I can be found on Facebook and where I regularly post new work and updates about upcoming shows for all who are interested in checking out such nonsense, and I always welcome people’s feedback and critiques.

Recent Journal Entries