Articles Tagged with: painting

Fractured Integrity – Rowan Newton

Rowan Newton’s highly anticipated and long-overdue debut UK Solo Exhibition ‘Fractured Integrity’ opened at Jealous East for an exclusive 10 day launch, featuring 6 large-scale paintings and a series of miniature studies, marking a new direction in the artists work and a renewed, unique reflection on figurative painting.

Figures are poised in almost cinematic realities, instigating a sense of familiarity, yet these worlds are disrupted with sharp glitches and gestural sweeps of colour; a disrupted reality which isn’t quite as familiar as it first seemed. Motion swirls around the carefully constructed figures as they move through the canvas, expressed through the artists loose, confident and textural application of the medium and liberal use of vibrant colours which surrounds and interacts with them.

‘Fractured Integrity’ explores an emotive narrative, told through the female form with a series of frozen moments exploring the psychological darkness which accompanies our human need to connect; insecurity, power, isolation and vulnerability. Identity is subverted by the concealment or obscuring of the face, drawing our focus directly to the body. The gaze of the voyeur, however, is irrelevant. These characters recoil and turn away from our stares, an ambivalent nonchalance to our presence is created. Though beautiful and elegant, they make no attempt to seduce us with their naked forms. As we move past the beauty of colour, we are left with subtle suggestions of darkness, pain and anxiety, moments which create for the viewer a context to reflect on their own unique experiences.

 

Why did it take you so long to do a solo show?

I always knew that I wanted to produce a show that was more then a series of portraits. When I first started out I was painting figures. But after a couple of years I fell into this loop of constantly painting portraits. So I waited till something pulled me out of that. And then it hit me, nothing was gonna pull me out of that but myself. Like I was waiting for some devine intervention. But really I just needed to pull myself away from it, and start producing the work I really wanted to. That took time, and it took even more time to be really happy with what I was producing when I went in this new direction.

fractured integrity

Seeking Hidden Sins – Oil on canvas

Why did you decide that you needed this new direction?

I was tired of the box I had been put in by the galleries and the audience. “Oh you’re a portrait painter, we want the portraits” and I’m thinking, I’m a painter, full stop, not a ‘portrait’ painter. I wanted to remind myself I was capable of paintings more then a portrait. I wasn’t happy about the box I had fallen into and wanted to break free. Time has also helped with that. As it’s been a while now, people do seem to have forgotten about the portraits, or certainly aren’t so expectant that everything they see of me would be a portrait. Which is nice and refreshing.

Do all of the works feel like they are a part of one series for you, or is each work an autonomous piece?

It was important for me that this felt like a body of work when viewed together. There is a narrative to it all. It tells a story in a sequence. Which is explained to some degree in the zine I’ve made for the show. But at the same time I was very much aware that I wanted each painting to also stand up on there own individually. I really didn’t want the viewer to feel like they were looking at the same painting over and over again but maybe the colours had changed slightly.

In terms of the narrative, did you decide what this was going to be beforehand and then create works to illustrate it, or did the narrative develop from the paintings in retrospect?

At the start I was just painting. I took time to just paint anything but portraits. When in that zone, I think what happens is, what’s on your mind ends up coming through. How conscious you are of that at first I’m not sure. You step back from the painting look at it and think, wow ok where did that come from, and then days or even weeks later you realise that small thought at the back of your head really influenced the way you put paint down on the canvas that day. After a while of just painting it then naturally became apparent what was most important to me to communicate with this body of work. From there it became a conscious effort I’d say, so almost half way through. But lots of paintings were done at the beginning, communicating various things, paintings that will never be seen, that have now been painted over.

fractured integrity

Beyond The Shadow Of Doubt – Oil on Canvas

Where did the title Fractured Integrity come from, and what connection does it have to the paintings?

The title relates to the fact that u own your integrity. That’s yours and yours only, no one can take it from u. You’ll always have it. But people can question it, sometimes rightfully so, sometimes not, it’s just the other persons insecurities been forced upon you. Sometimes you will do things that are questionable, which can put your integrity under scrutiny. Other times it will be at its best. We are humans, our integrity will be up and down over our life time. Causing our emotions to be the same, which is what the paintings communicate. Emotions stirred due to your own actions and others. The fractured part is a reference to that fact that it can never be solidly good at all times, but up and down.

So how does the title inform the works themselves, and does this body of work feel complete and finished with the show, or will it continue?

The paintings represent different emotions, feelings we’ve all felt, moments we have all lived. The women’s face is hidden or partly covered, because it’s not about them in particular, but the feeling the painting evokes. Hopefully they start a dialogue with the audience about those feelings and emotions. In turn causing the audience to talk about those situations they have been through.

At this point the body of work feels complete for me. The paintings in my own head took a narrative arch. The story was told. I now look forward to the next story. In my head there is always a story to communicate with the art. A movie told in a number of stills as it were.

fractured integrity

Lost – Oil on Canvas

 

For more from Rowan, see his website HERE.

For more interviews

Making Bad Decisions – Richie Culver

Travel As A Source Of Inspiration – The Jaunt


Bertrand Fournier Prints

bertrand fournier prints

Bertrand Fournier – UPO BW-P1

Bertrand fournier prints

Bertrand Fournier – UPO BW-P2

We are extremely excited to present these stunning Bertrand Fournier prints. He has created 2 very-limited edition linoprints for us as part of his debut UK exhibition “Some Pieces Of Mind”. The prints show his trademark symbolism and bold graphic style rendered beautifully in monochrome.

 

 

 

 

Print Specifications

  • Limited edition print run of 10 pieces.
  • Signed and numbered by the artist.
  • Embossed with the Delphian seal of approval to ensure authenticity.
  • Supplied with certificate of authenticity to provide limited edition provenance.
  • Size 60 x 55 cm including a small white border for easy framing.
  • Presented on premium Norfolk 210gsm cartridge paper.
  • Hand drawn and cut by the artist.
  • Hand printed with archival ink in the UK.
  • As each print is hand printed, every one is slightly different and unique.
  • Global shipping available.

 

UPO BW-P2 now only has TWO prints remaining!

CLICK HERE TO BUY 

For more about Bertrand, click HERE

bertrand fournier prints
bertrand fournier prints


Andy Dixon – The Psychology of Value

andy dixon

You appear the embodiment of your work, does art imitate life or does life imitate art?

I think my concern for aesthetics simply bleeds into every facet of my life. I’m interested in beauty and surrounding myself in it, be it in the studio, in my apartment, or in my wardrobe. I guess, in a way, it’s neither art imitating life or vice versa so much as all things imitating my love for visual stimuli.

How much has being a designer affected the aesthetics of your paintings?

A lot. I see my life as a designer to be a kind of visual training. It’s much easier to play around with colour, composition, and form in photoshop then on a canvas, so, at least in regards to the aesthetic aspect of my work, I had a lot of practice.

andy dixon

Andy’s collaboration with Versace

 

Is there any crossover between your music and your painting, and how do they cross-pollinate?

I think one could argue that I’ve been on a specific trajectory for my whole artistic career thus far, in music, design, and painting. All three have used some form of sampling, for instance: in music as samples, in design as found and scanned images from things like text books, and in painting as reinterpretations of various tropes from the cannon of art history. In a way, I see my true medium being culture to which I use various ways to play with it.

How important is it for artists to have other avenues of creation?

I don’t think it’s important at all to diversify if it’s not something that one wants to do. I’ve done nothing but paint almost every day for the past seven or eight years now and, honestly, it feels amazing. I feel focussed and sturdy from it.

Out of music and painting, which medium do you feel is the closest expression of your creativity?

Painting, definitely. I haven’t made music in years and honestly don’t miss it.

Your paintings share a lot of similarities with the themes and imagery of the old masters, but recontextualised. Is this an intentional device and if so what are you saying when you use such themes?

Yeah, that’s definitely intentional. There are a few things at play when I’m recontextualizing art history tropes. Firstly, I’m playing with the psychology of value. Since my versions of these paintings don’t contain any of the properties that the art market would say give the piece its value, such as antiquity, provenance, or even technical mastery, I’m asking the question of what gives my version its value. I’m not trying to shit on art’s price tag, I’m simply trying to point to the magic of art in a kind of Duchampian way, except using money as the measuring stick. Secondly, I’m exploring the way that the subject of the original painting, say a flemish still life, works in tandem with the subject of my painting, which is a painting of a flemish still life. In a way they’re the same thing – a depiction of luxury.

How do you reconcile the lavish and the glamorous on your work with your punk sensibilities?

I think my history in punk led me to the lavish themes in my work. I grew up in a culture where “selling out” was the ultimate sin so the bands who were successful had to enjoy their success in a kind of shameful secrecy and I see the same thing happening in the art world. Thus, the punk kid in me sees addressing making money as the final taboo.

The show Alchemy at Beers Contemporary was predominantly paintings of rooms in which other paintings of yours sit. Is this a very meta-comment on the artist being affected philosophically by the people who collect their work?

I see it more of an exploration of that same taboo mentioned above. To me, it’s a play on the classic theme of an artist depicting his or her own work in new works, traditionally done through studio paintings like Matisse’s Red Studio, which focusses on the creative side of painting, while mine are done through paintings of my patron’s homes which shifts the focus from the creative to the commercial.

Do you think that the commercialism of art should have this much power?

It’s not a matter of thinking commercialism should or shouldn’t have that much power, it’s about reconciling with the fact that it does have that much power whether one likes it or not.

andy dixon

How did your collaboration with Versace come about, and what has it been like working with the fashion brand?
Versace contacted me totally out of the blue. Believe it or not I was in the midst of making the giant Versace sculpture when they reached out and they hadn’t heard about it yet so the timing felt very serendipitous. Working with them has been great – they definitely use a different language than I do (I mean designer-ese not Italian) which takes some getting used to but their team is full of extremely creative people who have been a pleasure to work with.
For more interviews
For more about Andy, see his website

The Jaunt – Travel as a Source of Inspiration

The Jaunt is a really exciting project in which an artist embarks on a trip to a place they have never visited, and collects ideas and inspiration for a print. These prints are sold, and this funds the trip, and so buyers of the prints know that they have supported the artist on this journey of discovery. We interviewed The Jaunt’s founder Jeroen Smeets about why he decided to launch this groundbreaking project, and what they have planned for the future.

 

Why did you decide to start The Jaunt?

I used to work as an editior-in-chief of a Dutch magazine, around this time I used to be interviewing a lot of different artists. One of the things that always came up was traveling as the main source of inspiration. Everybody wanted to travel. Then a good friend of mine, the artist Hedof, really wanted to travel to Helsinki, just to go there and experience it, and I started to figure out a way to make this happen. How can I send artists on trips to make them find inspiration from their new surroundings, and at the same time take it to a level where we can share all of that with a bigger audience? It still took about a year before we actually organized the first trip. But eventually in April 2013 we sent Hedof to Helsinki, and we’ve been running ever since. By now we send out 10 artists a year and have organized over 50 trips in the last 6 years. 

The Jaunt

Cody Hudson at the Finca Bellavista in Costa Rica, November 2018.

What makes The Jaunt different from other print releases?

As far as I know there is no other art project out there at the moment, that works the same way we do. There are several great projects out there where artists are invited to come and work with a certain printer and a certain print studio. But in our project the travel is an essential part of the experience. It is an art residence which is always on the road. And I think that for the artists it is also a different project, because for which other project can they travel to a place and have absolutely no agenda or briefing. While they are traveling, there is nothing that they need to work on, so they can fully immerse themselves in their new surroundings  

the jaunt

Screenprint studio of our printer, Joris Diks in Utrecht, The Netherlands.

How does the trip that the artists undertake affect their work?

This is obviously different for each artist. Which also keeps our project so exciting and interesting. Some of the artists work directly on location and translate their inspiration directly. Others work on their print once they come back to their studio. There have been artists who have found a new medium to work with, just because they found new materials during their trip. Other artists have been inspired by their immediate surroundings or a certain experience that they endured during their trip. In the end each print is an honest and direct reaction from the artists. 

the jaunt

Silkscreen print by Atelier Bingo, trip #046 to Folegandros, Greece.

How do you decide where to send each artist?

Our most important rule is that we send an artist to a destination where they have never been to before. It could be on the other side of the world or more closer to home. At times I ask the artist if they have some bucket-list destinations, and at other times I suggest a destination to an artist, because I see an interesting connection between the destination and the artist. 

the jaunt

Jordy van den Nieuwendijk on Mulholland Drive in Los Angeles, USA, April 2014

What you think is gained by this method of creation?

Any time you take an artist out of their comfort zone they become more aware of their surroundings and their experiences. That is exactly what we hope to achieve by sending artists on our trips. They might find something beautiful in nature that directs their work into a certain direction, or they might find a new tool or medium in a local art supply shop that they will start trying out. It only takes one little spark to ignite creativity.

the jaunt

Jordy van den Nieuwendijk on Mulholland Drive in Los Angeles, USA, April 2014

What are your plans for The Jaunt in the future?

It’s going to be a busy year for us. A little over a month ago, we have relaunched our website, we are working on a second book, which will hopefully come out by the end of 2019. Then we have a few more trips coming up that I’m really excited about and will send our project into some new directions. Good stuff!

For more from The Jaunt – see their website HERE
For more interviews, read Rowan Newton’s interview with Robin Footitt HERE


Bertrand Fournier Interview

bertrand fournier interview

Some of the works in Bertrand’s studio

 

We are very excited to be hosting Bertrand Fournier’s debut UK solo show this month, and decided to ask him a few questions about his work during the run up to what is an amazingly accomplished show for such an early-career artist.

 Why and when did you start painting?

 It was in November 2016, I started painting with my daughter. My mother had given me an old frame with no canvas, so I have buy a canvas for my daughter and one for me, just for try.

  How did you teach yourself?

 I immediately began to paint with oil because my wife had in her childhood belongings some old oil paint tubes, she explained me that it was necessary to mix a medium with the oil,  after there is not much more to know, I had to try all the mediums and all the possible techniques, trade canvases, raw canvas, glued canvases, stretched or glued on wooden panel, it is by trying we learn.

  The title of your exhibition “Some Pieces of Mind” seems to refer to your work as a nurse in a psychiatric ward.  What parts of your daily life affect your art?

I am inspired by what surrounds me, my daily life and also my job as a nurse in psychiatry emergency has strongly influenced me.  Certainly it is a very hard work where we see a lot of human and social misery but the fact of being permanently confronted with this madness, necessarily opens the spirit.  Where the common man is limited to decency, the people who work in this environment know that the human mind knows no limit.  That’s what I try to apply in my work, to refuse to lock my mind.

  Have you found a community online?

 Yes, we are quite numerous to have started at the same time to post our paintings on Instagram, I think it’s a bit like school, we are part of the same class, we will grow together I hope, I  think they will recognize but if you want some names I will give you @christine_liebich @umutyasat @wmlachance @d_a_n_i_e_l_j_e_n_s_e_n @jordykerwick @philip_geraldo @jean_baptiste_besançon @jenny_brosnski @mateusz.sarzynski @benjaminmurphy_ @clement.mancini @mariehazard @jessietaylorart @yvonnerobert_ @gabriele_herzog @richieculver @sorensejr @jonathanryanstorm

  Do you have an art community near you?

 No

  Where do you find inspiration?

 All I hear and all I see.

  What are the living living painters you admire?

 Gunther Forg.

  What advice on social networks would you give to emerging artists?

No special advices, just be yourself ! But personally i think the Social networks can become like a prison, it was very good for me because without Instagram no one could have discovered my work.  I’m trying now to take some distances from this little by little.

  What would you like to know about the art world when you started?

 I have no artistic training, I started in the process to decorate my house not in the process of becoming an artist so I can not say what at the beginning I really wanted to know about this world.  Now I have discovered enough, the other side of this world is not very glorious, I’m happy to surround myself with good people with real good intentions because there is a lot of fuck as well in artists than in galleries in this world. It’s not the Care Bears’ world.

 

We are very happy to be releasing lino PRINTS alongside the show, which can be viewed by clicking this link.

 

For more by Bertrand, click this link.


Open Call Install Photos

Thank you so much to the 520 people who came to the private view of our Open Call 2019 exhibition, and to the hundreds more who have viewed it during its two-week run.

For those of you who couldn’t make it, here are some photos of the install, and of the private view.

Prints of most of the works in the show are available for a limited time, to view these please click THIS LINK

open call install

open call install

open call install

open call install

As always, we’d like to say a HUGE thank you to theprintspace for supporting the show, as well as another huge thanks to Crate Brewery and Jarr Kombucha for providing the drinks for the opening.

Photos of all the individual works can be seen by clicking this link

Our next show is Bertrand Fournier’s DEBUT UK SOLO SHOW, more information for which can be found [HERE]


Open Call Winners

We are very pleased to announce the five Open Call winners from our 2019 show. Each of the five judges was allowed one Judges Pick, the list of these is below.

Prints of all of these, as well as the rest of the show, are available on our website. Click HERE for more.

 

Rhiannon Salisbury

Benjamin Murphy‘s Judges Pick, as well as being the Overall Winner

open call winners

Rhiannon Salisbury – UHH

Vojtech Kovarik

Nick JS Thompson‘s Judges Pick

open call winners

Vojtech Kovarik – Self Portrait With A Snake

Valerie Savchits

Wingshan Smith’s Judges Pick

Open Call Winners

Valerie Savchits – Dissolved Into Nothingness

Nettle Grellier

Hector Campbell‘s Judges Pick

open call winners

Nettle Grellier – Daybed

Jukka Virkkunen

Florence Hutching‘s Judges Pick

open call winners

Jukka Virkkunen – Flowers III

 


Radical Residency III at Unit 1 Gallery by Hector Campbell

My Top Five – ‘Radical Residency III’ at Unit 1 Gallery

 

Unit 1 Gallery and Workshop’s Radical residency returns for a third time following two success instalments last year, this time opening its doors to ten international artists, from the UK, France, Germany, South Korea and Switzerland. The month-long residency programme tackles the ever-pressing issue of studio costs in the capital by not only transforming the gallery into a large studio space but also a chance to exhibit during the resulting three-week-long group show.

By providing a communal space within with to work and develop their individual practices, a dialogue also arises among the residential artists, allowing for an artistic and creative exchange common at art schools but often lost as artists are forced apart by rising studio prices and a dearth of available spaces in general. Whilst this rich conversation no doubt contributes to each artist’s independent output, it also results in an exciting and cohesive group exhibition.

 

Unit 1 Gallery | Workshop founder and director Stacie McCormick states that “there are so many benefits to the artists working together in such an intense way, but the one that I did not anticipate, that seems to be the strongest, is the mutual respect and support”.

If you can’t make it to the exhibition, which runs until April 25th, here is a rundown of my top five artists with work on display in ‘Radical Residency III’, (in no particular order).

 

By Hector Campbell

Sooyoung Chung

radical residency iii

Sooyoung Chung, DYNAMIC SINGLE, 2019,  Acrylic on linen. Image Courtesy Unit 1 Gallery | Workshop

Sooyoung Chung recently graduated with an MA in painting from the Royal College of Art (London), having previously completed both a BFA and MFA from Ewha Womans University in her native Seoul, South Korea.

Sooyoung continues to document her daily life through her ‘Biographical Object’ series of paintings depicting individual everyday items, a process she began after moving to the UK from South Korea and finding herself having to buy and accrue the household items she’d previously taken for granted when living with her parents. Additions presented in the Unit 1 exhibition include a pencil sharpener, champagne flute, avocado and the instantly recognisable orange TFL ticket. Alongside the 18 small linen canvases, Sooyoung also exhibits one of her larger narrative works, in which she explores ideas of personal choice and taste by creating a portrait purely from the objects one surrounds oneself with.

Sooyoung’s work has featured in group exhibitions at the Royal Academy of Art (Royal Academy Summer Exhibition 2018, June/Aug 2018) and the Saatchi Gallery (The Auction Collective & Presenza’s ‘Abstract: Reality’, Dec 2018), she has an upcoming residency withElephant Labin June (Open Studios June 27th)

Website/Instagram

 

Hun Kyu Kim

radical residency iii

Hun Kyu Kim, Table no.1, 2019, Traditional pigment on silk. Image Courtesy Unit 1 Gallery | Workshop

 

Hun Kyu Kim recently graduated with an MA in painting from the Royal College of Art (London), where he received the 2017 Chadwell Award, having previously completed both a BA in Oriental Painting at the Seoul National University in South Korea.

Having adopted the traditional silk painting technique common in his native South Korea, Hun Kyu subverts the conventional art form by applying it to critique the current political situation of his home country. Anthropomorphised animals inhabit his allegorical paintings that reference anachronistic art history, folkloric fairy tales and polemic political commentary, creating dark, imagined vignettes where the conventionally cute creatures are rendered riotous and violent.

Hun Kyu had his debut UK solo exhibition at The approach in 2018 (‘Eight Universes and The Machine’), and has featured in group exhibitions at The Nunnery (‘Invitation to a Rave’, curated by Mark Titchner, July/Aug 2018) and HIX Art (‘Painting Now’, July/Sept 2018)

Website/Instagram

 

Lucille Uhlrich

radical residency iii

Lucille Uhlrich, it was about the brexit but maybe we can forget about it, 2019, Wood, cardboard, terracotta, superglue, string. Image Courtesy Unit 1 Gallery | Workshop

 

Lucille Uhlrich graduated with an MA in Fine Art the École Nationale Supérieure des Beaux-Arts, Lyon, France having previously studied Modern Literature at the Université de Strasbourg. She also writes art criticism and essays for French publications and galleries.

Lucille’s miniature assemblages, crafted out of quotidian materials such as ceramics, cardboard and wood and held together with string and superglue, exist within a transient dreamlike domain where her symbols and structures imply language. The intricate constructions are delicately produced and carefully considered, with Lucille adding and subtracting elements until a satisfactory balance is found between not only the constituent materials but also the envisioned elucidation.

Lucille’s recent solo exhibitions include ‘Starting from Scratch’ at Néon (Lyon) in 2018, ‘Instant d’après gammes’ at Galerie Arnaud Deschin (Paris) in 2017 and ‘Le Grand Malentendu’ at CEEAC (Strasbourg) in 2014.

Website/Instagram

 

Jean-Baptiste Lagadec

radical residency iii

Jean-Baptiste Lagadec, Mother’s day / Ariane VII, 2019, Acrylic and ink on wood. Image Courtesy Unit 1 Gallery | Workshop

 

Jean Baptiste Lagadec received his BA in Fine Art from Central Saint Martins (London) in 2016, having previously studied at the Atelier de Sèvres (Paris).

 

Jean Baptiste weighs the importance of process against the resultant artwork within his paintings, seeking to make visually the intangible, technological codes that underpin and assemble digital images, a hangover from the artist’s previous life as a purely digital artist. He, therefore, sees his adoption of abstract painting as his primary artistic medium as a rebellion against the increasing proliferation of and reliance upon technology, and the threat that poses to intrinsically physical activities such as artmaking.

Jean-Baptiste had a solo presentation as part ofThe AIR Programat Youkobo Art Space, Tokyo in 2017, and his work recently featured in the group exhibition ‘We Are The Ones Vol. 1’ at Carlsberg Byens Galleri (Copenhagen, Sept 2017) curated by Jordy Kerwick, Galina Munroe and Simon Ganshorn.

Instagram

 

Henry Tyrrell

radical residency iii

Henry Tyrrell, Dubrovnik, 2019, Acrylic on linen. Image Courtesy Unit 1 Gallery | Workshop

 

Henry Tyrrell recently graduated with an MA in Painting from the Slade School of Fine Art (London), having previously completed his Ba in Fine Art at the Chelsea College of Art (London).

Within his acrylic on linen works Henry plays with colour, tone and form as ambiguous forms emerge within the shadowed canvas in various shades of grey, reminiscent of the frustration at a foggy memory or the annoying attempts to recall a dream. As well as walking a tonal fine line throughout his examination of grey, Henry also approaches the margin between abstraction and representation, as the shapes and symbols are left for the audience to offer an interpretation.

Henry’s work has featured in group exhibitions at the Cello Factory (‘Defining Structure’, Sept/Oct 2018), the OXO Tower Wharf (‘Orbit UK Art Graduate Show’, Aug 2018) and Chalton Gallery (‘The Politics of Too Many Rubbish Dinner Parties’, May/June 2017). His debut solo exhibition ‘Purkinje Flying’ was at GlaxoSmithKline, Brentford in 2014.

Website/Instagram

 

For more by Hector

Drawing Biennial 2019 at Drawing Room

Subversive Stitch at TJ Boulting

 


Next Show Announcement! – Some Pieces of Mind by Bertrand Fournier

Bertrand Fournier is the next artist to be showing his work with us at Delphian Gallery, with his DEBUT UK SOLO SHOW Some Pieces of Mind in May 2019.

If you would like to request the catalogue of available works, please email us at info@delphiangallery.com

 

To join us for the private view, please click here

bertrand fournier delphian gallery

Some of the works in Some Pieces Of Mind

For more of Bertrand’s work, click here

Or see his Instagram by clicking this link