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Maybe I am a dreamer, poet, and realist and it is this attitude that makes it easy for me to create my art. The name “Magical-Poetic-Realism” is a statement that my audience can understand and it consciously reminds me that the answers are not foundjust in rules and regulations but that there is more – much more.Many of the people who see your work comment on the cheerful, optimistic feelings it inspires in them. Is this aspectof your work important to you?The most important aspect of my art is for me to be honest with myself. My art is like a small innocent baby which needs mynursing. I need to be honest with my feelings and believe in what I am painting. I only paint what moves me and fulfils my needs.The only compromises that I have to accept are the materials which I paint with and the very, very small studio which I work in.When these things strike me as difficulties, I convince myself and say, “If I really want to paint, working in every situation is possible.”When I want to paint I always find a solution to create my projects.I believe my art comes across as cheerful and optimistic only because I maintain this attitude myself and therefore translate itinto my art. My art is my baby and I take great care of it. This is why I find it difficult to separate myself from my original paintingsand to offer them for sale. By contrast, I have no inhibitions about offering an original art work as a gift to someone who is dearto me, because I am the artist/person who decides who can own an image of mine (it is my choice).How do you build up the narratives thatmake their way into your artwork?First of all I experience something. A themehas caught my attention and fascinated me.I deepen myself in the experience or fascinationand it takes a while before I can digestit. I see the image exactly how it will becomposed and what is important for me topresent. Then I go into my studio. I let myselfgo until I begin to ‘boil’ and it all flows out.This is an indescribable feeling! It is an intimacywithin me. The whole process is relativelysimple. At the end, when the paintingis finished, it is a nice feeling. Sometimes Ineed to take a few days distance from mynew artwork and then check if everythinghas been completed to my satisfaction.You have traveled a lot during your life –has this had an impact on your art?New York Space Acrylic on Canvas 32” x 40”Absolutely! But I find it difficult to define. Myresume looks a little chaotic, and looking atit, it could be difficult to understand which country I reside in at this moment. My travels and migrations are very important to me.It is a part of who I am. My personal biography has been up to now a very dynamic and intensive one. I have learnt so muchfrom each country and city which I have directly or indirectly experienced.I attempt not to be influenced by the media and try to trust my own observations. I am continually surprised by my discoveriesin a world where there is so much to discover. I have a great respect for the world as it is and I am thankful that I have had theopportunity to have experienced and seen various locations. My art is totally influenced by my travels and experiences. As asmall adventurer, though, sometimes my batteries need to be refilled. Then I paint again!For example, my current project, which I am very excited about, is called “Made with Respect.” It presents the idea that not onlygreat famous buildings and cities are meaningful and remarkable but also that there are many places which have their own specialqualities to offer. Obviously, this is the direct result of my traveling lifestyle. My unforgettable journey around this magnificentworld has a beginning but not a real ending, and all of it influences my art.14 <strong>ARTisSpectrum</strong>
One Dime Acrylic on Canvas 32” x 40”What would your advice be to younger artists, or artists just beginning to explore their talents?I’m not quite sure if I am the person to advise a young, talented artist. I do not feel as though I am an example for others. ButI can give one piece of advice that has been crucial to me my whole life - Be yourself and do not be willing to sell your beliefs.Every artist should experience a process of growth and development with their art. Our powers of observation change with theyears and this is something that can be reflected and viewed in the creation of art.I would also remind a young artist that glamour and wealth are not the measure of talent. It is more important to be true to yourselfand honest in what you create.www.lydiavandenberg.comwww.Agora-Gallery.com/Artistpage/Lydia_van_den_Berg.aspx15 <strong>ARTisSpectrum</strong>
Page 1 and 2: ARTisSpectrumVolume 26The Chelsea P
Page 3 and 4: © Rob Heath Time to Reflect ... Sp
Page 5 and 6: ARTisSpectrumPublisherAgora Gallery
Page 7 and 8: ProfilesIf you like to keep up-to-d
Page 9 and 10: Cade TurnerAustralian artist Cade T
Page 11 and 12: L. ByrneRed Fireball Oil on Canvas
Page 13: When did you realize that you wante
Page 17 and 18: Laurence SteenbergenIce Fruit Acryl
Page 19 and 20: Joshef MatèIn the work of Joshef M
Page 21 and 22: Bruce Leslie ThomasBruce in his Stu
Page 23 and 24: Carlo ProiettoItalian artist Carlo
Page 25 and 26: Madeleine ArnettParadox 1 Acrylic o
Page 27 and 28: Cristina Popoviciuring painting,”
Page 29 and 30: 29 ARTisSpectrum
Page 31 and 32: The singular landscapes of Italian
Page 33 and 34: Marty PoorterMarty Poorter’s acry
Page 35 and 36: John StevensonRenowned Canadian lan
Page 37 and 38: Early modern men and women, at the
Page 39 and 40: Norma PicciottoNorma PicciottoL’e
Page 41 and 42: Cristina ArnedoWendy CohenCombining
Page 43 and 44: techniques and inspirations.The ben
Page 45 and 46: Alberto MontoreanoThe Ozone Layer O
Page 47 and 48: Did you first see the artwork onlin
Page 49 and 50: Escape from the Cosmic zoo by Aelit
Page 51 and 52: Agora Gallery’s 27th Annual Jurie
Page 53 and 54: Nataixa RosLa Tyranie de la Danse O
Page 55 and 56: Valentino BellucciItalian artist Va
Page 57 and 58: Jim CobbPhiladelphia artist Jim Cob
Page 59 and 60: Why an artist needs to go out on ap
Page 61 and 62: Even when remaining local, and not
Page 63 and 64: Laila Khan FurniturewallaLaila in h
Page 65 and 66:
Ancient Olive Trees Inspire Artwork
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Ancestral Ghosts, Family Tree 2 Car
Page 69 and 70:
A long wooden table on the terrace
Page 71 and 72:
LaroucheTamara GrizjukLes Belles So
Page 73 and 74:
Igor NelubovichRussian painter Igor
Page 75 and 76:
Thierry FazianEnigmatic Dreams Mixe
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Alison Jane RiceI arrived in the ci
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Catherine Gaillard PerezVisiting Ne
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Richard StuttleLong flight to New Y
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Dominique BoutaudI feel honored to
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VéroniKaHEphémère Stained Glass
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Surrealistic tableaux fill the canv
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How do you decide whether to recomm
Page 91 and 92:
Fred FriedrichFred FriedrichCuadros
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You might know Mr. Waits from seein
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Tom Wait’s inventiveness doesn’
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Patricia Armour has been weaving ta
Page 99 and 100:
Penelope PaigeHyung Jin ParkViewers
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Vito MateraVito Matera creates artw
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Brigitte MartinezBrigitte in her St
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Building on the artist’s passion
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Ben FeldshuhFor Brooklyn artist Ben
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Creating works that bridge cultural
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Cheri MittermaierCheri Mittermaier
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Z. TodorovaZ.Todorova in her Studio
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CLOCKWISEFROM TOP RIGHT:1) Maracaib
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5761234CLOCKWISEFROM TOP RIGHT:1) S
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6875123CLOCKWISEFROM TOP RIGHT:1) C
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Christchurch, New Zealandby Joanne
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Shanghai, Chinaby Ping HeLocated in
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Rome, Italyby Monica MorgantiRome,
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Málaga, Spainby Carmen SotuelaMál
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Tehran, Iranby Masoud AbediTehran i
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