Painted using striking color combinations, Bradford’s paintings make for a dramatic effect. But her art is all the more outstanding when you learn of her unconventional background. A self-taught artist, it was only by the age of 37 that Bradford took a leap of faith, facing her intrinsic artistic passion— head-on.

“I was really in the closet about how deeply I felt about making paintings,” she admitted in an interview with Hyperallergic. “The barn was my studio, I was doing mark-making paintings. I had not gone to art school or taken any foundation classes. So my idea of painting was to dip the brush in paint and put it on the canvas.”

At 37 and despite the disapproval from her family, Bradford moved to New York City. A single mother, she would go on to pursue art in closer contact with contemporary painting discourse, eventually enrolling in graduate studies.

Now an esteemed artist, her work, and her life story, will serve to inspire you.

The post Katherine Bradford’s Paintings are a Breath of Fresh Air appeared first on MobiSpirit.

Sarah Rupp’s women portraits aren’t meant to be pleasing. Intentionally distorted, they underline the constant tension between beauty and strangeness, traditional beauty and untraditional beauty.

The images themselves are created as a sort of mish-mash—a mix of collage art and painting—with a special interest in the female gaze. “I am always drawn to faces, and I am most captivated by the gaze,” explained Rupp in an interview with Art of Choice. “I try to depict a strong female gaze very often in my work.”

According to Rupp, there is a lot of mystery and vulnerability in the eyes, and more specifically—the gaze. “It creates a dialogue between the viewer and subject, even a connection, and that’s important to me,” she notes. It also stands to highlight the importance of both physical and psychological aspects of her portraits, drawing the viewer closer to her subjects.

“I’ve depicted the female figure since I started painting, even before school,” recalled Rupp. “I’ve never had the desire to paint anything else.” Scroll down to see some of her work.

The post Sarah Rupp Deconstructs Women Portraits appeared first on MobiSpirit.

“I’m usually inspired by plants I see in person, either that I walk past in my daily life, or I see at a garden, or while on a trip,” admitted Lincoln in an interview with Maake Magazine. “I look for interesting patterns or plant structure.”

Her interest in the natural world began when she was young, while growing up next to her mother’s incredible garden. “I think growing up next to a beautiful garden with a mom who was very enthusiastic about plants probably influenced my work,” noted Lincoln.

But though her work is grounded in her natural surrounding, Lincoln’s paintings might be seen as a wild interpretation of her surrounding, using vibrant colors, combined with surreal settings.

“Usually I see a plant or a few plants that I’m excited by, and I think about how I can plan a composition around it/them,” she explained her process. “Usually the color of the plants is a more keyed up version of their natural color. I often come up with sky or background color ideas from something that happened in an earlier painting, some idea that I want to explore further.”

The post Amy Lincoln’s Paintings are a Homage to Plants appeared first on MobiSpirit.

For Mohamedi, truth is intuitive. Her work relies on tools and materials that she collected over the years: anything from tar found on the beaches of Santa Barbara to tubes of Middle Eastern paint imported from her mother country of Iran. “Up until now I’ve mainly used oil paint, but I’m starting to use more materials that are handy like pencils, crayons, and acrylic paint; anything that’s easy to apply and dries quickly,” she notes.

Based in Los Angeles, her art has made quite a splash both locally and internationally. A founding member of the Los Angeles art collective, The Binder of Women, Mohamedi’s pieces have been profiled in acclaimed publications such as the LA Times and Huffington Post.

“I’m sort of like a semipermeable membrane,” says Mohamedi. “I just look at what’s around me, watch the thoughts that I have, listen to my children, listen to the air. I’m this filter for whatever’s happening around me.” But at the end of the day, her work is open for interpretation—a dialogue that takes place between the painting and the viewer.

Take note.

The post Maysha Mohamedi’s Abstract Art Feels Honest appeared first on MobiSpirit.

Her artwork often references important historical paintings, with the aim of drawing attention to the visual tapestries and unknown histories of Latin America. Patterns, both traditional and commercial, are fragmented and pieced together, with the finished result being a sort of organized chaos.

“Together, the fragmented, visual tapestries in my work are woven together to recreate historical narratives that better represent the hybrid Latino identity caused by colonization and upheld by westernization,” writes Latimer on her website.

Having graduated with a BFA from Slippery Rock University, Latimer went to receive an MA and MFA from Indiana University of Pennsylvania in 2013 and 2016, respectively; with her paintings being exhibited widely. But you can also follow her work via Instagram.

The post This Painter Sheds Light on the Unknown Histories of Latin America appeared first on MobiSpirit.

This incompleteness is deliberate, obliging her viewers to pause and engage with the artwork, filling in the absences themselves rather than dismissing it and moving on. It also adds to a sense of openness to her creations, which added to her use of blue, makes for a calming, even inviting, effect.

With thousands of followers on Instagram and exhibitions in galleries and art events around London, Hussain has also appealed to a variety of commercial clients and individuals. Working in several different media, she admits to being driven by experimentation, constantly exploring new techniques and searching for the shapes and subjects they express best. 

As such, inspiration comes easy for her, sought out from the mundanities of everyday life: patterns found in home interiors, natural shapes found outside, and geometric, structured shapes, taken from architecture. Here are some of her more striking pieces.

The post 50 Shades of Blue: Laxmi Hussain’s Paintings appeared first on MobiSpirit.

His paintings also stand out for their subject matter, rich with allusions and symbols—an assembled constellation of recurring imagery that includes animals, letter fragments, diagrams, and glyphs. These elements in combination form their own pictorial universe.

A self-proclaimed “student of metaphysics,” Landström explains he’s interested in glyphs and symbols from ancient cultures, exploring how these marks have traveled through civilizations, geographies and time. Add to this his chosen materials and you get a truly unique form of artwork which Landström compares to alchemy.

“I think every person is a kind of transceiver to varying degrees, depending on where they’re from and how they live,” says Landström on his website, “which is reflected in the fact—among other ways—that certain images or symbols are universal and occur in vastly different civilizations all over the world and throughout history.”

Enter his mystifying worlds in the gallery below.

The post Look Closely: These Paintings are Made Using Unique Materials appeared first on MobiSpirit.

“I am always testing the materials, colors, and textures to act beyond what I expect and can control,” Brewster relayed in a piece she wrote for Create Magazine. “I encourage the paint to do things it’s not supposed to do to create happy accidents.”

Centered around images of women she finds and collects from glossy magazines such as Vogue, Harper’s Bazaar, and Tatler, these images are distorted until they can no longer be recognized. Taken out from their original context, they act as a sort of ghostly, uncanny, presence that lingers throughout her work.

According to Brewster, these “magazine paintings” aim to liberate and transform the figures she collects, in order to create ethereal yet provocative works that question notions of identity and how women are perceived. “My aim is to test the limits of the paper and paint,” she further explained. “I am looking for reactions between the paint and the paper and how one layer of paint is impacted by the preceding layers.”

With her work attracting clients like Vogue, World of Interiors, and Marie-Claire Maison, and exhibited widely, it’s clear that Brewster’s artworks are more than just “happy accidents.”

The post Claire Brewster Explores the Many Reactions Between Paint and Paper appeared first on MobiSpirit.

A creative through and through, Hanson began painting when she was just a child, and has been commissioned by the age of ten (!). When she was twelve-years-old she was officially employed by a mural studio, learning the techniques of acrylics on the grand scale of forty-foot canvases.

But her technique was also formed by observing her natural surroundings. After a lifetime of experimenting in different styles and mediums, it wasn’t until Hanson began rock climbing at Red Rock Canyon that her painting style was consolidated by a single inspiration and force of nature. In these beautiful surroundings, she also decided to take on a life-long challenge: dedicating herself to creating one painting every week for the rest of her life.

“I think the modern or contemporary art world shies away from landscapes or natural beauty,” she told Art Aesthetics Magazine. “I don’t really understand why since it is one of the most pleasing art forms to the eye and certainly one of the most popular.”

Scrolling through her Instagram page, her position is made evidently clear.

The post Erin Hanson Captures the Essence of Nature With Impasto Paint Strokes appeared first on MobiSpirit.

Based between Melbourne and the US, Shaw travels the globe to find inspiration. “Most of the time I really need to experience a place before I make work about it,” she told Lost At E Minor. “Recently, I did a residency at SIM in Iceland that allowed me to travel to some amazing places there. The lava flows and melting glaciers create incredible sculptural forms, which inspires how I translate this into the paintings. I am very visceral.”

According to Shaw, her passion for landscape painting was also a byproduct of her travels, while visiting Central Australia. “A visit to Central Australia in 2004 really helped me coalesce ideas about the materiality of paint and how this could connect with the material world through landscape,” she explained. “The sedimentary layers of rocks literally looked like the paint I was playing around with in my studio, and it started from there.”

Exhibited in cities around the world, her paintings serve as reinterpretations of what actually constitutes landscape painting, both within an art history context and a contemporary social context.

Take a look.

The post Enter Kate Shaw’s Surreal Landscapes appeared first on MobiSpirit.

Painted using striking color combinations, Bradford’s paintings make for a dramatic effect. But her art is all the more outstanding when you learn of her unconventional background. A self-taught artist, it was only by the age of 37 that Bradford took a leap of faith, facing her intrinsic artistic passion— head-on.

“I was really in the closet about how deeply I felt about making paintings,” she admitted in an interview with Hyperallergic. “The barn was my studio, I was doing mark-making paintings. I had not gone to art school or taken any foundation classes. So my idea of painting was to dip the brush in paint and put it on the canvas.”

At 37 and despite the disapproval from her family, Bradford moved to New York City. A single mother, she would go on to pursue art in closer contact with contemporary painting discourse, eventually enrolling in graduate studies.

Now an esteemed artist, her work, and her life story, will serve to inspire you.

The post Katherine Bradford’s Paintings are a Breath of Fresh Air appeared first on MobiSpirit.

Sarah Rupp’s women portraits aren’t meant to be pleasing. Intentionally distorted, they underline the constant tension between beauty and strangeness, traditional beauty and untraditional beauty.

The images themselves are created as a sort of mish-mash—a mix of collage art and painting—with a special interest in the female gaze. “I am always drawn to faces, and I am most captivated by the gaze,” explained Rupp in an interview with Art of Choice. “I try to depict a strong female gaze very often in my work.”

According to Rupp, there is a lot of mystery and vulnerability in the eyes, and more specifically—the gaze. “It creates a dialogue between the viewer and subject, even a connection, and that’s important to me,” she notes. It also stands to highlight the importance of both physical and psychological aspects of her portraits, drawing the viewer closer to her subjects.

“I’ve depicted the female figure since I started painting, even before school,” recalled Rupp. “I’ve never had the desire to paint anything else.” Scroll down to see some of her work.

The post Sarah Rupp Deconstructs Women Portraits appeared first on MobiSpirit.

“I’m usually inspired by plants I see in person, either that I walk past in my daily life, or I see at a garden, or while on a trip,” admitted Lincoln in an interview with Maake Magazine. “I look for interesting patterns or plant structure.”

Her interest in the natural world began when she was young, while growing up next to her mother’s incredible garden. “I think growing up next to a beautiful garden with a mom who was very enthusiastic about plants probably influenced my work,” noted Lincoln.

But though her work is grounded in her natural surrounding, Lincoln’s paintings might be seen as a wild interpretation of her surrounding, using vibrant colors, combined with surreal settings.

“Usually I see a plant or a few plants that I’m excited by, and I think about how I can plan a composition around it/them,” she explained her process. “Usually the color of the plants is a more keyed up version of their natural color. I often come up with sky or background color ideas from something that happened in an earlier painting, some idea that I want to explore further.”

The post Amy Lincoln’s Paintings are a Homage to Plants appeared first on MobiSpirit.

For Mohamedi, truth is intuitive. Her work relies on tools and materials that she collected over the years: anything from tar found on the beaches of Santa Barbara to tubes of Middle Eastern paint imported from her mother country of Iran. “Up until now I’ve mainly used oil paint, but I’m starting to use more materials that are handy like pencils, crayons, and acrylic paint; anything that’s easy to apply and dries quickly,” she notes.

Based in Los Angeles, her art has made quite a splash both locally and internationally. A founding member of the Los Angeles art collective, The Binder of Women, Mohamedi’s pieces have been profiled in acclaimed publications such as the LA Times and Huffington Post.

“I’m sort of like a semipermeable membrane,” says Mohamedi. “I just look at what’s around me, watch the thoughts that I have, listen to my children, listen to the air. I’m this filter for whatever’s happening around me.” But at the end of the day, her work is open for interpretation—a dialogue that takes place between the painting and the viewer.

Take note.

The post Maysha Mohamedi’s Abstract Art Feels Honest appeared first on MobiSpirit.

Her artwork often references important historical paintings, with the aim of drawing attention to the visual tapestries and unknown histories of Latin America. Patterns, both traditional and commercial, are fragmented and pieced together, with the finished result being a sort of organized chaos.

“Together, the fragmented, visual tapestries in my work are woven together to recreate historical narratives that better represent the hybrid Latino identity caused by colonization and upheld by westernization,” writes Latimer on her website.

Having graduated with a BFA from Slippery Rock University, Latimer went to receive an MA and MFA from Indiana University of Pennsylvania in 2013 and 2016, respectively; with her paintings being exhibited widely. But you can also follow her work via Instagram.

The post This Painter Sheds Light on the Unknown Histories of Latin America appeared first on MobiSpirit.

This incompleteness is deliberate, obliging her viewers to pause and engage with the artwork, filling in the absences themselves rather than dismissing it and moving on. It also adds to a sense of openness to her creations, which added to her use of blue, makes for a calming, even inviting, effect.

With thousands of followers on Instagram and exhibitions in galleries and art events around London, Hussain has also appealed to a variety of commercial clients and individuals. Working in several different media, she admits to being driven by experimentation, constantly exploring new techniques and searching for the shapes and subjects they express best. 

As such, inspiration comes easy for her, sought out from the mundanities of everyday life: patterns found in home interiors, natural shapes found outside, and geometric, structured shapes, taken from architecture. Here are some of her more striking pieces.

The post 50 Shades of Blue: Laxmi Hussain’s Paintings appeared first on MobiSpirit.

His paintings also stand out for their subject matter, rich with allusions and symbols—an assembled constellation of recurring imagery that includes animals, letter fragments, diagrams, and glyphs. These elements in combination form their own pictorial universe.

A self-proclaimed “student of metaphysics,” Landström explains he’s interested in glyphs and symbols from ancient cultures, exploring how these marks have traveled through civilizations, geographies and time. Add to this his chosen materials and you get a truly unique form of artwork which Landström compares to alchemy.

“I think every person is a kind of transceiver to varying degrees, depending on where they’re from and how they live,” says Landström on his website, “which is reflected in the fact—among other ways—that certain images or symbols are universal and occur in vastly different civilizations all over the world and throughout history.”

Enter his mystifying worlds in the gallery below.

The post Look Closely: These Paintings are Made Using Unique Materials appeared first on MobiSpirit.

“I am always testing the materials, colors, and textures to act beyond what I expect and can control,” Brewster relayed in a piece she wrote for Create Magazine. “I encourage the paint to do things it’s not supposed to do to create happy accidents.”

Centered around images of women she finds and collects from glossy magazines such as Vogue, Harper’s Bazaar, and Tatler, these images are distorted until they can no longer be recognized. Taken out from their original context, they act as a sort of ghostly, uncanny, presence that lingers throughout her work.

According to Brewster, these “magazine paintings” aim to liberate and transform the figures she collects, in order to create ethereal yet provocative works that question notions of identity and how women are perceived. “My aim is to test the limits of the paper and paint,” she further explained. “I am looking for reactions between the paint and the paper and how one layer of paint is impacted by the preceding layers.”

With her work attracting clients like Vogue, World of Interiors, and Marie-Claire Maison, and exhibited widely, it’s clear that Brewster’s artworks are more than just “happy accidents.”

The post Claire Brewster Explores the Many Reactions Between Paint and Paper appeared first on MobiSpirit.

A creative through and through, Hanson began painting when she was just a child, and has been commissioned by the age of ten (!). When she was twelve-years-old she was officially employed by a mural studio, learning the techniques of acrylics on the grand scale of forty-foot canvases.

But her technique was also formed by observing her natural surroundings. After a lifetime of experimenting in different styles and mediums, it wasn’t until Hanson began rock climbing at Red Rock Canyon that her painting style was consolidated by a single inspiration and force of nature. In these beautiful surroundings, she also decided to take on a life-long challenge: dedicating herself to creating one painting every week for the rest of her life.

“I think the modern or contemporary art world shies away from landscapes or natural beauty,” she told Art Aesthetics Magazine. “I don’t really understand why since it is one of the most pleasing art forms to the eye and certainly one of the most popular.”

Scrolling through her Instagram page, her position is made evidently clear.

The post Erin Hanson Captures the Essence of Nature With Impasto Paint Strokes appeared first on MobiSpirit.

Based between Melbourne and the US, Shaw travels the globe to find inspiration. “Most of the time I really need to experience a place before I make work about it,” she told Lost At E Minor. “Recently, I did a residency at SIM in Iceland that allowed me to travel to some amazing places there. The lava flows and melting glaciers create incredible sculptural forms, which inspires how I translate this into the paintings. I am very visceral.”

According to Shaw, her passion for landscape painting was also a byproduct of her travels, while visiting Central Australia. “A visit to Central Australia in 2004 really helped me coalesce ideas about the materiality of paint and how this could connect with the material world through landscape,” she explained. “The sedimentary layers of rocks literally looked like the paint I was playing around with in my studio, and it started from there.”

Exhibited in cities around the world, her paintings serve as reinterpretations of what actually constitutes landscape painting, both within an art history context and a contemporary social context.

Take a look.

The post Enter Kate Shaw’s Surreal Landscapes appeared first on MobiSpirit.