Christy Carter
Delta, BC, Canada
https://www.facebook.com/CCs-Unique-Creations-1251439794906138
Working with old vintage items and broken items is a thrill. Taking something discarded and giving them a new life is my passion as an Artist.
Nerima-ku, Tokyo, Japan
https://www.instagram.com/rina_taytuart
@rina_taytuart
The theme of my works is coming from “To Live”. Most of them, if anything, are based on “sorrow” and “trouble” around us. Among these sorrow things, I shift my thought to feel a thanks. When I feel a thank, I see a small “dream” near in the future. It is “drawing” for me to make a form from a small dream.
Richmond, IN
http://www.spindlepunk.com
I spend a lot of time watching paint dry which is fine because I consider myself to be, first and foremost, a painter. Experiments in drawing led me to tear paper and arrange found objects, lifting me off the paint surface into collage and assemblage. The arrival of furniture ‘shards’ seemed a natural extension of this process and allowed me to step outside the bounds of academic art. Recovered from alleys and yard sales, the chairs, tables and dressers introduce a human element to, otherwise, complex gestures. They represent a human scale with human references: arms, feet, legs, backs, seats and so on. An anthropomorphic whisper keens behind the work.
During a year spent teaching in Japan, I visited ancient Kyoto several times and loved the wooden artifacts of rice cultivation–splintered and gray–honored in retirement, placed around the wood-and-paper houses, sometimes mounted on the exterior as decoration. The ‘Kyoto’ series with its layered wooden designs owes its origins to this memory. ‘Debris Fields’ differ in that they are created from just one fractured furniture piece, making them bolder, simpler, and more colorful.
. . . which brings us back to the paint. Except for the base coat and a rare touch with a brush, the paint is poured and sprayed; it flows and drools and cracks and oozes. You’d think it would add a chaotic element. Quite the contrary, the paint imposes order while charging the pieces chromatically and emotionally; it creates harmonies or contrasts that give depth to the human gestures.
Jackson Heights, NY
http://susanspangenberg.com
@straitjacketsusan
Coming from a severely dysfunctional family which led to group homes and institutionalization in her teenage years, Susan Spangenberg cut her outsider artist teeth at Creedmoor Psychiatric Center’s renown ‘Living Museum’ art rehabilitation program. She was on the vanguard of the ‘Girl Interrupted’ female asylum artist wave that has in twenty years become the new normal, yet Susan has maintained the raw essence of that genre imbued with a twenty-first century sensibility.
Odorheiu Secuiesc,Harghita county,Transylvania
http://www.molnos-zoltan.webnode.hu/
Stratford, Ontario, Canada
kevinkemp@execulink.com
Wilmette, IL
robertfrankelart.com
@robertfrankelart
I like to create energy and motion by contrasting bright colors, heavy brushstrokes, and unusual shapes and textures.
Many people who view my work tell me it makes them happy. My lack of formal art training has enabled me to think and paint “out of the box” in regards to composition, textures, and colors.
I have been in a number of national and international exhibitions which include Van Der Plas Gallery, SITE Gallery, 440 Gallery, and Greenfield Gallery in NYC, La Galleria Pall Mall in London, and Chie Gallery in Milan Italy. I have exhibited at Saatchgi-The Other Art Fair in Chicago and will be exhibiting in the Saatchi -Los Angeles exhibition in Spring of this year. In 2019 I was one of twenty finalists for the Art Takes Manhattan Competition.
FROM| Outsider Art Magazine Issue Five
FREE Digital Version
$30 Print
Well, it’s finally ready! Issue Five.
Thank you to every artist who submitted artwork for this giant issue of Outsider Art Magazine. Get your art ready because in January 2021 we will be releasing a new call for art. In addition to visual art we will be accepting poetry, short (very short) stories, and interesting articles about artists and their creative journey.
Artists in this Issue
WILD TYPE
Robert Gorchov
Todd Brugman
John McCabe
Robbie Gallows
Dalia Goldberg
Stefan Pruteanu
Magdalena Sikora
Samantha Sadik
Sophie Jacobs
Paulina Klimek-Cornett
Abbott Philson
Nickolai Dostanko
Matthew Clarke
Szilard Juhasz
MRSN
Pracheta Banerjee
Baili Wise
Jimmy Gockel
Nicholas Teetelli
Karen Glykys
Robert Frankel
Charles McDowell
Arne Søvik Larsen
Nicole Sullivan
Hannah Bouchard
Xavier Yarto
Mark Pol
Joyce Thornbug
Ian Hartley
Margarita Henriksson
Harrison Ernst
Homer Johnson
Tiantian Ma
Kayle A. Martinez
Rocio Garcia Montiel
Brooke Mathews
Brian Simons
Oliver Quinto
Romero Pasin
Thomas Sciacca
Dawn Rettew
Erik Aleksiewicz
NPrima/Natalia Proskuriakova
Jesus Diaz
Noah Velez
Andrew Stackpole
Gwen Hallford
Barbara Redondo
Anastasiia Kruglova
Jack Oliver
Ken Berman
Monica Tiulescu
Kitty Taylor
Dio D’Brutto
Lisa Castel
Being born in Truth or Consequences has shaped my outlook on life to be a black and white Rube Goldberg machine. I have always studied and been drawn to the Truth.
My work has focused on human struggles with societal pitfalls induced by the conception of morality, and the enforced standards we try and fail to uphold ourselves. Growing up poverty-stricken and at the hands of extreme child abuse, I feel an urgency in addressing these issues and thus issues of morality before true societal progress can be achieved. I believe that what are referred to as the Seven Deadly Sins along with Karma will define the trials and tribulations a person will interact with in their lifetime, and the demons they will struggle with along that path.
My intentions are to spread the word about the struggles within each of us to remain human at all times, and at times, at all cost. Is it okay to help those who admit struggle? Can we be judgmental without being unfair? I want the viewer to understand truths within themselves through my art, to progress and have a life free of burden. I want the viewer to achieve a visual nirvana and ascend to their further purpose.
Nicole Sullivan | Las Cruces, NM
@thestarsandgod
Being born in Truth or Consequences has shaped my outlook on life to be a black and white Rube Goldberg machine. I have always studied and been drawn to the Truth.
My work has focused on human struggles with societal pitfalls induced by the conception of morality, and the enforced standards we try and fail to uphold ourselves. Growing up poverty-stricken and at the hands of extreme child abuse, I feel an urgency in addressing these issues and thus issues of morality before true societal progress can be achieved. I believe that what are referred to as the Seven Deadly Sins along with Karma will define the trials and tribulations a person will interact with in their lifetime, and the demons they will struggle with along that path.
My intentions are to spread the word about the struggles within each of us to remain human at all times, and at times, at all cost. Is it okay to help those who admit struggle? Can we be judgmental without being unfair? I want the viewer to understand truths within themselves through my art, to progress and have a life free of burden. I want the viewer to achieve a visual nirvana and ascend to their further purpose.
I’m a self-taught artist and have been drawing and painting for four decades. I’m interested in the process that creates a painting. Although it involves imagination, this process is affected by chance, so that when I begin a picture I have only a half-formed image of what the finished painting might look like. The completed piece only slightly resembles the image that I had in mind when I began it. I think of this as improvisation. Over the years that I’ve been painting, I’ve learned to trust the brush and the materials – to let them take the lead – and not to think too much about how it will end up . . . until I get to that end.
This is part of what makes painting interesting for me.
Robert Gorchov | Philadelphia, PA
I’m a self-taught artist and have been drawing and painting for four decades. I’m interested in the process that creates a painting. Although it involves imagination, this process is affected by chance, so that when I begin a picture I have only a half-formed image of what the finished painting might look like. The completed piece only slightly resembles the image that I had in mind when I began it. I think of this as improvisation. Over the years that I’ve been painting, I’ve learned to trust the brush and the materials – to let them take the lead – and not to think too much about how it will end up . . . until I get to that end.
This is part of what makes painting interesting for me.
Outsider Art Magazine 