Guy Bourdin

It's been a while since borned Guy Louis Banarès leaved us, but as those who have captured people's attention in such a wonderful way his pictures still remain within us. French Vogue understood they had one of 20th century photographic icon ready to produce some of the best fashion pictures ever.

Sexy, irreverent, modern, with intense colours and wonderful lightning, a reference for actual photography but "only" many years before. As always, better see a selection of some of his pictures as our words are not enough., enjoy!

Nick Lepard

Be ready for this Vancouver young artist. Just a quick glance at Lepard's work will be enough to captivate the audience's attention and lead it to a parallel world, one where harmony rules. Virtuosity lies on every single stroke, revealling a vivid, confident and raw but polished style. Who would not love to have a Lepard's at home?

We: What does art mean to you?

Nick: Good art can allow you to socialize outside of time and space. You can interact with minds from drastically different worlds or drastically different eras. It is remarkable to be able to sympathize with the protagonist of a book that was written by an author who could never have conceived of the Internet or transatlantic flight. It feels as if you and the author are engaged in some universal or eternal dialogue about life. The experience can become almost spiritual.

W: Being a photograph the fisrt step of a new canvas, how do you consider photography and create the right clima?

N: After working from photographs for a while you begin to be able to tell the difference between a good photograph and a good painting that is at the moment still a photograph.

W: Where do you find inspiration?

N: I find inspiration in a lot of tings, often things that are completely opposite. I might finish reading a book that is barely punctuated and full of gusto. I’ll get really fired up to go paint and do all sorts of wild things with it. However, I might see a painting that is very quiet and subtle and it will make me want to slow down and take a much more methodical approach to the canvas. My goal is too find a harmony and make something that is mature but not dry. Something wild but not foolish.

W: We loved your words "Painting is like trying to solve a mystery". Is the serie of paintings under the title "Isabella" trying to reproduce that mystery, from the audience's point of view though?

N: I hope that the viewer, while looking at some of my work, will have the experience of painting. I want the image to be moving, for it not to simply be an image—I want it to be an object, an object that contains life, action, and a person physically creating something. I want that act of creation to be a shared experience. In Isabella, I wanted that simulated or shared experience to be the most salient part of the work. I wanted the identities of the subjects to almost disappear or be inconsequential to the paint.

W: Future plans, exhibitions?

N: I'm taking my studio to California for the winter.

If you want to read more about him and his work, visit his website.