Sustainable Furniture Inspired By Art With HartiSWIM

Well, once the question has been set in stone, my white nights will bring tribulations, headaches and dehydration, to say the least. I start seeing Caravaggio’s, Tintoretto’s, details of a Velasquez, a laughing page boy from Giorgione or a woman draped in a beautiful coat with a mink collar from Parmigianino, maybe a voluptuous nude by Rubens before stopping at Titian’s portrait of Pope Paul III. 

Images are flying through my brain windings—I will have a monochromatic outline of my work in progress. Now that said, I start going into detailing and colouring. I am still old school and I work with under layers, and all sorts of layers of the Tenebrist era. Back to Caravaggio, de Ribeira and a bit of the Flemish Baroque. 

Once I dealt with the vintage aspect of my art, I started introducing the vibrancy of pop art, the hyper fauve. One cannot miss my love for women, their curves, and their eroticising shapes, gifted to us mortals by the Greek Gods. A life without a woman would be barren, right? History without women would have been one-dimensional, right? Even in religion, a paradise without Eve is unthinkable, right? In art history, the beauty of art has been shining through the representation of female characters, whether as Madonna’s, Nuns or Courtesans.

Botticelli would agree. The crux of the matter is that I could get on and on because it is impossible to complete a work. To me, it is always in progress. The reason is simple. A work of art is, at one point, taking on a life of its own, and by doing so one sees a re-birth of the work of art itself or as Nietzsche would call it; the eternal recurrence.