Archivi tag: hyperrealism magazine

The PseudoRealism of Paul Corfield


Paul Corfield is a UK based artist. His artistic career is really uncommon: he started with traditional photorealistic artworks, then he develops his own style in a very original idea called “Pseudorealism“. Corfield’s paintings are the result of an ongoing experiment in computational design, he creates complex subjects with geometric shapes inspired to the modern conceptual architectural design and modern sculpture. He also mix together his extraordinary hyperrealistic painting technique with these abstract concepts, giving birth to something never seen, completely new and outstanding.


We talked with Paul Corfield for the #1 issue of Hyperrealism Magazine, and here is an excerpt from his interesting interview:

Looking at your last series, it’s clear that you use an incredible hyperrealistic technique combined with an abstract concept. We could tell that you bring two opposites together in your painting. What’s the meaning and from what it comes
this idea?
All my life I’ve naturally drawn or painted in a realistic way but the abstract style came much later. My Grandad drew me a small picture of a boat when I was only maybe 5 or 6 years old. I remember it looked so real and I was instantly hooked that he made this quick scribble look so good. From then on I wanted to be an artist and realism was always at my core. From that early age I drew and painted real subjects from life or from photographs right up until around 1998. I got my first PC computer around 1994 and my first 3D modelling software a few years later. The 3D modelling was just a hobby and I never used it for hyperrealism artworks until the early 2000’s and that was when my abstract style naturally started to develop. Because the software can make anything look real, then you can explore any artistic style that you choose. Right from the very start I have experimented with simple shapes and worked on ways to manipulate them into ideas for paintings. Besides the shapes, I’m very interested in ways to manipulate colour, light and shadow. I try to bring all of those elements together into an interesting composition and also something that appears to be real. In the computer there’s a whole load of number crunching, mathematical formulas, simulations and out of all of that these arrangements gradually take shape. It takes days, sometimes weeks to build the system that will start to generate the designs and from then on it’s all about the fine tuning. Very soon after I created my first few abstract hyperrealism paintings I joined Plus One Gallery in London and then a year later I also joined the Russeck Gallery in San Francisco. That’s what I call stage 1 of my abstract development as it wasn’t long after joining those two galleries that my wife became disabled. I decided it was best to leave and concentrate on being her full time carer and at the same time I had to seek regular income because she could no longer work. Around 8 or 9 years passed before I could get back to painting and carry on developing my hyperrealism and abstract ideas. Things had moved on a lot in that time, I had to spend 18 months learning new software packages but in some ways it had been good for my development. I feel my ideas now are much stronger than they were before, the new software has allowed me to do so much more and that really brings us up to the present day. I’m gradually building up a collection of work and soon I will begin looking for a gallery to once again represent me.


You have to read the entire interview in the Hyperrealism Magazine #1:




Mysterious atmospheres of Johan Abeling

Tempelbos-road II 2017 61x95cm oil on panel

Johan Abeling is a Dutch artist who creates suggestive landscapes characterized by the total desolation of the shown places and by the fog, a recurring leitmotif in his artworks.  He uses the Sfumato technique to increase the mysterious atmosphere in his paintings, this technique first applied by Leonardo Da Vinci, requires several layers of trasparent paint and softening tones.

“This method helps me create a fine haze that builds up an atmospheric perspective and adds mystery.”


Abeling’s paintings put the nature at the heart of everything. He almost totally excludes the human presence, leaving just some traces of its passage through elements, like abandoned houses and picket fences. These landscapes represent a sort of moment frozen in time, a surreal, peaceful but also discomforting scene, where the viewer could find his personal visions, meaning and feelings.

No bikes please 2003 75x100cm oil on panel

We had the pleasure to interview Johan Abeling in the first issue of Hyperrealism Magazine:

Most of your paintings represent natural landscapes without human presence.
We think that everyone, seeing them, could feel the silence and the sense of isolation transmitting. What is your relationship with nature?
Sometimes I am afraid that we have lost the sense of being part of nature, that we no longer have an eye for its beauty and healing power. In this hectic world where there’s almost no time for contemplation, I hope my paintings add to a sense of connection with the mysterious magnificence and restorative serenity of nature.

You can read the entire interview in the Hyperrealism Magazine #1:



Johan Abeling website