Jacques Bodin is a French based painter who realizes truly exceptional hyperrealistic paintings. His superior technique allows him to excel in every subject he decides to represent, passing from portrait to still life and natural scenes with great mastery.
So, he creates some different series, but one of the most recognizable and interesting is “De Dos”, where he depicts mainly female subjects portrayed from behind, while observing a natural landscape on the blurry background.
In the first issue of Hyperrealism Magazine, Jacques told us something about his work, explaining the meaning behind these particular portraits:
One of your first series represents people portraited from
behind. What’s the meaning of this uncommon choose?
I started painting the “De Dos“ series twenty years ago.
I found some help in old masters. The reference was Caspar David Friedrich with its “Wanderer Above The Sea Of Mist”.
I worked on the theme of the human figure turning one’s back to the viewer. It was a conception of the portrait showing what is never detailed: the back and through it the interiority of the human being. The models contemplate a mysterious scene, admiring and probably experiencing a deep introspection.
The viewer and the model are the witnesses of the same scene. This situation invites to contemplation, not to confrontation.
I made about sixty paintings on this theme and frequently with more attention to what became an essential theme: the hair.
The hair becomes a kind of abstraction separating the subject from ordinary reality and endowing it with a life of its own. It becomes a world in itself, a microcosm. I focus on the essential, the spiritual oneness of the hair; there is, indeed, a connection between this magnified section of human physiognomy and the universe.
You can read the entire interview in the Hyperrealism Magazine #1:
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
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:
Christophe Drochon is a French-based artist, and he’s one of the most skilled painters in the hyperrealistic animal painting. He realizes incredibly detailed animal portraits, but, as he told us in the interview for the first issue of Hyperrealism Magazine, in his paintings, the animal and the scenery are often used as symbols to express his ideas and to illustrate emotional events about his personal life.
Many of his paintings are focused on the eye of the animal, in this way he creates intimate portraits to capture the soul of the wild and free natural world. He’s very sensitive towards the environment and the protection of animal rights: the most part of his art is made not just to share the beauty of nature, but above all to shake our conscience about the pretension of humans to prevaricate on the animal rights.
Here is an inside from Hyperrealism Magazine #1:
Hyperrealism was born in America in the ’70s but in Europe it has been spread later and still today is not always understood. How and when did you start to get interested in Hyperrealism?
I spent all my childhood painting as a figurative and realistic painter, in a traditional way, with round brushes most of the time, much closer to a form of impressionism. From 1985, I became a professional illustrator and I worked for advertising, publishers and cinema. At that time, the computer hadn’t arrived in advertising agencies yet. Many of the advertising creations, were made in paint, by using the airbrush. Advertising required so much quality in the execution of illustrations; the hyperrealistic images were handmade without high quality photos. It was necessary to be very precise. This period of 25 years was a form of “plastic turning point” for my creations.
You can read the entire interview in the Hyperrealism Magazine #1: